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Deep Cuts: Transgender History in Us-American Art After World War II.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Deep Cuts: Transgender History in Us-American Art After World War II./
Author:	Metzger, Cyle Michalka.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	313 p.
Notes:	Source: Dissertations Abstracts International, Volume: 83-05, Section: A.
Contained By:	Dissertations Abstracts International83-05A.
Subject:	Art galleries & museums. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28688393
ISBN:	9798544204831

Deep Cuts: Transgender History in Us-American Art After World War II.
Metzger, Cyle Michalka.

Deep Cuts: Transgender History in Us-American Art After World War II. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 313 p.

Source: Dissertations Abstracts International, Volume: 83-05, Section: A.

Thesis (Ph.D.)--Stanford University, 2021.

This item must not be sold to any third party vendors.

During World War II, Nazi occupation forced the centers of modern art and transsexual medicine to move from Europe to the United States. This dissertation explores the legacy of this convergence in modern and contemporary American art and supports the continued growth of transgender art history as a distinct subfield. In this project, I contend that works by and featuring Forrest Bess (1911-1977), Candy Darling (1944-1974), Greer Lankton (1958-1996), Cassils (b. 1975), and Chris E. Vargas (b. 1978) do at least three things: first, they show how social and scientific histories have shaped the ways in which gender transformation has appeared (or disappeared) in art history from WWII to the present moment; second, they demonstrate why works of art in particular are central to constructing a visually and materially rich transgender history; and third, they further argue for the strengths and limitations that painting, photography, and sculpture each have in addressing transgender embodiment.In my first chapter, I explore how abstract symbolism in paintings by Forrest Bess allowed the artist to stealthily present his controversial theory of gender to audiences that would have, at best, disagreed with him and, at worst, attacked him for what would surely have been seen as perverse ideas. The next chapter interprets photographs of Warhol Superstar Candy Darling by Richard Avedon, Richard Bernstein, and Peter Hujar through her journals and letters to argue that gender appears in photography, not through the body itself, but through the objects and materials that surround it. In chapter three, I examine how dolls by Greer Lankton present gender transformation as a form of sculptural and spatial metamorphosis and respond to cultural attitudes about transsexuality in the 1980s and 1990s. In my fourth chapter, I investigate how contemporary performance works by Cassils activate a specifically trans masculine art history that is rooted feminist performance history and histories of gay male aesthetics while also pointing to racial contingencies within transgender experiences. This dissertation closes with an epilogue that focuses on artist Chris E. Vargas's 2018-2019 exhibition Consciousness Razing: The Stonewall Re-Memorialization Project that implores us to reconstruct memories of Stonewall as a way of not merely supporting celebrating contemporary trans existence but ultimately shaping trans futurity.

ISBN: 9798544204831Subjects--Topical Terms:

3561426
Art galleries & museums.

Deep Cuts: Transgender History in Us-American Art After World War II.
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520 $a During World War II, Nazi occupation forced the centers of modern art and transsexual medicine to move from Europe to the United States. This dissertation explores the legacy of this convergence in modern and contemporary American art and supports the continued growth of transgender art history as a distinct subfield. In this project, I contend that works by and featuring Forrest Bess (1911-1977), Candy Darling (1944-1974), Greer Lankton (1958-1996), Cassils (b. 1975), and Chris E. Vargas (b. 1978) do at least three things: first, they show how social and scientific histories have shaped the ways in which gender transformation has appeared (or disappeared) in art history from WWII to the present moment; second, they demonstrate why works of art in particular are central to constructing a visually and materially rich transgender history; and third, they further argue for the strengths and limitations that painting, photography, and sculpture each have in addressing transgender embodiment.In my first chapter, I explore how abstract symbolism in paintings by Forrest Bess allowed the artist to stealthily present his controversial theory of gender to audiences that would have, at best, disagreed with him and, at worst, attacked him for what would surely have been seen as perverse ideas. The next chapter interprets photographs of Warhol Superstar Candy Darling by Richard Avedon, Richard Bernstein, and Peter Hujar through her journals and letters to argue that gender appears in photography, not through the body itself, but through the objects and materials that surround it. In chapter three, I examine how dolls by Greer Lankton present gender transformation as a form of sculptural and spatial metamorphosis and respond to cultural attitudes about transsexuality in the 1980s and 1990s. In my fourth chapter, I investigate how contemporary performance works by Cassils activate a specifically trans masculine art history that is rooted feminist performance history and histories of gay male aesthetics while also pointing to racial contingencies within transgender experiences. This dissertation closes with an epilogue that focuses on artist Chris E. Vargas's 2018-2019 exhibition Consciousness Razing: The Stonewall Re-Memorialization Project that implores us to reconstruct memories of Stonewall as a way of not merely supporting celebrating contemporary trans existence but ultimately shaping trans futurity.
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