正是在这个动荡背景下,旧金山市监事哈维•米尔克(Harvey Milk),即第一个在加利福尼亚公开同性恋身份的公职人员,鼓励贝克在 1977 年设计一个同性恋社区的独特象征,一种能够肯定其社会独立性的骄傲标志。贝克曾断言,“旗帜是力量的宣言。”作为易装皇后(即男扮女装者),贝克对 70 年代华丽服装的痴迷大于赚钱的诱惑,他后来成为使用缝纫机的能手,并将这种技能用于随后的政治旗帜生产中。从贾斯培•琼斯(Jasper Johns)昂贵的波普艺术绘画到破旧的牛仔布补丁,贝克着迷于美国国旗的护身符力量及其在艺术和时尚领域自我蜕变的能力,他也被这种多个堆叠条纹合为一体的符号的迷惑性简单艺术所深深吸引。
In contemplating how, precisely, he should reinvent that pattern, Baker was aware that any design he produced would compete in popular imagination with a painful, if resilient, logo by which the gay community had long been identified. In Nazi concentration camps, men imprisoned because of their homosexuality were marked out by a pink triangle affixed to their clothing. In the decades following the end of World War Two, gay communities around the world stripped the pink badge of its intended humiliation and defiantly re-inflected it with pride. But however heroic that reclamation of meaning may have been, in Baker’s mind the symbol was still haunted by the ghosts of Hitler and the Holocaust. The gay community, he believed, deserved a fabulous emblem entirely of its own fashioning. “We needed something beautiful,” Baker concluded, “something from us.”
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