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Object Labels Xavier Schipani (He/him) Jacolby Satterwhite (He/him) The Chapel of Acceptance 2019 How Lovly Is Me Being As I Am 2014 Installation Neon Courtesy of the artist Courtesy of the artist and Morán Morán, Los Angeles • Xavier Schipani’s restroom installation transforms a utilitarian space into a • The phrase “How lovly is me being as place of tranquility, meditation, and I am” first accompanied a self-portrait personal reflection. Referencing his own sketched by Jacolby Satterwhite’s mother. experiences as a transman in public • Replicating his mother’s writing in neon, restrooms, Schipani hopes that all visitors Satterwhite connects her words to his to feel welcomed and affirmed here. own experiences as a queer man and • The artist has employed the room’s offers self-affirmation to all. central text, “I see you always in all ways.” The eye above emphasizes the value of seeing and being seen. “I invite those “I owned my who enter the past and I space to quietly owned my reflect on the mythology. You power of their can’t apologize own identity for your past, and all that they because you are have to offer.” your past.” — Xavier — Jacolby Schipani Satterwhite Beyond 15 Minutes: Andy Warhol And His Legacy Andy Warhol (He/him) Richard Duardo (He/him) Ladies and Gentlemen 1975 Blue Warhol 2012 Screenprints Collection of the Jordan Schnitzer Family Blonde Warhol 2013 Foundation Screenprint with hand-coloring Collection of the McNay Art Museum, Gift of Harriett • In 1975, Interview magazine editor Bob and Ricardo Romo Colacello approached a group of New York drag queens and asked them if • Richard Duardo, known as “The West they would model for “a friend” for $50. Coast Warhol,” took inspiration from a That friend turned out to be Warhol, who series of Polaroid photographs Warhol photographed the performers in the same took of himself in drag in the early 1980s. manner as his iconic, celebrity muses. • Warhol never adapted the Polaroids of • Warhol had a longstanding interest in himself in drag into screenprints. Here, artifice, role-playing, and the construction Duardo has done so on Warhol’s behalf. of identity. “I know that “It’s all about people who whatever you think they’re appropriate and working the change, the hardest are the context and the men who are presentation, it trying to be a reanimates itself woman. They as an entirely do double-time. new thing, They do all the an object or a things.” statement.” — Andy Warhol — Richard Duardo Deborah Kass (She/her) Lynn Hershman Leeson (She/her) Single Red Yentl (My Elvis) 1993 Bowie/Hepburn 1987 Silkscreen and acrylic on canvas Hand-painted gelatin silver print Courtesy of the artist Courtesy of the artist and Anglim Gilbert Gallery, San Francisco • Inspired by Andy Warhol’s Elvis paintings, Deborah Kass substituted Elvis with the • Lynn Hershman Leeson fused publicity image of Barbara Streisand playing a photographs of male and female young male Talmudic scholar from the celebrities by printing layered negatives 1983 movie Yentl. and applying paint to the surface. • Kass saw herself in Streisand, embodying • This hand-painted print merges Judaism publicly and challenging popular photographs of the English singer- pictures of idealized beauty. songwriter David Bowie with the American actress Katharine Hepburn. “Appropriation “Gender equality was the and freedom are language of key elements my generation in a liberated in many ways. society, and I It came out always knew it of Duchamp, was necessary to Warhol, Johns, fight for these.” Lichtenstein.” — Lynn — Deborah Kass Hershman Leeson The Performance of Dress Yasumasa Morimura (He/him) Yasumasa Morimura (He/him) Dedicated to La Duquesa de Alba/Black Alba 2004 Daughter of Art History (Princess A) 1990 Chromogenic print mounted on canvas Ilfochrome print mounted on acrylic Collection of the McNay Art Museum, Museum Courtesy of the artist and Luhring Augustine, purchase with funds from the McNay New York Contemporary Collectors Forum • Primarily depicting himself as female • Through his use of costumes, makeup, characters, Yasumasa Morimura challenges and digital manipulation, Yasumasa the authority of identity and overturns the Morimura transforms himself into traditional scope of self-portraiture. subjects from the Western art historical canon. • This photograph is based on Diego Velázquez’s painting Las Meninas. In • This photograph is based on Francisco de the iconic painting, Velázquez depicts Goya’s painting of María Cayetana de Silva, the young Infanta Margaret Theresa the 13th Duchess of Alba. surrounded by an entourage of attendants. Morimura, however, depicts her alone. “I was trying “I’m to leap across re-scripting binaries of and categorization re-embodying —masculine history through and feminine, my cast of East and West— characters.” as well as ideas such as the — Yasumasa feminization of Morimura the East.” — Yasumasa Morimura Peter Hujar (He/him) Robert Mapplethorpe (He/him) Ethyl Eichelberger as Medea 1979 Self Portrait 1982 Gelatin silver print Gelatin silver print Courtesy of the Peter Hujar Archive and Gift of The Robert Mapplethorpe Foundation to PACE/MACGILL GALLERY, New York the J. Paul Getty Trust and the Los Angeles County Museum of Art • Ethyl Eichelberger, a drag performer, was • In these two images, Robert one of Peter Hujar’s favored muses. Mapplethorpe contrasts conventional outward signs for man and woman. • Eichelberger wrote, produced, staged, and starred in a series of thirty-two plays based • Mapplethorpe questions established on the lives of great women of history, notions of “male” and “female,” revealing literature, and myth. Here, Eichelberger the terms as socially constructed. wears the costume of Medea from the ancient Greek tragedy. “I photograph “The whole point those who push of being an artist themselves to is to learn about any extreme. yourself. The That’s what photographs, I interests me, think, are less and people who important than cling to the the life that one freedom to be is leading.” themselves.” — Robert — Peter Hujar Mapplethorpe JJ Levine (He/him, They/them) Martine Gutierrez (She/her) Switch 3 2009 Body En Thrall, p112 from Indigenous Woman 2018 C-print Switch 1 2009 Courtesy of the artist and RYAN LEE Gallery, C-prints New York Courtesy of the artist • JJ Levine presents two pairs of classic • These photographs are large-scale prints studio portraits of what appear to be from Martine Gutierrez’s self-published cisgender couples. magazine, Indigenous Woman. • Upon closer inspection, however, each • In the magazine, Gutierrez presents a pair of couples is comprised of two series of self-portraits, articles, interviews, models, not four. Every model is portrayed and advertisements that celebrate her as a man in one image and a woman in Mayan Indian heritage and her ever- the adjacent one. evolving self-image. “I want to “By digging my make visually pretty, painted convincing and nails deeply into complex images the dirt of my that playfully own image, I am encourage also probing the the viewer to depths for some question their understanding own assumptions of identity regarding bodies as a social and attraction.” construction.” — JJ Levine — Martine Gutierrez Ernesto Pujol (He/him) Lesley Dill (She/her) Shrouded Novice 1999 Poem Dress for a Hermaphrodite 1995 Photograph Vellum, ribbon, Emily Dickinson’s Poem #125 Courtesy of the artist “For Each Ecstatic Instant” Courtesy of the artist and Nohra Haime Gallery, New York • Ernesto Pujol explores issues of memory, • This vellum dress was designed for politics, spirituality, and gender, often Sur Rodney Sur—a writer, artist, and using the human body as his subject. AIDS activist—who wore it in an art and • Pujol’s experience as a Catholic monk fashion show at Dieu Donné Papermill, a often informs his imagery. These collaborative contemporary art space in photographs explore the skin of biblical New York. faith on the body, shrouding and • The poetry of Emily Dickinson is a transforming it into a genderless state. constant source of inspiration for Lesley Dill. “My strength “Over the years is my I’ve made dress vulnerability. forms in various It is the key materials—paper, with which I fabric, metal. I open and close don’t think of space. It is my the dress image map through as sentimental space.” or pretty. It is a shape.” — Ernesto Pujol — Lesley Dill Jose Villalobos (He/him) Mari Hernandez (She/her) Almas Frágiles/Fragile Soles 2019 Los Hermanos 2019 Performance video Inkjet prints on photo rag Courtesy of the artist Courtesy of the artist • Jose Villalobos was born in El Paso, • As the principal subject of her own along the U.S.-Mexico border. He was— photographs, Mari Hernandez uses make- and remains—largely influenced by up, prosthetics, wigs, costumes, and the merging of Mexican and American props to alter her identity and physical culture. appearance. She also draws on elements • Using a combination of hand-crafted and of performance to highlight the artificial found objects, Villalobos’s performance staging of identity and gender. explores self-identity, gender norms • Hernandez’s upbringing in San Antonio particular in Mexican culture, and the informs her approach the canon of history effects of an overbearing patriarchal and art history. society. “I protest the “In addition to toxicity of referencing the machismo fluidity of identity through the use in my work, I also of objects that reference the carry a history, fluidity of gender. specifically within I am interested in the Norteño challenging the culture, by roles that gender deconstructing dictates in our and altering society.” them.” — Mari — Jose Villalobos Hernandez Lissa Rivera (She/her) Nelson Morales (He/him) Selections from Beautiful Boy 2014-2018 Selections from Fantastic Woman, Fluid Gender, Digital photographs Muxes, and Transamazonicas 2010-2018 Courtesy of the artist Digital photographs Courtesy of the artist • Beautiful Boy is an ongoing series of photographs that feature BJ Lillis, • In Oaxaca, Muxes (pronounced MOO- Lissa Rivera’s muse and partner.
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