Queering Utopia: ACT up and the Disruption of Heteronormativity
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PUBLIC DRAFT MAY 2019 Was Created By
PUBLIC DRAFT MAY 2019 was created by: MISSOULA DOWNTOWN ASSOCIATION BUSINESS IMPROVEMENT DISTRICT MISSOULA DOWNTOWN FOUNDATION The Downtown Missoula Partnership Dover, Kohl & Partners a collaboration of: planning team lead | town planning & urban design The Downtown Business Improvement District of Missoula Six Pony Hitch branding and outreach Missoula Downtown Association Territorial Landworks Missoula Downtown Foundation infrastructure Other major partners on this project include: Kimley Horn parking Missoula Redevelopment Agency Charlier Associates, Inc. Missoula Parking Commission transportation City of Missoula Cascadia Partners scenario planning Gibbs Planning Group retail market analysis Daedalus Advisory Services economics Urban Advantage photo simulations ... and thousands of participants from the Missoula community! Missoula’s Downtown Master Plan | Draft Steering Committee Our thanks to the following leaders who guided this process through the Master Plan Steering Committee and Technical Advisory Committee: Ellen Buchanan, Chair, Missoula Redevelopment Mike Haynes, Development Services Director Agency Donna Gaukler, Missoula Parks & Recreation Director Matt Ellis, Co-Chair, MDA & MPC Board Member Jim McLeod, Farran Realty Partners Owner Dale Bickell, City Chief Administrative Officer Eran Pehan, Housing & Community Development Dan Cederberg, Property Owner; BID Board, MDF Director Board Dave Strohmaier, Missoula County Commissioner Nick Checota, Property/Business Owner; Arts & Bryan Von Lossberg, Missoula City Council Entertainment -
LGBT History
LGBT History Just like any other marginalized group that has had to fight for acceptance and equal rights, the LGBT community has a history of events that have impacted the community. This is a collection of some of the major happenings in the LGBT community during the 20th century through today. It is broken up into three sections: Pre-Stonewall, Stonewall, and Post-Stonewall. This is because the move toward equality shifted dramatically after the Stonewall Riots. Please note this is not a comprehensive list. Pre-Stonewall 1913 Alfred Redl, head of Austrian Intelligence, committed suicide after being identified as a Russian double agent and a homosexual. His widely-published arrest gave birth to the notion that homosexuals are security risks. 1919 Magnus Hirschfeld founded the Institute for Sexology in Berlin. One of the primary focuses of this institute was civil rights for women and gay people. 1933 On January 30, Adolf Hitler banned the gay press in Germany. In that same year, Magnus Herschfeld’s Institute for Sexology was raided and over 12,000 books, periodicals, works of art and other materials were burned. Many of these items were completely irreplaceable. 1934 Gay people were beginning to be rounded up from German-occupied countries and sent to concentration camps. Just as Jews were made to wear the Star of David on the prison uniforms, gay people were required to wear a pink triangle. WWII Becomes a time of “great awakening” for queer people in the United States. The homosocial environments created by the military and number of women working outside the home provide greater opportunity for people to explore their sexuality. -
WGSS 392Q Introduction to Queer Theory Spring 2017
1 WGSS 392Q Introduction to Queer Theory Spring 2017 Tuesday & Thursday, 1:00-2:15 PM Class room: South College W101 Dr. J. Jeanine Ruhsam [email protected] Office Hours: T-TR. 10:00-11:15 AM Office: South College W421 Course Description Queer Theory critically examines the way power works to institutionalize and legitimate certain forms and expressions of sexuality and gender while stigmatizing others. Queer Theory followed the emergence and popularity of Gay and Lesbian (now, LGBT or Queer) Studies in the academy. Whereas LGBT Studies seeks to analyze LGBT people as stable identities, Queer Theory problematizes and challenges rigid identity categories, norms of sexuality and gender and the oppression and violence that such hegemonic norms justify. Often considered the "deconstruction" of LGBT studies, Queer Theory destabilizes sexual and gender identities allowing and encouraging multiple, unfettered interpretations of cultural phenomena. It predicates that all sexual behaviors and gender expressions, all concepts linking such to prescribed, associated identities, and their categorization into “normal” or “deviant” sexualities or gender, are constructed socially and generate modes of social meaning. Queer theory follows and expands upon feminist theory by refusing the belief that sexuality and gender identity are essentialist categories determined by biology that can thus be empirically judged by fixed standards of morality and “truth.” We will begin the course by developing a critical understanding of Queer Theory through reading foundational texts by Michel Foucault, Judith Butler, Eve Sedgwick, Gayle Rubin and Leo Bersani. We will then examine the relationships between Queer Theory and other social and cultural theories that probe and critique power, privilege, and normativity, including critical race theory, transgender studies, feminist theory, and disability studies. -
An Unreconstructed Ode to Eve Sedgwick (And Others) Brenda Cossman
Queering Queer Legal Studies: An Unreconstructed Ode to Eve Sedgwick (and Others) Brenda Cossman Abstract The essay explores the extant field queer legal studies and maps the multiple meanings of “queer” deployed within it. I distinguish queer from LGBT, but resist any further disciplining of the term. I propose instead an understanding of queer legal studies as a sensibility. Neither a prescription nor a pronouncement, the article is written as an ode to Eve Sedgewick, her axioms and her reparative readings. I offer the essay as a celebration of queer legal studies to date and of its hopeful potentialities into an unknown future. I. Axiom 1: Queer legal theory exists. There is a body of queer legal studies. It is not part of a fantastical yet to be realized future. It is found in the oft-cited works of Francisco Valdes,1 Carl Stychin,2 Kendall Thomas,3 and Janet Halley.4 But, there is so much more. And it exists independently of what might be called LGBT legal studies. I begin with the assertion that queer legal theory exists because many who write queer legal theory begin with a counter-assertion—that there is little or no queer legal scholarship.5 The claim is puzzling. My discomfort with the claim is perhaps based in unrequited love, as I would locate my own work for the last two decades within the tradition of queer legal studies. Professor of Law, University of Toronto. I am indebted to Joseph Fischel for his generous and razor sharp engagement with this essay. 1 Francisco Valdes, Queers, Sissies, Dykes, and Tomboys: Deconstructing the Conflation of “Sex,” “Gender,” and “Sexual Orientation” in Euro-American Law and Society, 83 Cal. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Queering Syracuse: Remember When? Alison Mountz, Syracuse University Amy Tweedy, Syracuse University
© 2010, Alizon Mountz & Amy Tweedy. Queering Syracuse: Remember When? Alison Mountz, Syracuse University Amy Tweedy, Syracuse University This paper recounts the experiences of co-teaching a community engaged seminar focused on study of sexuality and space in the · city of Syracuse. This geographical focus grounded engagement and provides here a platform from which to address the difficulties of identifyingcommunities organized around diverse, socially constructed identities. The study of sexuality and space prompts a rethinking of how and whether sexuality operates in the city as a . situated series of locations or, rather, a series of identities shaping all spaces. The paper explores a semester-long, student-driven discussion concerning queer as a category in relation to the study · of sexuality and community. Through discussion of this scholarship, we engaged students in the ongoing process of figuringout what it meant to locate queer communities and to queer the broader community. "Thank you for all the nice times. Thank you for all the remember whens." Anne-Marie McDonald, The Way the Crow Flies, p 7 1: On queer community his essay offersreflections on our experiences as co-instructors of a community-engaged course taught in the spring semester of 2009 at Syracuse University that explored geographies of sexuality and space, including the relationships between sex and gender, and space and place. "Sexuality and Space: Queering • 208 Syracuse" focused on the ways in which gender identity expressions unfold geographically, always contingent and contextual. Fluid understandings of sexuality prompt us to re-think the sometimes mundane geographies that we take for granted at a variety of scales, including the body, home, city, workplace, and nation-state. -
David Barr and the Early Days of the HIV/AIDS Epidemic
David Barr and the Early Days of the HIV/AIDS Epidemic Introduction to the Interview (Running Time 1:55) David Barr was a young man when the first cases of AIDS were diagnosed. While many people he knew were getting sick and dying, Barr began working in the community to fight the epidemic. The work of Barr and his colleagues changed the response to AIDS in the U.S. and galvanized the lesbian, gay, bisexual and transgender (LGBT) community. Questions to Discuss with Students Following the Interview • What is a crisis? Why does Barr consider the spread of HIV/AIDS in the early 1980s a crisis? What made the LGBT community’s response to AIDS an “historic response” to the crisis? • Why do you think the initial response to HIV/AIDS by the U.S. government and medical community was so slow? Do you think anti-LGBT bias played a role? If so, how? • While community organizations worked to stop the spread of the disease and treat those already infected, Barr says that the epidemic also “changed the way society looks at gay people.” In what ways were people’s ideas and beliefs about the LGBT community affected? • Barr talks about how HIV/AIDS “politicized” and galvanized the LGBT community. What do you know about the LGBT movement before the HIV/AIDS crisis? In what ways do you think the response to HIV/AIDS advanced LGBT rights in the U.S.? • Can you think of other communities that have faced health crises (for example, Sickle Cell Anemia in the African-American community, Tay-Sachs Disease in the Ashkenazi Jewish community, Breast Cancer in women)? How have they responded? Are there still disparities or discrimination in the current U.S. -
Annual Report 2018-2019
ANNUAL REPORT 2018-2019 1 2 CONTENTS A Letter from Our Executive Director 4 A Letter from the Chair of the Board 5 Our Namesakes 6 Celebrating Our History: 50 Years of LGBTQ Health 8 Timeline 12 Reflections on our History 14-17 Our Patients 18 A Year in Photos 22 Our Staff 24 Callen-Lorde Brooklyn 26 Board of Directors 28 Senior Leadership 29 Howard J. Brown Society 30 Our Supporters 32 ABOUT US Callen-Lorde is the global leader in LGBTQ healthcare. Since the days of Stonewall, we have been transforming lives in LGBTQ communities through excellent comprehensive care, provided free of judgment and regardless of ability to pay. In addition, we are continuously pioneering research, advocacy and education to drive positive change around the world, because we believe healthcare is a human right. 3 A LETTER FROM OUR EXECUTIVE DIRECTOR Dear Friends, Supporters, and Community Members, Fifty years ago, Sylvia Rivera and Marsha P. Johnson were among the first brick throwers in the Stonewall Rebellions, igniting the fire that began – slowly – to change LGBTQ lives. That same year, the beginnings of Callen- Lorde started when two physicians opened the St. Mark’s Health Clinic to provide free healthcare services to the ‘hippies, freaks, and queers’ in the East Village. Today, that little clinic is Callen-Lorde Community Health Center - a network of health centers soon to be in three boroughs of New York City and improving LGBTQ health worldwide. What has not changed in 50 years is our commitment to serving people regardless of ability to pay, our passion for health equity and justice for our diverse LGBTQ communities and people living with HIV, and our belief that access to healthcare is a human right and not a privilege. -
The Spark of Stonewall
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by James Madison University James Madison University JMU Scholarly Commons Proceedings of the Sixth Annual MadRush MAD-RUSH Undergraduate Research Conference Conference: Best Papers, Spring 2015 A Movement on the Verge: The pS ark of Stonewall Tiffany Renee Nelson James Madison University Follow this and additional works at: http://commons.lib.jmu.edu/madrush Part of the Social History Commons Tiffany Renee Nelson, "A Movement on the Verge: The pS ark of Stonewall" (April 10, 2015). MAD-RUSH Undergraduate Research Conference. Paper 1. http://commons.lib.jmu.edu/madrush/2015/SocialMovements/1 This Event is brought to you for free and open access by the Conference Proceedings at JMU Scholarly Commons. It has been accepted for inclusion in MAD-RUSH Undergraduate Research Conference by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. A Movement on the Verge: The Spark of Stonewall The night of Saturday, June 28, 1969, the streets of Central Greenwich Village were crowded with angered gay men, lesbians, “flame queens”, and Trans*genders. 1 That was the second day of disorder of what would later be called the Stonewall Riots. Centering around Christopher Street’s bar for homosexuals, the Stonewall Inn, the riots began the night before on June 27 and lasted until July 2. These five days of rioting were the result of decades of disdain against the police force and the general population that had oppressed the gay inhabitants of New York City. -
Climate Changing: on Artists, Institutions, and the Social Environment
i CLIMATE CHANGING CLIMATE WHY CAN’T YOU TELL ME SCORE WHAT YOU NEED Somewhere our body needs party favors attending sick and resting temperatures times hot unevens twice I ask myself all the time too ward draw pop left under right Just try and squeeze me. Pause. What would you do? Fall down off my feet and try waking tired ex muses Like, you either know I can and work on it with me Or know I can’t and wouldn’t want your baby to go through what I have to go through Over prepared for three nights. Over it all scared for three nights. Tell me the unwell of never been better. Are we still good? Are we still good? TABLE OF CONTENTS Director’s Foreword 4 Johanna Burton A Climate for Changing 6 Lucy I. Zimmerman On Chris Burden’s Wexner Castle 10 Lucy I. Zimmerman Notes on Chris Burden’s Through the Night Softly 15 Pope.L WE LEFT THEM NOTHING 17 Demian DinéYazhi´ Untitled 21 Jibade-Khalil Huffman Scores 1, 3, 13, 23, 27, 50 Park McArthur and Constantina Zavitsanos Questioning Access 25 Advisory Committee Roundtable Discussion Artists in the Exhibition 29 Acknowledgments 47 3 BLANKET (STATEMENT) SCORE Why can’t you just tell me what you need DIRECTOR’S FOREWORD 4 Johanna Burton, Executive Director Opening in the first month of 2021 (or at least set to committee’s roundtable discussion further explores, open then at the time of this writing), Climate Changing: the exhibition intends not to inventory nor propose On Artists, Institutions, and the Social Environment solutions for these considerable challenges, but rather comes at a time of great uncertainty for cultural or- to provide artists a forum for bringing the issues into ganizations. -
Oral History Interview with Howardena Pindell, 2012 Dec. 1-4
Oral history interview with Howardena Pindell, 2012 Dec. 1-4 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Howardena Pindell on December 1, 2012. The interview took place at the home of Howardena Pindell in New York City, and was conducted by Judith O. Richards for the Archives of American Art, Smithsonian Institution. Howardena Pindell has reviewed the transcript. Her corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH RICHARDS: This is Judith Richards, interviewing Howardena Pindell on December 1, 2012, at her home in New York City on Riverside Drive, for the Archives of American Art, Smithsonian Institution, disk one. Howardena, as we've discussed, we're going to begin where a previous interview for the archives left off. That interview was on July 10, 1972. [Laughs.] So casting way back to 1972, I wanted to, first of all, ask some basic questions. HOWARDENA PINDELL: Mm-hmm [Affirmative.] JUDITH RICHARDS: Where were you living in 1972? Had you moved into Westbeth by then? HOWARDENA PINDELL: All right— JUDITH RICHARDS: Or were you living in— HOWARDENA PINDELL: —I was in Westbeth. JUDITH RICHARDS: And when did you move in there? Were you one of the first tenants? HOWARDENA PINDELL: One of the first tenants, yes. -
Masters Thesis
WHERE IS THE PUBLIC IN PUBLIC ART? A CASE STUDY OF MILLENNIUM PARK A Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Corrinn Conard, B.A. ***** The Ohio State University 2008 Masters Examination Committee: Approved by Dr. James Sanders III, Advisor Advisor Professor Malcolm Cochran Graduate Program in Art Education ABSTRACT For centuries, public art has been a popular tool used to celebrate heroes, commemorate historical events, decorate public spaces, inspire citizens, and attract tourists. Public art has been created by the most renowned artists and commissioned by powerful political leaders. But, where is the public in public art? What is the role of that group believed to be the primary client of such public endeavors? How much power does the public have? Should they have? Do they want? In this thesis, I address these and other related questions through a case study of Millennium Park in Chicago. In contrast to other studies on this topic, this thesis focuses on the perspectives and opinions of the public; a group which I have found to be scarcely represented in the literature about public participation in public art. To reveal public opinion, I have conducted a total of 165 surveys at Millennium Park with both Chicago residents and tourists. I have also collected the voices of Chicagoans as I found them in Chicago’s major media source, The Chicago Tribune . The collection of data from my research reveal a glimpse of the Chicago public’s opinion on public art, its value to them, and their rights and roles in the creation of such endeavors.