Porpentine Charity Heartscape, Jacolby Satterwhite Neotenomie, and Sloane Reifying Desire 6: Island of Treasure, 2014 Psycho Nymph Exile, 2016 HD digital video Novella, 40 sticky eyes, CG poem 00:24:15 Probiotics River Therapy Courtesy of the and Moran CG poem courtesy of Porpentine Bondaroff, Charity Heartscape, Neotenomie Novella courtesy of Porpentine Charity Heartscape, Neotenomie (layout), and Sloan (cover art) In this video, Satterwhite’s digital avatar has Sticky Eyes courtesy of Porpentine sex with his partner, performs choreographed Charity Heartscape, Neotenomie dance sequences, practices martial arts, and vogues. The full range of Satterwhite’s physicality is brought to bear as a way of In the words of the , Psycho Nymph Exile is, negotiating the ephemeral world of images and “A post-anime gurowave trauma-romance memories in this animated utopian story. novella about a disgraced biomech and her girlfriend, an ex-magical girl.” This work requires the viewer to explore and assemble the story from media fragments. Chitra Ganesh Edie Fake Pussy Riot, 2015 Sugar in the Tank, 2015 Acrylic, faux flower petals, textiles, tinted plastic, Ink and gouache on paper rope, broken mirror, faux fur, leather, glitter, glass Courtesy of Western Exhibitions Freese Family Collection Collection of Shannon Stratton, Queens, NY

The feminist punk band and masked protest “Sugar in the Tank” is slang for queer people, group, Pussy Riot, was made famous by sometimes meant sweetly, often not. Fake’s their political imprisonment in Putin’s drawing focuses the unruly energy of that . This , created as part of term to power this image resembling a Ganesh’s “Protest Fantasies” series, fantastic circuit or Rube Goldberg machine. re-imagines the Caucasian members of Pussy Riot as women of color sitting on a lotus in relaxed solidarity. Zanele Muholi Celeste Dupuy-Spencer Zibuyile I, Syracuse, 2015, 2015 Celebrity, 2012 Silver gelatin print Oil on canvas

Courtesy of Yancey Richardson and the artist Courtesy of the artist and MIER GALLERY, Los Angeles

Photographer Zanele Muholi’s portraits document the LBGTQ communities of South Africa. Her The nuclear family has not always been the cradle latest series turns the camera on herself. These of queer identity and is all-too-often a hostile images mix ethnographic tropes with improvised environment. Queer people often find home in futuristic elements that lampoon stereotypes “families of choice” – communes, clubs, friends while simultaneously creating new personas. – where solidarity can come from something as humble as playing a party game like “celebrity.” Sameer Farooq Tseng Kwong Chi Speculative Archives: An Index, 2014 Brasilia, Brasil, 1984, 1984 Bookwork, hardcover, perfect From the East Meets West a.k.a bound, 148pp., photo inserts The Expeditionary Self-Portrait Series: 1979-1989 Silver gelatin print Courtesy of the artist Courtesy of Muna Tseng Dance Projects

As much as a place or even a destination, utopia is the activity of stepping outside of regular Brasilia, capital of Brazil, was planned as a society to imagine alternatives. Recasting the shining utopia built on a mountain. Today it is past or reinventing how history is recorded ringed with shantytowns. Chinese-American can be a powerful way to imagine the future. photographer, Tseng Kwong Chi appears in Brasilia dressed in a Mao suit, colliding and queering two Modernist utopian visions. Tejal Shah David Gremard Romero Between the Waves – Secret, 2013 The Creation of the First Men, 2016 Digital print on archival paper Giclée print

Courtesy of the artist, Barbara Gross Galerie, Courtesy of the artist Munich, and Project 88, Mumbai

Romero moved from L.A. to Mexico City and Sometimes utopia cannot be doled out in immersed himself in studying the Tonalamatl, a small increments; it explodes fully formed Pre-Columbian book of divination and numerology. like a world being born. Shah’s world uses Romero’s artworks are not historic reproductions, classical aesthetic strategies – a crowded but re-imagined and queered renderings of composition of quasi-figurative scenes mythological reality. This drawing shows Xolotl, unfolding - to suggest a narrative. But their the creator/trickster, at the dawn of humanity. epic story is like nothing we’ve seen before. Kevin McCarty Harmony Hammond Catch One, 2004 Erasure #2, 2002 C-print Mixed media on archival board

ONE National Gay & Lesbian Archives at the Courtesy of the artist and USC Libraries, University of Southern California Alexander Grey Associates, New York, NY

McCarty’s photographic series, Chameleon Several artists declined the invitation of Harmony Club, depicts stages from queer spaces, Hammond to appear in her book Lesbian Art in particularly drag bars, in Los Angeles. The America: A Contemporary History. Reading these hubcap banners in this image typify the as acts of self-censorship that contribute to the improvisation and humor that nuance the more larger erasure of lesbian art, Hammond turns their radical aspects of the stage as drag-utopia. letters into oversized spaces for making a mark. Arch Connelly Deborah Kass Leaf, 1984 Nobody Puts Baby In The Corner, 2006 Acrylic, pearls, costume jewelry, wood, Formica Oil and acrylic on canvas

Collection of Jimmy Wright Private collection

In Connelly’s evocative Pop Art, everyday “Nobody puts baby in the corner,” a line from objects are smothered in lustrous, rococo the 1987 straight romantic movie Dirty Dancing surfaces of cheap, faux pearls and gems for has become a coded queer catchphrase of an effect that has been described as both emancipation. Kass inscribes the wry aspirational and abject – or “flashy and trashy.” of this line on a painting in the canonical style of (straight, male-dominated) Modernism. Andy Warhol Vanessa German Ladies and Gentlemen, 1975 My migrating soul with the prize blue ribbon Screenprint on Arches paper or kick push kick push, 2014 2 decorative ship models, doll parts, cloth, twine, Samek Art Museum Collection fear, hair grease, tar, love, skateboard, white Gift of The Andy Warhol Foundation beads, homewood beads, rhinestones for the eyes, for the , Inc. mirror, antique blue ticking, the ocean, slavery on 2014.1.3 an everyday basis as made real and present by the reality of white supremacy, righteous clarity, keys, coffee tins, stomach mirror, old jr. navigators This print series depicts gender-fluid New York flashlight, white porcelain doll heads from the drag queens. Warhol’s use of repetition (repeated bombed out doll factories in Germany, the journey images, reproduced prints) has been described as from rage to understanding, the journey from a cynical response to mass culture. Seen through compassion for everyone else to compassion Warhol’s own queerness, however, repetition for myself, the journey from lies to truth, the is not numbing sameness, but iteration — actualization of justice as national migration, old the do-over as a chance for something new. natty quilt parts, pain, and horror and how it feels to know that no one is actually on your side, being blamed for it, pure lard tin, red skateboard

Courtesy of the artist and Pavel Zoubok Gallery, New York Dave Kube SUPERM (Slava Mogutin + Brian Kenny) Responsibility/Discourse, 2015 MOTHERFUCKERS, 2011 Print Found text, tape, cardboard, frame

Courtesy of the artist Courtesy of the artist

Pennsylvania artist Dave Kube’s print interweaves Slava Mogutin was exiled from Russia for his queer two quotes (from Michel Foucault’s History activism and became the first Russian granted of Sexuality and Samuel Delany’s Some political asylum in the U.S. on the grounds of Queer Notions About Race) through which homophobic persecution. He joined forces with you glimpse the hairy skin of the bodies American Brian Kenny to form the art duo SUPERM. that bear the consequences of both. METROPOLARITY Abdu Ali You Have Four Messages Keep Movin’ [Negro Kai] 2014 2015 Zine, 3 audio messages Video 00:03:36 Courtesy of the artist Courtesy of the artist and Ghost Drank

Utopia is often a geographic allegory, but it can also alter our sense of time and history. Keep Movin’, by Baltimore-based Abdu Ali, Sent by Metropolarity, the Philadelphia- features the artist’s vocal anthem behind a torrent based Afrofuturist artist collective, this sound of hallucinogenic images. The psychological artwork is comprised of messages sent from energy and unyielding forward momentum the future flowing backward into the past. suggest that utopia is not a fixed point on a map but rather a perpetual state of becoming. Amir Nikravan Rep/Set 3, 2014 Acrylic on fabric over aluminum

Courtesy of the artist and Various Small Fires, Los Angeles

Nikraven’s Rep/Set 3 does not depict a queer or utopian subject in the figurative sense but those sensibilities are at work in the use of materials and other aesthetic strategies. For instance, the crowded concentric lines suggest Warhol’s use of repetition or the power of the collective. Daniel Nicoletta Ugo Rondinone Tattoo Mike Wilson, September 23, 1985 The Stillness, 2014 1985, printed 2016 Acrylic on wood, plexiglass Inkjet print Courtesy of the artist and Gladstone Courtesy of the artist Gallery, New York and Brussels

Daniel Nicoletta began as a Translated from Greek literally, utopia means “no intern for Advocate Magazine and chronicled place,” emphasizing its fictional or unreachable the queer sub-cultures of San Francisco in status. Painting has been referred to as a portal the 1970-80s. He later became involved in or window. When the “window” of art is painted Harvey Milk’s campaign to become one of over, are we left to our imagination? Or are we left the first openly gay elected politicians. in the stillness of nowhere? Caroline Wells Chandler Diego Montoya Simone, 2016 Portal, 2016 Hand crocheted assorted wool Mixed media

Kathy, 2016 Courtesy of the artist Hand crocheted assorted wool

Stacey, 2016 The stage represents a critical social space Hand crocheted assorted wool in queer culture. It is a utopian space, set aside from everyday society. It offers acts Courtesy of the artist of artistry and rebellion and serves as a gathering point for communities.

Simone, Kathy, and Stacey are genderqueer superheroes. The vertical pink stripe they feature may stand in for male or female genitals or for the scars of sex reassignment surgery. Their ambiguity – and others’ need to fixate – is unimportant, subsumed by the joy they express. Jordan Eagles (in collaboration with Daryl Vocat Johnny Cota of SKINGRAFT) What Obligation Do They Carry?, 2011 Blood Flag, 2015 Cut aluminum Sublimation print of red blood cells and thread stained in blood of Oliver Anene, Blue Bayer, Created with funding support from Howard Grossman, M.D., Kelsey Louie, Lawrence the Toronto Arts Council D. Mass, M.D., Reverend John Moody, Loren Rice, Ty Spicha, CPT Anthony Woods, grommet Vocat’s artworks often present children as Courtesy of the artist (in collaboration with allegorical figures representing, simultaneously, Johnny Cota of SKINGRAFT) our past and the future. This uncanny image coupled with the work’s title suggest that Leo Herrera something may be amiss with both. Has the future Blood Mirror 1, 2015 Blood Mirror 2, 2016 been slimed? Video Video 00:06:04 00:04:20

Courtesy of the artist Guest-curated by the Bucknell student Gender Sexuality Alliance

At the onset of the AIDS crisis, gay and bisexual men in America were banned from donating blood. Despite advances in blood screening, that ban remains in place. This protest art suggests that utopia is not found in books but in our bodies, in our blood. Untitled (Band of Bikers), 1972 Color photographs

Courtesy of Scott Zieher and ZieherSmith New York

“In the spring of 1999, I was doing laundry when my superintendent greeted me coming off the basement elevator with the estate of a man who’d recently passed away. He had apparently lived on my floor, though I’d never seen any elderly neighbors. I had no prior knowledge of this apartment, but its contents lay before me in a human-sized pile on the garbage room floor. It was an entire, pristine life in the trash, and I couldn’t resist the temptation to rescue something…

…Leafing through the weathered, chartreuse photo album was like an instant visual forge – an endearing life emerged from a few casual weekends’ shutter-bugging. Taxonomic in their ordered precision, a homosexual man suddenly became whole from the woodsy mise-en-scène provided by his Kodachrome, evidenced in the way he consecrated his memories; in the beautiful smiles of the men with whom he shared his weekend. Another envelope with earlier black-and-white photographs added a further mystique. From the scatter on my building’s basement floor, the liquidation of a leftover life, came this commemoration, Band of Bikers.”

Scott Zieher, author of Band of Bikers Untitled (Hermitage), circa 2015 Digital color photographs

Courtesy of The Hermitage

“The Hermitage spiritual center established in 1988 by Zephram de Colebi and Johannes Zinzendorf. Living as hermits, the men are Harmonists, unifying earth and spirit through the creation of harmony and beauty. They see the earth as incarnated spirit and both sacred and family.

Their original goal was recreating an 18th century Moravian brotherhood from the Lehigh Valley under the leadership of Christian (Christel) Renatus von Zinzendorf, who lived in Europe. Same sex affiliated, Christel developed rituals in which he, as the vessel of Christ, became the Divine Bridegroom in sacred marriage to his brother Brides. Stripped of his posts by his father and accused of apostasy and heresy, Christel died at twenty-four and his brothers were sent to the Pennsylvania wilderness. They established a community in his name and believed he lived again in a sacred spring which remains the primary Harmonist mystery.

The Hermitage is a center for crafts, historic log and timber-frame buildings and the Mahantongo Heritage Center, the only museum dedicated to the Pennsylvania German traditions of the Mahantongo Valley. Tours are scheduled by appointment. www.attheHermitage.org”

Brother Johannes