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A Most Sensitive Man Who Lives Ideas: Gleeson, The Closet and Art Criticism

A Most Sensitive Man Who Lives Ideas: Gleeson, The Closet and Art Criticism A Most Sensitive Man Who Lives Ideas: Gleeson, The Closet and Art Criticism Ross Moore In their introduction to Pop Out: Queer Warhol (1996) the editors note that with few exceptions, most appraisals of Warhol have "degayed" him. This term, with its impli­ cation that contemporary gains in gay recognition are thereby undone and turned backwards, is used to capture a set of intermeshing operations all intent on occluding homosexuality from the scene of Warhol criticism and art historical writing. More insidiously, degaying involves denying that a queer Andy existed both in reality and outside the work: Warhol's critics have usually aggressively elided issues around sexuality or rel­ egated his queerness to the realm of the "biographical" or "private" to usher in his oeuvre to the world of high art. Or when they have alluded to Warhol's sexuality, usually without mentioning that he was gay (more often "asexual" or "voyeuristic") it has only been in order to moralize about the "degraded" quality of Warhol's art, his career and his friends. Despite the fact that many people "knew" that Warhol was gay, hardly anyone, at least in the world of criticism and theory, will speak of it. Along with the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Australian and New Zealand Journal of Art Taylor & Francis

A Most Sensitive Man Who Lives Ideas: Gleeson, The Closet and Art Criticism

Moore, Ross
Australian and New Zealand Journal of Art , Volume 6 (1): 27 – Jan 1, 2005
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Publisher
Taylor & Francis
Copyright
© 2005 Taylor and Francis Group, LLC
ISSN
2203-1871
eISSN
1443-4318
DOI
10.1080/14434318.2005.11432753
Publisher site
See Article on Publisher Site

Abstract

A Most Sensitive Man Who Lives Ideas: Gleeson, The Closet and Art Criticism Ross Moore In their introduction to Pop Out: Queer Warhol (1996) the editors note that with few exceptions, most appraisals of Warhol have "degayed" him. This term, with its impli­ cation that contemporary gains in gay recognition are thereby undone and turned backwards, is used to capture a set of intermeshing operations all intent on occluding homosexuality from the scene of Warhol criticism and art historical writing. More insidiously, degaying involves denying that a queer Andy existed both in reality and outside the work: Warhol's critics have usually aggressively elided issues around sexuality or rel­ egated his queerness to the realm of the "biographical" or "private" to usher in his oeuvre to the world of high art. Or when they have alluded to Warhol's sexuality, usually without mentioning that he was gay (more often "asexual" or "voyeuristic") it has only been in order to moralize about the "degraded" quality of Warhol's art, his career and his friends. Despite the fact that many people "knew" that Warhol was gay, hardly anyone, at least in the world of criticism and theory, will speak of it. Along with the

Journal

Australian and New Zealand Journal of Art – Taylor & Francis

Published: Jan 1, 2005

References