Gay and Lesbian Studies in Art History (Research on Homosexuality) (Research on Homosexuality)

Gay and Lesbian Studies in Art History (Research on Homosexuality) (Research on Homosexuality)
by Whitney Davis

Gay and Lesbian Studies in Art History (Research on Homosexuality) (Research on Homosexuality)
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Book Summary Information

Author: Whitney Davis
Edition: Paperback
Audio: English (Original Language); English (Unknown); English (Published)
Published: 1994-10-19
ISBN: 1560230541
Number of pages: 308
Publisher: Routledge

Book Reviews of Gay and Lesbian Studies in Art History (Research on Homosexuality) (Research on Homosexuality)

Book Review: Only a beginning
Summary: 3 Stars

While I agree with the previous review in regard to Davis' essay (and his other work as well), I do think the collection as a whole is a valuable addition to any art historian's library. While the essays vary wildly in quality of writing and scholarship, the overall effect of even a brief skimming gave me a sense for the numerous and distinct methodolgies currently being used in gay and lesbian studies.

I would emphasize something that Davis himself concedes in the introduction: this collection is prelimary and is NOT meant to at all be definitive or complete. It simply presents some of the best and boldest work being done in the then (1994) relatively new field of gay and lesbian studies as applied to art history.

As for Davis, I do think his essay is unnecessarily aloof and difficult. In short, it is an entirely unpleasant bit of intellectual muscle-flexing. Unlike the previous reviewer, I do believe Davis has volumes of worthy ideas to contribute (including in this essay). He should remember, then, that his job as a historian (and teacher) is not to impress but to communicate.

That said, the reader should pay closest attention to Michael Camille's wonderful essay on "gay inconograpy" followed by stellar contributions from Christopher Reed, Jonathan Weinberg, and Ann Gibson.

Particularly for those art historians (gay or straight) trying to resolve issues of subjectivity in their work, this collection can provide a liberating example of scholars who have put down the sword and shield, interjecting their hearts (as well as their intellects) without apology.

And I would even say that Davis' essay on Winkelmann, however poorly worded, is groundbreaking in its suggestion that art history itself is a discipline conceived out of a homoerotic passion for the beautiful.

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