Queer Spirituality Around the World
Works selected for an art curation project for a global queer art and culture class, completed in December 2011. Pictures are linked to their source rather than included on the website due to potential copyright issues. The intention of the project was to imagine that one was curating a global queer art exhibit, my theme being spirituality, and decide what one would put in the exhibit and why. An exhibit outline (including the links to photos of pieces included) is followed by an essay here with works cited list. Please be aware that some works may include NSFW content.
GLOBAL QUEER SPIRIT:
Queerness Within Spirituality & Spirituality Queered
All Around the World
About this Exhibit:
The works in this exhibit span across time, cultures, and religions around the world and includes representations of: homoeroticism, bodies outside of the male/female binary, other non-traditional representations of relationships and bodies of queer significance, all in a spiritual (religious / mythological) context. A portion of this art is also by artists who are known to be in some way queer themselves. The focus is primarily on visual arts with, two exceptions in the form of excerpting creative text. For all works, accompanying text will be provided to detail the works and enrich the content.
“Queer” here is used as a wide umbrella term for what would today not be seen as heteronormative, while consideration is given too regarding time and culture in which the figure or concept was created.
The exhibit begins with bodies that are not viewed in a strictly binary sense (intersex or trans*), then moves onto pieces by female artists (one of two gay men, the rest depicting female same-sex relations), then covers male same-sex content in Japan, Israel, France, and England.
The purpose of this exhibit is to highlight a diversity in beliefs, bodies, and relationships and how they intersect.
Global Queer Spirit Exhibition Room Layout
(Created with small blue printer and Keynote software)
Numbers reflect the order of room sections as presented on exhibit tour. Dividers have been put up in the room to create sections, set up in an attempt to be a reversal of the usual privilege of coverage:
#1 - Bodies beyond the binary, #2 Female artists, #3 Japan, #4 Israel and Europe
The Exhibit:
Nommo sculpture (Mali) Click for image. [The site that hosted this particular image is currently under maintenance; other links and images below should work, however]
Dogon tribe
Wood sculpture; 43 in. tall; shown here from three angles
From a collection of Dogon tribe (from Mali, Africa) wood sculptures ranging in age from 200 to 1850 years old. The figure, a nommo water spirit, is depicted as having a beard and breasts, reflecting a belief of original androgyny of the human body.
Ardhanarishvara (~1800) Click for image.
Unknown (India)
Paint on paper, 12 x 8 in.
Depiction of the Hindu deity Ardhanarishvara, “The Lord Who is Half-Woman,” androgynous composite of Śiva and his consort Parvati.
Borghese Hermaphroditus Click for image.
Rome (2nd Century BC)
Marble, Length: 66.5 in.
This sculpture depicts the Greek deity Hermaphroditus, origin of the word “hermaphrodite” (now largely considered derogatory and increasingly replaced by “intersex”. Child of Aphrodite and Hermes, Hermaphroditus was a minor deity associated with bisexuality and effeminacy. Roman poet Ovid’s account, considered revisionist by some as other accounts posit Hermaphroditus as having characteristics of both sexes from birth, of ‘Salmacis and Hermaphroditus’, details the transformation of Hermaphroditus from male to having characteristics of both sexes, through the nymph Salmacis forcing herself on Hermaphroditus sexually and then praying to the gods that they may be united, a wish that was granted.
TransJanus (2009)
Val Denham (England) Click for image.
Drawing
Val Denham is a transgender English artist who has done artwork for Marc Almond, Throbbing Gristle, and Psychic TV. Much of her work explores spiritual, out-of-this world themes.
The description reads: “Circuit forms metamorphosis into aura emanating transsexual individual sat on a chair somewhere in an alternate dimension.” Janus may here refer to the multi-headed Roman deity of the same name.
From Adam and Ewald (2007) Click for image.
Sooreh Hera (Iran/Netherlands)
Photograph
Iranian-born Sooreh Hera, now located in the Netherlands, depicts gay men, many of Iranian origin, wearing the masks of Islamic prophet Muhammad and his son-in-law Ali in her series ‘Adam and Ewald, Seventh-day Lovers.’ From her artist statement: “Practice of the homosexual nature is undesirable. Our guideline in this matter is the Bible.“ These are the words of a religious Dutch Member of Parliament, adding that if homosexuality were allowed the Bible might have mentioned ‘Adam and Ewald’ instead of Adam and Eve. Religion always wants to control human sexuality, most prominently with a compelling taboo on homosexuality. The three major religions always fiercely opposed any deviant form of sexual practice: even today, within the Muslim world homosexuality is a capital offense. I have tried to show a recognisable beauty of homosexuals, but also an alienating beauty that to many may be unimagined, or dishonorable.”
Annunciation (1998) Click for image.
Elisabeth Ohlson Wallin (Sweden)
Photograph 79 ft. x 60 ft.
From Elisabeth Ohlson Wallin’s Ecce homo series - an angel comes down from heaven presenting a test tube for insemination to a lesbian couple.
Madonna, Lover & Son (1993) Click for image.
Becki Jane Harrelson (USA)
68” W x 80"H, oil on stretched canvas
Harrelson on the background of her piece: “My mother was a heterosexual yet I am a lesbian. My mother’s sexual-orientation did not determine my sexuality. So why do people question whether lesbian mothers can rear children? Obviously, the answer is bigotry and ignorance, thinking that gay life is immoral…My motivation for Madonna, Lover and Son was prompted by a very simple yet powerful truth. Where there is love, there is God.”
Lupe and Sirena in Love (1999) Click for image.
Alma Lopez (Mexico/USA)
Digital art
Depicting the Virgin of Guadalupe caressing a mermaid (Sirena). Alma Lopez’s digital collage art series was a queered and feminist reading of the Virgin.
Detail from Chigo Kannon engi (14th century) Click for image.
Excerpt from The Story of Kannon’s Manifestation of a Youth (14th century)
Scroll and Text
Chigo kannon engi, while also an origin story of the 11-faced bodhisattva Kannon, details Kannon as appearing to a Buddhist monk in the form of a youth who begs to be taken
in by the monk. After a few years together, the boy falls ill and dies, only to be transformed after his memorial service into “a golden eleven-faced Kannon” who plans to reunite with the monk in the highest level of paradise. Accompanying text is from The Story of Kannon’s Manifestation as a Youth as translated by Margaret H. Childs.
Excerpt from Ode (1981)
Mutsuo Takahashi (Japan)
Poetry
Influenced by Catholicism, Takahashi uses descriptive spiritual metaphor and experience as complements to the homoeroticism in his texts. This piece is excerpted from Ode (Homeuta), an 1,000-line poem appearing in Poems of a Penisist (1975). Illustration is from original version, text is from revised 1981 version of the poem. Click for image.
nude boy on Holy Ark in a synagogue (undated) Click for image.
Benyamin Reich (Israel/Berlin)
Photography and Collage
A collage by Benyamin Reich, a gay photographer born in Israel and currently residing in Berlin. Depicts a nude male body within a Torah ark.
The Bride, Bridegroom and Sad Love (1895) Click for image.
Simeon Solomon (England)
Height: 9.84 in, Width: 7.24 in., Pen
Simeon Solomon (1840-1905), a Jewish Pre-Raphaelite artist born in England, portrayed many androgynous and suggestively homoerotic figures in his works, often in a religious context. The Bride, Bridegroom, and Sad Love has been variously interpreted as depicting “the issue of bisexuality” (Ferrari) or “to express despair at the impossibility of love between adult men” (Reed).
The Death of Hyacinthos (1801) Click here for image.
Jean Broc (France)
Oil on canvas
Figures from Greek mythology. The God Apollo throws a discus and it strikes his lover Hyacinthos and kills him, due to the interference of Zephyros, the west wind, who was jealous of their relationship and in love with Hyacinthos himself; the wind is shown blowing Apollo’s cape. The blood of Hyacinthos became the hyacinth flower, symbolic of rebirth.
St. Sebastian (1616) Click here for image.
Guido Reni (Italy)
Oil on canvas
Saint Sebastian (died A.D. 288), a Roman soldier who was a Christian, was persecuted and ordered executed for his faith, although survived after being shot at by archers that emperor Diocletian directed, only to later be beaten to death by the same emperor’s direction. An unexpected icon for gay men, Saint Sebastian inspired Oscar Wilde’s namesake “Sebastian Melmonth” after his release from prison and got an openly homoerotic treatment in Derek Jarman’s film Sebastiane (1976).
From Yukio Mishima’s Confessions of a Mask (1958: “ as it was painted by an esthetic painter of the eclectic school that derived from the Renaissance, even this painting of the death of a Christian saint has about it a strong flavor of paganism…That day, the instant I looked upon the picture, my entire being trembled with some pagan joy.” This is one of a series of Reni’s paintings of the martyr.
Conclusion:
Is there a such thing as sacred queerness? Holy merging of the sexes? When, if ever, is it obscene to “queer” religious figures? What purpose can reframing spirituality in a queer context serve? Reflect on these questions after browsing the exhibit.
Essay:
This project was very enjoyable, though often challenging, to do. I rarely found information about more than one piece I planned to include in one place. There is not a single, reliable repository for information about queerness and religion, let alone queer religious art (or religious art that happens to have queer content), so research was split about 50/50 for on-line and paper text content browsing. The research was certainly worth the effort, as I have learned about world cultures in the process and even discovered some now-favorite artists. Below, I will describe how I came to include each of the works included in this exhibit, my personal perspective on the items, and why they are significant to include.
I wanted to include several intersex and gender-variant figures at the beginning of the exhibit and the nommo water spirits were also what I first encountered when looking for content from Africa. The sculpture is atypically large and represents an ancestral nommo spirit, depicted with a beard and breasts. From the Encylcopedia of Africa, Volume 1 (2010): “Sculptural portrayals of the nommo often show them with the sexual attributes of both men and women. Their androgyny refers to the belief that men and women originally were similar.” This sculpture is housed in the impressive Dogon wood sculpture collection at the World Art and Antiques Gallery in Anguilla, British West Indes.
Ardhanarishvara (India) - Painting
I found out about the Hindu deity Ardhanarishvara when exploring Cassell’s Encyclopedia of Queer Myth, Symbol, and Spirit. Ardhanarishvara is comprised of Śiva and Parvati, shown as a half each of the figure and a central part of the creation story of Hinduism, representing the male and female qualities of God. Rather than being inherently intersex, I found Ardhanarishvara interesting for being a literal ‘half and half’ body. Held by the British Museum in London, England.
Borghese Hermaphroditus (Rome) - Sculpture
Hermaphroditus, significant chiefly for being the origin of the word “hermaphrodite”, has a troubling origin story as described by Ovid, who attributes a blending of the sexes to a nymph’s unwanted sexual advances on Hermaphroditus and her crying out to the gods that they should be never part. Salmacis has been described as responsible for a rare incident of attempted rape on the part of a female Greek mythological character. This is an example of a body-queer mythological figure, who in Ovid’s account happens to have had this happen to them rather being born as such. The Borghese Hermaphroditus, “Borghese” as part of the name for being part of the Roman Borghese family’s collection of sculptures, is housed at the Louvre in Paris, France.
TransJanus (2009), by Val Denham - Drawing
In selecting Val Denham’s (b. 1957) work I ended up meeting two criteria I was looking for: art by a transgender artist and art exploring a metaphysical spiritual concept. I didn’t know beforehand that I was already familiar with Val Denham’s artwork for a variety of musicians (many of them queer themselves) I was already interested in, including notable artists Marc Almond, Throbbing Gristle, and Psychic TV. Denham is a transgender woman who has explored many religious themes through her work, primarily either Christianity or non-traditional spiritual concepts, such as shown here. There was so much material that it was difficult to decide, but I ultimately ended up going with TransJanus since the piece explicitly recognizes transsexualism, by an artist who was identifies as specifically transgender rather than as a woman, and is an atypical spiritual depiction, set against the other work featured in the exhibit.
Detail from Chigo Kannon engi (14th century) - Scroll
Excerpt from The Story of Kannon’s Manifestation of a Youth (14th century) - Text
I felt that it was important to include a Buddhist work and in, the mysterious absence of prominent queer Buddhist modern art, I went back further to find a pair of works that go together. This image and story has appeared coupled together in Queer Dharma: Voices of Gay Buddhists (1998) and Partings at Dawn: An Anthology of Japanese Gay Literature (1996), both published by Gay Sunshine Press. The introductory text before the story notes that, despite the religious prohibition of sexual activity, “there was a deep ambivalence among monks regarding the applicability of the precept that forbade all sexual activity to intimate relationship between men.” The image included in the exhibit slideshow is a piece in color of the full scroll, though focuses on the main details of the monk and the youth, from a book cover that featured the image (男色の景色, roughly translated as the Landscape of Male Homosexual Love, 2008) - the scroll scene shown in the books mentioned above appears in black and white. The scroll is housed at Kosetsu Museum of Art, Kobe, Japan.
Excerpts from Ode (1981), by Mutsuo Takahashi (Japan) - Text
I had already been familiar with Mutsuo Takahashi from citing an interview with him and a selection of poems in my previous Pre-Stonewall Writers and Culture class webliography on queer Japan pre-1970s. I remembered encountering the amusing opening to his long poem Ode: “In the name of the man, member, and the holy fluid. Amen.” I thought that it may be possible that other queer takes on religion may be found in his works, so I decided to search further and was able to locate the full poem, an interview, and many more of his works in Partings at Dawn: An Anthology of Japanese Gay Literature (1996). Takahashi as interviewed by Aizawa Keizō (b. 1929, also a poet) discusses Jewish philosopher (Martin Buber) and Catholicism as influences and his friendship with Yukio Mishima. Takahashi states here that “both the Ise Shrine and Catholicism are for understanding man, universe, or existence.” A variety of spiritual influences can be directly found in the majority of his his works. Excerpting Ode was chosen for its importance as a long poem (1,000 lines in full) and a wide array of spiritual references.
Takahashi has confronted the matter of his being invested in Catholicism and being gay: “To be a penisist is the most human way of living, and the penis is there as the substance that fills the void innate to man-as the substitute of God…In the sense that I have not been baptized, I can’t call myself in the precise sense, a member of the faithful. But in the sense that I believe in most of the Catholic doctrines, I may call myself a faithful member. Why do I believe in them? Because I think that Catholicism explains most rationally the meaning of this world, the meaning of my being in this world. As for homosexuality, Catholicism surely doesn’t recognize it. Even the recent Vatican litterae encyclicae, though sympathetic, ultimately declares it abnormal…. My understanding is that we have reached a point where the homosexual problem can’t be solved just by banning it. Then, what shall I do about the discrepancy between my believing in Catholicism and my being homosexual? In the end, sooner or later, I think I’ll have to settle this problem. At the same time, the time will come when the Vatican too must settle the matter one way or the other. And that won’t be too far in the future.”
From Adam and Ewald (2007), by Sooreh Hera (Iran / Netherlands) - PhotographIt was difficult to find homoerotic Islamic content, and even moreso such content by a woman. I had eventually found an article about a woman receiving death threats over “Homosexuals Wearing Muhammad Masks,” which turned out to be Sooreh Hera. Originally living in Iran and moving to the Netherlands, where she photographed the series Adam and Ewald, Hera depicts gay men wearing the masks of Muhammad and his son-and-law Ali. The title, as explained in her artist statement, is in reference to “a religious Dutch Member of Parliament, adding that if homosexuality were allowed the Bible might have mentioned ‘Adam and Ewald’ instead of Adam and Eve.” Museum directors too were pressured by to pull the exhibit. The collection of photos from Adam and Ewald - Seventh Day Lovers was also released as a book.
Annunciation (1998), by Elisabeth Ohlson Wallin - Photograph
Lesbian photographer Elisabeth Ohlson Wallin’s (b. 1961) Ecco homo series included 12 photographs reimagining a queer Jesus, such as leather community members gathered around Jesus and Jesus being bathed by a man in a bathhouse. In the end, I selected Annunciation, in which an angel brings a test tube to a lesbian couple of insemination. Ecce homo was first exhibited in Stockholm in 1998 and toured Europe from then until 2004 and sparked a controversy within the Lutheran Church of Sweden’s congregation, although was exhibited for a time in Uppsala Cathedral.
Madonna, Lover & Son (1993), by Becki Jane Harrelson (USA) - Painting
Finding art depicting both religious and lesbian symbolism was incredibly challenging - it is already generally trickier to find information about lesbian history and culture in general (compared to other queer subjects). This piece I found by chance from a lead at the Leslie/Lohman Museum of Gay and Lesbian Art searchable online database, where several of Becki Jane Harrelson’s works are housed. I initially considered her Study for The Stoning of the Drag Queen (which depicts Jesus standing in front of and defending a drag queen) for this project, but then considered that she may have art depicting religion and lesbians, and this is when I encountered Madonna, Lover & Son on her site. Harrelson on the background of her piece: “My mother was a heterosexual yet I am a lesbian. My mother’s sexual-orientation did not determine my sexuality. So why do people question whether lesbian mothers can rear children? Obviously, the answer is bigotry and ignorance, thinking that gay life is immoral…My motivation for Madonna, Lover and Son was prompted by a very simple yet powerful truth. Where there is love, there is God.”
Lupe and Sirena in Love (1999), by Alma Lopez (USA) - Digital ArtI found out about Alma Lopez through a lead at a site called Jesus in Love Blog. Lopez’s digital collage art series depicting a queered and feminist version of the Virgin of Guadalupe sparked such controversy beginning from an exhibition held at Santa Fe’s Museum of International Folk Art in February 2001 that Lopez ended up creating an Internet archive of content related to the controversy and releasing a book with Professor Alicia Gaspar de Alba, Our Lady of Controversy: Alma Lopez’s Irreverent Apparition (2011), which included feminist commentary on Lopez’s work. Lopez, born in Mexico and raised in Los Angeles, has taught LGBTQ Studies and had her work exhibited in the States and internationally. Other candidates for the two slots for artists whose work was created in the USA were The 10 Commandments (1985) by Keith Haring, Mitzvah (1996) by Lilith Adler, and Stevee Postman’s Cosmic Tribe tarot deck (1996).
The Bride, Bridegroom and Sad Love (1895), by Simeon Solomon (England) - DrawingSimeon Solomon (1840-1905), a Jewish Pre-Raphaelite artist born in England, expressed figures interpreted by critics as often androgynous and homoerotic in his artwork, frequently of religious subject matter; from Roberto C. Ferrari’s biography: “In retrospect, it is apparent that these works represent Solomon’s attempt to explore his own homosexual identity during a time in Victorian England where male-male passion was a criminal offense and could only be expressed in a coded language.” Christopher Reed remarked on the drawing selected here in Art and Homosexuality: A History of Ideas (2011): “Although it could pass as a rendition of the winged Cupid’s leave-taking from a groom whose assumed-to-be heterosexual amorous adventures are over, in light of the artist’s biography the drawing takes on more poignant meanings. The bridegroom’s grasp suggests less than wholehearted heterosexuality, and the image seems, more generally, to express despair at the impossibility of love between adult men.” Held at the Victoria and Albert Museum in London, England.
nude boy on Holy Ark in a synagogue (undated), by Benyamin Reich (Israel) - CollageBenyamin Reich (b. 1976) was born in Israel and currently resides in Berlin. Reich has studied photography in Jerusalem and France and has done exhibitions in Israel and Europe. Despite the fact that I was only able to locate this particular piece on one site (Israeli gay artist Raphael Perez’s gaypaintings.com), I was quite taken with it, as it represents a fusion of Judaism and the male body. Reich, who identifies as gay, was educated in an Orthodox Jewish context, moved to the U.S. at 14, then left his faith in his late teen years upon returning to Israel. Other selections in this collage series include nude male bodies pasted into bible book covers. I had found plenty of gay art by Israeli artists, but Reich’s was my first find blending Judaism with queerness. With his position as a very global artist, combined with the subject matter, I felt particularly strongly about including this piece.
The Death of Hyacinthos (1801), by Jean Broc (France) - Painting
While not known to be queer himself, Jean Broc’s painting depicts a well-known same-sex Greek mythological pairing, Appolo and Hyacinthos. Like many other depictions of love in Greek mythology, there is tragedy to be found: Zephyros the west wind was jealous of Apollo having Hyacinthos as a lover and was in love with Hyacinthos himself, so he blew Apollo’s discus off course, striking Hyacinthos and killing him. Hyacinthos blood is said to have developed into the hyacinth flower. Held at the Musée Sainte-Croix in Poitiers, France.
St. Sebastian (1616), by Guido Reni (Italy) - Painting
St. Sebastian (died A.D. 288), a Roman soldier who was a Christian, was persecuted and ordered executed for his faith, although survived after being shot at by archers that emperor Diocletian directed, only to later be beaten to death by the same emperor’s direction (while the painting only depicts the arrows and not this aftermath). For references of his influence on queerness, Yukio Mishima depicts a painting of Guido Reni’s of St. Sebastian as inspiring the protagonist of Confessions of a Mask erotically, Oscar Wilde adopted the pseudonym “Sebastian Melmoth” upon his release from prison and described the poet Keats as “fair Sebastian, and as foully slain,” in his 1881 poem “The Grave of Keats,”and Derek Jarman’s film take on the saint, Sebastinane (1976), is openly homoerotic.. Sebastian may have relevant symbolism as someone slain from persecution of his beliefs as an allegory to persecution of gay men. While Reni was no gay himself, this piece is too important not to include; the above history helps to solidify the significance of St. Sebastian in this exhibit. Held at the Musei di Strada Nuova, Palazzo Rosso, Genoa.
Works Cited:
“Ancient Greek & Roman Sculpture: Hermaphroditus Hermaphrodite Endormi.” THEOI GREEKMYTHOLOGY. Theoi Project, 4 June 2006. Web. 01 Dec. 2011.
<http://www.theoi.com/Gallery/S30.1.html>.
Angles, Jeffrey, trans. “Poems by Takahashi Mutsuo.” Intersections: Gender, History andCulture in the Asian Context 12 (January 2006). Intersections: Gender and Sexuality in Asia and the Pacific. 18 Mar. 2008. Web. 01 Dec. 2011.
<http://intersections.anu.edu.au/issue12/takahashi.html>.
Appiah, Anthony, and Henry L. Gates. Encyclopedia of Africa. Oxford: Oxford University Press,2010. Print.
“Contents.” Suomen Queer-tutkimuksen Seuran Leht (Journal of Queer Studies inFinland) 2.1 (2007). Helsinki.fl. SQS Suomen Queer-tutkimuksen Seura, 29 Feb. 2008. Web. 4 Dec. 2011. <http://www.helsinki.fi/jarj/sqs/sqs1_07/sqs_contents1_07.html>.
Coulthart, John. “Guido Reni’s Saint Sebastian.” { Atelier Coulthart }. 17 Feb. 2008. Web. 01Dec. 2011.
<http://www.johncoulthart.com/feuilleton/2008/02/17/guido-renis-saint-sebastian/>.
Cristo. “Benyamin Reich.” Grateful Grapefruit. 9 Sept. 2010. Web. 04 Dec. 2011.<http://www.gratefulgrapefruit.com/2010/09/09/benyamin-reich/>.
Derwent, Charles. “Arrows of Desire: How Did St. Sebastian Become an Enduring, Homo-eroticIcon?” The Independent. Independent.co.uk, 10 Feb. 2008. Web. 04 Dec. 2011.
<http://www.independent.co.uk/arts-entertainment/art/features/arrows-of-desire-how-did-
st- sebastian-become-an-enduring-homoerotic-icon-779388.html>.
Denham, Val. TransJanus. 2009. Val Denham. 19 Aug. 2010. Web. 4 Dec. 2011.“The Dogon Wood Sculpture Collection.” World Art and Antiques. WAA Gallery, 15 Jan. 2008.
Web. 04 Dec. 2011. <http://www.worldartandantiques.com/waagallery/v/dogon/>.
Ferrari, Roberto C. “Simeon Solomon Biography.” Simeon Solomon Research Archive. RobertoC. Ferrari and Carolyn Conroy, 2 Oct. 2005. Web. 04 Dec. 2011.
<http://simeonsolomon.com/solomonbiography.aspx>.
Fraser, Morriss. “Bara: Of Death, Desire and Drumsticks.” Paidika 3.4 (1995): 2-12. ExitInterview Home. Gerald Johns, PhD., 8 Apr. 2008. Web. 04 Dec. 2011.
<http://exitinterview.biz/rarities/paidika/n12/pdk12ill.htm>.
Giralt, Sebastià. Masculí O Femení? / Male or Female? (2). 2004. Photograph. Louvre, Paris.Flickr. Yahoo! Inc., 22 May 2007. Web. 4 Dec. 2011.
<http://www.flickr.com/photos/sebastiagiralt/509970032/>.
Harrelson, Becki J. Official Website of Artist Becki Jayne Harrelson: Fine Art ExploringReligious Mythology & Contemporary Social Issues. 1 July 2002. Web. 04 Dec. 2011.
Hera, Sooreh, and Joost Zwagerman. Adam & Ewald: Zevendedagsgeliefden = Seventh-DayLovers. Amsterdam: XTRA, 2008. Print.
Hollingsworth, Dennis. “Artists in Hiding.” Dennis Hollingsworth. 8 Jan. 2008. Web. 04 Dec.2011. <http://www.dennishollingsworth.us/archives/001665.html>.
Jones, Constance, and James D. Ryan. Encyclopedia of Hinduism. New York: Facts On File,2007. Print.
Kanazawa, Shunichi. “隠されてきた日本文化の美意識.” BOOK Asahi.com. The AsashiShimbun Company, 1 Feb. 2009. Web. 4 Dec. 2011.
<http://book.asahi.com/reviews/reviewer/2011071704396.html>.
Kaye, Richard. “St. Sebastian.” Glbtq. Ed. Claude J. Summers. New England PublishingAssociates, 5 Apr. 2005. Web. 04 Dec. 2011. <http://www.glbtq.com/literature/sebastian_st.html>.
Kriz, Heidi. “Blasphemy or Divine Inspiration?” Wired.com. 2 Aug. 1999. Web. 04 Dec. 2011.<http://www.wired.com/culture/lifestyle/news/1999/08/21012>.
Leyland, Winston. Queer Dharma: Voices of Gay Buddhists. San Francisco: Gay Sunshine Press,1998. Print.
Lopez, Alma. Alma Lopez. 22 Aug. 2003. Web. 04 Dec. 2011. <http://www.almalopez.com/>.Meyer, Richard. “After the Culture Wars.” ART PAPERS. Art Papers, Inc., 10 Nov. 2004. Web.
04 Dec. 2011. <http://www.artpapers.org/feature_articles/feature1_2004_1112.htm>.
Miller, Stephen D, and Paul G. Schalow. Partings at Dawn: An Anthology of Japanese GayLiterature. San Francisco: Gay Sunshine Press, 1996. Print.
Mishima, Yukio. Confessions of a Mask. Trans. Meredith Weatherby. New York: NewDirections, 1958. Print.
Nude Boy on Holy Ark in a Synagogue. Photograph. Gay Paintings. By Benyamin Reich.Raphael Perez, 10 Aug. 2004. Web. 04 Dec. 2011.
<http://www.gaypaintings.com/magazine/index.php?name=Sections>.
Reed, Christopher. Art and Homosexuality: A History of Ideas. New York: Oxford UniversityPress, 2011. Print.
Solomon, Simeon. The Bride, Bridegroom and Sad Love. 1865. Victoria and Albert Museum,London. Victoria and Albert Museum. V&A Images, 13 Jan. 2010. Web. 04 Dec. 2011.
<http://collections.vam.ac.uk/item/O126681/drawing-the-bride-bridegroom-and-sad/>.
Tanʼo, Yasunori. Nanshoku No Keshiki: Iwaneba Koso Are. Tōkyō: Shinchōsha, 2008. Print.Werness, Hope B. The Continuum of Native Art: Worldview, Symbolism, and Culture in Africa,
Oceania, and Native North America. New York: Continuum, 2000. Print.
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