The writer seems stuck in that sort of “I-know-best” American position that so annoys the rest of the world (if he is not American he should be). The exhibition absolutely had to start in the sixties, otherwise so many of the great works by Warhol, Kriwet, Molinier and Hockney, to name just a few, would have been omitted... and as someone who lived through the sixties myself, I can verify that the beginnings of gender questioning in the visual arts definitely begin then, if not before (think Duchamp!). I did find myself wishing that some of the younger generation of the present had been included, especially the ftm (female-to-male) transgendered crowd, who seem so of the moment. But there was plenty to keep any devotee of the visual arts busy.
One should mention too the concept of the the installation, in which a free-standing exhibition architecture, modelled after various “cruising” environments, carries the bulk of the show, leaving the gallery walls largely untouched... symbolically, rather close to reality in this western world of ours. Although actual cruising seemed at a minimum, the opportunity was there.
If the writer would like a butt massage he should contact me.
i acctually respect the opnion of the writer about the missing of great contemporary art pieces on the show. i like as well that he mentioned about the strategy of engaging the andy warhol foundation. needless to say that cologne is the queerest city in germany. a show like this is long due, not only germany.
am sure putting this in the press will result that sooner or later more shows like this will follow in the states and england, a land full o queens.
i have to mention that mr. s. camp is right about the duchamp and hocney. which made the whole access to subject homossexuallity in art easier later on. even thow aids brought artists like felix to make some the best ever queers art we know.
the queers act in art is here to stay and is very alive, just check LTTR V :: Positively Nasty project in new york.
too bad he did not mention the contribution of gay curators in the
production of great exhibitions that we have seen through the years.