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CHICAGO’S WRIGHTWOOD 659, a private institution focused on socially engaged art, mounted a landmark exhibition, The First Homosexuals: Global Depictions of a New Identity, 1869–1930, last fall. A team of international scholars, led by art historian Jonathan D. Katz, assembled a groundbreaking show with over 100 paintings, prints, photographs, and film clips that reveal how, as Katz notes, “while language narrowed into a simplistic binary of homosexual / heterosexual, art gave form to a nuanced range of sexualities and genders that can best be described as queer.”

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By Ignacio Darnaude

CHICAGO’S WRIGHTWOOD 659, a private institution focused on socially engaged art, is currently showing a landmark exhibition: The First Homosexuals: Global Depictions of a New Identity, 1869–1930.

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FOR ANY ART LOVER, Florida’s infamous “Don’t say gay” law is a painful reminder of how a similar policy, aimed at erasing queer visibility, has been a mainstay in Western art museums for centuries, all the way to the present time. While there has been significant progress in the last few years, the presence and recognition of LGBT art in major museums is still somewhat tentative and far from secure.

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THE PHRASE “land’s end” has been applied to any number of seaside locales, perhaps most famously to three places in the U.S.: Provincetown, Key West, and San Francisco. The…More

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WHEN PAUL CADMUS died … there was barely a ripple in the art world. It’s hard to recall that 65 years earlier he had been the enfant terribleof the art world when his painting of frolicking sailors, The Fleet’s In!, caused an epic scandal.

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THE THEME of “Artful Dodges” (with apologies to Dickens) refers to the ways in which artists have set about to circumvent restrictions on the presentation of the human body…More

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            Days before the unveiling of his history-changing sculpture of David (1504), the 29-year-old Michelangelo was chosen to paint an image of The Battle of Cascina on a wall of the Palazzo de la Signoria in Florence. This battle was fought between Florence and Pisa on a scorching July day in 1364.

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In 1927, Arnold Pyle (1909–1973), one of Wood’s former students, became his assistant. Pyle was eighteen and Wood, 36. Good-looking, tall, athletic, with thick black hair, the heterosexual Pyle epitomized the type of man Wood continued to fall for, over and over, throughout his life.

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