Ladies and Gentleman: Queer subjects at the Warhol and the UAG

Andy Warhol, Ladies and Gentlemen (Wilhelmina Ross), 1975, Acrylic and silkscreen on canvas. The Andy Warhol Museum, Pittsburgh, © The Andy Warhol Foundation for the Visual Arts, Inc.


Ladies and Gentleman: Queer subjects at the Warhol and the UAG

Author: Rebecca Moser, HAA1030 Museum Studies Exhibition Seminar student – Fall 2018

The student curated University Art Gallery exhibition This is not Ideal: Gender myths and their transformation focuses on themes that revolve around idealized beauty and gender norms as well as the subversions of these ideals by queer subjects. It is no surprise that there is a huge collection of art at the Andy Warhol Museum that can be discussed in regards to gender and sexuality. One of Warhol’s series of works that best fits into such discussions is his Ladies and Gentlemen series.These works are currently on display in conjunction with the Warhol’s forthcoming solo exhibit of the work of Devan Shimoyama, curated by Jessica Beck.

Although queer subjects are rarer in the University Art Gallery collection than at the Warhol, several works in This is Not Ideal do present variations from the conventions of gender expression. Historical prints of the Chevalier d’Eon and Mary Frith, for example, register the long history of non-normative identities. A more contemporary example featured in the exhibition is the photograph titled Jennifur, by Daniel D. Teoli from his Gender Bender series. As a self-taught social documentary photographer, his goal was to assemble an archive of the people and cultures of Los Angeles street life in the 1970s. While no record of the sitter’s identity exists, their appearance suggests the sitter to be a drag performer or a transgender person.

This photograph was taken at the same time that Warhol started shooting the Polaroids for his Ladies and Gentlemen series. In recent years, Warhol’s models have begun to be identified and credited, but Teoli’s models still remain unknown. The biggest difference between the works, however, is how each of the artists deal with the fine details of their sitters. In his paintings, Warhol erases the models features that seem less ideal to him, such as masculine attributes, obvious wigs and overdone makeup. These are characteristics that Teoli instead accentuates. Shot on opposite sides of the country, both Teoli and Warhol’s images provide important documents of queer culture in the late twentieth century.

Devan Shimoyama: Cry Baby opens October 13. This is not Ideal: Gender myths and their transformation opens October 25.

Rebecca Mosser was also the Milton Fine Museum Profession Fellow at the Andy Warhol Museum in Summer 2018.

Read more about her internship experience here

Learn more about the Collecting Knowledge Pittsburgh initiative here

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