Mapping of queer space and violence
Massacre – Bodies that Matter
Mapping of queer space and violence – Abstract
Modern architecture’s preoccupation with ‘normality’ has left little room for queer space to come to the fore. Wayne Myslik states “the ‘normality’ of heterosexuality is so deeply ingrained in Western culture that it is not even seen”1(Myslik 1996, p 159). So entrenched is this understanding that there appears little evidence of the public acknowledgment of queer space in the built and public environment. This project centres on redefining the masculine/heterosexual dominance of modernist structures. Inspired by the 1960s Italian architectural group, Superstudio mirrored ‘anti-design grid’ and public spaces, this project presents and realigns space to include the sexual minority. By utilizing the language of modernist maps and architecture that created clean, clinical space free of interpretation, this project counteracts the seemingly accepted view of modernist design and continues my interest in how society continues to humanise modernist/minimalist theory and practice to reflect an interpretation of the individual relating to identity and sexuality.
Keywords: Queer space, Experience maps, Modernist maps and architecture, Art practice, Superstudio
Introduction
Modernist architects sought to create a utopia, free from the confines of past historical styles that rooted architecture in value, wealth and power. Its aim was democratic, looking towards the future. As Cyrus Dahmubed states,
“Historically, architectural, and urban ornamentation existed to make a building’s function and message somehow legible to people who could not read or to present the histories and accomplishments of a city and its people and leaders. Both of these traditions have diminished in the last century through the tug of war between Modernism and Post Modernism (in broad strokes) over symbolism and its value and significance” (Dahmubed 2018, p 76).
Beatriz Colomina’s research on Modernism makes it “vividly clear how the mythology of (modern) architecture has been routinely sanitized of life’s ‘complexities, tensions, and innovations’” and argues “for the potential of a ‘queer’ historiography, one that does not simply ‘make space’ for exception, but one that has come to terms with architecture’s inherent schizophrenias, perversions, and weirdness” (Kotsioris 2020, p 22).
This project focuses on my use of a specific type of modernist map-making and architecture as a framework to construct narratives that modify the architect’s original intentions by creating variant surfaces, environments, and objects. The artworks developed and produced relate to Henry C Beck, the London tube map, 1931 and 1960’s Italian architectural group, Superstudio ‘Anti Design Grid’. The Superstudio Project for Total Urbanisation, The Continuous Monument’ 1969 – 71 (never built) employed large sheets of mirrored glass, steel and concrete in their fictional construction, producing structures that reconfigure the way we perceive public/private, masculine/feminine and queer/straight space. Simultaneously, these maps and structures overshadow the personal and private needs of the individual. I am interested in how I can construct narratives by adding new layers to these structures, in order to, imbue them with personal significance. Through the reconfiguration of Superstudio’s mirrored ‘Anti Design Grid’ and Henry C. Beck’s London Tube map, I envisage how we are able to occupy and personalise these spaces, locations, and objects to our own purposes by highlighting an injustice inflicted upon a sexual minority. The ‘beat’ locations marked in the map drawings in Massacre – Bodies that Matter relates to others who have used these locations as sites for pleasure but may have become locations of homophobic violence resulting in injury or even worse, death1 Likewise, Superstudio’s embrace of anti-historicism, lack of ornamentation and disregard of the individual renders it as a location that can be altered as perceive public/private, masculine/feminine and queer/straight space and as a location of pain and suffering.
My project relates to two areas of interest. First, highlighting the injustices carried out in Sydney, Australia by indicating locations of queer space that is generally hidden from public view via modernist maps. Second, utilising the architectural proposition of Italian architectural group Superstudio’s use of the ‘grid’, I restructured objects and produced installations that create queer space that explore the dialectical relationship between the built environment and myself as a queer male, thus commenting on mass consumerism and sexuality. Throughout this project, the two areas overlap, supporting each other in forming a series of works that provide an ironic twist to the masculine/heterosexual assumption of Superstudio’s buildings and modernist maps.
This project centres on redefining the masculine/heterosexual dominance Superstudio’s The Continuous Monument 1969 – 71 and presents and realigns it with a sexual minority. In early to mid-century modernist architecture masculine/heterosexual dominance was achieved by a radical approach to minimal interior layouts and flat, often white geometrical structural forms. The application of the white surface in or on these structures implies a repression, an editing out of structural or decorative materials that might negate the masculine/heterosexual dominance of the building. By the late 1960s, the white wall was replaced by Supertsudio with the coded masculine/dominant grid-mirrored surfaces whose application of this grid extended the potential of architecture to conceal the possibility for queer space to come into view. Superstudio’s mirrored-glass grid continued the white walls’ repression of the individual’s potential to express an identity in or on their structures. They applied this grid not only to buildings but also to objects, such as furniture that was intended for mass production, further repressing individuality within their structures. The intention of Superstudio’s grid was to create a healthier, sustainable living environment, however, its application suppressed diversity. By applying the grid to objects such as baseball bats, which are repeatedly used in queer bashings, I replace the branding associated with consumer goods that are mass-produced by creating a queer identity for the object.
This project uses the language of modernist maps, design and architecture that highlight the pleasure and pain of queer lives that have been hidden from public view. Modernist maps seek clarity and are devoid of interpretation. Simplicity, legibility and readability are their primary goal. Similarly, modernist architecture devoid of ornamentation employed new materials and technologies that reconfigure the way we perceive public/private, masculine/feminine and queer/straight space. Simultaneously, my work proposes these structures overshadow the personal and private needs of the individual. I am interested in how I can construct narratives by adding new layers to these structures, in order to imbue them with personal significance.
Aims
In this ongoing project, I aim to ‘re-territorialise’ Superstudio ‘The Continuous Monument’ 1969/71 to queer space and utilise modernist maps as a location for queer existence. Architecture in western culture has always ‘played it straight’ as sometimes do queer men, ‘adapting behaviour between gay and straight spaces to hide their sexual identity becomes natural and nearly unconscious’ (Myslik 1996, p. 160). I am particularly interested in how the architects of Superstudio designed structures that maintain an unconscious and unchallenged assumption of patriarchal/heterosexual space. This project is a response to architecture’s heterosexual dominance in the built environment, which has rarely been the focus of visual art practice and how maps can be used to highlight the lives of a sexual minority. Although there has been a greater focus of major museums exhibiting queer artists such as ‘Queer: Stories from the NGV Collection’ (NGV 2022), and few, if any focus on queer space and architecture. From exhibitions such as Queer Space at the Store Front for Art and Architecture in New York and the Wexner Centre’s 1994 ‘House Rules’ to 2021 ‘Designing Out’ at Roca London Gallery and ‘How we live now. Queering Domestic Spaces’ at Barbican Gallery exhibitions have featured artists touching on this subject relating to queer space, however, the purpose of this research is to extend the audience’s engagement with and knowledge of queer space within Supertsudio’s iconic architectural structures and how modernist maps can be utilised to show queer existence.
The Work
Massacre – Bodies that Matter is an ongoing body of works begun in 2018. The artworks created use modernist maps and architecture as a reaction to the senseless bashings and slaughter of gay and transgendered people that took place in Sydney, Australia from the 1970s until the early 2000s. It is a dark stain in Sydney history with ‘some of the attacks ended in hospitalization, and there were also ‘disappearances’ and deaths for gay men or men who were perceived to be gay, and for trans* women. For some, the difference between assault and murder was often slender – good or bad luck’(Wotherspoon 2018, p. 4). Many of the attacks took place on the streets, but others at gay ‘beats’ or even people’s homes but generally hidden from public view. Fuelled by Australia’s criminal laws against homosexual acts that were sanctioned by churches as a mortal sin, the ‘moral’ panic associated with homosexuality became entrenched in Australian society during this period. This resulted in extreme forms of homophobia that ‘came home to roost, with a vengeance, in the latter decades of the 20th century … especially in Sydney’ (Wotherspoon 2018, p. 4).
For most of the 20th century queer life was hidden, taking place in the home or secret hidden public spaces. Following the Second World War, a period of extreme conservatism engulfed Australian society where the family became the focus of what was ‘normal’. This led to a ‘campaign against homosexuality in the 1950s …. seeking to rectify the decline in social discipline that conservatives argued had occurred during the war. Over a few years, there was a sharp increase in the number of people charged with and convicted of homosexual offences’ (Morgain 2004). To be viewed as ‘normal’ invaded all aspects of one life, architecture was no exception. Massacre – Bodies that Matter centres on redefining the masculine/heterosexual dominance of modernist structures and public spaces and presenting and realigning it with a sexual minority that is not hidden.
Modernist maps seek clarity and are devoid of interpretation. Simplicity and readability are their primary goal. Similarly, modernist architecture devoid of ornamentation employed new materials and technologies that reconfigure the way we perceive public/private, masculine/feminine and queer/straight space. Simultaneously, these structures overshadow the personal and private needs of the individual. Massacre – Bodies that Matter constructs narratives by adding new layers to these structures, in order to imbue them with personal significance by highlighting a dark stain in our history towards the LGBTQI+ community.
The mapping of queer lives is a relatively new phenomenon. This has been due to the lack of acknowledgment of queer existence in Australia until the late 20th century. However, queer existence has been evident in Australia since colonisation in 1788, taking place in bars, dance halls, public parks, private residents, etc., but generally hidden from public view. Queer spaces were hidden as homosexual acts were illegal in Australia which enable homophobia to become entrenched in Australian society. Garry Wotherspoon in his submission to the Standing Committee on Social Issues of the Legislative Council of the Parliament of NSW in 2018 stated,
‘The origins of this homophobia go back many centuries. The laws of NSW originated directly from English law, and from 1788 existing English law became the new colony’s law. As one expert on Australia’s constitutional law has more poetically put it, as soon as ‘the original settlers had reached the colony, their invisible and inescapable cargo of English law fell from their shoulders and attached itself to the soil on which they stood’ (Wotherspoon 2018, p. 4).
In 1975, South Australia was the first state to decriminalise homosexuality between men. Other states followed suit throughout the 1980s and 1990s2. Although the Sex Discrimination Act came into effect in 1984 that makes it “unlawful to discriminate on the basis of a person’s sexual orientation, gender identity and intersex status against the law” (Australian Human Rights Commission, 2023), discrimination still exists. In 2014 the Australian Human Rights Commission reported that 6 in 10 queer-identifying people experienced verbal homophobic abuse and 2 in 10 experienced physical homophobic abuse3. Most incidents go unreported, implying the numbers are much higher. In 2021, LGBTIO+ Health Australia reported that “LGBTIQ+ people are two and a half times more likely to have been diagnosed or treated for a mental health condition in the past 12 months”4. This is an unseen epidemic. The artworks created for Massacre – Bodies that Matter highlights various locations with queer memories of pleasure and pain with evidence of modernist architecture and design that seeks to hide such an existence. minority.
From the 1920’s Modernism embraced simplicity and clarity by using flat colour, simple line and the use of sans-serif fonts that revolutionise the way maps were designed enabling maps to “present information about the world in a simple, visual way” (National Geographic 2023). Maps are also used for many purposes such as navigation, understanding spatial trends in data, site selection, and communicating research results. Massacre – Bodies that Matter utilizes map making to create data points pertaining to queer memory/experience of a space both positively and negatively, whether that be a park, a building, a street and record it as a site of queer space
A prime example of the use of modernist principles in design is the London tube map. The modernist principles employed in this map were minimal, clear forms and were simple to follow. Devised in 1931 (first printing 1933) by Henry C. Beck, the London tube map, “dispensed with conventional geographical accuracy, enabling passengers to understand the network more quickly and simply” (London Transport Museum 2023). This modernist design method of simplicity and clarity in the Beck design has become the blueprint for transport maps around the world, including the Sydney train map. This is the style employed in Massacre: Bodies that Matter to highlight queer injustices. Nevertheless, the accuracy of the maps used is not fundamental to the outcome, rather it’s the queer memory attached to a certain location that renders it of importance.
Transport Museum. www.Itmuseum.com.uk
This projectwas partly inspired by the Montreal-based, ‘Queering the Map’5, an online art project that highlights queer existence as experienced by the individual. Utilizing Google Maps, the website is highlighted in pink, the colour used in Nazi Germany to identify “gay men (grouped with pedophiles and rapists) in concentration camps that ‘were marked with a pink triangle, pointed downward, implying a feminized phallus” (Dahmubed 2018, p 72). This symbol was later adopted by the queer community as a sign of resistance and remembrance. The premise behind this site is to provide queer people the opportunity to highlight on a map a location of queer significance to them that is imbued with memory. Created by 25-year-old, Lucas LaRochelle in 2017, the goal was to find a way to signify the significance of a tree where they met their first long-term partner and as a place he ‘eventually returned for a series of “difficult conversations”’(Burke 2018). LaRochelle describes themselves as a ‘multi-disciplinary designer doing work around queer theory, queer bodies and technology, as well as space and architecture’ (Burke 2018). They came to the realisation that the tree signified an evolution in the development of their queer existence and sought a way to signify their existence in the world. In doing so, ‘Queering the Map’ offers a new way to memorialize people and their experiences. It’s also a reminder that for many, queerness is still tied to important physical locations—even if they’re not old bars with rainbow flags hanging above the door” (Burke 2018).
Utilizing Queering the Map’ premise ofmap marking to highlight a location of a significant event, Massacre: Bodies that Matter relates to various locations within Sydney urban environment and beyond where actions have taken place that render them queer. One such location are gay beats or cruising areas. According to Paul Bleakley, “Beats are defined as public spaces which individuals – usually gay men – attend in search of strangers who share their sexual preference that they are then able to participate in sexual acts with, usually in the same public ‘beat space’” (Bleakley 2021 p. 1037). Before decriminalisation of homosexuality in Australia, beats have had an important history in MSM communities and still do. They have served as places of great illicit fun, but also represent some of the locations of the worst violence against gay people6. However, the beat locations marked in Massacre – Bodies that Matter relate to others who have used these locations as sites for pleasure but may have become locations of homophobic violence.
During the 1970s, 80s & 90s in Sydney Australia, a high number of LGBTQI+ people were violently bashed, murdered or disappeared entirely. Although some of these incidents were reported in the gay press and the NSW Anti-Discrimination Board7 at the time many remained unreported to the authorities8 due to cultural and societal attitudes with and within the NSW police force and the wider community tolerance of homosexuality. With the advent of AIDS in the 80s, “a significant media and social response of gay alienation within the context of ‘moral panic’ occurred” (Strike Force Parrabell 2018, p. 13). ‘Beats’ such as toilet blocks, public parks and beaches (Bondi Headlands) where men met other men for sex or social contact became the target of gangs that felt it was their duty to rid and protect the community of such ‘intolerable’ behaviour9. By the late 90s, early 2000s with a growing acceptance within the wider community of homosexuality a series of media reports and research papers emerged within the mainstream press highlighting both the injustice caused to the LGBTQI + community and the entrenched homophobia and failure within the NSW police force that allowed a ‘killing and bashing spree” to take place with little repercussion to the perpetrators10.
American Ph.D. candidate, Scott Johnston was only 27 when he died. “It was December 10, 1988, when Scott’s naked body was found by two rock fishermen at the base of the cliff, near Blue Fish Point, just south of Manly, on Sydney’s northern beaches. Scott’s clothes had been found neatly folded on the clifftop above” (Kontominas 2017) including his pair of Adidas sneakers (This is shown in the Massacre – Bodies that Matter as a wood carving of Nike sneakers). The police deemed it a suicide. Three months later, Coroner Derrick Hand came to the same conclusion. His brother Steve Johnson and boyfriend of five years, Michael Noone were not convinced that this is the case. Both the coroner and police had failed to acknowledge that the location was a well know beat where anti-gay gangs operated and where other gay/hate murders had occurred previously. Scott Johnson murder was solved in 202111.
Inspired by Cuban artist Felix Gonzalez-Torres work “Untitled” (Death by Gun), 1990, ‘Queering the Map’, Superstudio ‘Anti Design Grid’ and Henry C Beck’s London Tube Map, ‘Massacre: Bodies that Matter’ continues my investigation into queer space based on research conducted on the gay killings that took place in Sydney in the late 1970s till 2010. This was a period of extreme distrust by the LGBTQI+ community in the NSW Police Force who symmetrically failed to acknowledge, protect, report, or simply dismiss community concerns. Both the drawings and the work titled Massacre (after Felix) utilise a modernist train map of Sydney to highlight the locations where suspected gay/hate murders took place. This map shows the high number of victims and the fact that a number of murders are unsolved. It also indicates several queer spaces hidden from public view. Although there is conjecture as to whether some of these murders are gay/hate crimes, the fact that were not properly investigated at the time is a dark stain on our history.
Massacre – Bodies that Matter also utilizes Italian architectural group Superstudio mirrored anti design Grid. Based in Florence, Superstudio were a group of young Italian architects who came together in 1966 and were disillusioned with the modernist ideal that had dominated design and architectural discourse since the early twentieth century. When Superstudio suggested in the late 1960s that ‘architecture served to indoctrinate society into an irrelevant culture of consumption, and therefore sought to extract out of architecture all encumbered on man’s ability to live a free life’ (Lang and Menking 2003, p. 13), they proposed a series of ‘histograms of architecture with reference to a grid transportable in diverse areas or scales for the edification of a nature both serene and immobile in which we might finally recognize (re-know) ourselves’ (Lang and Menking 2003, p. 19). Superstudio’s theory for the application of the grid to objects and architecture was to subvert the very notion of design. After all, how can you keep contributing to the proliferation of superfluous objects if everything looks the same?
Superstudio saw the grid as a form of anti-design. For them it was about rediscovering oneself. By homogenising the surface, Superstudio claimed ‘every problem of space and every problem of sensibility’ (Lang and Menking 2003, p. 19) had been removed. This grid is an extension of the early modernists’ application of the white wall in their domestic structures which homogenised the surfaces of these domestic dwellings, maintaining the coded masculine/heterosexual dominance of the buildings. The application of Superstudio’s grid replaced the white wall in continuing the authority of the masculine/heterosexual surfaces of the structure. This dominance continued the repression of the individual and prevented the expression of identity in or on the structure.
What is fascinating about this grid was that it could be applied to chairs, tables, buildings – anything that would remove the notion of elitism through the branding of objects. According to Superstudio, by removing the branding, or commercialization, of that object the notion of status relating to it is also removed. However, in the work Massacre (Disco Glare) the grid is applied to a baseball bat that are repeatedly used in queer bashings and were used in various bashing in and around Sydney, thus removing the branding of the object while extending a queer identity to the object.
Superstudio believed that the grid could provide us with ‘auto pilot’ design. The grid’s application was quick, easy and functional. By using and applying the grid we would have more time to pursue the pleasures of life. The works in Massacre – Bodies that Matter that are created using Superstudio’s grid shows that the grid could be manipulated into various forms. This reverses Superstudio’s intentions of creating one item for all by converting mass-produced objects into individual collectables that indicate status and can be attached to narrative and memory.
The work I am one of God’s mistakes (2007)was made from a standard sheet of flexible construction plywood and mirror perspex. The plywood was chosen because it is a material used in the construction of buildings. On the plywood was placed the positive and negative mirror perspex of the text I am one of God’s mistakes. The text is taken from American photographer/filmmaker Larry Clark’s (1943– ) photograph of a girl holding a book titled I am one of God’s mistakes. The image appeared in his book Tulsa, which was released in 1971. The mirror surface was used in Superstudio’s The Continuous Monument: an Architectural Model for Total Urbanization project in 1969–71, blending their monumental building with the natural environment. However, the intention of using a reflective mirror was to give back a distorted image of ourselves. Many of us are fundamentally concerned with the image we give to others. By looking into the small cut mirrored text we are unable to see an image of ourselves. Our reflection is broken, indicating that we may indeed be ‘one of God’s mistakes’.
Within the right-wing religious world, homosexuality is viewed as a ‘mistake’ – that homosexuality is not a normal human function. This work reclaims the text, ‘I am one of God’s mistakes’ from Clark’s original intention and, using the materials that Superstudio offered, place the quote firmly back in the public domain reflecting straight back at us; that we are here, and we are part of this space. What is intriguing about Superstudio’s concept and presentation for the The Continuous Monument was that their reflective surfaces did not allow for mistakes to take place. It seemed that subcultures, minorities or cultural differences were to be ignored in Superstudio’s utopian world. The work I am one of God’s mistakes is placed leaning against a wall. When you enter a space where it is located your image reflected in the mirrored Perspex. Placed in this position the work and term I am one of God’s mistakes holds a sense of power. Mistakes are what make this world interesting – random or deliberate acts that can claim certain spaces and give a group a voice and an identity. Although there is much merit in Superstudio’s theories, their failure to acknowledge cultural, social, and moral differences in their concepts for architectural change opens up the possibility of re-evaluating their concepts and objects as another consumer product, ready for consumption.
Untitled (Disco Glare) consists ofa mirrored grid baseball bat, referencing Superstudio’s mirrored grid. The use of baseball bats in ‘gay bashings’ has again been highlighted with the bashing to death of Ecuadorian immigrant José Sucuzhanay in New York in late 2008. The implied masculinity of the wood of the object and its connection to the masculinity of the sport of baseball may have something to do with its continued use in gay bashings. But it might just be the convenience of the object that sees it feature prominently in these events. Superstudio’s application of the mirrored grid was to homogenise the surfaces of their buildings and the objects they designed. This resulted in the suppression of the individual to form an identity in or on their structure and objects. By wrapping the baseball bat’s top section in grid mirror tiles, reminiscent of a mirror disco ball, it is connected it to the glitter of the queer party scene. The intention was to remove the branding of an object, change its implied function and turn what many see as a threatening object into an individualised, personalised object.
Conclusion
Massacre – Bodies that Matter brings queer space out of the closet and places it in the public domain. The works show that architecture can be used as a location for the display of alternative lives that indicate a narrative that is not determined by the heterosexual/masculine assumption of modernist buildings. It highlights the injustices done to a minority group and how architecture has played a role in suppressing a sexual minority. It puts queer space on the map, by visualising hidden, intimate spaces that paradoxically and inexplicably are also sites of extreme, horrific, and repeated violence. This project maps violence in queer space and gives voice to those who can no longer speak for themselves. Their bodies, their stories matter; queer space needs to first be seen as well as safe.
Notes
1. For further information on gay murders and bashing refer to the SBS website, ‘The Gay/Hate Decades: 30 Unsolved Murders, https://www.sbs.com.au/gayhatedecades/
2. The decriminalisation of homosexuality in Australia was a state issue rather than a Federal. South Australia was the first in 1975. The Australian Capital Territory in 1978, Victoria in 1980,
https://www.abc.net.au/news/2015-08-24/timeline:-australian-states-decriminalise-male-homosexuality/6719702
3. Australian Human Rights Commission
https://humanrights.gov.au/our-work/education/face-facts-lesbian-gay-bisexual-trans-and-intersex-people
4. LGBTQI+ Health Australia
https://www.lgbtiqhealth.org.au/statistics/
5. Queering the Map. https://www.queeringthemap.com/
6. The history and importance of gay beats, SBS website. ‘https://www.sbs.com.au/topics/pride/agenda/article/2016/10/17/history-and-importance-gay-beats
7. While the onset of HIV/AIDS has been seen as a motivating factor for some of the violence, the start of the violence predates that. A report by the NSW Anti-Discrimination Board in 1982 already highlighted the issue, and over that decade, there was ongoing and increasing violence. In 1990 the Surry Hills police noted a 34% increase in reports of street bashings during that year alone (Wotherspoon 2017).
8. The Gay and Lesbian Rights Lobby and later, the AIDS Council of NSW (now ACON) kept records, usually comprising self-reported incidents of gay-hate violence, that on several occasions amounted to more than 20 entries per day. Unfortunately, fear associated with anti-gay attitudes of officers within the NSW Police Force at the time prevented these reports being formally recorded, which in turn meant that crimes were not investigated (Strike Force Parrabell 2018, p. 14 & 15).
9. This inherent lack of consequences or accountability meant that perpetrators were given a kind of ‘social license’ to continue inflicting violence upon members of the gay community. This phenomenon has been associated with what some perpetrators believed was their moral obligation, driven by poor societal expectations. The Bondi incidents together with similar disappearances and deaths of men in and around beats attracted heightened levels of violence and were often associated with a victim’s sexuality or perceived sexuality (Strike Force Parrabell).
10. During the 1970s, there were ongoing demonstrations in Sydney focusing on what needed to be changed to give homosexuals equal civil rights with their heterosexual counterparts. One of the catchcries of the time was ‘stop police attacks, on gays, women, and blacks’. And this catchcry highlights an important fact: that the police were seen as the enemy by many of these emerging social movements. As for gays, the police had never been sympathetic to their parading through Sydney’s streets. And this antipathy culminated in the notorious first Mardi Gras, on the night of Saturday 24 June 1978; it started out as a peaceful march down Oxford Street from Taylor’s Square to Hyde Park and ended in Kings Cross with police wading into the marchers with their batons, leading to 53 arrests (Wotherspoon 2017).
11. https://www.abc.net.au/news/2022-05-03/scott-johnson-murderer-jailed-for-12-years/101032710
References:
ABC News 2015, Timeline: 22 years between first and last Australian states decriminalising male homosexuality, ABC News website, accessed 2 February 2023. https://www.abc.net.au/news/2015-08-24/timeline:-australian-states-decriminalise-male-homosexuality/6719702
Australian Human Rights Commission 2023, Face the facts: Lesbian, gay, Bisexual, Trans and Intersex People, Australian Human Rights Commission website, accessed 2 February 2023.
https://humanrights.gov.au/our-work/education/face-facts-lesbian-gay-bisexual-trans-and-intersex-people
Australian Human Rights Commission 2023, Face the facts: Lesbian, gay, Bisexual, Trans and Intersex People, Australian Human Rights Commission website, accessed 2 February 2023.
https://humanrights.gov.au/our-work/education/face-facts-lesbian-gay-bisexual-trans-and-intersex-people
Bleakley, P 2021, ‘Fish in a Barrel: Police Targeting of Brisbane’s Ephemeral Gay Spaces in the Pre-Decriminalization Era’, Journal of homosexuality, vol. 68, no. 6, Routledge, United States, pp. 1037–1058.
Burke, S 2018, Find Yourself in the Queer Version of Google Maps, VICE website, accessed 30 January 2023. https://www.vice.com/en/article/ne9kjx/queering-the-map-google-maps-lgtbq
Carlson, D 2012, The education of eros: a history of education and the problem of adolescent sexuality, Routledge, New York.
Dahmubed, C 2018, ‘Memorializing queer space’, Crit, no. 83, pp. 71-78.
Kidd, J 2012, Every Day of my Life is Like a Page. The Literary Review, Issue 400. Tom Phillips. Accessed 15 February 2023. https://www.tomphillips.co.uk/humument/essays/item/5858-every-day-of-my-life-is-like-a-page-by-james-kidd
Kontominas, B 2017. ‘Scott Johnson: Inside one brother’s 30-year fight to find the truth’. The Age. Accessed 14 February 2023.
https://www.abc.net.au/news/2017-11-30/scott-johnson-inside-brothers-fight-to-find-the-truth/9211466
Kontominas, B 2017. ‘Scott Johnson: Inside one brother’s 30-year fight to find the truth’. The Age. Accessed 14 February 2023.
https://www.abc.net.au/news/2017-11-30/scott-johnson-inside-brothers-fight-to-find-the-truth/9211466
Lang, P and Menking, W 2003, Superstudio, Life without Objects, Skira: New York.
LGBTQI+ Health Australia 2021, Snapshot of Mental Health and Suicide Prevention Statistics for LGBTIQ+ People, LGBTQI+ Health Australia website, accessed 2 February 2023. https://www.lgbtiqhealth.org.au/statistics/
London Transport Museum 2023, Mapping London: the iconic Tube map. London Transport Museum website, accessed 1 February 2023. https://www.ltmuseum.co.uk/collections/stories/design/mapping-london-iconic-tube-map
Morgain, R. 2004. Sexual liberation: fighting lesbian and gay oppression. Australian National University Publications https://openresearch-repository.anu.edu.au/handle/1885/42704
Myslik, D W 1996, ‘Renegotiating the Social/Sexual Identities of Places: Gay communities as safe havens or sites of resistance?’, in Duncan, N (ed.), Bodyspace, Destabilizing geographies of gender and sexuality, Routledge, London and New York.
National Geographic 2023, Map, National Geographic website, accessed 2 February 2023. https://education.nationalgeographic.org/resource/map
Oswin, N. (2008) ‘Critical geographies and the uses of sexuality: deconstructing queer space’, Progress in Human Geography, 32(1), pp. 89–103. doi:10.1177/0309132507085213.
Sanders, J 2020 (Reissue), Stud: Architectures of Masculinity, Taylor & Francis Group, Milton.
SBS 2016, The history and importance of gay beats, SBS website, accessed 6 February 2023. https://www.sbs.com.au/topics/pride/agenda/article/2016/10/17/history-and-importance-gay-beats
Strike Force Parrabell 2018, New South Wales Police Force. viewed November 11 2022, https://www.police.nsw.gov.au/safety_and_prevention/your_community/working_with_lgbtqia/lgbtqia_accordian/strike_force_parrabell
Wotherspoon, G 2017, Gay Hate Crimes in New South Wales from the 1970s, viewed 11th November 2022, https://www.acon.org.au/wp-content/uploads/2018/05/In-Pursuit-of-Truth-and-Justice-Report-FINAL-220518.pdf.
Wotherspoon, G 2018, Inquiry into Gay and Transgender Hate Crimes Between 1970 and 2010. Submission to the Standing Committee on Social Issues of the Legislative Council of the Parliament of NSW, viewed 20 February 2023, https://www.parliament.nsw.gov.au/lcdocs/submissions/62547/Mr%20Gary%20Wotherspoon%20submission.pdf