{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='100 years of gay art history, from repression to liberation' data-url='/boclips/videos/5c54d364d8eafeecae1e9893' data-video-url='/boclips/videos/5c54d364d8eafeecae1e9893' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\n100 years of gay art history, from repression to liberation\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eLEADIN:On the 50th anniversary of the partial decriminalisation of homosexuality in England and Wales, the Tate Britain gallery is launching a major exhibition exploring Queer British Art.The new exhibition showcases 100 years of art and...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eLEADIN:On the 50th anniversary of the partial decriminalisation of homosexuality in England and Wales, the Tate Britain gallery is launching a major exhibition exploring Queer British Art.The new exhibition showcases 100 years of art and artists from the repression of the Victorian era through to the love and lust of 1960s Soho.STORYLINE:The first exhibition dedicated to Queer British art opens at the Tate Britain with works spanning 100 years during a time of seismic shifts in gender and sexuality. So when some of the artists in this room were alive, sodomy was a crime punishable by death.But despite the prudish reputation of the Victorians, many trailblazing artists were kick-starting the queer movement. Fredric Leighton and his highly sensuous male nudes offered room for homoerotic interpretation and same sex desire.By the 1960s - a century later - artist like David Hockney were presenting queer art for final submission at the Royal College of Art.Hockney was interested in the 'beefcake' magazines, admiring the well-toned male figure, and cheekily satisfied the College's submissions criteria that all students produce a life drawing.This portrait by Francis Bacon is of his lover Peter Lacy.Lesbian artist Hannah Gluckstein paints this striking and defiant self-portrait.Clare Barlow is the curator of Queer British Art at Tate Britain and she explains the scope of her exhibition.She says: \"So this is the first time that this story has been told for British art and it's really exciting to have the opportunity to do that. The show moves from 1861, which is the year for the end of the death penalty for sodomy, all the way through to 1967 which is when sex between consenting adults in private, obviously male homosexuality is partially decriminalised in England and Wales.\"The timescale of the exhibition encompasses the formation of the queer art movement and the beginning of a more considered understanding of gender and sexual identity.Although the terms we use today - like lesbian, gay or trans - might be unknown to the early artists, they were laying the foundation stones for a community that would follow them.One of the highlights of the exhibition is works created by the so-called Bloomsbury set, famous for a bohemian attitude towards sexuality. \"This is people who are finding ways to be themselves, they're falling in love, they're going out, they're enjoying saucy songs at the music hall, they're going to see plays with queer actors, they're finding each other and they're building communities and they're starting to come together and forge identities,\" says Barlow.Estelle Lovatt is an art critic and historian from London and she's looking around the gallery.She ponders how important the sexuality of the artists was in the creation - and merit - of their artworks.\"It's really interesting as to whether or not we should be concerned with the sexuality of an artist when we consider the merits of his artwork, because really what he does behind closed doors Ã¢Â€Â“ or she does Ã¢Â€Â“ has nothing to do, or shouldn't have anything to do with the impact of the artwork as we see it. But what is important is the artist can use that material of their personal life and create a work that is almost a personal diary but visually,\" says Lovatt.The exhibition, framed between the two legal landmarks of 1861 and 1967, looks at how the artists challenged the established views of gender identity.The show is full of personal stories - many of which would have been illicit at the time they were created. Most of the works are accompanied by text explaining the sexual orientation of the artist and the backstory behind the piece.Clare Barlow picks out a striking portrait of a woman in a red hat as a key work in the show.She says: \"So this portrait by Strang is one of my favourite works in the exhibition and what is so fascinating about it are the circumstances under which it was created. The sitter is Vita Sackville-West and at the time it was painted she was in a relationship with Violet Trefusis and Violet Trefusis actually comes with her to the sittings so you can kind of imagine that the person she's looking out at from the painting is not just the artist but is also Violet, her lover.\"But the show isn't just about paintings and art in the traditional sense.For example, in 1895 the writer and poet Oscar Wilde was sentenced and imprisoned for gross indecency. This metal door locked Wilde in Reading Gaol, where he composed his famous ballad.Lovatt says: \"So this exhibition isn't just a group of paintings that portray people as portraits or self-portraits, this is an exhibition that actually celebrates the differences between people and wants us all to appreciate we are all different, of course we're all different.\"The exhibition runs from 5 April - 1 October, 2017 at the Tate Britain gallery in London. The Tate Britain will also be launching a two-week Pride Festival on 24 June, 2017.London, UK - 3 April 2017 1. Wide of Victorian room in exhibition \"Queer British Art: 1861:1967\" 2. Close tilt up of Frederic Leighton's bronze The Sluggard (1885)3. Wide of room featuring works by David Hockney and Francis Bacon 4. Various of David Hockney's Life Painting for a Diploma (1962)5. Various of Francis Bacon's Seated Figure (1961)6. Mid zoom to Hannah Gluckstein's Gluck (1942)7. Wide pan right of exhibition room8. Wide of Dame Laura Knight's Self Portrait (1913)9. Close tilt up of Dame Laura Knight's Self Portrait (1913)10. Various set up of curator Clare Barlow leading exhibition tour11. SOUNDBITE (English) Clare Barlow, curator, Queer British Art, Tate Britain:\"So this is the first time that this story has been told for British art and it's really exciting to have the opportunity to do that. The show moves from 1861, which is the year for the end of the death penalty for sodomy, all the way through to 1967, which is when sex between consenting adults in private, obviously male homosexuality, is partially decriminalised in England and Wales.\"12. Wide of man looking at paintings13. Close tilt up of Edward Wolfe's Portrait of Pat Nelson (1930s)14. Close of Duncan Grant's Paul Roche Reclining (1946)15. Close tilt up of Keith Vaughan's Bather (1961)16. SOUNDBITE (English) Clare Barlow, curator, Queer British Art, Tate Britain:\"This is people who are finding ways to be themselves, they're falling in love, they're going out, they're enjoying saucy songs at the music hall, they're going to see plays with queer actors, they're finding each other and they're building communities and they're starting to come together and forge identities.\"17. Pull focus of Edward Burra's costume design sketch for ballet Rio Grande (1928)18. Zoom to another costue design by Edward Burra 19. Various of Una Troubridge's Vaslav Nijinsky (1912)20. Various set up shots of Estelle Lovatt looking at Duncan Grant's Bathing (1911)21. SOUNDBITE (English) Estelle Lovatt, art critic and historian:\"It's really interesting as to whether or not we should be concerned with the sexuality of an artist when we consider the merits of his artwork, because really what he does behind closed doors Ã¢Â€Â“ or what she does behind closed doors Ã¢Â€Â“ has nothing to do, or shouldn't have anything to do with the impact of the artwork as we see it. But what is important is the fact that the artist can use that material of their personal life and create a work that is almost a personal diary, but visually.\"22. Various of William Strang's Lady With a Red Hat (1918)23. SOUNDBITE (English) Clare Barlow, curator, Queer British Art, Tate Britain:\"So this portrait by Strang is one of my favourite works in the exhibition and what is so fascinating about it is the circumstances under which it was created. The sitter is Vita Sackville-West and at the time it was painted, she is in a relationship with Violet Trefusis and Violet Trefusis actually comes with her to the sittings, so you can kind of imagine that the person she's looking out at from the painting is not just the artist but is also Violet, her lover.\"24. Wide of room featuring the door of Oscar Wilde's cell25. Mid tilt up of cell door26. Close pan right of lock to cell door27. SOUNDBITE (English) Estelle Lovatt, art critic and historian:\"So this exhibition isn't just a group of paintings that portray people as portraits or self-portraits, this is an exhibition that actually celebrates the differences between people and wants us all to appreciate, yes we are all different, of course we're all different.\"28. Wide of Tate staff sat next to Ethel Walker's Decoration (1920)29. Close pan right of Ethel Walker's Decoration (1920)30. Wide pan right of exhibition room31. Wide of entrance to exhibition32. Close of quotation from Derek Jarman, reading: (English) \"For me to use the word 'queer' is a liberation, it was a word that frightened me, but no longer.\"\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='action-container flex justify-between'\u003e\n\u003cbutton aria-expanded='false' aria-label='Read more description' class='rp-full-description' type='button'\u003e\n\u003ci class='fai fa-solid fa-align-left'\u003e\u003c/i\u003e\n\u003cspan id='read_more'\u003eRead More\u003c/span\u003e\n\u003c/button\u003e\n\u003cdiv class='rp-report'\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv aria-labelledby='resource-details-heading' class='rp-info-section'\u003e\n\u003ch2 class='title' id='resource-details-heading'\u003eResource Details\u003c/h2\u003e\n\u003cdiv class='rp-resource-details clearfix'\u003e\n\u003cdiv class='detail'\u003e\n\u003cdl\u003e\n\u003cdt\u003eCurator Rating\u003c/dt\u003e\n\u003cdd\u003e\u003cspan class=\"star-rating\" aria-label=\"3.5 out of 5 stars\" 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