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A horizontal history A horizontal history
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Notes Notes
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2 The queer horizontal repertoire: Andy Warhol and Jack Smith lie down
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Published:May 2021
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Abstract
This chapter moves from the analysis of artists’ bodies to the bodies in their work. The languid, horizontal male body in the work of Warhol and other lesser-known figures in his milieu takes center stage, including in underground film and theater. Through a close reading of Warhol’s film Couch (1964) and Smith’s Flaming Creatures (1963), the chapter theorizes the political and cultural significance of the queer horizontal. The term encapsulates the critical potency of horizontal bodies against and within the modern regime of upright, productive verticality prevalent in all aspects of art and life. A second meaning of horizontality the chapter proposes has to do with its historiographical intervention: through formal analysis, the chapter draws a new, synchronic line through 1960s art to connect between different mediums and artistic conversations, with the logic of the drooping horizontal as a connecting thread. The chapter expands the notion of the queer horizontal to include the proto-feminist work of well-known figures such as Louise Bourgeois, Yayoi Kusama, and Lynda Benglis, as well as the work of more “mainstream” artists such as John Chamberlain. The chapter ends with a consideration of contemporary Japanese artist Yasumasa Morimura, who inserts his body into the heteronormative and racialized visual economy of Manet’s Olympia.
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