In 1967, the Sexual Offences Act decriminalised homosexual acts between men aged over 21. In the introduction to Calling the Shots: A Queer History of Photography, V&A Curator Zorian Clayton notes that this partial decriminalisation led to greater inclusion of LGBTQIA+ work in the renowned London gallery’s collections. Through the ages, newer generations have often received incomplete versions of art history where LGBTQIA+ presence has been erased in line with the societal prejudices of the time period. Today, we might ask: who were the great Queer artists of the past? Clayton’s book – published by Thames & Hudson – gives us an answer to this question by documenting and sharing the contributions of such image-makers past and present. This includes people who identified as LGBTQIA+ in front of and behind the lens, such as Martine Gutierrez, Frida Kahlo and Cecil Beaton, as well as significant allies. This is a book that counters years of censorship in a time where “museums around the world are currently playing a vast game of catch-up to fill the holes in our collections representing the many different communities historically absent.” This book is an essential introduction that gives readers a fuller picture of photographic history.
It’s fascinating to see artists on both side of the lens, one being immortalised by name and the other by image. For instance, Frida Kahlo gazes assuredly at the camera in a striking black-and-white shot by Gisele Freund. Nestled in the Icons section of the book, Kahlo appears content surrounded by luscious vegetation, a lively fountain and a small dog. Later, there’s a section devoted to Scottish-Ghanaian artist Maud Sulter (b. 1960), whose seminal series Zabat was acquired by the V&A in 1991. The portrait series shows nine Black women under-acknowledged in the art world – including Lubaina Himid and Dorothea Smart – dressed as Greek muses. Created by Rochdale Art Gallery to celebrate the 150th anniversary of photography, Sulter sought to “raise questions around Black presence in art galleries.” Sulter embodies Calliope, the muse of epic poetry, wearing a dark velvet gown that matches the black background and table. Placed on top of the surface, a cased daguerreotype implies her position as an artist and subject.
“Photographs wouldn’t exist if we didn’t desire them to, whether that desire comes from lust or curiosity.” In the Body section, is Paul Mpagi Sepuya’s (b. 1982) Drop Scene (2020). A black curtain parts to reveal a tripod in the foreground. The lens points straight towards the viewers. However, behind the camera and the curtain, Sepuya also reveals an assortment of limbs. Biceps curl around an anonymous figure’s head. Hands clutch the shins of a rogue leg. We glimpse a partial profile above another person’s thigh. Sepuya often plays with the constructedness of photography, with his image-making equipment always visible in the shot. Here, the studio is a site of homoerotic desire. Its in line with his wider practice, where he depicts friends, lovers and himself in intimate scenes that emphasise sensuality, vulnerability and intrigue.
“As a medium, photography has been used to illuminate and elucidate life through a queer lens since its inception in the nineteenth century.” Calling The Shots evidences this statement by delving into the V&A’s extensive photography collection, which has grown to 4 million since the creation of South Kensington Museum, now V&A. It offers us an enriching historical survey of LGBTQIA+ photography by spotlighting the forebears and contemporaries who have shaped the history of the medium. The accessible and inspiring introduction is filled with recognisable names, including Julia Margaret Cameron, Nan Goldin and Zanele Muholi, as well as those who might be lesser known. Annotations enrich the images on display, adding further detail that really brings the visuals to life and also offers a jumping-off point for further research. The thematic approach, chosen over a chronological one, places LGBTQIA+ artists and allies in conversation and invites us to see recurring themes across distinct bodies of work. Calling the Shots is a vital addition to the bookshelves of art enthusiasts, creatives and students alike.
Calling the Shots: A Queer History of Photography | Thames & Hudson
Words: Diana Bestwish Tetteh
Image Credits:
- Weegee (1899–1968), Two Offenders in the Paddy Wagon, CharlesSodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces, 27 January 1942, printed c.1980 by Sid Kaplan. © Weegee. Photo: © International Center of Photography / Getty Images.
- Julia Margaret Cameron (1815–1879), Sappho, 1865. Albumen print 58 × 46 cm. The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.
- Dorothy Wilding (1893–1976), Cecil Beaton, 1925. Gelatin silver print 31 × 24.5 cm. Given by Eileen Hose © Estate of Dorothy Wilding.
- Marvel Harris (b.1995), First Swim after Rebirth, 2018. Inkjet print 30 x 45 cm. Presented by Art Fund © Marvel Harris, courtesy of the artist.
- Normski (b.1966), She Rockers, Shepherd’s Bush Green, London, 1988. Chromogenic print 68 × 57 cm. Supported by the National Lottery Heritage Fund © Normski.
- Liz Johnson Artur (b.1964), Untitled, from the Black Balloon Archive, n.d. Chromogenic print 60.9 × 50.8 cm. Purchase funded by the Photographs Acquisition Group © Liz Johnson Artur.
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