Private: Queer Relations and Politics in Duncan Grant's Hidden Erotic Drawings

该项目将调查邓肯·格兰特（Duncan Grant）在20世纪40年代至50年代创作的422幅情色画作，这些画作描绘了男人之间的多次性接触、跨种族的交配、男人、女人和神话生物之间的爱情。这些收藏品最初是作为“私人”文件夹送给他的朋友们的，最近捐给了查尔斯顿，查尔斯顿决定将其公之于众。该项目的一部分内容包括通过使用查尔斯顿和苏塞克斯之间的收藏和档案对图纸进行编目和研究。该项目将试图在战后英国酷儿视觉文化的背景下重新评估格兰特的作品和政治。候选人将考虑为当今不同的受众解释性的酷儿表现的复杂性，并为展览和数字出版物的组织做出贡献。这些画创作于20世纪40年代和50年代，与格兰特的公共作品一起创作，但仍然隐藏着创造性的行为。作为一名英国的同性恋者，格兰特在他生命的前82年里一直过着罪犯的生活，直到1967年《性犯罪法》通过。格兰特在他90多岁的时候，在1978年去世之前，和他年轻的、公开的同性恋朋友们一起参加了同性恋解放阵线的会议。格兰特收藏的一个重要部分是对跨种族酷儿夫妇的大量描绘，这开始了对酷儿和色情艺术中种族化身体之间关系的研究。一些重要的“去殖民化”布卢姆斯伯里派历史的工作已经在过去的十年中进行了，为这个博士项目铺平了道路（Romain, 2017; Mercer, 2017; Reed, 2011）。该项目为学生提供了一个机会，为查尔斯顿越来越多地参与BAME和LGBTQI+历史和社区做出真正的贡献。这个博士项目建立在苏塞克斯大学艺术史系和查尔斯顿信托基金会之间牢固的伙伴关系基础上。

The project will investigate a collection of 422 erotic drawings by Duncan Grant made during the 1940s and 1950s and depicting scenes of multiple sexual encounters between men, interracial couplings, love between men, women and mythic creatures. Originally given to his friends as a 'private' folder, the collection has recently been donated to Charleston which has decided to make it public. Part of the project involves cataloguing and studying the drawings by using collections and archives between Charleston and Sussex. The project will seek to re-evaluate Grant's work and politics against the background of queer visual culture in postwar Britain. The candidate will consider the complexities of interpreting queer representations of sex for diverse audiences today as well as contribute to the organization of an exhibition and a digital publication.Created during the 1940s and 1950s, the drawings were produced in tandem with Grant's public work, but remained hidden creative acts. As a gay man in Britain, Grant spent the first 82 years of his life living as a criminal until 1967 when the Sexual Offences Act was passed. In his 90s Grant attended a Gay Liberation Front meeting with his young, openly gay friends, before he died in 1978. An important part of Grant's collection are the numerous depictions of interracial queer couples which began examination of the relationship between queerness and racialized bodies in erotic art. Some important work to 'decolonise' the history of the Bloomsbury group has already been carried out in the past decade, paving the way for this doctoral project (Romain, 2017; Mercer, 2017; Reed, 2011). The project offers a student the opportunity to make a real contribution to Charleston's growing engagement with BAME and LGBTQI+ histories and communities.This doctoral project builds on the firm partnership base between the Department of Art History, University of Sussex, and Charleston Trust.