Thomas Eakins, Salutat, 1898, oil on canvas. Courtesy Tacoma Art Museum.
Thomas Eakins, Salutat, 1898, oil on canvas. Courtesy Tacoma Art Museum.
Thomas Eakins, Walt Whitman, 1891 (printed 1979), platinum print, 4 1/16 × 4 13/16 in. Courtesy National Portrait Gallery.
The oldest work in Hide/Seek captures the legendary literary, who had a younger lover in Peter Doyle, at an advanced age.
Thomas Eakins, Walt Whitman, 1891 (printed 1979), platinum print, 4 1/16 × 4 13/16 in. Courtesy National Portrait Gallery.
The oldest work in Hide/Seek captures the legendary literary, who had a younger lover in Peter Doyle, at an advanced age.
Andy Warhol, Camouflage Self-Portrait, 1986, synthetic polymer paint and silkscreen on canvas, 80.5 × 76 in. Courtesy Philadelphia Museum of Art.
Warhol played with the notion of being disguised in a self-portrait by wearing a wig, and then imposing that image over the camouflage backdrop.
Andy Warhol, Camouflage Self-Portrait, 1986, synthetic polymer paint and silkscreen on canvas, 80.5 × 76 in. Courtesy Philadelphia Museum of Art.
Warhol played with the notion of being disguised in a self-portrait by wearing a wig, and then imposing that image over the camouflage backdrop.
Marsden Hartley, Painting No. 47, Berlin, 1914-1915, oil on canvas. Courtesy Hirshhorn Museum and Sculpture Garden, Smithsonian Institute.
This abstract modernist portrait is a heavily coded memorial to Hartley’s lover Karl von Freyburg, a soldier who died in World War I.
Marsden Hartley, Painting No. 47, Berlin, 1914-1915, oil on canvas. Courtesy Hirshhorn Museum and Sculpture Garden, Smithsonian Institute.
This abstract modernist portrait is a heavily coded memorial to Hartley’s lover Karl von Freyburg, a soldier who died in World War I.
Berenice Abbott, Janet Flanner, 1927, photographic print. Courtesy Library of Congress.
This Abbott photo of New Yorker contributor Janet Flanner showcases how easy it is to disguise one’s self; two masks are on the ready to do just that.
Berenice Abbott, Janet Flanner, 1927, photographic print. Courtesy Library of Congress.
This Abbott photo of New Yorker contributor Janet Flanner showcases how easy it is to disguise one’s self; two masks are on the ready to do just that.
Florine Stettheimer, Portrait of Marcel Duchamp, circa 1925, oil on canvas, 24 1/4 × 24 1/2 in. Photo courtesy David Stansbury / Michele and Donald D’Amour Museum, Massachusetts.
Duchamp was an serious supporter of Stettheimer, who imagines him here as a disembodied, androgynous head.
Florine Stettheimer, Portrait of Marcel Duchamp, circa 1925, oil on canvas, 24 1/4 × 24 1/2 in. Photo courtesy David Stansbury / Michele and Donald D’Amour Museum, Massachusetts.
Duchamp was an serious supporter of Stettheimer, who imagines him here as a disembodied, androgynous head.
Alice Neel, Frank O’Hara, 1960, oil on canvas, 33 3/4 × 16 × 1 in. Courtesy National Portrait Gallery.
While Frank O’Hara’s poetry was relaxed and personal, the noted gay pen hid a seriousness that Neel captures here.
Alice Neel, Frank O’Hara, 1960, oil on canvas, 33 3/4 × 16 × 1 in. Courtesy National Portrait Gallery.
While Frank O’Hara’s poetry was relaxed and personal, the noted gay pen hid a seriousness that Neel captures here.
Peter Hujar, Susan Sontag, 1975, gelatin silver print. Courtesy National Portrait Gallery.
Hujar’s relationship with Sontag allowed him to capture the intellectual force in an unguarded, almost vulnerable state that she would never display in public.
Peter Hujar, Susan Sontag, 1975, gelatin silver print. Courtesy National Portrait Gallery.
Hujar’s relationship with Sontag allowed him to capture the intellectual force in an unguarded, almost vulnerable state that she would never display in public.
Cass Bird, I Look Just Like My Daddy, 2003 (printed 2010), C-41 print. Courtesy of the artist.
It takes a second to register that this gender-bending photograph taken by Bird on a Brooklyn rooftop is actually one of Bird’s female friends, Macaulay.
Cass Bird, I Look Just Like My Daddy, 2003 (printed 2010), C-41 print. Courtesy of the artist.
It takes a second to register that this gender-bending photograph taken by Bird on a Brooklyn rooftop is actually one of Bird’s female friends, Macaulay.
Tacoma is days away from opening the art world’s most-talked about exhibit from the past few years. Hide/Seek, the first major museum exhibit addressing homosexuality’s impact on American art, was originally displayed at the Smithsonian’s National Portrait Gallery and caused an uproar when it opened. The controversy arose over David Wojnarowicz’s A Fire In My Belly, an unfinished 8mm film that features an image of ants crawling on a crucifix…
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