Queer as Comics
– Paul Gravett, Curator“Comics have a long tradition of being subversive: neither art nor literature but using both to make their messages captivate readers. They lend themselves perfectly to queer themes as brilliantly showcased in the exhibition.”
Discover stories of fantasy, identity and resistance, as told by queer comic-makers in this first exhibition of its kind.
Queer as Comics traces comics, strip cartoons, graphic novels and zines that have represented LGBTQIA+ perspectives since the 1940s. From the UK’s first published gay comic strip and the first gay Black superhero, to the self-publishing scenes and webcomics of the present day, this is an exhibition of trailblazers.
Queer artists have used comics to share impactful stories across history, often in defiance of censorship. With most artworks shown for the first time, the exhibition chronicles how comics have acted as a voice for queer communities.
Highlights include drawings from Tove Jansson's 1954 Moomin cartoon strip for the London Evening News and works by other influential creators such as Alison Bechdel, Cath Jackson and Kate Charlesworth.
In the decades following the UK's partial decriminalisation of homosexuality in the 1960s, a vibrant queer press developed, with comic creators satirising queer scenes and making urgent political statements.
Artwork addresses state power, discrimination and bold visions for the future. Tom Robinson's Living with the Big A (1987) was made to advocate for gay rights during the AIDS epidemic.
Today, queer creators continue to expand the medium through ambitious graphic novels and self-publishing. Recent works shown include Anna Trench's tale of women's football and love in the early 20th century, Florrie, and Lee Lai's award-winning story of love lost, Stone Fruit (2021).
Supporters:
Queer as Comics is supported by Cockayne Grants for the Arts, a Donor Advised Fund, held at The Prism Charitable Trust. BSL interpretation for Queer as Comics has been awarded by the Exhibitions Group. It has been created by guest curator Paul Gravett and supported by an Advisory Board panel.
