Female impersonation need say nothing about sexual identity, but it has for a long time been almost an institutionalized aspect of gay male culture.
Although sparse in images documenting the gay community, pre-Stonewall gay male photography blurs the boundaries between art, erotica, and social history.
Given the historic stigma around making, circulating, and possessing overtly homoerotic images, the visual arts have been especially important for providing a socially sanctioned arena for depicting the naked male body and suggesting homoerotic desire.
Independent films that aggressively assert homosexual identity and queer culture, the New Queer Cinema can be seen as the culmination of several developments in American cinema.
Renowned photographer, teacher, critic, editor, and curator, Minor White created some of the most interesting photographs of male nudes of the second half of the twentieth century, but did not exhibit them for fear of scandal.
The first international fashion superstar, Halston dressed and befriended some of America's most glamorous women.
An artistic movement that grew out of Dadaism and flourished in Europe shortly after World War I, Surrealism embraced the idea that art was an expression of the subconscious.
Film, stage, and television actor Paul Winfield was openly gay in his private life, but maintained public silence about his homosexuality.
Gray Foy, an artist who achieved an early reputation for his intricate drawings but later became best known as a fixture on the New York City social and cultural scene, especially during the 1960s and 1970s, died on November 23, 2012.
Margalit Fox in her obituary for Foy in the New York Times says that as a young man "Foy was renowned for two things: his ethereal beauty and his artistic promise. He drew as he lived, in minute, meticulously constructed abundance, and his work resembles that of no other artist."
According to Fox, Foy might spend as much as a year on a single pencil drawing, which might feature "massed forms that seem to rear up out of a shared shadowy past: human limbs and torsos, webs of twisted organic shapes that recall tree roots and leaves."
A 1942 drawing by Foy, "Dimensions," was recently donated to the Museum of Modern Art by actor Steve Martin.
After achieving early success as an artist, Foy was later best known as a "tastemaker, bon vivant, salonnier, partygoer, party-giver, genteel accumulator and perennial fixture of New York cultural life." He died "in the 3,500-square-foot, largely lilac-walled apartment in the Osborne, at 205 West 57th Street, where he had lived since the 1960s in congenial Victorian profusion."
Foy's career as an artist was ultimately eclipsed by the flamboyant social and domestic life he enjoyed with Leo Lerman, his companion of nearly half a century. The two "passed the years in a welter of dinner parties, holiday fetes, black-tie galas and opening nights. This heady whirl is recounted in The Grand Surprise (2007; edited by Stephen Pascal), the posthumous journals of Mr. Lerman, a writer and editor for Condé Nast publications who died in 1994."
The two men entertained such luminaries as Frederick Ashton, George Balanchine, Leonard Bernstein, Paul Bowles, Maria Callas, Truman Capote, Carol Channing, Betty Comden and Adolph Green, Aaron Copland, Marcel Duchamp, Margot Fonteyn, John Gielgud, Martha Graham, Cary Grant, Anaïs Nin, Jacqueline Kennedy Onassis, Edith Sitwell, Susan Sontag, Virgil Thomson, and Anna May Wong.
More information about the salon presided over by Lerman and Foy may be found in a review of The Grand Surprise by Liesl Schillinger in the New York Times Book Review for April 22, 2007.
After Lerman's death, Foy continued "entertaining to the end of his life, giving parties for as many as 100 guests."
Foy married his second longtime companion, Joel Kay, in 2011. Kay is his only survivor.