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“We would write little pamphlets about how cruising was very capitalist,” he explains, “as it breaks up friendships and communities.” He also came to believe that homosexuality might have the power to destroy family based capitalism through promiscuity. His artistic progression began in Canada, where he studied as an undergraduate, came out, began shooting for the local press and campaigned for gay liberation. His photography takes in a surprisingly wide range of styles, from family snaps to accomplished, 35mm black-and-white street reportage, as well as far more complicated collage and text-and-image projects. Indeed, Gupta has a Zelig-like quality when it comes to the story of gay rights, arriving in New York only a few years after the Stonewall riots shooting in London during the grim days of the Aids pandemic and Clause 28 and capturing the more recent struggles in 21st-century India.
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Gay sex club art series#
Untitled #22, 1976, from the series Christopher Street. Besides, my future was laid out: at the right age, your mum and dad found you a spouse.”
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There were boys in the neighbourhood, but it didn’t have a name. “In large Indian families, there is a very strict formality on the surface, but underneath everything goes. “I’d been very sexually active since as far back as I can remember,” he explains. “This American boy: blond hair, blue-eyed, Irish, from Wisconsin.” He didn’t know much about Indians, says Gupta, “but he was very knowledgeable about the streets.” Again, Gupta hadn’t the terminology for what they did together. I learned the whole vocabulary.” His fellow pupils, however, did not yet have the words to describe Gupta. “People used very pejorative terms freely. “There were Greeks and Italians,” he says over a cup of tea in his loft-like apartment and workspace in London. S unil Gupta can remember the names the white schoolkids called each other when he arrived in Montreal in the late 1960s, having moved there from Delhi.