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Condition Verified: On Photography, Trans Visibility, and Legacies of the Clinic

1
The Department of Gender Studies, University of Victoria, Victoria, BC V8P 5C2, Canada
2
Department of American Studies & Ethnicity, University of Southern California, Los Angeles, CA 90089, USA
*
Author to whom correspondence should be addressed.
Arts 2019, 8(4), 150; https://doi.org/10.3390/arts8040150
Received: 1 September 2019 / Revised: 28 October 2019 / Accepted: 31 October 2019 / Published: 13 November 2019
(This article belongs to the Special Issue Psychology and Mental Health in Contemporary Art)
We approach this paper with a shared investment in historical and contemporary representations of trans and gender non-conforming people, and our individual research in the archives of early US Gender Clinics. Together, we consider what is at stake—or what might be possible—when we connect legacies of photography used as diagnostic tools in gender clinics with snapshots of early, community-based gatherings, and the presence of trans people in contemporary art. From the archives of Robert J. Stoller and photos of Casa Susanna, to the collaborative photography of Zackary Drucker and Amos Mac, and the biometric data art-theory experiments of Zach Blas, we engage a series of image-based projects, which animate underlying questions and socio-political debates about the politics of visuality, and visibility’s impact on trans and gender non-conforming people. Moreover, we argue that rhetorical strategies of proof—from conditions verified in clinics to shared existence through photography—are tethered to, and thus trapped by, the logics and discipline of legibility and re-institutionalization. View Full-Text
Keywords: gender clinics; photography; transgender; Robert J. Stoller; visibility; opacity; Casa Susanna; Zackary Drucker; Amos Mac gender clinics; photography; transgender; Robert J. Stoller; visibility; opacity; Casa Susanna; Zackary Drucker; Amos Mac
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Joynt, C.; Harsin Drager, E. Condition Verified: On Photography, Trans Visibility, and Legacies of the Clinic. Arts 2019, 8, 150.

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