Form and Function: Art from Another Point of View (PopMatters) 
A painting of the Virgin Mary about to lip-lock with the Virgen de Guadalupe. A photograph of two shirtless gay Muslim men sitting on a bed wearing masks of Mohammed and his son-in-law, Ali. A dinner plate with a drawing of a nude muscular man, legs in the air with blue roses blooming out of his butt. A close-up picture of two female mouths, each with perfect, brilliantly white teeth and luscious shades of lipstick, one set of teeth biting the lower lip of the other. A bronze statue of two nude women embracing, while a nude male fondles one of the women from behind.
Mention the term “LGBT art” and for some what comes to mind are images of nude or scantily clad buff men or sleek women engaged in various acts of self or mutual gratification. Ask these same people the name of a contemporary LGBT artist and many will reply with Robert Mapplethorpe, if they can answer at all. They know Mapplethorpe’s name, if not his art, because the late photographer made the news when censorship of his work raised important questions about artistic freedom. For these individuals, “controversial”, “salacious” and “LGBT art” are synonymous.
Those who are more culturally aware recognize that the works produced by LGBT artists are just like those produced by straight artists: some will illicit controversy, some will inspire, some will dazzle, and far too many will waste paint or clay and become dust collectors in the homes of people who look at the paintings in motel rooms and say, “That would look good over the sofa.” Much of what is available at street fairs, swap meets, and flea markets falls into the last category. If you ever feel compelled to decorate your home with labia-inspired ceramic flowers or the latest drawing from the latest guy who thinks he’s the new Tom of Finland, your local gay pride fair will likely meet all your decorating needs.
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Complete article at Pop Matters : http://bit.ly/fdzo7W
