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

该项目将调查邓肯·格兰特在20世纪40年代和50年代创作的422幅色情画作，这些画描绘了男性之间的多次性行为、跨种族的结合、男性、女性和神话生物之间的爱情。这些藏品最初是作为私人文件夹送给他的朋友的，最近被捐赠给查尔斯顿，查尔斯顿决定将其公之于众。该项目的一部分包括利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。该项目将寻求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。这位候选人将考虑到为当今不同的观众解释同性恋代表性别的复杂性，并为展览和数字出版物的组织做出贡献。这些绘画创作于20世纪40年代和50年代，是与格兰特的公共工作一起制作的，但仍然隐藏着创造性的行为。作为英国的一名男同性恋者，格兰特一生中的前82年一直是一名罪犯，直到1967年性犯罪法获得通过。在他于1978年去世之前，90多岁的格兰特参加了同性恋解放阵线与他年轻的、公开的同性恋朋友们的会议。格兰特收藏的一个重要部分是对跨种族同性恋夫妇的大量描绘，这些描绘开始审视性爱艺术中同性恋与种族主义身体之间的关系。在过去的十年里，已经开展了一些重要的工作来“非殖民化”布鲁姆斯伯里集团的历史，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，为查尔斯顿与BAME和LGBTQI+历史和社区的日益增长的接触做出真正的贡献。这个博士项目建立在艺术史系、苏塞克斯大学和查尔斯顿信托基金之间坚实的合作伙伴关系基础上。

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.