{"id":16500,"date":"2022-02-04T15:50:56","date_gmt":"2022-02-04T15:50:56","guid":{"rendered":"http:\/\/artjournal.collegeart.org\/?p=16500"},"modified":"2022-07-15T12:46:34","modified_gmt":"2022-07-15T12:46:34","slug":"a-syllabus-on-transgender-and-nonbinary-methods-for-art-and-art-history","status":"publish","type":"post","link":"http:\/\/artjournal.collegeart.org\/?p=16500","title":{"rendered":"A Syllabus on Transgender and Nonbinary Methods for Art and Art History"},"content":{"rendered":"\n

From\u00a0Art Journal<\/em>\u00a0<\/em>80, no. 4 (Winter 2021)<\/p>\n\n\n\n

\"Photograph<\/a>
Tourmaline, Salacia<\/em>, 2019, 16 mm film, color, sound, 6:04 min., installation view, Chapter, NY (artwork \u00a9 Tourmaline; photograph by Dario Lasagni, provided by the artist and Chapter NY, New York)<\/figcaption><\/figure><\/div>\n\n\n\n

The following syllabus is intended to introduce central topics and methods from transgender studies to art history. It proposes some ways that art and art history\u2019s key themes might be reimagined.<\/p>\n\n\n\n

Art history has been slow to engage the robust and decades-old interdisciplinary field of transgender studies. In comparison to fields such as literature or film studies, there has been a dearth of engagement. At the time we submitted this syllabus (March 2021), the term \u201ctransgender\u201d had appeared in Art Journal<\/em> in only thirty-six articles or reviews (with three instances of \u201cnonbinary\u201d and five of \u201ctranssexual,\u201d in comparison to 135 of \u201cqueer\u201d). The Art Bulletin<\/em> had three occurrences of \u201ctransgender\u201d\u2014with a decade between each occurrence. (\u201cTranssexual\u201d and \u201cnonbinary\u201d have each appeared once in that publication.) The reluctance of art history to engage with trans and nonbinary histories and topics is not for a lack of artists. Contemporary artists have been making work that gives form to the politics and emotions of transgender, nonbinary, and intersex experience in exciting ways. They are on the forefront of trans visibility, and their work has more often been discussed in other fields such as performance studies, film studies, and Black studies.<\/p>\n\n\n\n

This syllabus seeks to address this disciplinary caesura by offering a set of short, thematic bibliographies as a means to prompt new alliances between transgender studies and art history. The syllabus does not rehearse the foundations or historiography of transgender studies; consequently, we have forgone many important and now-classic texts that a more comprehensive introduction to the field and its ongoing development would entail. Instead, we organized the syllabus according to general themes that we thought would be useful to teachers and researchers of art and art history. It offers one possible entry into transgender studies, with a concentration on recent texts. Our idea was to take terms that circulate in conversations about art (\u201cform,\u201d \u201cmateriality,\u201d and so on) and demonstrate how transgender and nonbinary positions compel us to look at those terms differently. Rather than focus on individual artists, we tried to find texts that spoke with each other about these broad themes. While there are occasional texts in the syllabus that address a single artist\u2019s practice, we have weighted the selection in favor of the methods and concepts around which each thematic section is organized. We developed the order of the texts in each bibliography organically through our discussions and editing, and they are listed in our suggested reading sequence. (We also encourage readers to freely reorganize our lists as well as the sections themselves.)<\/p>\n\n\n\n

The selections in the syllabus represent many positions within the interdisciplinary field of transgender studies. We follow the current understanding of that field as encompassing not just the study of transgender subjects but also descriptive and analytic modes of accounting for and nourishing the complexities and multiplicities of nonascribed genders\u2014in conjunction with a critique of the systemic suppression and erasure of them. Transgender studies demands (and is constituted through) a deep engagement with the critical analysis of race, sexuality, ability, and class. It also requires a trenchant account of political and economic ideologies and institutions that parse life and death\u2014namely, the prison industrial complex, racial capitalism, anti-immigration covenants, medical research, building and planning codes, educational standards, and legislative prohibitions on the use of one\u2019s own body.<\/p>\n\n\n\n

To suit the readership of Art Journal<\/em>, the historical focus of the topics lies heavily in contemporary art and recent debates. Even within that chronological frame, we found it necessary to choose only a few foci from among the many pathways, media, and practices of contemporary art. Film and new media, for instance, are represented by only a small selection of texts, since their connections with fields other than art history have resulted in more robust engagements with transgender studies and require their own distinct bibliographies. As well, with a handful of key exceptions (notably, in the Museums and Curating section), most of the texts center on cultural production in the United States (and are written in English). This was a difficult choice to make, since we recognize that this is only one dimension of a global framework for transgender and nonbinary topics. However, the Black, anti- and decolonial, and Indigenous analytics and methods outlined by the scholars and artists whom we have marshalled here address the triangulation of racialization, coloniality, and (un)gendering. These methods are part of diasporic and transnational enterprises, historicity, and discourse. The art and scholarship included in the syllabus show how the conjuncture of Black, Indigenous, and trans analytics problematize settler colonialism, sovereignty, and nationalism and border enforcement.<\/p>\n\n\n\n

At present, there are also burgeoning fields arguing for the distinctness of nonbinary and intersex experience\u2014which are only sometimes or partially registered in the history of trans studies. In the present syllabus, we have also aimed to include readings that formulate a nonbinary mode of analysis and history, seeing it as allied with the broader aim of trans studies to make space for a critical assessment of nonascribed genders. There are fewer texts drawn from intersex studies in the syllabus. Intersex studies has a more defined and longrunning literature (that has helped to shape transgender studies). Some of the key questions about the regulation of bodies and their capacities look different from the perspectives of intersex studies and trans studies, even though they share much in terms of their broad critique and methods. Our inclusions of texts from intersex studies focus on issues of photography and representation. As intersex studies has decisively shown (especially with regard to the history of medicine, psychiatry, and criminology in the United States), the scientific narratives about gender and sex were constituted through the violent study of intersex bodies and the problem of representation they posed to scientific and psychiatric establishments.1<\/a><\/sup> Photography was a central tool of that violence\u2014a fact that all histories of photography must address. The historical and methodological issues that intersex studies offer to art history are many; we see the need for another project such as this one that would examine the central place of intersex in histories of representation.<\/p>\n\n\n\n

We are very aware of how partial this (or any) syllabus is, but the advantage of the syllabus form is that its content must constantly be adapted, changed, substituted, and updated. We encourage the selective use and remaking of the topics, and we expect that readers will have many additions to our themes and the texts we chose to represent them. We included multiple texts for each thematic section, with the understanding that instructors might use only a selection of those texts or use the groupings as the basis for multiple sessions on a given theme. We have included our own writings in the syllabus as a means of locating some of our investments in these topics. With regard to the illustrations: they relate to artists featured in some of the texts, and they were chosen to suggest additional dimensions beyond the examples discussed. In the interest of increasing the audience for this syllabus, it will also appear online with open access on Art Journal Open<\/em>. Whenever possible, links to texts are provided in the syllabus. We thank the Art Journal<\/em> editors for their help with this process.<\/p>\n\n\n\n

In the time that we have been developing this list, the literature on transgender, nonbinary, and intersex cultural production has grown rapidly, with exciting new contributions being published every month.2<\/a><\/sup> We have tried to give significant representation to the most recent literature. One could easily teach a class on the scholarship that has been published in the last two years alone. We see this syllabus as an opening to a dynamic and evolving field that is made possible through the nexus of trans and nonbinary art, pedagogy, and methodology.<\/p>\n\n\n\n

1. Terms, Language, and Speech<\/h2>\n\n\n\n

What is the grammar of trans? Here we consider the morphology of trans discourse and the rendering of trans as more \u201caccessible\u201d through negotiated vocabularies. Closely tied to this is a questioning of how this very act of communication and legibility is challenged by Blackness\u2014as ante-, anti-, non- and anabinary in excess and defiance of the categories of man and woman, which have been prescribed by racial and colonial protocols (as Marquis Bey and A. Finn Enke discuss in two of the texts). Dean Spade\u2019s work on making higher education available to trans studies is of cardinal importance, given the history of trans students being marginalized in and ejected from classrooms in secondary education; support is crucial to overcoming these obstacles and providing access to higher education. David Valentine\u2019s work in ethnography and Susan Stryker\u2019s work on the constraints of homonormative narrativity give a materiality and archival substance to the consideration of categorization and nominalism.<\/p>\n\n\n\n

Spade, Dean. \u201cSome Very Basic Tips for Making Higher Education More Accessible to Trans Students and Rethinking How We Talk about Gendered Bodies<\/a>.\u201d Radical Teacher<\/em> 92 (Winter 2011): 57\u201362. <\/p>\n\n\n\n

Steinbock, Eliza. \u201cCall Me They<\/a>.\u201d In Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change<\/em>, vii\u2013ix. Durham, NC, and London: Duke University Press, 2019.<\/p>\n\n\n\n

Bey, Marquis. \u201cHow Ya Mama\u2019n\u2019em? Blackness, Nonbinariness, and Radical Subjectivity<\/a>.\u201d Peitho<\/em> 22, no. 4 (Summer 2020). <\/p>\n\n\n\n

Stryker, Susan. \u201cTransgender History, Homonormativity, Disciplinarity.\u201d Radical History Review<\/em> 100 (2008): 145\u201357.<\/p>\n\n\n\n

Enke, A. Finn. \u201cThe Education of Little Cis: Cisgender and the Discipline of Opposing Bodies<\/a>.\u201d In Transfeminist Perspectives in and beyond Transgender and Gender Studies<\/em>, edited by A. Finn Enke, 60\u201377. Philadelphia: Temple University Press, 2012.<\/p>\n\n\n\n

Further Reference<\/h4>\n\n\n\n

Valentine, David. \u201cThe Categories Themselves.\u201d GLQ: A Journal of Lesbian and Gay Studies<\/em> 10, no. 2 (2004): 215\u201320.<\/p>\n\n\n\n

Currah, Paisley, and Susan Stryker, eds. \u201cPostposttranssexual: Key Concepts for a 21st Century Transgender Studies.\u201d Special issue, TSQ: Transgender<\/em> Studies Quarterly<\/em><\/a> 1, nos. 1\u20132 (May 2014).<\/p>\n\n\n\n

Kapitan, Alex. \u201cThe Radical Copyeditor\u2019s Style Guide for Writing about Transgender People<\/a>.\u201d The Radical Copyeditor<\/em> (blog), August 31, 2017. <\/p>\n\n\n\n

Coman, Jonah. \u201cTrans Citation Practices\u2014a Quick-and-Dirty Guideline<\/a>.” Medium.com (blogging platform), November 27, 2018. <\/p>\n\n\n\n

2. Methods<\/h2>\n\n\n\n

Once one questions the axioms that genders are binary and bodies are dimorphic, the world and history look different and more complex. Methods emerging from transgender and nonbinary positions attend to the multifarious ways that genders and bodies have historically been sites of resistance, policing, and possibility. These readings introduce methodological positions that can be used widely, and they offer intersections and debates with methods from other fields and positions. Decolonization, visual culture, art historical method, literature, and feminism are among the topics.<\/p>\n\n\n\n

Keegan, C\u00e1el M. \u201cTransgender Studies, or How to Do Things with Trans*.\u201d In The Cambridge Companion to Queer Studies<\/em>, edited by Siobhan B. Somerville, 66\u201378. Cambridge: Cambridge University Press, 2020.<\/p>\n\n\n\n

Boellstorff, Tom, Mauro Cabral, micha c\u00e1rdenas, Trystan Cotten, Eric A. Stanley, Kalaniopua Young, and Aren Z. Aizura. \u201cDecolonizing Transgender: A Roundtable Discussion<\/a>.\u201d TSQ: Transgender Studies Quarterly<\/em> 1, no. 3 (August 2014): 419\u201339. [Copyright 2014, Duke University Press. All rights reserved. Republished by permission of the publisher. www.dukeupress.edu<\/a>]<\/p>\n\n\n\n

Metzger, Cyle, and Kirstin Ringelberg. \u201cPrismatic Views: A Look at the Growing Field of Transgender Art and Visual Culture Studies.\u201d Journal of Visual Culture<\/em> 19, no. 2 (August 2020): 159\u201370.<\/p>\n\n\n\n

Getsy, David J. Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender<\/em> [selections]<\/a>. New Haven, CT: Yale University Press, 2015: \u201cPreface\u201d (xi\u2013xvii); \u201cFrom Ambiguity to Openness in Modern Sculpture\u201d; \u201cThe Transgender Phenomenon of the 1960s\u201d; and \u201cTransgender Capacity\u201d (19\u201336, inclusive).<\/p>\n\n\n\n

Nyong\u2019o, Tavia. \u201cNon-Binary Blackness: After the End of the World with Samuel R. Delany<\/a>.\u201d Art Practical<\/em>, November 21, 2019. <\/p>\n\n\n\n

Ahmed, Sara. \u201cAn Affinity of Hammers<\/a>.\u201d TSQ: Transgender Studies Quarterly<\/em> 3, nos. 1\u20132 (May 2016): 22\u201334. [Copyright 2016, Duke University Press. All rights reserved. Republished by permission of the publisher. www.dukeupress.edu<\/a>]<\/p>\n\n\n\n

Aizura, Aren Z., Marquis Bey, Toby Beauchamp, Treva Ellison, Jules Gill-Peterson, and Eliza Steinbock. \u201cThinking with Trans Now.\u201d Social Text<\/em> 145 (December 2020): 125\u201347.<\/p>\n\n\n\n

3. Flesh<\/h2>\n\n\n\n

What are the boundaries of the body? How does Black thought fracture, throw into disarray, and destabilize the presumptions of normative subjectivity, self-possession, and bodily \u201csovereignty\u201d? How has the flesh, from its appearance in the work of writers from Hortense Spillers to Toni Morrison, materialized an alternative to the subject as a scene of subjection (for instance, as Saidiya Hartman traces)?3<\/a><\/sup> How has Blackness\u2014in its gender nonconformity, in its being \u201cungendered,\u201d and in its aesthetics of fugitivity\u2014meant that the very terms by which embodiment is conceptualized must be rethought anew?4<\/a><\/sup> Spillers\u2019s work has been extended by C. Riley Snorton, showing both how normative gender and the regulatory binary are established through anti-Blackness and how, within the archive of slavery, there is a Black trans history of existence and resistance to these normative protocols. Black trans studies builds on Spillers\u2019s work to trouble the cisgender\/trans binary for its failure to account for the ways that Blackness is always an outlaw to and resistant of the gender binary itself. These works show the dynamism of and interplay between Black feminism(s) and trans studies.<\/p>\n\n\n\n

Spillers, Hortense J. \u201cMama\u2019s Baby, Papa\u2019s Maybe: An American Grammar Book.\u201d Diacritics<\/em> 17, no. 2 (Summer 1987): 65\u201381.<\/p>\n\n\n\n

Snorton, C. Riley. \u201cTrans Capable: Fungibility, Fugitivity, and the Matter of Being.\u201d In Black on Both Sides: A Racial History of Trans Identity<\/em>, 55\u201397. Minneapolis: University of Minnesota Press, 2017.<\/p>\n\n\n\n

Detournay, Diane. \u201cThe Racial Life of \u2018Cisgender\u2019: Reflections on Sex, Gender, and the Body.\u201d Parallax<\/em> 25, no. 1 (2019): 58\u201374.<\/p>\n\n\n\n

Santana, Dora Silva. \u201cTransitionings and Returnings: Experiments with the Poetics of Transatlantic Water<\/a>.\u201d TSQ: Transgender Studies Quarterly<\/em> 4, no. 2 (May 2017): 181\u201390. [Copyright 2017, Duke University Press. All rights reserved. Republished by permission of the publisher. www.dukeupress.edu<\/a>]<\/p>\n\n\n\n

Ellison, Treva Carrie. \u201cBlack Femme Praxis and the Promise of Black Gender.\u201d The Black Scholar<\/em> 49, no. 1 (2019): 6\u201316.<\/p>\n\n\n\n

Warren, Calvin. \u201cCalling into Being: Tranifestation, Black Trans, and the Problem of Ontology.\u201d TSQ: Transgender Studies Quarterly<\/em> 4, no. 2 (May 2017): 266\u201374.<\/p>\n\n\n\n

4. Bodies<\/h2>\n\n\n\n

Examinations of the cultural category of \u201cthe body\u201d must account for its malleable contours and porous boundaries. Rather than being fixed or sovereign, the body is a relational nexus at which gender is located, worked, and articulated. These texts ask how our accounts of the body have failed to see its transformability. They examine the ways in which the body gains its form and legibility only through its relations and mutual inflections. Scientific, linguistic, pharmaceutical, social, and environmental delimitations of the body are discussed\u2014as are the ways in which these interfaces complicate narrow understandings of genders\u2019 locations within bodies. The final text thinks through colonialism, racialization, and trans to propose transness and Blackness as throwing into crisis the notion of body as property.<\/p>\n\n\n\n

\"Photograph<\/a>
Del LaGrace Volcano, Moj of the Antarctic: On the Mountain, Antarctica<\/em>, 2005, gicl\u00e9e
print, 30 x 36 in. (76.2 x 91.4 cm) (artwork \u00a9 Del LaGrace Volcano)<\/figcaption><\/figure><\/div>\n\n\n\n

Hayward, Eva. \u201cMore Lessons from a Starfish: Prefixial Flesh and Transspeciated Selves.\u201d WSQ: Women\u2019s Studies Quarterly<\/em> 36, nos. 3\u20134 (Winter 2008): 64\u201385.<\/p>\n\n\n\n

Puar, Jasbir K. \u201cBodies with New Organs: Becoming Trans, Becoming Disabled.\u201d Social Text<\/em> 33, no. 3 (September 2015): 45\u201373.<\/p>\n\n\n\n

Lee, Joon Oluchi. \u201cThe Joy of the Castrated Boy.\u201d Social Text<\/em> 23, nos. 3\u20134 (Fall\u2013Winter 2005): 35\u201356.<\/p>\n\n\n\n

Gill-Peterson, Jules. \u201cHow to Bring Your Kids Up Trans.\u201d In Histories of the Transgender Child<\/em>, 195\u2013208. Minneapolis: University of Minnesota Press, 2018.<\/p>\n\n\n\n

Preciado, Paul B. \u201cMoney Makes Sex: The Industrialization of the Sexes.\u201d In Countersexual Manifesto<\/em>, translated by Kevin Gerry Dunn, 100\u2013119. New York: Columbia University Press, 2018.<\/p>\n\n\n\n

Cassils, and Eliza Steinbock. \u201cOn Propagating Collective Resilience in Times of War: A Conversation with Cassils<\/a>.\u201d Performance Matters<\/em> 4, no. 3 (2018): 108\u201327.<\/p>\n\n\n\n

Duplan, Ana\u00efs. \u201cA Body That Is Ultra-Body: In Conversation with Fred Moten and Elysia Crampton<\/a>.\u201d Ploughshares<\/em> (blog), July 13, 2016. <\/p>\n\n\n\n

5. Representations<\/h2>\n\n\n\n

How does one image trans and nonbinary positions in all their varieties and temporal complexities? And, more to the point, who generates those representations? The authors in this section grapple with the need for self-representation and articulate the struggle against negative stereotypes and the narrow (and injurious) representational conventions that limit and caricature transgender and nonbinary people. The question of the photographic image is central to these issues, and its relationship to evidentiary protocols is both a limit and a site of reclamation. From self-portraiture to the selfie, the artists discussed in these texts demand self-representation even as they critically respond to the ways that their own images are appropriated and misused. Their work bears the weight of a long tradition of the imposition of voyeuristic modes of representing intersex and trans people without consent or coauthorship. The texts in this section register some of that history and propose ways to abandon it.<\/p>\n\n\n\n

Halberstam, Jack. \u201cTrans* Representation.\u201d In Trans*: A Quick and Quirky Account of Gender Variability<\/em>, 84\u2013106. Berkeley: University of California Press, 2018.<\/p>\n\n\n\n

Leung, Helen Hok-Sze. \u201cTrans on Screen.\u201d In Transgender China<\/em>, edited by Howard Chiang, 183\u201398. New York: Palgrave Macmillan, 2012.<\/p>\n\n\n\n

Wark, McKenzie. \u201cGirls Like Us<\/a>.\u201d The White Review<\/em>, December 2020. <\/p>\n\n\n\n

Malatino, Hil. \u201cBlack Bar, Queer Gaze: Medical Photography and the Re-visioning of Queer Corporealities.\u201d In Queer Embodiment: Monstrosity, Medical Violence, and Intersex Experience<\/em>, 129\u201357. Lincoln: University of Nebraska Press, 2019. <\/p>\n\n\n\n

Johnson, Dominic. \u201cTransition Pieces: The Photography of Del LaGrace Volcano.\u201d In Otherwise: Imagining Queer Feminist Art Histories<\/em>, edited by Amelia Jones and Erin Silver, 340\u201355. Manchester: Manchester University Press, 2016.<\/p>\n\n\n\n

Lehner, Ace. \u201cTrans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon<\/a>.\u201d Refract<\/em> 2, no. 1 (2019): 45\u201377.<\/p>\n\n\n\n

Hern\u00e1ndez, Robb. \u201cPretty in Pink: David Antonio Cruz\u2019s portrait of the florida girls<\/em>.\u201d Journal of Visual Culture<\/em> 19, no. 2 (August 2020): 232\u201345.<\/p>\n\n\n\n

Tourmaline. \u201cFilmmaker and Activist Tourmaline on How to Freedom Dream<\/a>.\u201d Vogue<\/em>, July 2, 2020. <\/p>\n\n\n\n

6. Visibilities<\/h2>\n\n\n\n

Visibility is frequently assumed to be a worthy political goal, but visibility also comes with costs, dangers, and agonisms. What are the roles of the gaze and optics in rendering trans as a legible form? How has trans and nonbinary experience privileged invisibility and nondisclosure, thus evading surveillance\u2014but also history? One must also be critical of instances when trans or nonbinary experience becomes visible, and to whom. These texts explore the limits of visibility and its violence as a political and racial regime of trans representation\u2014especially in the \u201ctrap\u201d laid by a neoliberal, mediatized project. These texts also point to and open potential aesthetic and artistic forms of visibility that run counter or diagonal to the hegemonic version of trans visibility\u2014that is, particularities, opacities, occlusions, abstractions, and other means of trans presencing not predicated on strict figuration, conventional recognition, or visual representation.<\/p>\n\n\n\n

\"Photograph
Eva Hayward, Premarin Clot 6<\/em>, 2005, painting on 16 mm film cell, salt, nail polish, gel medium, \u00bc x \u215c  in. (0.7 x 1 cm) (artwork \u00a9 Eva Hayward)<\/figcaption><\/figure>\n\n\n\n

Gossett, Che. \u201cBlackness and the Trouble of Trans Visibility.\u201d In Trap Door: Trans Cultural Production and the Politics of Visibility<\/em>, edited by Tourmaline, Eric A. Stanley, and Johanna Burton, 183\u201390. Cambridge, MA: MIT Press, 2017.<\/p>\n\n\n\n

Snorton, C. Riley. \u201cA Nightmarish Silhouette: Racialization and the Long Exposure of Tradition.\u201d In Black on Both Sides: A Racial History of Trans Identity<\/em>, 139\u201375, 232\u201338. Minneapolis and London: University of Minnesota Press, 2017.<\/p>\n\n\n\n

Salamon, Gayle. \u201cComportment.\u201d In The Life and Death of Latisha King: A Critical Phenomenology of Transphobia<\/em>, 25\u201361. New York: NYU Press, 2018.<\/p>\n\n\n\n

Hayward, Eva. \u201cPainted Camera, \u2018Her.\u2019<\/a>\u201d e-flux<\/em> no. 117, April 2021. <\/p>\n\n\n\n

Kwak, Young Joon. \u201cMark Aguhar<\/a>.\u201d Brooklyn Rail<\/em>, July\u2013August 2016. <\/p>\n\n\n\n

Edwards, Adrienne. \u201cRelishing the Minor: Juliana Huxtable\u2019s Kewt Aesthetics<\/a>.\u201d Exhibition brochure. New York: Museum of Modern Art, 2015. <\/p>\n\n\n\n

7. Opacities<\/h2>\n\n\n\n

\u201cOpacity\u201d describes a tactic of resistance as well as an incompleteness of visual categorization.5<\/a><\/sup> This section deals with the vexing of transparency and legibility, and it offers examples of the ways in which trans subjects evade or jam the diagnostic protocols that would survey and delimit them. The opaque is often a direct response to heightened situations of the violence of scrutiny, and its limited cases throw into relief systems of categorization and control. Forms of opacity (for instance, nondisclosure, illegibility, dissemblance, interiority, unrecognizability, or excess) challenge the visual as a means of knowing. Art history and art, which tend to privilege visual interpretation and evidence, must grapple with the right to opacity and the refusal of immediate legibility.<\/p>\n\n\n\n

Beauchamp, Toby. \u201cSurveillance<\/a>.\u201d TSQ: Transgender Studies Quarterly<\/em> 1, nos. 1\u20132 (May 2014): 208\u201310.<\/p>\n\n\n\n

c\u00e1rdenas, micha. \u201cShifting Futures: Digital Trans of Color Praxis<\/a>.\u201d Ada: A Journal of Gender, New Media, and Technology<\/em>, no. 6 (2015). <\/p>\n\n\n\n

Stanley, Eric A. \u201cAnti-Trans Optics: Recognition, Opacity, and the Image of Force.\u201d SAQ: South Atlantic Quarterly<\/em> 116, no. 3 (July 2017): 612\u201320.<\/p>\n\n\n\n

Gimbrone, Jules. \u201cTouching a Third Sound: Trans-Sensing in a World of Deepfakes<\/a>.\u201d Walker Art Center Blog<\/em>, May 16, 2019. <\/p>\n\n\n\n

Gill-Peterson, Jules. \u201cTrans of Color Critique before Transsexuality.\u201d TSQ: Transgender Studies Quarterly<\/em> 5, no. 4 (November 2018): 606\u201320.<\/p>\n\n\n\n

Rand, Erica. \u201cCis-Skeletal<\/a>.\u201d In The Small Book of Hip Checks: On Queer Gender, Race, and Writing<\/a><\/em>, 93\u2013102. Durham, NC: Duke University Press, 2021. [Copyright 2021, Duke University Press. All rights reserved. Republished by permission of the publisher. www.dukeupress.edu<\/a>]<\/p>\n\n\n\n

Getsy, David J. \u201cSeeing Commitments: Jonah Groeneboer\u2019s Ethics of Discernment<\/a>.\u201d Temporary Art Review<\/em>, March 8, 2016. <\/p>\n\n\n\n

8. Materialities<\/h2>\n\n\n\n

Any image has a material substrate. The study of matter and its interconnectedness is central to art history\u2019s accounts of art objects and their embeddedness in economic, technological, and ecological systems and histories. Bodies and genders, too, are constituted through material constraints and possibilities. The writers in this section discuss the materials of art and the matter of matter as sites where transgender and nonbinary methods allow for new readings and applications.<\/p>\n\n\n\n

Vaccaro, Jeanne. \u201cFelt Matters.\u201d Women and Performance: A Journal of Feminist Theory<\/em> 20, no. 3 (November 2010): 253\u201366.<\/p>\n\n\n\n

Vaccaro, Jeanne. \u201cFeelings and Fractals: Woolly Ecologies of Transgender Matter<\/a>.\u201d GLQ: A Journal of Lesbian and Gay Studies<\/em> 21, nos. 2\u20133 (June 2015): 273\u201393. [Copyright 2015, Duke University Press. All rights reserved. Republished by permission of the publisher. www.dukeupress.edu<\/a>]<\/p>\n\n\n\n

Archer, Nicole. \u201cDynamic Static.\u201d In Trap Door: Trans Cultural Production and the Politics of Visibility<\/em>, edited by Tourmaline, Eric A. Stanley, and Johanna Burton, 293\u2013319. Cambridge, MA: MIT Press, 2017.<\/p>\n\n\n\n

Crawford, Lucas. \u201cThe Crumple and the Scrape: Two Archi-Textures in the Mode of Queer Gender<\/a>.\u201d Places Journal<\/em>, March 5, 2020. <\/p>\n\n\n\n

Barad, Karen. \u201cTransMaterialities: Trans*\/Matter\/Realities and Queer Political Imaginings.\u201d GLQ: A Journal of Lesbian and Gay Studies<\/em> 21, nos. 2\u20133 (June 2015): 387\u2013422.<\/p>\n\n\n\n

9. Forms<\/h2>\n\n\n\n

Questions of form include: How does something appear? How do we delimit a form? How do we make sense of new forms in relation to ones we have seen before? The writers in this section discuss how forms and formal relations are sites at which gender\u2019s multiplicity and mutability become registered, arbitrated, and explored for their potential. Drawing on issues surrounding abstraction, recognition, analogy, pseudomorphosis, and unforeclosed form, the writers in this section demonstrate that form is not just inextricable from content and meanings but also that its uses and transformations offer capacious ways to engage with transgender and nonbinary experience.<\/p>\n\n\n\n

Steinbock, Eliza. \u201cReparative Practices of Cut and Suture: Resequencing Trans Hirstories.\u201d In Shimmering Images: Trans Cinema, Embodiment, and the Aesthetics of Change<\/em>, 53\u201360, 172\u201373. Durham, NC, and London: Duke University Press, 2019.<\/p>\n\n\n\n

Chen, Mel. \u201cAnimals without Genitals: Race and Transubstantiation.\u201d Women and Performance: A Journal of Feminist Theory<\/em> 20, no. 3 (November 2010): 285\u201397.<\/p>\n\n\n\n

Hall, Gordon. \u201cReading Things: On Gender, Sculpture and Relearning How to See<\/a>.\u201d Walker Art Center Blog<\/em>, August 8, 2016. <\/p>\n\n\n\n

Smillie, Tuesday. \u201cRadical Imagination, Autocritique and Accountability: Ursula K. Le Guin\u2019s Construction of Gethen and the Modelling of Creative Practice as a Radical Tool<\/a>.\u201d In Seized by the Left Hand\u2014Tuesday Smillie<\/em>, edited by Eoin Dara and Kim McAleese. Dundee, Scotland: Dundee Contemporary Arts, 2019.<\/p>\n\n\n\n

Lancaster, Lex. \u201cThe Wipe: Sadie Benning\u2019s Queer Abstraction.\u201d Discourse<\/em> 39, no. 1 (Winter 2017): 92\u2013116.<\/p>\n\n\n\n

Malatino, Hil. \u201cThree Billboards: Abstraction, Attention, Anonymity<\/a>.\u201d In Trans Care<\/a>, 25\u201334. Minneapolis: University of Minnesota Press, 2020.<\/p>\n\n\n\n

10. Built Environments<\/h2>\n\n\n\n

If gender is constructed, what then is the relationship between trans and the built environment? How does trans interface with material infrastructure that is designed to control and capture? How do trans people navigate design, from the binary bathroom that is a site of anti-trans, racialized surveillance to the massive building projects and political economy of the prison system? Furthermore, what does trans architecture look and feel like? What is portended by thinking about the built environment as trans and through trans?<\/p>\n\n\n\n

Beauchamp, Toby. \u201cBathrooms, Borders, and Biometrics.\u201d In Going Stealth: Transgender Politics and U.S. Surveillance Practices<\/em>, 79\u2013106, 155\u201364. Durham, NC, and London: Duke University Press, 2019.<\/p>\n\n\n\n

Crawford, Lucas. \u201cHow to Beat a Straight Flush: D[iller] S[cofidio] + R[enfro]\u2019s Brasserie and the Rhetoric of Transgender \u2018Plumbing.\u2019\u201d In Transgender Architectonics: The Shape of Change in Modernist Space<\/em>, 39\u201365. New York: Routledge, 2016.<\/p>\n\n\n\n

Sanders, Joel, and Susan Stryker, \u201cStalled: Gender-Neutral Public Bathrooms.\u201d SAQ: South Atlantic Quarterly<\/em> 115, no. 4 (October 2016): 779\u201388. See also https:\/\/www.stalled.online<\/a>.<\/p>\n\n\n\n

Halberstam, Jack. \u201cUnbuilding Gender: Trans* Anarchitectures in and beyond the Work of Gordon Matta-Clark<\/a>.\u201d Places Journal<\/em>, October 2018. <\/p>\n\n\n\n

Hayward, Eva. \u201cSpiderwomen.\u201d In Trap Door: Trans Cultural Production and the Politics of Visibility<\/em>, edited by Tourmaline, Eric A. Stanley, and Johanna Burton, 255\u201375. Cambridge, MA: MIT Press, 2017.<\/p>\n\n\n\n

Preciado, Paul B. \u201cMy Trans Body Is an Empty House.\u201d In An Apartment on Uranus: Chronicles of the Crossing<\/em>, translated by Charlotte Mandell, 184\u201386. South Pasadena, CA: Semiotext(e), 2019.<\/p>\n\n\n\n

11. Museums and Curating (with two case studies)<\/h2>\n\n\n\n

The art museum is historically predicated on the mutually reinforcing ideas that the work of art is a present site of aesthetic experience while also being a representative of a context from the past. Both of these positions presume that the work of art makes visible its playing of these roles, but many transgender histories have been tied up with a refusal of scrutiny and visibility. One consequence is that the museum seems to have little place for transgender subjects or, if included, makes them harshly visible as such. In response to this catch-22, trans and travesti artists have conjured their own museums that both redress historical erasure and aim to circumvent the surveillance protocols that tokenize or instrumentalize them. This section includes texts that discuss the roles of institutions and their displays of trans subjects. These are augmented with two case studies of museums created as artworks (but that nevertheless have had an impact as institutions). Chris Vargas\u2019s MOTHA: The Museum of Transgender Hirstory and Art and Giuseppe Campuzano\u2019s El Museo Travesti del Per\u00fa each, in their distinct ways, write history and envision future institutions. As a supplement to these two museum projects, we also include an analysis of a curatorial project that proposes a different answer to the question of trans visibility.<\/p>\n\n\n\n

Tang, Jeannine. \u201cContemporary Art and Critical Transgender Infrastructures.\u201d In Trap Door: Trans Cultural Production and the Politics of Visibility<\/em>, edited by Tourmaline, Eric A. Stanley, and Johanna Burton, 363\u201392. Cambridge, MA: MIT Press, 2017.<\/p>\n\n\n\n

Gossett, Che. \u201cSilhouettes of Defiance: Memorializing Historical Sites of Queer and Transgender Resistance in an Age of Neoliberal Inclusivity.\u201d In The Transgender Studies Reader 2<\/em>, edited by Susan Stryker and Aren Z. Aizura, 580\u201390. London and New York: Routledge, 2013.<\/p>\n\n\n\n

Rizki, Cole. \u201cFamiliar Grammars of Loss and Belonging: Curating Trans Kinship in Post-Dictatorship Argentina.\u201d Journal of Visual Culture<\/em> 19, no. 2 (August 2020): 197\u2013211.<\/p>\n\n\n\n

MOTHA: The Museum of Transgender Hirstory and Art<\/h4>\n\n\n\n

Vargas, Chris. \u201cIntroducing the Museum of Transgender Hirstory and Art.\u201d In Trap Door: Trans Cultural Production and the Politics of Visibility<\/em>, edited by Tourmaline, Eric A. Stanley, and Johanna Burton, 121\u201334. Cambridge, MA: MIT Press, 2017.<\/p>\n\n\n\n

Vargas, Chris. MOTHA: The Museum of Transgender Hirstory and Art<\/a><\/em>, est. 2013.<\/p>\n\n\n\n

Vargas, Chris. \u201cDisembodied States<\/a>\u201d (press release). SFMOMA Open Space<\/em>, April 27, 2016. <\/p>\n\n\n\n

Metzger, Cyle. \u201cChris Vargas\u2019s Consciousness Razing<\/em>: From Forgetting to Futurity<\/a>.\u201d TSQ: Transgender Studies Quarterly<\/em> 7, no. 1 (February 2020): 99\u2013104. [Copyright 2020, Duke University Press. All rights reserved. Republished by permission of the publisher. www.dukeupress.edu<\/a>]<\/p>\n\n\n\n

El Museo Travesti del Per\u00fa<\/h4>\n\n\n\n

Campuzano, Giuseppe. \u201cTransvestite Museum of Peru: Processes of Sexed Art, the Political Body, and the Transvestite Nation<\/a>,\u201d with an introduction by Miguel A. L\u00f3pez. Stedelijk Studies<\/em>, no. 3 (December 2015).<\/p>\n\n\n\n

L\u00f3pez, Miguel. \u201cThe Museo Travesti del Per\u00fa and the Histories We Deserve<\/a>.\u201dVisible Workbook<\/em> 2 (2013). <\/p>\n\n\n\n

\"Photograph
Chris E. Vargas, Transgender Hiroes<\/em> (Promotional Broadside for MOTHA)<\/em>, 2013,
newsprint, 33 x 27 in. (83.8 x 68.6 cm) (artwork \u00a9 Chris E. Vargas)<\/figcaption><\/figure>\n\n\n\n

12. Abolition<\/h2>\n\n\n\n

Trans abolitionist optics are more relevant now than ever. It has been over a decade since the publication of Eric A. Stanley and Nat Smith\u2019s anthology Captive Genders<\/em>, which gathered together activists, scholars, and artists to present a pathbreaking consideration of trans resistance to and analysis of the prison industrial complex. Work in this vein has continued, showing how the prison industrial complex is a technology of anti-Black, settler, anti-queer\/trans violence and premature death\u2014and how this analysis is indispensable for all emancipatory movements.<\/p>\n\n\n\n

Stanley, Eric A. \u201cFugitive Flesh: Gender Self-Determination, Queer Abolition, and Trans Resistance.\u201d In Captive Genders: Trans Embodiment and the Prison Industrial Complex<\/em>, edited by Eric A. Stanley and Nat Smith, 7\u201317. Edinburgh: AK Press, 2011.<\/p>\n\n\n\n

Gossett, Che. \u201cWe Will Not Rest in Peace: AIDS Activism, Black Radicalism, Queer and\/or Trans Resistance.\u201d In Queer Necropolitics<\/em>, edited by Jin Haritaworn, Adi Kuntsman, and Silvia Posocco, 31\u201350. New York: Routledge, 2014.<\/p>\n\n\n\n

Stanley, Eric A., and Dean Spade. \u201cQueering Prison Abolition, Now?\u201d American Quarterly<\/em> 64, no. 1 (2012): 115\u201327.<\/p>\n\n\n\n

Spade, Dean. \u201cThis Is a Protest, Not a Parade<\/a>.\u201d In Normal Life: Administrative Violence, Critical Trans Politics, and the Limits of Law<\/em>, 117\u201338. Durham, NC: Duke University Press, 2015. [Copyright 2011, Dean Spade. All rights reserved. Republished by permission of the publisher. www.dukeupress.edu<\/a>]<\/p>\n\n\n\n

Triburgo, Lorenzo. \u201cThe LGBTQ Voices Propelling Prison Abolition: In Conversation with Lorenzo Triburgo<\/a>,\u201d interview by Pete Brook. Prison Photography<\/em> (blog), April 2, 2018. <\/p>\n\n\n\n

13. The Past in the Present<\/h2>\n\n\n\n

Breaking with the contemporary focus of the syllabus, this section addresses historical episodes of resistance or visualization through which present-day institutions and practices were forged. It looks both to moments when institutional structures were developed through a policing of difference and revolt as well as to episodes in which trans potentiality exceeded such attempts to categorize or make legible. A longer view\u2014that incorporates the past\u2014shows how intertwined trans histories have been in the establishment of discourses of personhood and citizenship.<\/p>\n\n\n\n

DeVun, Leah, and Zeb Tortorici, \u201cTrans, Time, and History.\u201d TSQ: Transgender Studies Quarterly<\/em> 5, no. 4 (November 2018): 518\u201339.<\/p>\n\n\n\n

Return to chapters from C. Riley Snorton, Black on Both Sides<\/em>, read for sections 3 and 6.<\/p>\n\n\n\n

Rand, Erica. \u201cGetting Dressed Up: The Displays of Frank Woodhull and the Policing of Gender.\u201d In The Ellis Island Snow Globe<\/em>, 67\u2013106. Durham, NC, and London: Duke University Press, 2005.<\/p>\n\n\n\n

Awkward-Rich, Cameron. \u201c\u2018She of the Pants and No Voice\u2019: Jack Bee Garland\u2019s Disability Drag.\u201d TSQ: Transgender Studies Quarterly<\/em> 7, no. 1 (February 2020): 20\u201336.<\/p>\n\n\n\n

Adair, Cassius. \u201cLicensing Citizenship: Anti-Blackness, Identification Documents, and Transgender Studies.\u201d American Quarterly<\/em> 71, no. 2 (June 2019): 569\u201394.<\/p>\n\n\n\n

DeVun, Leah. \u201cAnimal Appetites.\u201d GLQ: A Journal of Lesbian and Gay Studies<\/em> 20, no. 4 (2014): 461\u201390.<\/p>\n\n\n\n

Amin, Kadji. \u201cTrans* Plasticity and the Ontology of Race and Species.\u201d Social Text<\/em> 38, no. 2 (June 2020): 49\u201371.<\/p>\n\n\n\n

\"Photograph
Wu Tsang, We Hold Where Study<\/em>, 2017, two-channel HD video, color, sound, 18:56 min.,
installation view, Museum of Modern Art, New York, 2019 (artwork \u00a9 Wu Tsang; photograph by John Wronn)<\/figcaption><\/figure><\/div>\n\n\n\n

14. Collectivities<\/h2>\n\n\n\n

This final section focuses on communities, gatherings, and connections. A thread running through these texts is the importance of collective performance and support, from networks of collaboration to the spaces and times that have enabled community to be visualized, enjoyed, and nourished. Of equal importance is the need to protect such collectivities and the spaces in which they thrive. These texts discuss the acts of renewal, rebuilding, and resistance that counter the endangerment and embattlement of collectivities and their chosen places.<\/p>\n\n\n\n

Davis, Vaginal, and Del LaGrace Volcano in dialogue with Lisa Newman. \u201c\u2018What Have You Done for Me Lately?\u2019: The Institutionalization of Queer Feminist Art Histories.\u201d In Otherwise: Imagining Queer Feminist Art Histories<\/em>, edited by Amelia Jones and Erin Silver, 331\u201339. Manchester: Manchester University Press, 2016.<\/p>\n\n\n\n

Mu\u00f1oz, Jos\u00e9 Esteban. \u201cThe Sense of Wildness: The Brown Commons after Paris Burned.\u201d In The Sense of Brown<\/em>, edited by Joshua Chambers-Letson and Tavia Nyong\u2019o, 128\u201340. Durham, NC, and London: Duke University Press, 2020.<\/p>\n\n\n\n

Hall, Gordon. \u201cParty Friends<\/a>.\u201d In Platforms: Ten Years of Chances Dances<\/em>, edited by Aay Preston-Myint, 150\u201355. Chicago: Gallery 400, University of Illinois at Chicago, 2015.<\/p>\n\n\n\n

Gossett, Che. \u201cPulse, Beat, Rhythm, Cry: Orlando and the Queer and Trans Necropolitics of Loss and Mourning<\/a>.\u201d Verso Blog<\/em>, July 5, 2016. <\/p>\n\n\n\n

Stanley, Eric A., Wu Tsang, and Chris Vargas. \u201cQueer Love Economies: Making Trans\/Feminist Film in Precarious Times.\u201d Women and Performance: A Journal of Feminist Theory<\/em> 23, no. 1 (2013): 66\u201382.<\/p>\n\n\n\n

\n\n\n\n

David J. Getsy<\/a><\/strong> is the Eleanor Shea Professor of Art History at the University of Virginia. His books include Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender<\/em> (Yale University Press, 2015), Queer<\/em> (MIT Press, 2016), and Queer Behavior: Scott Burton and Performance Art<\/em> (University of Chicago Press, forthcoming 2022).<\/p>\n\n\n\n

Che Gossett<\/a><\/strong> is a Black nonbinary femme writer and critical theorist specializing in queer\/trans studies, aesthetic theory, abolitionist thought, and Black studies. They are the Racial Justice Postdoctoral Fellow at Columbia University Law School.<\/p>\n\n\n

<\/div>
  1. See Hil Malatino, Queer Embodiment: Monstrosity, Medical Violence, and Intersex Experience<\/em> (Lincoln: University of Nebraska Press, 2019); Georgiann Davis, Contesting Intersex: The Dubious Diagnosis<\/em> (New York: NYU Press, 2015); Elizabeth Reis, Bodies in Doubt: An American History of Intersex<\/em> (Baltimore: Johns Hopkins University Press, 2009); Katrina Karkazis, Fixing Sex: Intersex, Medical Authority, and Lived Experience<\/em> (Durham, NC: Duke University Press, 2008); Sharon Preves, Intersex and Identity: The Contested Self<\/em> (New Brunswick, NJ: Rutgers University Press, 2003); Anne Fausto-Sterling, Sexing the Body: Gender Politics and the Construction of Sexuality<\/em> (New York: Basic Books, 2000); Suzanne Kessler, Lessons from the Intersexed<\/em> (New Brunswick, NJ: Rutgers University Press, 1998); and Alice Domurat Dreger, Hermaphrodites and the Medical Invention of Sex<\/em> (Cambridge, MA: Harvard University Press, 1998). ↩<\/a><\/span><\/li>
  2. A selection of recent special issues of academic journals is an indication: Amelia Jones, ed., \u201cTrans-ing Performance,\u201d Performance Research<\/em> 21, no. 5 (2016); Rox Samer, ed., \u201cTransgender Media,\u201d Spectator<\/em> 37, no. 2 (2017); Shant\u00e9 Paradigm Smalls and Elliott H. Powell, eds., \u201cBlack Queer and Trans* Aesthetics,\u201d The Black Scholar<\/em> 49, no. 1 (Spring 2019); Dorothy Kim and M. W. Bychowski, eds., \u201cVisions of Medieval Trans Feminism,\u201d Medieval Feminist Forum: Journal for the Society for Medieval Feminist Scholarship<\/em> 55, no. 1 (2019); GPat Patterson and K. J. Rawson, eds., \u201cTransgender Rhetorics,\u201d Peitho<\/em> 22, no. 4 (Summer 2020); and McKenzie Wark, ed., \u201ctrans | femme | aesthetics,\u201d e-flux<\/em> 117 (April 2021). ↩<\/a><\/span><\/li>
  3. See Saidiya Hartman, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America<\/em> (Oxford: Oxford University Press, 1997). ↩<\/a><\/span><\/li>
  4. See also Zakiyyah Iman Jackson, Becoming Human: Matter and Meaning in an Antiblack World<\/em> (New York: NYU Press, 2020). ↩<\/a><\/span><\/li>
  5. Many of the authors draw on the foundational account of opacity in \u00c9douard Glissant, Poetics of Relation<\/em>, 1990, trans. Betsy Wing (Ann Arbor: University of Michigan Press, 1997). ↩<\/a><\/span><\/li><\/ol><\/div>","protected":false},"excerpt":{"rendered":"

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