Curatorial Project

Prompt: 206 Unit II Image Curation F23

Proposal: Proposal

 

 

“A Different Side of History: Our Genderqueer Past”

This exhibition is a collection of images meant to show the viewer that genderqueer people have expressed and documented their identity for longer than many are led to believe. The range of images also spans different eras and ranges of identity and expression. These photographs and the people featured in them are products of their time and were shaped by the social and political climate of that time. 

Images 1A and 1B, Marie Høeg:

 

Before getting to the images themselves, we must first discuss Marie Høeg and her work:

Born in 1866, Marie Høeg was a trailblazing Norwegian photographer and suffragist who epitomized the intersection of art and activism in the late 19th and early 20th centuries. During a period of social constraints, Høeg’s life and work question conventional narratives about gender roles and identity. Høeg is best known for having co-founded the Høeg & Boe photographic studio in Horten, Norway, with partner Bolette Berg. The pair focused on portrait photography, paving the way for artistic expression during a time when women’s roles were primarily restricted to the home. Their studio attracted clients who wanted to question social norms and became a refuge for outlandish ideas. Høeg was a passionate suffragist who pushed the limits of gender norms and championed women’s rights in addition to her contributions to photography. She was a photographer and an outspoken activist who made a significant contribution to the Norwegian suffrage movement. Høeg’s dedication to the suffragist movement is indicative of a strong conviction in the transformational potential of visual representation.

Marie Høeg’s legacy is particularly interesting because of the finding of an unusual collection of her photos. Discovered several decades later, these photos showcase a playful and rebellious side of Høeg and her partner. The images, which show Høeg participating in activities usually only done by men while dressed in men’s clothes, question conventional gender roles and highlight her dedication to dismantling social barriers. Two of these photographs are the very ones featured above, in which Høeg split the photos, with one side showing what appears to be a masculine pose and the other side showing the feminine. Høeg’s artistic choices showcase her own defying of societal norms and expression of her true self in the privacy of her studio. During a time when conversations about gender identity were uncommon, Høeg’s photographs offer a unique look at the flexibility of gender expression. Her conscious decision to subvert norms via visual representation is a trailblazing move that comes before the current discussions about queer visibility and gender diversity.

 

 

Image 2, Vera Crumps:

Cases of British prisoners performing theatrically, even dressing in drag, during the First and Second World Wars in the early 1900s offered a rare window into the ingenuity and resiliency that could surface under the most trying conditions. In POW camps, theatrical productions were frequently used to raise spirits and preserve a sense of camaraderie among the imprisoned soldiers.

Historian Dr. Clare Makepeace combed through the journals, letters, and log books of 75 prisoners to write her book, “Captives of War: British Prisoners of War in Europe during World War II,” which shed light on the lives of the country’s performing POWs. Although the performers were nothing like the extravagant and colorful queens of today, their plays were a huge hit with both the guards and the prisoners. Performers were especially popular for wearing dresses and heels, and prisoners who performed were ‘admired’ by their fellow inmates and occasionally felt ‘attracted’ to them. 

Dr. Makepeace discovered that actors would prepare for their major roles in ways other than just practicing. Members of the cast were also required to have their ‘unsightly masculine limbs’ shaved, eyebrows waxed, hair grown out on their heads, and make-up applied, including nail varnish, grease paint, and cosmetics. The clothing and white shirts from private parcels sent from home to the prisoners of war served as the inspiration for the dresses, which were made from patterns found in magazines. The intricate costumes were also made from stolen sheets and mosquito netting. A man dedicated several hours to producing a pair of shoes, while another took a month to hand-stitch a dress. Sensibly, wigs were cleverly made from Red Cross package packaging, strand by strand.

While it may seem like these performances aren’t evidence of any genderqueer expression, and that they were simply a means of entertainment, one must ask oneself: why did the POWs choose to entertain themselves in this way? Why did the guards allow it? Why did prisoners and guards alike express enjoyment of the performances? Why would the prisoners put in all this effort to perform if they didn’t have some other motive beyond pure entertainment? 

It is only logical to assume that the performers found joy in this unique gender expression because they were able to truly be themselves.

 

Image 3, Dorris Bullard:

 

 

Beyond the series of photographs in which this is a part of, there isn’t any information on Doris Bullard or who she was, but it is clear that in this photograph she is wearing traditional male clothes and posing with her friend who is doing the same.  while it can’t be said if the intent was to defy gender Norms or if it was just a fun picture between friends, the significance of the  context of the time period  is not lessened because of that. The 1920s were a Time When women’s fashion was used as a form of self-expression more so than any time before. 

On the other hand, queer culture and queer people were still underground subjects only whispered in bars or back alleys, but  women like Doris who wore traditionally male clothes for fun or as  activism, may have been queer or if they weren’t, they paved part of the way for queer people to outwardly express themselves. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Image 4, Lili Elbe:

 

Lili Elbe, formerly known as Einar Wegener, became a significant figure in the early 20th century by questioning social mores and opening the door for the visibility of transgender people. Elbe, who was born in 1882, began her life as a man. In 1904, she wed fellow artist Gerda Gottlieb. Elbe started her self-discovery journey in the early 1920s, embracing a feminine identity and renaming herself Lili. 

Lili made ground-breaking progress toward gender confirmation in her identity exploration. She had one of the first documented gender confirmation surgeries in 1930, performed by German sexologist Dr. Magnus Hirschfeld. Unfortunately, issues developed, and Lili passed away in 1931. Lili Elbe faced many obstacles, but her memoir “Man into Woman,” which was released posthumously in 1933, serves as a testament to her legacy. This moving story offered a unique and personal look into the challenges faced by transgender people in a time when awareness and acceptance of gender diversity were severely restricted.

Lili Elbe’s bravery and tenacity add to the continuing conversation about visibility and rights for transgender people. Her early quests for acceptance and authenticity have had a lasting impact on the history of LGBTQ+ experiences and continue to spark conversations about gender identity and acceptance today.

 

Image 5, Mei Lanfang:

Mei Lanfang was a well-known Peking opera performer in early 20th-century China. He frequently played female roles, or “dan roles,” in his performances, which questioned conventional gender roles. Mei Lanfang demonstrates the diversity of ways people have defied social norms in many cultures and historical eras, as well as the universality of genderqueer expression. In addition to challenging the traditional gender norms that were in place in Chinese society at the time, his artistic ability demonstrated how gender roles are flexible in the performing arts.

Mei Lanfang’s contributions expand the genderqueer history narrative outside of Western settings. Mei’s graceful and elegant performances subvert stereotypes about gender expression and highlight the range of experiences that exist within the genderqueer community. Moreover, Mei Lanfang’s narrative prompts viewers to consider how gender and culture intersect, acknowledging that manifestations of gender nonconformity are not limited to a particular period or location. Mei Lanfang’s artistic ability serves as a potent illustration of the transformative power of artistic expression to challenge and reshape societal perceptions in a world where gender norms have historically been inflexible.

Despite the deeply ingrained societal expectations of gender roles in China at the time, Mei Lanfang’s performances pushed the limits of artistic expression. The complexity of the time is highlighted by the contrast between Mei’s subversion of gender norms and the shifting political landscape. Mei Lanfang’s work, by highlighting the significance of global perspectives and the rich tapestry of experiences that have shaped the diverse expressions of gender nonconformity throughout history, essentially contributes to a more comprehensive understanding of genderqueer history.

 

 

 

 

Image 6, Club 82:

An important part of LGBTQ+ history was played by the legendary New York City nightclub Club 82, especially in the middle of the 20th century. Club 82, a legendary location in the East Village, offered a place for the LGBT community to congregate, express themselves, and question social norms.

In the 1950s and 60s, Club 82 and similar establishments were essential for creating a feeling of community and solidarity among LGBTQ+ people who were subjected to widespread discrimination and oppression. The club became well-known for its drag shows and performances, which included transgender artists and drag queens who disregarded gender expectations and offered a stage for personal expression. Many drag queens and performers who were subjected to discrimination and marginalization elsewhere found refuge in Club 82. The lively and welcoming environment of the venue made the LGBTQ+ community more visible and accepted, making it a vital component of New York City’s queer nightlife.

It’s important to remember, though, that the period in which Club 82 flourished was characterized by legal difficulties for the LGBTQ+ community and societal intolerance. Situated a short distance from Club 82, the Stonewall Uprising of 1969 marked a sea change in the struggle for LGBTQ+ rights and gave rise to the contemporary LGBTQ+ rights movement. The tales of the performers and attendees of Club 82 add to a larger story of tenacity, defiance, and the quest for acceptance and freedom at a period when these establishments served as both havens and combat zones for the LGBT community. Venues like Club 82 have a cultural impact that is reflected in the current fight for LGBTQ+ acceptance and rights. 

 

Image 7, April Ashley:

 

British model and transgender rights activist April Ashley was born on April 29, 1935, and she rose to fame in the 1960s. Her life and experiences have made a substantial contribution to our understanding of transgender history and the difficulties that transgender people faced in that era.

Against the backdrop of conservative social views on gender and sexuality in the 1960s, April Ashley’s story is remarkable for its bravery and resiliency. She was given the gender “male” at birth, but in 1960, she had gender confirmation surgery, becoming one of the first known people in the UK to have the operation. Early in the 1960s, April Ashley’s modeling career took off, making her one of the first transgender British women to be acknowledged in the fashion world. Her appearances in a number of publications pushed boundaries and increased the visibility of transgender people in the media by challenging conventional ideas of gender and beauty.

Once her gender history was made public, April Ashley also had to deal with a lot of difficulties, such as court cases and negative media attention. The court declared that she was not a “real” woman, leading to the annulment of her marriage to Arthur Corbett in 1961. This court ruling brought to light the absence of legal protection and acknowledgement for transgender people at the time. The scope of April Ashley’s activism transcends her individual experiences. She shared her experience to increase understanding and awareness of transgender rights in later years. Her efforts have had an impact on the continuous fight for acceptance and rights for transgender people. 

 

Final Image, Alice:

The photo features a trans woman named Alice, and while there isnt any information on Alice herself, her image is a powerful one and deserves a spot even in broader context. 

As transgender people became more visible and well-known in the 1970s, they broke through social norms and gained greater acceptance. During this time, community leaders and activists came to prominence, fighting for the acceptance and rights of transgender people. In the 70s, transgender activism gained traction as more people actively engaged in advocacy and community development. In order to address the unique needs and concerns of trans people, organizations such as the Gay Liberation Front were essential in fostering a sense of solidarity and common goal.

Trans people in the 70s faced many difficulties despite growing visibility, such as discrimination, lack of legal protections, and restricted access to healthcare. Highlighting the trans community’s tenacity and strength in this period of profound change while shedding light on there struggles so they are acknowledged is paramount. The LGBTQ+ movement saw increased intersectionality during the 1970s as well. People who identify as transgender, especially trans women of color, have been essential in the larger struggle for LGBTQ+ rights since it began. 

The experiences and narratives of transgender people during this time highlight the lasting impact of their contributions to the ongoing struggle for transgender rights and acceptance. It is critical to acknowledge the advancements made as well as the work still to be done to fully incorporate and equalize the trans community.

 

 

 

 

 

 

Closing Statement:

In summary, these pictures serve as a tribute to the diversity, heart, and strength of genderqueer and trans people throughout history. The lives of extraordinary people have denied gender norms, defied social expectations, and added to the rich tapestry of human experience. Genderqueer and transgender people have always existed and have always found ways to express who they truly are, from Marie Høeg in the 1800s to Alice in the 1970s. The world needs to acknowledge these people’s struggles, victories, and common humanity. Through debunking myths and misunderstandings and promoting acceptance and empathy, their stories help people gain a deeper understanding of genderqueer and trans history.

 

Bibliography

• CNN article:

“Bolette Berg and Marie Høeg: The portraits that rewrote art history.” CNN, 27 June 2023, https://www.cnn.com/2023/06/27/style/bolette-berg-marie-hoeg-portraits-untold-art-history/index.html.

• Digital Transgender Archive:

Digital Transgender Archive, “Bolette Berg Collection,” https://www.digitaltransgenderarchive.net/files/nv935302r.

• Daily Mail article:

“The secret snaps of British POWs who dressed up in drag: Images reveal the extraordinary lengths.” Daily Mail, https://www.dailymail.co.uk/news/article-5198175/British-prisoners-war-dressed-drag-WWII.html.

• Wellcome Collection:

Wellcome Collection, “Female impersonators from the late 1800s to the 1930s,” https://wellcomecollection.org/works/f6pbz3eh.

• Lili Elbe website:

“Lili Elbe – First Male to Female Transgender Woman,” http://www.lilielbe.org.

• Scientific American article:

Hamer, Dean. “The Forgotten History of the World’s First Trans Clinic.” Scientific American, https://www.scientificamerican.com/article/the-forgotten-history-of-the-worlds-first-trans-clinic/.

• Mei Lanfang sources:

Britannica, “Mei Lanfang,” https://www.britannica.com/biography/Mei-Lanfang.

National Endowment for the Humanities, “Mei Lanfang,” https://www.neh.gov/divisions/education/other-resources/mei-lanfang.

• April Ashley sources:

The Guardian, “April Ashley obituary,” https://www.theguardian.com/society/2022/jan/19/april-ashley-obituary.

The New York Times, “April Ashley, Model Who Helped Bring Trans Issues to Light, Dies at 86,” https://www.nytimes.com/2022/01/03/world/europe/april-ashley-dead.html.

National Archives Blog, “April Ashley: her early life,” https://blog.nationalarchives.gov.uk/april-ashley-her-early-life/.

• Club 82 sources:

New-York Historical Society, “82 Club: A Legendary New York Drag Institution,” https://www.nyhistory.org/blogs/82-club-legendary-new-york-drag-institution.

NYC LGBT Historic Sites Project, “82 Club,” https://www.nyclgbtsites.org/site/club-82/.

Queer Music Heritage, “Club 82,” https://www.queermusicheritage.com/fem-cl82.html.

• LGBTQ+ Organizations:

ONE Archives at the USC Libraries, https://one.usc.edu/.

Transgender Equality, https://transequality.org/.

Center for LGBTQ Studies, https://www.centerforlgbtqstudies.com/.