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The timescale of the exhibition encompasses the beginning of a more considered understanding of gender and sexual identity through to the beginnings of a limited freedom: from repression to liberation. For a man who came out in London in , only 8 short years after the decriminalisation of homosexuality, this exhibition should have been more engaging than it was.
It all seemed so very academic, and not in a good way. The exhibition is full of innuendo, supposition, obfuscation, abstinence, hints, traces, clouded desires and supposed longings — in both the art work and the wall texts which accompanied the work. Other commentaries could have done with a more insightful enunciation of the circumstances of the particular artist, in addition to text on the specific art work. A perceptive anointing of their life would have added invaluably to the frisson of the exhibition.
For example, I wanted to know why the painter Christopher Wood died at the young age of 29 as well as the specifics of his painting Nude Boy in a Bedroom , below. According to Wikipedia, Wood — bisexual, addicted to opium and painting frenetically in preparation for his Wertheim exhibition in London — became psychotic and jumped under a train at Salisbury railway station. Further, no pictures were allowed in the gallery spaces.
Why was this so? It almost seemed to be a case of the gallery being ashamed of the art they were exhibiting, as though the attitudes of the past towards art that explores same-sex relationships was being replicated by the duplicity of the gallery itself: the art could be seen but not heard, hidden away in the bowls of an academic institution. I also noted that one of 19 collages that Kenneth Halliwell exhibited at the Anno Domino gallery in see below was purchased by the Tate in I doubt Halliwell would have been laughing in his grave.
