Renewing and Displaying our Ukrainian Collections

By Jamie Copeland

Since the start of the Russian invasion of Ukraine (24 January 2022), the Bodleian Art, Archaeology and Ancient World Library has maintained a book display celebrating Ukrainian culture and presenting a selection of the material held in our collections that can enrich awareness of Ukraine’s art, architecture, archaeology and history. It was also intended to refresh this display periodically, both to mark events such as Ukraine Independence Day and to guard against the impression that attention has moved on. The change of material is also an opportunity to address areas that may not have been as prominent in previous displays, while drawing on the expanding collection and resources available.

The first anniversary of the invasion was an obvious moment both to reflect upon the events of the past year and to address some of the issues that I have become aware of. One of the difficulties that I had encountered was in finding material featuring contemporary artists and their responses to the ‘special military operation’ and the preceding near-decade of Russian hostilities. Although many cultural institutions and journals have commemorated the war many of the articles and institutional resources remain online only. I was able, however, to find a physical issue of the journal Artforum that has a description of an artist’s experience of the onset of the war and images of their reaction to it.

The second issue that I wanted the display to address was a response to Putin’s speech denying Ukraine’s statehood, and his preceding essay “On the historical unity of Russians and Ukrainians”, something I had considered during the display’s previous iteration but had learned more about over the last year. The publication ‘Postcolonial Europe?: essays on post-communist literatures and cultures’ was useful in this regard, especially the chapter titled ‘Ukrainian Culture after Communism’.

One of the major figures of Ukrainian nationhood is Mikhail Hrushevsky, historian and President of the Central Rada (Central Council of Ukraine) before its overthrow by German backed forces in April 1918. Hrushevsky continued his efforts to claim a historical legitimacy for Ukraine independent of Russia for the rest of his life, despite mounting repression. One of his more popular works was The Illustrated history of Ukraine, a single volume edition derived from his ten volume Survey of the History of the Ukrainian People, the first major work on Ukrainian history. The early 1913 version can be contrasted with the revised, post-independence 1997 edition.

A complication in selecting publications for the display was the definition of a Ukrainian. From various perspectives (for example frequent border and regime shifting) the list could include people of Ukrainian heritage, such as Hrushevsky himself, who was born in Chełm, then part of Poland subject to Imperial Russia, to a family of the Ukrainian aristocracy. There are also artists such as Abraham Manievich, born in Belarus to a Jewish family, who studied in Kiev and was a co-founder of the Ukrainian Academy of Fine Arts. Although primarily resident in Kiev, he travelled throughout the Russian Empire and Europe before emigrating to the United States after the murder of his son in a pogrom during the Russian Civil War. A similar example is Sonia Delauney, also Jewish, born in Odessa, but who moved to St. Petersburg in her early childhood. She then moved to Paris at the age of fifteen. Would it be justifiable to include an important artist, the first living female artist to have a retrospective exhibition of her work at the Louvre (1964), just because her birthplace was in Ukraine although her education and career took place abroad? One of the quotes about her work addressed the subject of Ukraine as a formative influence upon her work.

“About 1911 I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Ukrainian peasants. When it was finished, the arrangement of the pieces of material seemed to me to evoke cubist conceptions and we then tried to apply the same process to other objects and paintings.” Sonia Delaunay.[12]

The recent exhibition In the Eye of the Storm: Modernism in Ukraine, 1900-1930s (Madrid, Thyssen-Bornemisza National Museum, 29/11/2022 – 30/04/2023) displayed works from their the museum’s collection in conjunction with works from the national collections of Ukraine; this was a response to the Museums for Ukraine initiative, providing a cultural protest to both the invasion and Russia’s denial of a separate Ukraine culture. In the accompanying publication Francesca Thyssen-Bornemisza addresses this subject, stating that the war is ‘not only about controlling territory, but also about owning the narrative’. In the introduction, the curator and art historian Konstantin Akinsha traces the history of modern Ukraine from the culturally tolerant early years of the Bolsheviks, through the terror of the Stalinist years, the relative calm of Khrushchev and the re-emergence of Ukraine as a nation state. In parallel with this political history runs a cultural history with the idealism of Ukrainian modernism experiencing both genocidal suppression and Russian appropriation as the Western art markets made modernism useful to the USSR, then the post-Soviet attempt to rediscover and exhibit the ‘Ukrainian Avant-Garde’. The lives of various artists, as they experienced fates ranging from execution, imprisonment, exile to suppression,were restricted as they saw their works confined to the ‘Spetsfond’ a sealed archive for works produced by ‘formalists’, ‘nationalists’ and other ‘criminals’. In the Eye of the Storm is broadly divided into parts, with the first three – on Kyiv, Karkhiv, and Odesa – following the various regions and associated schools with distinctive but connected experiences as they attempted to preserve the expression of their selves in the face of an overwhelming hegemonic power. The fourth part, ‘Aftermath’, follows the lives of the surviving artists. An essay, ‘From Oblivion to Glory’, discusses the Spetsfond and its function as an inadvertent resource for the subsequent study of Ukrainian art; with works held by the State Ukrainian Museum then divided among five categories, determining (for example) whether they could be exhibited, used for scientific work or transferred. The final paragraph of the book notes:

‘Almost all works from the spetsfond were allocated to the fifth group, the so-called zero category, with the majority being taken out of their frames and rolled up. As luck would have it, this eventually saved them from destruction. Because the zero category did not belong to the Museum’s primary collection it never featured in official reports and was not subject to further checks. All works from this group, therefore, remained intact in the Museum’s vaults to be discovered by future generations of curators and art historians.’

With this in mind I wanted to display the work of artists not restricted by artistic schools or questions of identity, but to focus on their response to Ukraine as a nation. Zinaida Serebryakova, was born in Kharkiv in 1884, her family prominent in the artistic establishment of the Russian Empire. She spent much of her life in exile, often in near poverty after the death of her husband and her reluctance to conform to depicting the preferred subjects of the Soviet establishment, preferring instead to paint landscapes, scenes of rural life and domestic portraits, often of her children. Unable to afford the materials for her preferred technique of oil painting she then worked with cheaper materials such as pencil and charcoal, learning to sketch rapidly. In 1924 she was given a commission for a mural in Paris, leaving her four children under the care of her mother. On completion of this work she was unable to return to the Soviet Union and was separated from her family, although she retained her Soviet citizenship until the Nazi occupation forced her to abandon it in order to gain a Nansen passport. In 1947 she was granted French citizenship and was able to bring two of her children to Paris but was unable to meet the rest of her family until the so-called Khrushchev Thaw. In 1960 she was reunited with her daughter, now an artist at the Moscow Art Theatre. Her daughter was able to help arrange a series of major exhibitions in Moscow, Leningrad and Kyiv, which took place in 1966. The success of these established Serebryakova’s reputation in her homeland after half a life in exile. She died in 1968.

I chose to show, as openings in the book display, several paintings from Serebryakova’s earlier work. On the Terrace in Kharkov (1919) shows a peaceful family scene, with the strong use of blue and yellow, emphasizing the theme of Ukraine. The below landscapes of Ukrainian countryside, with sunflowers, rolling plains, and Crimean hills offering a counterpoint to the images of devastation we have seen since the invasion.

Contrasting with Serebryakova’s peaceful landscapes, the paintings of David Burliuk have the unstable energy typical of Futurism. Born in Riabushky, part of the Kharkov Governorate, Burliuk’s family was a mixture of Ukrainian Cossacks with a Belarussian mother. His portrait of fellow futurist Vasily Kamensky draws on the Byzantine tradition of icon painting normally used to depict the divine serenity of saints, an effect undermined by the clash of colours and almost vibrating shapes. The painting Dnieper Rapids is barely recognisable as a landscape, the land and sky merging into broken reds. Burliuk’s early life was a flurry of travel through Russia and Europe and a string of movements and manifestos. After the end of the Bolsheviks’ initial tolerance for dissent by prominent figures on the left he was forced to flee via Japan, eventually settling on Long Island, New York.  Despite persistent campaigning he was refused permission to revisit the USSR until the Khrushchev years.

The revival of interest in Soviet avant-garde movements following the Khrushchev Thaw notwithstanding, the art markets of the West had only an outside view of the influences prevalent in their creation. In his above-mentioned essay, Konstantin Akinsha quotes Oleh Ilnytzkyz, an early proponent of Ukranian Futurism: “The goal is not to place a new ‘Ukrainian’ straitjacket on cultural activities in the empire, but to find a way to do justice to the variety of sources and the myriad of cultural influences that flowed from so many directions. The recognition of Burliuk, [Aleksandra] Ekster and [Kazimir] Malevich as Ukrainians does not diminish their relevance for either the imperial (transnational) avant-garde or for strictly Russian culture, where their impact is undeniable.”

In a similar attempt to recognise cultural specificity, the National Gallery recently renamed its Degas pastel drawing formally known as Russian Dancers to Ukrainian Dancers.

A brief section titled ‘Note on Transliteration’ (p. 8) in the publication In the eye of the storm: modernism in Ukraine, 1900-1930s (2022) – often used as a resource for this display – discusses one of the issues encountered when discussing Ukraine and its culture. While recognizing the complex identities of artists from this period and area, the project shows that the individuals discussed belong to the narrative of Ukrainian art history. The editors have therefore favoured the transliteration of Ukrainian versions of artists names, except for emigrés with previously well-established reputations in the West. While using various sources to research this book display I found the question of whether to use the Russian or Ukrainian versions of names and places increasingly problematic. Although current resources tend to use Ukrainian names, many/most printed materials, especially those published before the break-up of the USSR, use Russian versions. Many artists themselves may have used Russian versions, including in place names and titles of their works. Unwilling to impose a choice I largely stayed with the version used in the source material I was discussing. The modern history of Ukraine and its relationship with Russia has itself led to several linguistic variations. In contrast with Imperial Russia’ imposition of ‘Russification’ on its provinces, Lenin supported korenizatsiia (nativization), a policy encouraging indigenous cultures and languages as a means of increasing support for the Bolsheviks beyond Russia itself. This policy was abruptly brought to an end by Stalin, whose purges destroyed symbols of Ukrainian culture such as the Kobzars (travelling singers) and had so effective an impact on Ukrainian artists that they became known as the “The Executed Renaissance”.

Although later policies were less harsh, the Soviet regime still used imprisonment and censorship as tools to suppress potential dissent. Under these conditions conformity to approved approaches such as ‘Socialist Realism’ became a necessity for many artists, with even coded references such as colour or national symbols risking censure.

Like Burliuk, several other artists’ work was influenced by Byzantine icon painting and nativist art. An example is the poignant,  folk art-inspired Portrait of a Woman by Mykhailo Boychuk who, in 1936, along with two of his students and four months later his wife, was executed by the NKVD.  Boychuk’s work, described by his killers as ‘bourgeois nationalism’ and largely destroyed, was an influence on the later artist and regime opponent Alla Horska, who was herself killed by the KGB in 1970. Much of the work of both of these artists, often in the form of murals, mosaics and other large public works drawing upon Byzantine sources, was destroyed by the Soviet authorities, with some of the work only surviving in preliminary sketches or photographs. Others were preserved by fellow artists and archivists, such as Yaroslava Muzyka, who kept most of the paintings Boychuk left in Lviv after he was forced to abandon them.

In my attempt to select publications and show artists’ works for the display, and also learn of the fates – exile, appropriation, suppression or attempts to erase from history – of the works and their creators it became impossible not to admire the resilience of people currently struggling to preserve themselves as a nation, however varied. One of the claims put out by the Kremlin, was that Russia and Ukraine are one people separated by a Western coup, thus justifying a ‘special military operation’ to reunite them. Author Andrey Kurkov’s Ukraine diaries, detailing his experiences in Maidan Nezalezhnosti (Independence Square) in Kyiv, as he and others struggled to resist the 2014 attempt to permanently bind Ukraine to Russian vassalage, was also an inspiration for the display. The PEN Ukraine book Treasures of Ukraine, for which Kurkov wrote the foreword, was similarly invaluable in providing a cultural history and a guide to more contemporary work.

The following gallery and list of publications on display can show only a small section of the Art, Archaeology and Ancient World Library’s collection of material celebrating Ukraine.

Gallery

Publications on display

Aĭvazovskiĭ, Ivan Konstantinovich. 2011. Aiwasowski : Maler des Meeres / herausgeg Ostfildern : Hatje Cantz

Akinsha, Konstantin. Denysova, Katia. Kashuba-Volvach, Olena. 2022. In the eye of the storm : modernism in Ukraine, 1900-1930s. London : Thames and Hudson

Balashova, Olha [editor-in-chief]. 2021. The art of Ukrainian sixties. Kyiv : Osnovy Publishing

Delaunay, Sonia, 2014, Sonia Delaunay. London

Grushevskiĭ, Mikhai. 1913. Illi͡ustrirovannai͡a istorīi͡a ukrainskago naroda. vyp. 1.  S.-Peterburg : Tip. T-va “Ekateringofsk. Pechatnoe Di͡elo

Grushevskiĭ, Mikhail. 1997 Illi͡ustrirovannai͡a istorii͡a Ukrainy. Kiev : MPP “Levada

Hnatenko, Stefania. 1989. Treasures of early Ukrainian art : religious art of the 16th- 18th centuries New York : Ukrainian Museum

Kadan, Nikita, 2022. Project

Artforum international. v.60: no.8(2022: Apr.)

Kruglov, Vladimir, 2004. Zinaida Evgenʹevna Serebri͡akova = Zinaida Serebryakova

St. Petersburg

Kurkov, Andrey. 2014. Ukrainian diaries: dispatches from Kiev. London : Harvill Secker

Marko, Olya [Editor] 1991.  Spirit of Ukraine : 500 years of painting : selections from the State Museum of Ukrainian Art, Kiev : an exhibition organized by the Winnipeg Art Gallery in honour of the centenary of Ukrainian settlement in Canada. Winnipeg : Winnipeg Art Gallery

Monti, Matteo de. 2011. Colour moves : art and fashion by Sonia Delaunay London : Thames & Hudson

Morozov, A. I. (Aleksandr Ilʹich), 2007 Sot͡srealizm i realism Moskva : Galart

Mudrak, Myroslava M. “The Painted Surface in the Ukrainian Avant-garde: from Facture to Construction.”

Pantheon 45 (1987): 138–43. [München] : [Bruckmann]

Pensler, Alan. 2001. Abraham Manievich, Manchester : Yivo Institute for Jewish Research : Hudson Hills Press

Petrova, Yevgenia. [editor-in chief], 2001.  Abstraction in Russia, XX century

St. Petersburg,

Russian futurism : and David Burliuk, “The father of Russian Futurism”

Petrova, Yevgenia [editor-in-chief] 2008.  XX century in the Russian Museum: painting, sculpture 1900-2000 Sankt-Peterburg : Palace Editions, 2008.

Pucherová, Dobrota [editor-in-chief]. 2015. Postcolonial Europe? : essays on post-communist literatures and cultures  Part V: Between the East and the West: the colonial present — Ukrainian culture after communism: between post-colonial liberation and neo-colonial subjugation. Riabchuk, Mykola. Leiden : Brill Rodopi

Shulʹkevich, M. M. 1982. Kiev : arkhitekturno-istoricheskiĭ ocherk. Kiev : “Budivelʹnyk”

Teboul, David. 2011. I’ve been here once before. Boris Mikhailov interviewed by David Teboul. München : Hirmer

Surudz͡hiĭ, N.M. 2016. Pysanky nashykh babusʹ : zibranni͡a pysanok I͡Urii͡a Ferenchuka = Our grandmothers pysankas : pisankas collection of Yuiy Ferenchuk / avtor proektu ta upori͡adnyk. Chernivt͡si : Misto

Ukrains’kiĭ modernizm 1910-1930 = Ukrainian modernism. 2006, Kyiv : National Art Museum of Ukraine

Versari, Maria Elena (Curator), 2022 Archipenko and the Italian avant garde London : Estorick Foundation

From
LGBT+ History Month (February 2023)

To
International Transgender Day of Visibility

31 March 2023

Happy Trans Day of Visibility 2023! For this 31 March, our LGBT+ History Month book display has been rearranged to cast a spotlight on the trans artists included there. As part of this change, I have also added Trap Door: Trans Cultural Production and the Politics of Visibility (MIT Press, 2017), which features many and varied trans artists and theorists presenting interesting and nuanced arguments about the meanings and consequences of visible transness. This book is currently on display open to a page featuring artist, activist, and trans man, Reed Erickson. I thought the title for his self-portrait particularly appropriate for Trans Day of Visibility: I am fire, I am Wind, I AM BEING All that YOU IS SEEING.

I have also opened the volume Queer!? (Zwolle, 2019) to a page about the trans masculine Russian-Hungarian performance artist and painter, El Kazovsky; and, from Jonathan Weisberg’s Art after Stonewall: 1969-1989 (2019), I have centred an image of Marsha P. Johnson alongside a conversation about her between filmmaker, Sasha Wortzel and writer and trans activist, Tourmaline. While the relationship of drag performers like Marsha to transness is complicated – some identify as trans and some do not – their importance to trans movements cannot be denied, and their representation of fluid gender performance complements this theme.

Similarly, beginning in the 1970s, Nan Goldin, represented in this display through Nan Goldin, by Guido Costa (Phaidon, 2005), drew the attention of the art world to drag queens and transgender life. This book features on its cover her photograph Jimmy Paulette & Misty in a Taxi, NYC (1991) – just one of the many images she recorded of her drag queen friends.

Then, while explicit trans representation is extremely difficult to find in ancient history, I thought that the page entitled ‘A Gender Changing Goddess’ from Richard Parkinson’s A Little Gay History (2013) provides a concise introduction to ancient evidence for gender variance.

I hope that you too have enjoyed this brief look into trans representation in the collections at the Sackler Library!

Ashley Parry, Library Assistant
Sackler Library, Bodleian Libraries

LGBT+ History Month 2023
‘Behind the Lens’ Book Display
by Ashley Parry

It’s February already! In the UK, this means that it’s LGBTQ+ History Month, which offers an occasion to acknowledge and celebrate the lives of lesbian, gay, bisexual, trans and queer people of all identities throughout the ages. At the Sackler Library, we are marking this month with a display to highlight LGBTQ+ related items in our collections. This year’s theme, Behind the Lens, marks LGBTQ+ people’s contribution to cinema and film not in front of the camera but behind it.

Behind the Lens book display, Sackler Library. Image Credit: Ashley Parry

Through my research, I was drawn to the work of the trans artist, Wu Tsang, who uses dance and film to explore the theme of perspective in her work.Then, while Andy Warhol looms large over the history of queer art, this month has enabled me to highlight his films specifically. In fact, both Wu Tsang and Andy Warhol illustrate one of the key themes of this display – that LGBTQ+ artist-filmmakers not only question the boundaries between sexualities and genders, but also the boundaries between different forms of artistic expression.

Another artist whose work illustrates this is Derek Jarman (1942-1994), represented in the display by Derek Jarman: Brutal Beauty and also included in Caravaggio in Film and Literature: Popular Culture’s Appropriation of a Baroque Genius. Jarman is best known for his films but has also been very influential in his installation work, and he applied his knowledge of art and art history to his films in their composition and subject matter.

The anthologies on show in the display also illustrate the permeability of genre boundaries, where the work of artists who use film installation is represented alongside that of poets, photographers and fine artists.

For example, Sex Ecologies includes a diverse range of contributions, from photography by filmmaker Pedro Neves Marques to Léuli Eshrāghi’s discussions of Sāmoan sexual and gender diversity. The volume AIDS Riot contains interviews with filmmaker and “TV-guerrilla” Gregg Bordowitz, who “conceived of [‘video’] as the privileged instrument in the de-marginalization of PWAs [People With AIDS]”, alongside discussions of other installation, graphic design, and photographic work from artist collectives in the New York of the 1980s and 1990s. Similarly, in the book Outlaw Representation, Richard Meyer discusses the work of artist and filmmaker, David Wojnarowicz alongside other controversial figures such as photographer Robert Mapplethorpe. The potential for crossover between photography and film gave me the opportunity to include Mapplethorpe’s photographs with those of with those of other queer artists such as Berenice Abbot, and Sunil Gupta. In fact, it is Abbott’s image that has been used for the poster of this display.

(A note about the poster for this book display: The image of Berenice Abbott (1898-1991), with camera almost the same height as photographer, is a good fit with this year’s ‘Behind the Lens’ theme. Also aligning itself with the theme, the Courier typeface is typically used for screenplays. As for the text’s colours, I chose Valentino Vecchietti’s tones in his 2021 intersex-inclusive redesign for the Progress Pride Flag at the top of the poster, and the colours of Gilbert Baker’s original 1978 rainbow flag design at the bottom of the poster. Using these colour ranges incorporates as many queer identities as possible without privileging any in particular, while also paying tribute to the past 45 years of queer art history.)

The book Sexuality & Space creates a bridge between the film and photography related books in this display and other fascinating titles on queer theory and architectural criticism, such as Eileen Gray and the Design of Sapphic Modernity, and Queer Space: Architecture and Same-sex Desire. Another related publication, available as an ebook, that is well worth a look is Preservation and Place: Historic Preservation by and of LGBTQ Communities in the United States .

Although this year’s theme meant that most materials skewed towards the modern, it would be a disservice to the Sackler’s collections and the true diversity of historical experience to concentrate only on this era. For example, no overview of LGBTQ+ history would be complete without the Classical Greek poet Sappho, whose evocations of same-sex desire in her poetry led to the adjective ‘sapphic’ and whose home of Lesbos gives us the word ‘lesbian’. She is included in this display not only through a collection of her poems, but also through Page duBois’s post-modern analysis of her work in Sappho is Burning.

Representing our archaeology collections on the LGBTQ+ front, both L’homosexualité dans le Proche-Orient Ancien et la Bible and Sex and Gender in Ancient Egypt demonstrate the presence of individuals we might now consider queer in the Ancient Near East. The Queer Archaeologies special issue of the periodical World Archaeologies includes various perspectives on how the field can diversify its approach. One of the aspects of reading about LGBTQ+ interpretations of ancient history that I found enlightening is the way they challenge heteronormative cultural customs – questioning whether conclusions about ancient lives are backed up by evidence or based on imported modern assumptions.

One of the pioneers of treating the history of ancient art as a discipline was Johann Joachim Winckelmann (1717-1768). This influential gay philologist is represented by several books in the display, such as Winckelmann – das göttliche Geschlecht and Gay and Lesbian Studies in Art History. Both of these texts examine the ways that Winckelmann’s sexuality informed his approach to the study of ancient art, and contributed to his innovative modes of writing about the subject.

Winckelmann’s work was brought to my attention by Richard Parkinson, author of A Little Gay History, who also kindly donated one of the images accompanying this display.It depicts a still from the set of the film adaptation of E. M. Forster’s Maurice, directed and produced by partners James Ivory and Ismail Merchant. Forster’s inspiration for the novel is also mentioned in the introduction to John Potvin’s Bachelors of a Different Sort as part of his evocations of queer masculine domestic life. The image serves to tie together some of the threads of the display, combining as it does the Egyptian artefacts in the British Museum with a behind-the-scenes look at the work of queer filmmakers.

There’s so much more fascinating material on LGBTQ+ related topics to discover throughout the Sackler Library’s collections, but only so much that could be fit into this display. However, I have included many more titles in the bibliography of this blog post – though, of course, I still have not included everything that the library has to offer!

Ashley Parry, Library Assistant
Sackler Library, Bodleian Libraries

Display List

Ackerman, S., 2005. When heroes love : the ambiguity of eros in the stories of Gilgamesh and David, New York.

Alvarado, L., Evans Frantz, D., Gómez-Barris, M., Ondine Chavovoya, C., et al., 2017, Axis mundo: queer networks in Chicano L.A., Munich.

Anthonissen, A., 2019. Queer!?: Beeldende kunst in Europa 1969-2019 = Visual arts in Europe 1969-2019, Zwolle.

Behdad, A. & Gartlan, L., 2013. Photography’s Orientalism: new essays on colonial representation, Los Angeles.

Betsky, A., 1997. Queer space: architecture and same-sex desire, New York.

Boehringer, S., 2021. Female homosexuality in ancient Greece and Rome, trans. Preger, A., London.

Cann, T., Kinigopoulo, A., Sawyer, D., & Weinburg, J., 2019, Art after Stonewall : 1969-1989, Columbus, OH.

Colomina, B., 1992. Sexuality & space, New York.

Cortjaens, W., Goerlitz, G., & Tobin, R. D., 2017. Winckelmann – Das göttliche Geschlecht Auswahlkatalog zur Ausstellung im Schwulen Museum Berlin, 16. Juni bis 9. Oktober 2017, Petersburg.

Davidson, J. N., 2007. The Greeks and Greek love: a radical reappraisal of homosexuality in ancient Greece, London.

Davis, W., 1994. Gay and lesbian studies in art history, New York.

Dowson, T. A., World Archaeology, Oct. 2000, Vol. 32 (2), ‘Queer Archaeologies’.

DuBois, P., 1995. Sappho is burning, Chicago.

Engel, C., Fenouillat, N., Guitton, A., Di Loreto, B., Loyau, F., Mestrov, I., & Olszewska, A., 2003. AIDS riot: collectifs d’artistes face au Sida = Artist collectives against AIDS, New York, 1987-1994: 12e session de l’École du Magasin, Grenoble.

Gilhuly, K., 2020. Erotic geographies in ancient Greek literature and culture, London.

Graves-Brown, C., 2008. Sex and gender in ancient Egypt: ‘don your wig for a joyful hour’, Swansea.

Gupta, S., 2011. Queer, Munich.

Hessler, S., 2021. Sex ecologies. Cambridge, MA.

Julien, I., 2008. Derek Jarman: brutal beauty. London.

Kuo, J. C., 2013. Contemporary Chinese Art and Film: Theory Applied and Resisted, Washington, D. C.

Mapplethorpe, R., Danto, A. C., Holborn, M., Levas, D., & Smith, P., 2020. Robert Mapplethorpe, London.

Meyer, R., 2003. Outlaw representation: censorship & homosexuality in twentieth-century American art, Boston.

Morelli, A., 2009. Roman Britain and classical deities: gender and sexuality in Roman art, Oxford.

Murphy, J. J., 2012. The black hole of the camera: the films of Andy Warhol, Berkely, CA.

Nardelli, J., 2007. Homosexuality and liminality in the Gilgameš and Samuel, Amsterdam.

Parkinson, R. B., 2013. A little gay history: desire and diversity across the world, London.

Potvin, J., 2014. Bachelors of a different sort : queer aesthetics, material culture and the modern interior in Britain, Manchester.

Rault, J., 2011. Eileen Gray and the design of sapphic modernity: staying in, Farnham.

Römer, T. & Bonjour, L., 2016. L’homosexualité dans le Proche-Orient ancien et la Bible,

Rorato, L., 2014. Caravaggio in film and literature: popular culture’s appropriation of a baroque genius, London.