Drama Queer Exhibition Catalogue 2016 by Jonathan D

EXHIBITION CATALOGUE

CURATED BY Jonathan D. Katz and Conor Moynihan I 21-30 JUNE 2016 EXHIBITION CATALOGUE

Queer Arts Festival 2016

CURATED BY Jonathan D. Katz and Conor Moynihan

ARTISTIC DIRECTOR SD Holman

iii ESSAY: Jonathan D. Katz and Conor Moynihan

Publication Notes

Drama Queer Exhibition Catalogue 2016 By Jonathan D. Katz and Conor Moynihan, with an introduction by SD Holman

Drama Queer, Queer Arts Festival, Vancouver, BC Curated by Jonathan D. Katz and Conor Moynihan June 21-30, 2016

All rights reserved. This book and any versions thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

First printing, 2017

ISBN 978-0-9937185-2-6

Library and Archives Canada Cataloguing in Publication Table of Contents

Queer Arts Festival (2016 : Vancouver, BC) Drama Queer : exhibition catalogue / curated by Jonathan D. Katz and Conor Moynihan ; artistic director, SD Holman. Catalogue of an exhibition held at the Queer Arts Festival, Vancouver, BC, 2016.

Issued in print and electronic formats. Introduction: SD Holman, Artistic Director...... 1 ISBN 978-0-9937185-2-6 (softcover).--ISBN 978-0-9937185-1-9 (PDF)

1. Homosexuality in art--Exhibitions. 2. Homosexuality and art--Exhibitions. 3. Emotions in art--Exhibitions. 4. Sex customs in art--Exhibitions. 5. Sex symbolism--Exhibitions. 6. Lesbianism in art--Exhibitions. 7. Gender identity in art--Exhibitions. 8. Transgender people in art--Exhibitions. Drama Queer: Conor Moynihan and Jonathan D. Katz, Curators...... 6 9. Art, Modern--21st century--Exhibitions. 10. Exhibition catalogs I. Katz, Jonathan D., 1958- writer of added commentary, organizer II. Moynihan, Conor, writer of added commentary, organizer Drama Queer: Catalogue...... 13 III. Holman, SD, writer of introduction IV. Title.

N8217.H67Q84 2018 700’.453 C2017-907452-0 Whiteness & the Colour Wheel of Fortune: Del LaGrace Volcano...... 17 C2017-907453-9

Pride in Art Society Look at Me/¡Mirame!: Joey Terrill...... 50 1019 Broughton Street Vancouver, BC V6G 2A7 Canada Website: queerartsfestival.com Unpacking and Repacking Blackness and The Bad Air Smelled of Roses: Carl Pope...... 92

Designed by Odette Hidalgo Visit addoncreative.ca Roberts Creek, BC Artist Biographies...... 110 Cover:Shan Kelley, Once Healed, 2015, oil paint, photo transfer, semen, hair, resin on wood, 5 by 7 inches. Courtesy of the artist.

Printed in Canada by East Van Graphics Drama Queer Plate List...... 118

v INTRODUCTION: SD Holman

Drama Queer: Artistic Director’s Introduction SD Holman

During the preparation of this catalogue, Keijaun (queer people of colour) hit us hard, even though we Thomas, one of the Drama Queer artists, asked: were in another country, across a continent.

I personally don’t think it is enough to say While I want the scale of the loss in Orlando to be that queer art has always been left out of unfathomable, it is not: it is a grim reminder that art history—well damn, black art and black homophobia is still killing us. So many of us have history, especially art that focuses on creating stories of violence. Our fundamental rite of passage space and holding space for black and brown as queers, coming out, remains an act of courage. people and our legacies, have always been I was reminded of the man that came to my house on the margins. What will the Drama Queer with a gun in Rock Creek to shoot me, a story I had catalogue do to sustain our lives? How does never told until the morning after Pulse—what’s yours? the catalogue reflect the urgency to preserve It is important to remember that Orlando’s carnage our collective histories?1 is part of a larger violent project. Part of a system in Drama Queer was the visual art exhibition for the 2016 which trans people and people of colour—especially Queer Arts Festival in Vancouver, British Columbia, Black, Latinx, and Indigenous people—are dispropor- curated by seminal queer studies scholar and activist tionately targeted, assaulted, and killed, too often Jonathan D. Katz and Conor Moynihan. It took place by the police, then blamed for their own murders. June 21-30, which meant QAF’s crew began the exhibition Part of a system that pipelines racialized youth from load-in just two days after the Pulse shooting in Orlando, resource-starved schools and social services into Florida. This massacre targeting predominantly QPOC slave labour in prisons, and cannon fodder in wars.

1 Keijaun Thomas, e-mail to author and Conor Moynihan, September 11, 2017. 1 2 DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue anything, but because it keeps us human us it keeps because but anything, it changes because not important is resistance said, once today. person Awise of queers reality socio-political to the speaks art queer contemporary most in of unrest current underlying the the past, of athing Far from entwined. inextricably innovations civil rights movement, with social and aesthetic aesthetic and social with movement, rights civil queer of the vanguard the have been artists Idea, General to Wilde Oscar From to revolution. step first the is art that Ibelieve margins. multiple at ourstories histories/herstories/ collective to preserve urgency Queer Drama in artists of the work the However, us. believe Ido sustain can alone catalogue art an that To think Idon’t Keijaun’s question, answer worlds. of these both in stonewalled get that the especially—at intersectionsincluding—perhaps world, queer the in artists as to hard do are that things those as well as world, art the in queers as to hard do are that things the to do artists queer for opportunity an spaces, these of one as created specifically was Festival Arts Queer The swallow. ever could anyone than fabulous more with purpose serious sex, with politics celebration, with struggle meld that spaces resistance; our fuck and rhyme and draw and dance and sing can we where spaces world, of ahostile out spaces own our have carved queers generations, For do. we what do we why again reminded on, Iwas to carry trying and sadness, and rage in later, sputtering days afew engulfed, just opening Festival Arts Queer the on to work trying So, Isat as “safeour are. spaces” Pulse reminded us how vulnerable and permeable reflects the the reflects .

art and artists in both academia and the larger world. world. larger the and academia both in artists and art of queer understanding the on impact a profound had has curator, as scholar, activist and work his and history, art queer in authority leading the arguably is Katz festival. of this component art visual the curate Jonathan curator renowned D. guest Katz—to internationally- scholar—the aUS-based I engaged that time first the was it place, yet and discipline that transcends artists contemporary between dialogue to incite mission Art’s in of Pride part is It installation. painting, and photography, performance, video, in working artists visual international and American, Canadian, together bringing millennium, Queer Drama Jonathan D. of Katz & the Drama birth Queer are you alone. here, not and are. you You because areyou or afraid, not are wanted because Come people. your with be Come deviants. and fence-sitters, fairies, women, mannish girlymen, bulldaggers, boys, nancy fags, dykes, us queers: us with to out hang just out, come to come help drink, I tendered Pulse: a for after come art, the for Come invitation the space and time through extends catalogue This home. find often queers as we where web—is 2 homeland, writer’s the is page blank the asserts, Warland If, Betsy as both. gentrification—or or exhaustion way to give they before briefly blooming bubbles to and contingent, be temporary rainbow-glossed Analogously,and overwritten. queer spaces tend erased of legacies restoration painstaking and loving requiring palimpsests, often so are histories Queer Ideas (HalfmoonBay, BC:CaitlinPress 2016),40. Betsy Warland, OscarofBetween: AMemoirofIdentityand 2 then the filled page—paper and/or page—paper filled the then

focuses on art produced in the new new the in produced art on focuses

4 3 Queer: Drama for theme the with responded He open. was theme exhibition the that aRiot,was but Stonewall was year the for theme festival the him QAF. for Itold to him curate asked and Vancouver in speaking was he when down Katz I tracked Art.” of Queer “Towards aRepositioning my essay researching Iwas as Jonathan’s work I encountered Katz co- Katz if you’ll excuse the term, in high culture.” high in term, the excuse you’ll if not, but culture, popular in queers for position a out “We’re have carved we where aplace in articulated, he my when mail reading was like Katz felt It sight. plain in hidden was what to identify to do: afraid were others most work transformative doing was US. Katz the in art visual queer overtly ofshow museum major first the Gallery, Portrait National Smithsonian the at Portraiture American of Modern Invention the and Desire, Difference, com/article/avram-finkelstein-speaks-with-jonathan-david-katz/. Jonathan DavidKatz,” ArtWrit, Spring2011, http://www.artwrit. Jonathan D.Katz quotedinAvram Finkelstein, “SpeakingWith http://sdholman.com/towards-a-repositioning-of-queer-art/. SD Holman:ArtistWebsite, December31,2014, SD Holman,“Towards aRepositioning ofQueerArt,” creeds towards a position that is precisely precisely is that aposition towards creeds ideological invisible thus and normative naturalized from away aseduction works queerness that idea the is belief generalized to this central And prospects. its lubricate least at change, social to, produce not if capacity art’s in credence have shared artists historical context… Wildly diverging queer a into of emotion utility queer the places exhibition This work. contemporary queer to much central as activists and scholars by identified been has Emotion practice. of political aform as art queer contemporary in of emotion role the explores Queer Drama Hide/Seek: Hide/Seek: 2010 the exhibition curated 4

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Meanwhile, in Canada... works. typically he whom with museums large the at impossible have been would that risks take and works program to able was he restraints, budgetary our despite that night opening QAF’s at commented Jonathan Mind: Witness to aLost Witness Imagination Mind: Schulman,—Sarah The Gentrification of the should. it way the happens just do. We’re nice. Everything so to thing right the it’s when around We come better… to get happened just naturally, things naturally, that Now, to pretend they’re going protected, of the indifference the and suffering persecution, about truth unbearable all this and pain all this and death all this after Now point. vantage adissident from world the or seducing themperspective into seeing accomplice,an viewer the queering their making by change toseeks engender social that art explores exhibition This etc. emotion emotion, erotic and emotion—political art of facets different the and present political our in function feelings how engages that Queer Drama deviancy. own of their awareness an to viewer, sexualities, the of whatever calls art queer norms, social from deviating In expectation. social from, to, atangent other at solicits a range of contemporary work work of contemporary arange solicits SD Holman SD ESSAY: , 2012 ,

3 4 DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Dance to Dance monumental Monkman’s Kent sashayed turntable locomotive former the overlooking And of pioneering endpoint literal the Railroad, Pacific Canadian of the terminus western the centre arts an as repurposes which Roundhouse, Queer Drama that symbolic particularly was it Pulse, contemplated So, we as of colonization. product direct is a ourselves find now we which in dystopia homophobic The societies. their in place honoured an held Two-Spirit people to colonization, prior that us teach They genders. to six of three conceptions varying rather but binaries, not were gender for words the continent, this on languages Indigenous 200 nearly the of thirds two in that us remind historians Indigenous colonialism. genocidal on foundation country’s of our because— perhaps spite—or in of niceness, mythology national to our attached deeply are Canadians should. it way the happen just not does everything that clear is It suicides. and nation’s our homeless among overrepresented grossly are youth queer violence, systemic to the addition In of Canada. “safe” great, the in country was that gun: a with to my house came that man That crimes. hate religious or racist of violent rate the times to three two attacks— violent are country this in reported crimes hate homophobic/transphobic of the Yet, thirds two nation. enlightened of an progress inevitable the as developments place. We these paint in protections legal many and us, behind marriage of same-sex adecade over with diversity, gender and sexual for ahaven as itself to likes portray Canada took place at the at place took westward expansion. westward

5 including materials, varying with strategy this The orderogatory outright murderous purpose. erstwhile from Triangle, Pink the have subverted we or like Queer, Dyke, communities, our within ourselves to identify use commonly now we symbols or Words herstories. collective queer in akey strategy been long has liberation of our service to the oppressors of our tools the reclaiming notwithstanding, Lorde Audre The essayists 750 m its with gallery, the dominated to Dance Berdashe the to which extent the acatalogue in to hard convey is Testickle. It Eagle Chief Miss alter-ego sensual stunningly to his court pay In elements into Indigeneity. colonial European queering hybridity Monkman’s exhibition, of the heart beating the hall as of the corner to every penetrating soundtrack rhythmic its and Drama Queer of Drama swath central huge the the most unaccountable and disgusting customs customs disgusting and unaccountable most the “one termed he of what to illustrate Catlin George was painted by in pseudo-ethnographer the 1860s original the battle, in glory to win person) Two-Spirit (Saukie I-coo-coo-a of an favours sexual the for vying warriors Saukie Depicting name. same of the oil painting acolonial references installation video five-channel this and aTwo-Spirit person, denoting the Berdashe be more fully recorded.” fully more be it before extinguished be might it that wish I should where country... and Indian the in met Ihave ever that

Monkman’s revisioning, four Indigenous dandies dandies Indigenous four revisioning, Monkman’s films.php?film=dance-to-the-berdashe. Gordon, accessedNovember 16,2017,http://urbannation.com/ tion: afilmmaking project betweenKent Monkman andGisèle George Catlin quotedin“DancetotheBerdashe,” UrbanNa- artists chosen as essayists deploy deploy essayists as chosen artists Queer Drama . The term “Berdache” is a racist slur slur aracist “Berdache” is term . The 2 (50’x50’) footprint occupying occupying footprint (50’x50’) 5 ’splan, floor

which a great many people contributed their energy energy their contributed people many agreat which of love, to alabour were catalogue and exhibition This me/ at “Look erasure: defy landscape art Pop the into self Chicano of his insertions colourful and riotous His it. in reflected himself seeing never Joey Terrill illegal. and sick kept stolen, of bodies descendants of the life the in Tuesday another just is to all-realities-white, shocking of hate, while mayhem this that us reminds Pope Carl Moj: Tears Minstrel exhibition: the in controversy most the generated that work the for Adebayo Mojisola artist theatre with collaboration their about writes ambiguity, gender of delirious Del LaGrace Volcano identities. multifaceted their in rooted perspectives amplify here essays their and art, queer many of years at the many-hyphenated junctures for working been have each They culture. consumer of capitalist detritus the and imagery, language, muses about his love of Pop art, despite despite love of Pop his art, about muses , international spokesmodel spokesmodel , international . ¡Mirame!

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Drama Queer to make Drama beyond and above went crew, who terrific to QAF’s thanks personal my like to extend Grenier. particularly François I’d and support tireless your for Lopes Marie especially the Roundhouse, at partners terrific to you our Thank of Vancouver. City the and Council, BC Arts the BC Gaming, Heritage, Canadian Council, Canada the Foundation, Vancouver of the support generous the through possible made was exhibition The on. live Queer Drama that so catalogue to this work their contributing for artists the like to thank I’d devotion. and who survive. Keep loving, keep fighting. keep loving, Keep survive. who 12, June on 2016, Orlando in to all those Pulse and at died who queers beautiful of all the memory the to dedicated lovingly is Festival 2016 Arts The Queer have happened. never could catalogue andwithout whose perseverance assiduousness this Moynihan, to Conor thanks special avery and D. Katz to you Jonathan Thank Forzley. Richard and Emmett, Lauren Divisadero, Bailey, Emily Holblingova, Alecska Maggie Liang, Gavin Sayson, Kimberly Flores, Sáenz Eugenio Hidalgo, Odette Iwaasa, Rachel Hearte, Elliott a reality: reality: a SD Holman SD ESSAY: could could

5 6 DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue More to the point, Drama point, Queer to the More change. social towards them direct and feelings coalesce way to resistance—a and practice, social engagement, of political aform as art queer contemporary in Queer. Drama Queer of Drama essence the is things intelligible, tangible To turn affective feeling To affective turn At heart, Drama Queer At heart, art. of “queersurvey emotion” contemporary in with deal them. that we can experience,to to objectify turn feelings into things so knowing our it. without Inus away, they said be might mirrors of society. They to are mirrors happens of what paintingsThe of the other queer art nakedly seeks our reaction—to move, reaction—to our seeks nakedly art queer emotions, deaden and feelings up to dam sought clear. is closet tenor the While emotional its but inconsistencies, and may contradictions entail logical Queerness straight. be to happen fittingly, whom, of some artists, queer international best of the of some work the through today queer being in contradictions 1 1 More thanayearafterDramaQueerwasexhibitedinVancouver, BC,CanadainJune2016,thisessayexpandsthethesisofthatshow. More thanayearafterDramaQueer wasexhibitedin Vancouver, BC,Canadain June2016,thisessayexpandsthe thesisofthatshow. Drama Queer Drama explores the role of emotion of emotion role the explores and inarticulate emotion inarticulate and Conor MoynihanandJonathanD.Katz explores emotional emotional explores is an international international an is

tradition are not, however, into into

the underpinning logic of this exhibitio of this logic underpinning the guides questions answering—these not Asking—but form? aesthetic as emotion to consider emotions, queer feel you when of Drama Or, it. Queer see case the in you when it know you like porn, for much goes, quip proverbial the As us)? (to me, feel it to you, between reading? does How audiences’ the or identity artist’s the work—in a in located is queerness Where queer? all, is what After down. to pin hard is it as meaning its in ambiguous productively as term, highly-contested a “queer” lamented, and itself is celebrated At once queer looks it short, In to expectation. heed no paying norms, social and categories traditional between exists it because queer Itlooks anger, us. soothe or —Gene R. Swenson, The Tradition Other Swenson, R. —Gene feels free feels it because it. More to the point, how can art catalyze catalyze art can how point, to the More it. . 1

, you know it it know , you n. , 1966 , 3 Ibid. 2 This This “ an had form, about exclusively day,of his almost then scholarship of art conventions dominant the that argued Swenson epigraph, above the in As of Pennsylvania. University Art, of Contemporary (1966) Institute the at Tradition The Other exhibition groundbreaking the curated R. Swenson Gene historian art the ago, years fifty A full feeling. over of form primacy overriding the question into called has that exhibition first the from far is This possibility. full of and open-ended definition by is that dynamic transformational change—a social for possibility the up open they exhibited, are emotions queer once Furthermore, of awork. tenor emotional the to consider order in of acube scale the or stroke of abrush quality to the attention astrict from away move must we words, other In form. of plastic primacy the from away aturning necessitates art, in resonates it how and where to find to try emotion, To queer explore they nonetheless engendered emotion by reflecting our our by reflecting emotion engendered nonetheless they “art,” as something denominated historically that terms cardinal the execution, masterful or design invention, approximating of anything stripped boxes: Warhol’s Brillo Take otherwise? or Andy emotions—queer with have to do of banality, celebration rude its with Pop art, does what emotion, with link direct to have amore seem Surrealism and Dada unconscious, to the connection their through traced from Dada and Surrealism onward to Pop art. onward Surrealism and Dada from traced be could of art genealogy alternative this that argued presciently Swenson innovations. formal incessant of art’s drumroll the from removed far lineage alternate viewers. within objects by art generated emotions tradition” that had developed alongside of it. of it. alongside developed had that tradition” other tute ofContemporary Art,UniversityofPennsylvania, 1966). Gene R.Swenson, TheOtherTradition (Philadelphia:The Insti- other other tradition, as argued by Swenson, had an an had by Swenson, argued as tradition, and feelings the with directly dealt tradition 2

3 If, If,

directed towards social equity. Through the painful/ the Through equity. social towards directed engagement of emotional tradition adissident tradition, other the in to work continue Today, artists queer change. social towards route the as move to power the in belief a firm conveyed art queer 5 4 “mirrors of what happens to us without our knowing it.” knowing our without to us happens “mirrors of what as of art description Swenson’s apt echoing world, quieter postminimalist sculptures and installations, and sculptures postminimalist quieter Lione, and Jorge or Soccaras) Felix Gonzalez-Torres’s Chris Kreloff, Charles Johnston, Oliver Howard, Brian Finkelstein, Avram by AIDS activists (created poster =Death Silence iconic the through Whether forms. many AIDS took about more, art once anguish and Taking culture. rage up by dominant unmourned die members its to watch forced of acommunity terror and fury the tracking networks, queer within power and force in grew undercurrents emotional these of AIDS, advent the through 80s, to the 60s From the change. social for acatalyst as erupted emotion wherein history LGBT in moment this formative recognizes Drama Queer emerged. politics a new pride, and of rage feelings contradictory the within Birthed emotion. queer explores: exhibition this affect prototypical the precisely sake), unleashed Stonewall just not was that (i.e. art art in quality material aconstitutive as feelings about writing was Swenson as Just movement. LGBT rights modern the launching City, York New in erupted Riots Stonewall the exhibition, 1969,In Swenson’s groundbreaking after years three only to us. happening was what to see us allowed that things emotions—into —our emotions turned tradition, other of the art an as Pop art, with theUniversity ofWashington Press, 2016):24-45. and RockHushka (Seattle:Tacoma ArtMuseum inassociation American Art,”in ArtAIDSAmerica,eds.JonathanDavid Katz American art,see:JonathanDavid Katz,“HowAIDSChanged For furtherexplanationofhowAIDS changedthedirection of Ibid., 28. ESSAY: Conor Moynihan and Jonathan D. Katz ESSAY: celebrates and for art’s for art’s

7 8 DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue other other of the evolution this Acknowledging practice. social and installation, video, forms including not (but limited to) performance, activism, to new, other sculptures and paintings from spreading mapping, Swenson’s conceptual from evolved has other the peoples, of queer histories prideful dresses in showy vaudeville garb, and, positioned positioned and, garb, vaudeville showy in dresses face, white and black in herself places Adebayo Face In effect, the works included in Drama in Queer included works the effect, In we’re crying. or laughing whether know don’t We often differently. entirely to feel around us jerk way, one they us pull then they didactically: not feel, but make us works These emotion. queer incorporating each media, and of disciplines a variety from artists contemporary by twenty-four work includes (2005), (2005), magisterial three photographs Antarctic of the Moj Del LaGrace Volcano with begin we emotion, of queer tug contradictory the To convey viscerally ago. decades afew unimaginable freedoms us given now has outlaws as us marked that identity very the for norm, queer the is Contradiction now, acompliment. is us, for insult, queer, an word once the Even differences. our celebrate proudly we as even mainstream, be to want we hot, them find yet and norms, gender traditional hate can we folk, straight as same the exactly yet and different are we once: at directions two in pull often emotions queer Such ability. and class, race, of gender, sexuality, issues broader around form into material objectified now contradictions—is and complications attendant all its emotion—with Queer them.” with deal can we that so things into feelings to turn experience, “to objectify observed, once Swenson as (2005) [pls. 1-3]. In these works, Mojisola Mojisola 1-3]. works, [pls. these In (2005) Moj: White White Moj: and TearsMoj: Minstrel (2005), tradition, tradition, Drama Queer tradition tradition function, function,

’s ’s

6 close in every sense of the phrase. of the sense every in close too way sexy, and uncomfortable, simultaneously is that adynamic in at looked being and of looking inequity the with plays viewer. the onto Kirchenbauer back community international Berlin-based by her experienced straight-/cis-gaze 76]and policing the flips (2015) 75 YOU [pls. ARE BORING! installation video 3D Kirchenbauer’s memory. cultural short of our amnesia the from rescued to be needs she as even celebrating worth history of aqueer part time—becoming the at felony cross-dressing—a for times 100 over arrested was Sabrina Flawless 1960s. the since Side East Upper Manhattan’s on occupied has he home the and Doroshow) (a.k.a. Jack Sabrina of Flawless ephemera and life the series Drucker’s works. their in narratives contradictory similar Drucker Zackary shadows. its without never is reclaimed, how matter of Drama Queer complexity emotional the captures celebrate—that joyfully we as quickly as stung painfully move—being double this precisely However, of Adebayo. is face it tearstained the in mirrored are feelings These unease. and shame, pain, causing gut, the in us punches of blackface use the history, queer, of disability racial, and aspect atriumphant by revisiting pride inspire works these as raced, gendered, and rendered able-bodied. Yet, just is authority cultural completely how underscores 6 with disabilities in her search for freedom, for search her in disabilities with man awhite as passed slave who African-American an of Craft, Ellen story the on Based female. meets male nature, meets culture black, meets blackface whiteface, meets white question: open aninto of identity signifier visible every collapses landscape, Antarctic all-white unpeopled adesolately in

(New York:Performance NewYork UniversityPress, 2015),65-93. Embodied Avatars: GeneologiesofBlackFeminist Artand York: NewYork University Press, 2014), 28-45.Seealso,UriMcMillan, Samuels, For more on EllenCraft’s useofdisabilityin herescapesee,Ellen (New York:Performance New York University Press, 2015), 65-93. Embodied Avatars: Geneologies ofBlackFeminist Artand York: NewYork University Press, 2014), 28-45.Seealso,UriMcMillan, Samuels, For more onEllenCraft’s use ofdisabilityinherescapesee, Ellen (2006) [pls. 59 and 60] documents documents 60] 59 and [pls. 73rd5 East Street (2006) Fantasies ofIdentification:Disability, Gender, Race(New Fantasies ofIdentification: Disability, Gender, Race(New Vika Kirchenbauer Vika and . History, no no . History, instigate instigate 6 the story story the

one does from a costume, in his IWant his in To acostume, Put from You does one as emerging sitters, of his body the within himself Fader Sean self-portrait, Muholi’s in embedded artificiality nascent the Amplifying work. her in control maintains Muholi attests, gaze her as Nevertheless, to colonialism. connected notoriously adevice camera, to the relationship their and works of these aesthetics glossy fashion, high the complicates which series, this to of artificiality asense is There artist. queer ablack, for metaphor arich refraction, intermediary an her, through see us, she thus and mirror.in a We reflected her, is behind face her cloth atribal-printed and skin luminous dramatically With Bona, for Charlottesville camera of the front Muholi Zanele portraits, her for Famous Holmquist in painting, Andrew figures. in her Working foreignness of perpetual asense create material found and pigment styles, clothing and of bodies combination absurd An constructed. already always are sexuality and gender how to underscore materials collage disparate (2015) Ginger or painterly, to the photographic purely the Transitioning from of all identity. aspect performative the underscoring while natural the upends 2Fik politics, identity with as fluidly as history art with playing Gleefully acondom. holding twins of the one with clamps by nipple together joined In (self-)identifications. and identities of contradictory amultiplicity to explore image asingle in caught himself within from emerging characters different self, 2Fik the of amplification some entails all self-portraiture If 38-40]. [pls. series (2014) [pl. 64], two figures are frère figures et son (2014) two Abdel 64], [pl. Angela Grossmann ’s figuration flirts mischievously with mischievously flirts ’s figuration (2015) [pls. 55 and 57]—combines 57]—combines and (2015) 55 [pls. ’s numerous portrays ’s work—such as Gloves as ’s work—such literally places places literally puts herself in in herself puts (2015) 13]. [pl.

feel more. Joeyfeel Terrill to to touch anyways, something to feel us seducing risks Reed to but feel, how We know don’t sitters. anonymous of these silhouettes the follows that possibility erotic the towards outward subjects their of stillness inward the divert works These illuminated. silhouettes their only view, with from hidden darkness, mediated by the internet. His are sitters shrouded in encounter sexual of anonymous potentiality the in revels which combines absurdity, humor, and eroticism in humor, eroticism and absurdity, combines which by exemplified as sexuality, to same-sex limited not are however, emotions, queer and Queerness equation. emotional-erotic the into serostatus-differences and age- in by bringing further equation the complicates Tiley Vincent What (2014) to Know Do The Bees 37], [pl. work video the In 30]. and 29 [pls. So Appealing? (2008-2010) Different, So Todays Them That Makes About Homos paintings of HIV/AIDS his in as presence/absence such the and pivots on encounters, by but intersected domesticity Reed encounter, of asexual Jesse Finley intensity emotional inchoate uncertain, the with oozes Majoli’s work While feel her—dejectedly, desirously—instead. Amy, to seeing seem we than Rather gaze. diverted of downcast, Amy’s gravity emotional by the colored Twice Used Amy white, and (2011)black 17] [pl. is way. Although different entirely an in ambiguous to Monica Majoli central also is feeling Erotic feel. can we how than bodies our in look we how less address works (2015) 12] [pl. these indicates, Hips painting the in pelvis female adistinctly from sprouting erection However, massive the as abstraction. George Steeves ’s ’s series (2006-2009) [pls. 22-24] [pls. You’reIf Lonely... (2006-2009) series Just What is it What is Just and Tom Gutierrez (2000) operates in a similar sensorial register, but ’s ’s Excavations Excavations ’s work in Drama’s in Queer work ESSAY: Conor Moynihan and Jonathan D. Katz ESSAY: series [pls. 41-48], [pls. series , but it is it , but also also

9 10

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue much of what otherwise passes as commonplace. commonplace. as passes otherwise of what much structures that racism the visible making oppression, of racial histories long with objects poeticize ments move spatial and bodily her of blackness, materiality affective the Addressing identity. Black reconstruct and deconstruct to flour white and sweeping, and of scrubbing gestures the containers, coffee disposable (2014-2016) 19-21], [pls. uses Keijaun Thomas Honey, like Syrup) like Through, Sweet Part 3. Black Part Seeing 2. While Looking Whiteness, 1. Absent experience. they In The Poetics (Part of Trespassing violence the and community trans of the absence presence/ the echoing and extremity maximum at body Cassils’s capturing scene, the lit moments irregular at that astrobe for save performance of the evidence sole the were whacks and panting, grunts, Cassils’s viewer, to the Invisible darkness. total in of clay lump a beating while of hyper-masculinity stereotype very the into body their trained Cassils (2013) 34-36], [pls. Becoming in an Image of performances a series through material as body using Similarly stone. inert into anthropomorphized time, same the at while, landscape the into naturalized once at thus is body her. behind ample Her boulder rounded of the shape the mimicking camera, to the turned is back Aguilar’s work, this In nature. of definition very our to redefine us 111 “natural.” Grounded Aguilar’s the and body, politics, the between relationship the complicating simultaneously pain, while and pleasure Thomas Aguilar of Laura works The anyway. forcefully to feel us cause they because arousing are but photography— nude typical for type body nor age right the neither are that subjects sporting images bring about complicated feelings around around feelings complicated about bring , Cassils (2006) [pl. 31] [pl. asks (2006) Keijaun Keijaun , and

our complacency in global catastrophes—past and and catastrophes—past global in complacency our to question us force shadows these Thus, installation. video to the shadows own their by adding shadows these with relationship direct into viewer the AIDS, forcing with to “other” people tendency common the refutes work American-Vietnam the the By AIDS. implication, War and history: global in crises political lethal catastrophic, two between parallels the on poetic meditation politic poetically and seriously, navigating the space space the navigating seriously, and poetically politic Similarly, wit. surgical and tongue asharp with strength physical to counter sought long has that voice queer sassy that in back, speak in, they giving than rather But oppression. of doubled born experiences and emotions of to arange voice give they despairing, or angry, humorous, ironic, At turns sensibility. aqueer with slang American aBlack in speaks 66] [pl. (2004-ongoing) (2003) [pl. 18] [pl. by Rudy Lemcke(2003) The in Uninvited present is of healing sort different over. it covers A merely pain,but obliterate doesn’t healing that testifies a reminder injury, initial an to itself healing the awound, covering skin raised the Yet, healed. be can they that also but like injured, be can bodies that us body. Once Healedof the reminds to (2015) the corporeality 51], [pl. attention draws he Once In Healed spoken. and seen is it how govern that codes and rules the and between embodiment installation poster Pope Carl certainty. of emotional positions knowable fixed, unsettle also can artworks text-based in circuits affective complicated the registers, multiple on signified always has body the Whereas mutable. queerly potentially as are bodies own our ways the feel us making bodies, of their mutability tenuous the Together, demonstrate all three Shan Kelley Shan The Bad Air Smelled of Roses Smelled Air The Bad ’s works take the concept of body of body concept the take ’s works . The Uninvited ’s quasi-protest is a is

Sexuality always fits together with other aspects of aspects other with together fits always Sexuality however, it, unidirectional. never are against speak and violence experience queers which in ways The history. and identity queer in of violence role formative the tension in hold works these Thus, violence. against subject ethical the have been they as just of violence, object the been have often Queers device. emotional an as of violence equivocality complex the erases reading areductionist such gratuitously, violence of using critique to the themselves expose works these by Sabina van der Linden photograph S/M the in does it as merge—just violence and peace pleasure, and pain of signifiers hand, in blade blood, his regards coolly boy the As thigh. his meets hip his where right swastika ahaunting and chest, his on tattoo Indian an side, his along tattoo a goddess with marked is 61]. body [pl. sitter’s the work, this In Fux Andreas by photograph the in challenged then and echoed to be seems This violence. for desire underlying an violence—perhaps to the potentiality erotic alatent is 70-73] there [pls. denote, collages his as Just address. barely can language that things to suggest ability the possess such as and essays, not paintings, are They art. contemporary by most unmatched power pictorial a and of reference adensity also but politic, anti-war an only not share they violence, reverberating and enduring its and war Iraq the with concerned Lukacs Richard 67 69][pls. and by Attila The Tattooed and Liar (2008) (2008) Dead 7 Devils Queer Drama in works of the many from forth spills Violence possibility. imminent its feel we but nascent, is works, all these in Healing, present. , but most viscerally in the large-scale paintings paintings large-scale the in viscerally most , but showing a sadomasochist cutting himself himself cutting asadomasochist showing [pl. 74]. [pl. all While . Broadly Broadly .

it finally piling into our bodies.” our into piling finally it gender, onto all of hangs sexuality sexuality, into snarls race race, against strains class class, around tangled: genderfolds into disability, disability wraps so are layers “The written: Eli has Clare activist queer and rights disability As like apuzzle. identity 9 8 7 from people By removing people. absent spaces human Decisions Bill Jacobson 2003, in Begun is perceived often as being inherently western, which identity, queer Thus, inheritance. Nations First obvious its from itself of protecting a way the “uncontaminated” and culture as Indigenous for nostalgia primitivising of aromantic, out both to deny, tends culture dominant that exchange an cultures, two between interchange centuries-long now the about is it as just hybridity and exchange cultural about is work 27]. [pl. This moves hip-hop and that Indigenous combines a choreography doing dancers Nations First are her Surrounding 26]. [pl. ego alter drag Testickle, his Eagle Chief Miss European—as Cree,part himself—part artist the is work complicated of this center 25]. the In [pl. Monkman Kent is emotion of queer quality intersectional through Monkman’s decolonizing, queer aesthetics. queer decolonizing, Monkman’s through adifference with history feel can we effect, In colonialism. in involved narratives unequal intertwined, Monkman’sbecomes tool for complicating the

(Minneapolis: University ofMinnesotaPress, 1999),1-34. Disidentifications: QueersofColorandthePerformance ofPolitics disidentificatory strategy, see: JoséEstebanMuñoz, Desiring withadifference ispartof JoséEstebanMuñoz’s of NewYork Press, 2001). Queer: Theoretical Intersections(Albany, NY: StateUniversity transnational contexts,see:John C.Hawley, ed.,Postcolonial, For adiscussionoftherelationship betweenqueerin 2017, athttp://eliclare.com/what-eli-offers/lectures/privilege. January 24-26,2003).Accessedvia Clare’s websiteon October7, (keynote address, AgainstPatriarchy Conference, Eugene, OR, Eli Clare, excerptfrom “DiggingDeep:ThinkingaboutPrivilege” [pls. 77 and 78] is a photographic account of of account 78] 77and aphotographic is [pls. (2008) (2008) to Berdashe the Dance ’s installation ESSAY: Conor Moynihan and Jonathan D. Katz ESSAY: ’s ’s A Series of Human of Human A Series 7 Attending to this to this Attending

11 ESSAY: Jonathan D. Katz and Conor Moynihan

these photographs, Jacobson leaves behind an open are so fundamentally intertwined that we can’t tell where and evocative depopulated space while simultaneously one begins and the other ends. However, all too often mobilizing metaphors of the closet. A Series of Human the emotional, the affective, and the queer are scrubbed Decisions #1710 offers a ready metaphor for closeted off the pristine Modernist cubes of art’s formal sexuality through its trompe l’oeil of spatial depth that traditions. In that art historical trajectory, a grid is actually forecloses clear lines of site into the photograph’s a grid—its repetitious beauty and reassuring sameness interior—evidence that closets are not, by definition, of form an analog for a world of stasis. In sharp contrast, invisible, but can, from the right perspective, always be the Stonewall Riots, the AIDS Crisis, and the Orlando EXHIBITION CATALOGUE glimpsed. The role of perspective, and its relationship to shooting can never be adequately represented in a our viewing position, maintains importance in his work formalized grid for the simple reason that they are the even in the absence of depicted subjects. For example, obverse of the grid’s equilibrium. They are our painful, that age old pictorial convention of the horizon line in prideful, heart-breaking, norm-changing histories, 2Fik Some Planes #115 (2007) [pl. 80] achieves new purposes histories we still feel even if we weren’t born when CURATED BY as it describes at once a landscape, seascape, and pure they happened. Against the Modernist narrative, the Jonathan D. Katz and Laura Aguilar abstraction. The luminous sky and wavy foreground artists in Drama Queer challenge us to see differently by Cassils point to shallow seas, but the actual location of the feeling differently. Conor Moynihan Zackary Drucker place pales in comparison to its magisterial, unpeopled Modernism seemed to promise utopia, but history has Sean Fader absences, an evocation of silence that fittingly is the taught us that “utopia” is merely a detailed reflection Andreas Fux other face of the high-keyed emotion of Drama Queer. of the failures and insufficiencies of our own times. Angela Grossmann And since we all have different experiences, different The artists surveyed in Drama Queer take us down Andrew Holmquist a rabbit hole of emotional uncertainty, just like Alice bodies, different desires, different abilities—we are, Bill Jacobson in Wonderland. They make us feel large and then in fact, seemingly endlessly different—Drama Queer incomparably small, we laugh even as tears well in the instead suggests that the way we understand each Shan Kelley corners of our eyes, our cheeks burning with shame other is to feel with and through each other. In place of Vika Kirchenbauer a politics of either totalizing sameness or unbridgeable though our eyes brighten with hope. For a moment, Rudy Lemcke through this art, we can glimpse an equitable future— difference, Drama Queer foretells a politics of analogy. Attila Richard Lukacs one that does not and cannot forget the past—even We might not all be the same, but through our as the work also tallies the daily toll of our many differences we will recognize our conjoining likenesses. Monica Majoli Precisely through our differences, we continue to struggles today. Kent Monkman desire, dream, and activate for a politics for social Zanele Muholi As Swenson foresaw, as the Stonewall rioters and change, social transformation. This is the promise, AIDS activists fought for, and as the painful not-so-distant the allure of queer emotion: by daring to look into Carl Pope memory of Orlando articulates, emotion and sexuality the mirror, we can see how to feel differently. Jesse Finley Reed I Exhibition Catalogue George Steeves Joey Terrill Keijaun Thomas

Queer Arts Festival I Queer Arts Festival Vincent Tiley Sabina van der Linden Del LaGrace Volcano DRAMA QUEER 12 13 14

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Del LaGraceVolcano Indeed, this refusal of polarity extends to every level level to every extends of polarity refusal this Indeed, gender. of abinary refusal acontinuous instead other, the or preferring gender one legibly as status intersexed his to frame refused continuously has he for linguistically, level, least not every almost at categories our resists she artist, an As Sweden. in lives currently and California in born was Volcano LaGrace Del

ambiguity to be ambiguous.” ambiguous.” be to ambiguity “I my gender said, prefer once Volcano As sight. on know we assume we that standards binary other most gender, but also about race, sexuality, beauty, and about think we of what borders the hard against push that images in life, his resulting and work, of her black becomes white becomes blackface, the one: other every out cancels signifier every that seems it of Antarctica, landscape all-white unpeopled adesolately in garb vaudeville showy in dressed face white or black in Adebayo Mojisola performer and playwright with photographs Volcano When

most continent. most southern world’s to the Moj pulls that of freedom push emotional the with us confounds and unsettles painfully that beauty sensual and mystery captivating of ascene is result The directions. cardinal habitual all of our confounding south, the becomes north De LaGrace Volcano LaGrace De ARTIST:

15 16

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue digital c-print, 16 by 20 inches. Courtesy of the artist. artist. the of Courtesy 16 inches. 20 by c-print, digital Tears Moj: Minstrel Volcano, LaGrace 2: Del Plate 15 page on Image artist. the of Courtesy 16 inches. 20 by c-print, digital Antarctic the of Moj Volcano, 1:Plate LaGrace Del 14 page on Image , 2005, 2005, , , 2005, 2005, ,

digital c-print, 18 by 24 inches. Courtesy of the artist. the of Courtesy 18 24 by inches. c-print, digital Del LaGrace Volcano, Moj: Face White Volcano, LaGrace Del 3: Plate , 2005, 2005, ,

representation in art and activis representation in art and racism about conversation to the contribute can essay short this that hoping Iam triggering. and problematic to be it have found who others been have there context asingular in even photograph, the behind intent the have recognized image this about Ihave received of responses majority vast the Although Antarctic of the show, Moj Adebayo’s one-woman as aresponse However, strong have as provoked none to controversy. stranger no are decades ahalf and three Ihave c images of the Some Whiteness &theColourWheelofFortune made in 2005 for Mojisola Mojisola for Moj: Tears, Minstrel 2005 in made reated over the course of course the over reated m.

Mojisola Adebayo writes: Adebayo Mojisola Del LaGraceVolcano inspired by the extraordinary Ellen Craft who who Craft Ellen extraordinary by the inspired is It slavery. American to escape man white a as cross-dresses who Moj called woman African-American enslaved of an story the tells Odyssey African An Antarctic: of the Moj my play, for drop back stage visual the become and creation writing, the inform would that visuals the to shoot to Antarctica Iwent and Volcano LaGrace Del about: came it how is This context. specific very and different avery for made Moj: Tears Minstrel question, in image The De LaGrace Volcano LaGrace De ESSAY: . The play play The . , was was , 17 18

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue the context of the performance of the play, of the performance of the context the way. this in Within of context out presented is it when particularly at, to look painful also is it but minstrelsy, of racist pain the moment, of that pain the shows photo The moment. to the sensitive extremely was Del pain. of the depth the in take and up close to shoot them silent fell all real. are Del to. tears The as I asked subjected to be continue and have been people, pain,we, African and humiliation all the for crying me, with of my ancestors spirits the felt deeply to I create. painful extremely was image This sobbed. Ijust aminstrel. as to perform forced is Moj where story of the part the to convey paint black the with my face to paint Idecided slavery. to escape whiteness into of crossing story the to explore play. white of the my face Ipainted plan to experiment towards the development a and costume mid-19th with century along us, with paint face white and paint face black took we to Antarctica Iwent and Del When Pole. South the /conquer to colonise quest their in theatres make-shift in Shackleton, and as such Scott explorers British amongst place took also that practice supremacist white racist abhorrent an minstrel, blackface a as to perform forced is she Antarctica, On Seas. Southern the for bound ship a whaling board on asailor becomes Moj character the escape, her of all. Following most of colour people impacts globally which change climate current and Revolution Industrial the slavery, Antarctica, and Africa of connecting aim the with fancy, of flight atheatrical into story the extends Antarctic of the Moj that. just did

in a blizzard or changing into 19th into changing or ablizzard in Island Deception on boat whaling old of an skeleton the in naked Moj, either with images making were we poo penguin examining were boat the on tourists the While created. we images of the centre literal the at and source the was of who sense a clear with but collaborative was process visually. Our work Moj’s ideas to make was job My conduit. and crew Iwas speak. to ship, so of the captain of a crew, the not part was I that was project of this features unique of the One not? why so bonkers, absolutely sounded It about. to think just queasy me made Passage, Drake the planet, the on waters treacherous most of the some crossing aship on of being idea the though willingly, even Iagreed genocide. with gendercide and change climate with of slavery crime the link would show, which one-woman her for images create and Antarctic to the her with to travel me wanted She funded. to being came it when good much me done not had my name that her warned but yes, said play, new her for Antarctic of the Moj application agrant on my name put could she if asked she When activist. and actor performer, and a playwright Adebayo, Mojisola by my friend aproject in participate to invited was and London in living Iwas 2005, In 1 Plays-One-MojisolaAdebayo/9781849430753. https://www.bookdepository.com/Mojisola-Adebayo- Mojisola Adebayo:PlaysOnecanbeaccessedonline: Adebayo: Plays One. Adebayo: published by Oberon Books in Mojisola wrote, I play the of the understanding and with the within ‘read’to be only creative context image the prefer Iwould my property, not is image the Although people. any or people, black more to bring meant never was it pain to other but character, of the bravery and heroism the shows and narrative the supports image the 1

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19 20

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue people envy and appropriate everything we can from from can we everything appropriate and envy people white it, face culture? Let’s white-only envelopes that frigidity of emotional landscape white frozen the escape learn? we do How children our syllabi the of out left being are that hermstories and histories the teach we visible? do How planet our poisoning is to make what need we skills detective the develop to we are How breathe. all must we particulates toxic theas flat line,invisible agrey is live.) Whiteness other the on least at is it that fact by the taken is comfort close, too gets it If there. over way descended, has bank acloud if as is it up come does issues racial with to do anything When of insulation. form present, ever yet invisible, an fibres, spun of form adiscomfiting is Whiteness white. are networks friendship their in of those majority vast the that admit eventually will people white table?” most kitchen your at you with down sits “Who asks: one level. If social superficial or level aprofessional on for except demographic, social and racial of their outside people to relate seldom They/we can. they/we do, because mostly and out, it tune can like. you people if WHITE reaction knee-jerk to? Ineed apolitical it maybe Call but out it have to spell level. Ishouldn’t a personal on them infects and affects racism how to about talk can I people find Iseldom academics, and activists artists, queer mostly includes which exceptions, are there While lives. a“hot topic” not their in simply is injustice racial chosen, and bio family, and both friends of my white apercentage aquite for that I know existential and humanistic perspective. an from all of us harms absolutely but of my lifetime, side of town. (Where we (Where of town. side

distance from toxic white toxic from distance off-white myself I call that to me occurred also has It great-grandparents. African and American Native Irish, my Black honour off-white myself Icall of fortune. wheel colour the on placed is it where precisely show and off-white myself I call desires. dominant their in defiant dangerously or of difference devoid are spaces, white-only particularly culture, of white forms Most heroes. sporting and music to the food, the from of colour), COC (cultures for for available product sanitized and safe another become than rather to action acall and response avisceral of producing capable are that images need we sometimes but it, from far anyone’s suffering, or pain to to add want not Ido little. so with much so says it painful, although and, power is image this that whites, and QPOC others, Ihave from had feedback the from know Ialso this. too, sad, about Iam and Tears Moj: with Minstrel encounter of their because sad and unsafe triggered, feel who people are there that Iknow seeing. and of looking ways different always are there that is to say Ineed thing last the I guess lessons. those upon act and to incorporate but learn, and listen to only not capacity all havewe the that believe Ialso programming. sexist and racist our of aresult as all suffer we believe Ido aconstruct as race in believe Idon’t Although Ican. as supremacy cross together.cross all can we abridge to it takes build as times many as once, but just Not line. the crossing in I believe consumption. mass outside of the context for which it was created created was it which for context of the outside in order to create as much much as to create order in ahue whiteness to give order in masculinity and cultural cultural and masculinity in order to order in

until one notices the breast reduction scars. reduction breast the notices one until portrait like aheteronormative looks Shanti Lazlo and Plate 4 Plate digital c-print, 40 by 27.2 inches. Courtesy of the artist. the of Courtesy 27.2 by 40 inches. c-print, digital 2004, 2004, Shanti, and Lazlo Volcano, LaGrace Del ARTIST: Del Volcano LaGrace ARTIST:

21 22

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue and undercut gender binaries. binaries. gender undercut and exaggerate once at that self-portraits INTER*me Courtesy of the artist. the of Courtesy 16 inches. 20 by c-print, digital CLAW INTER*me Volcano, LaGrace Del 6: Plate artist. the of Courtesy 16 inches. 20 by c-print, digital 2011, OFFER, INTER*me Volcano, LaGrace Del 5: Plate

is a series of the artist’s artist’s of the aseries is

, 2011, 2011,

22 digital c-print, 16 by 20 inches. Courtesy of the artist. the of Courtesy 16 inches. 20 by c-print, digital 7: Plate INTER*me BACK INTER*me Volcano, LaGrace Del ARTIST: Del Volcano LaGrace ARTIST: , 2011, 2011, ,

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue these categories to stand in opposition. opposition. in to stand categories these to allow refuses who terrorist agender as female, and asmale,as figure same Terrorist the Om shows Abu digital c-print, 16 by 20 inches. Courtesy of the artist. the of Courtesy 16 inches. 20 by c-print, digital Terrorist Om Abu Volcano, LaGrace 8:.Del Plate , 2000,

game of tic tac toe—a permanent draw. permanent toe—a tac of tic game unwinnable an in result here chromosomes of gender X’s The O’s and statuary. of phallic form Classical the to areference and “hermaphrodite” old of the form ashortened both as Herm term the coined Volcano Facing page c-print, 28 by 21.5 inches. Courtesy of the artist. the of Courtesy 21.5 by 28 inches. c-print, 9: Plate Del LaGrace Volcano, Herm Torso, Volcano, LaGrace Del 1999, digital

DRAMA QUEER I Quuer Arts Festival I Exhibition Catalogue ESSAY: Jonathan D. and Katz Conor Moynihan ESSAY: 25 26

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue and the artist. Gallery Secrist Carrie of Courtesy inches. 16.5 20 by canvas, on Disguise 10: Holmquist, Plate Andrew feel. can we how than look we how less address in Undress Hips in erection massive From the surfaces. own their stroke and strokes to caress seem brush individual the even aggregate, the in eroticism asubtle with charged only not are geometries these body. But own our subject: favorite our into elements compositions of his geometric the reassemble minds Our abstraction. with flirts continuously work his way the despite form, human of the painter a is Holmquist Andrew Andrew Holmquist Disguise to the staccato action in action staccato to the , 2015, oil and acrylic acrylic , 2015, and oil , to the mute conduit conduit mute , to the , these paintings paintings , these

27 28

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue and Christopher Slapak. Christopher and Robertson Michael of Collection inches. 16.5 20 by canvas, Hips 12: Plate Holmquist, Andrew Chicago. of Club University the of Collection inches. 44 by 36 canvas, on acrylic Undress, 2015, and oil 11:Plate Holmquist, Andrew 27 page on Image , 2015, oil and acrylic on on acrylic , 2015, and oil

ethnographic photography.ethnographic and fashion high between complicating the boundary also while artist queer a Black, for metaphor arich refraction, intermediary an through us, she amirror.in her, see We thus and behind her, her face is reflected cloth printed African an and skin luminous dramatically With camera. of the front in herself Ngonyama Somnyama series her from is Yancey Richardson, New York. Town/JohannesburgCape and Stevenson, of Courtesy Muholi. ©Zanele inches. 23.8 by 35 print, Charlottesville 13:Plate Zanele Muholi,Bona, Muholi’s Zanele of others, portraits her for known Internationally Zanele Muholi Bona, Charlottesville Bona, where Muholi puts where Muholi puts , 2015, silver gelatin gelatin , 2015, silver

29 ARTIST: Zanele Muholi

The large triptych, Caitlin and I, Boston, USA, is Part of Zanele Muholi’s series Beulahs, Mini Mbatha, an allegory of race in South Africa, Zanele Muholi’s Durban, Glebelands, Jan., features a young femme gay homeland. She depicts herself as the larger black person wearing a pleated mini skirt, colorful hair combs, ground for a small, resting white figure. That white and thick bangle bracelets, but who nonetheless woman, supported and cushioned by a Black body, forthrightly meets the camera’s gaze. Gender embraces an open, unguarded posture, while Muholi queerness, especially in South Africa, is an act of herself looks at the viewer suspiciously. brave defiance, yet his look is coy, even somewhat

Plate 14: Zanele Muholi, Caitlin and I, Boston, USA, 2009, abashed, marking him as an agential subject in this c-print,17 by 23.6 inches each. © Zanele Muholi. photograph’s co-creation. Courtesy of Stevenson, Cape Town/Johannesburg and I Exhibition Catalogue Yancey Richardson, New York. Image on page 32

Plate 15: Zanele Muholi, Mini Mbatha, Durban, Glebelands, Jan., 2010, c-print, 34 by 23.8 inches. © Zanele Muholi. Courtesy of Stevenson, Cape Town/Johannesburg and Quuer Arts Festival I Quuer Arts Festival Yancey Richardson, New York. DRAMA QUEER 30 31 32

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue of breast binding. of breast moment of the intensity emotional the captures aptly that image an in breasts her binding is Here, awoman visibility. lesbian Black for a space Zanele Muholi’s works, such as ID Crisis as such works, Muholi’s Zanele , create create ,

New York. New Town/JohannesburgCape and Yancey Richardson, Stevenson, of Courtesy Muholi. ©Zanele 16.7 inches. 23 by 17: Plate 2003, silver gelatin print, print, gelatin silver 2003, Zanele Muholi, Crisis, ID ARTIST: Zanele Muholi ARTIST:

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Monica Majoli desire, Amy’s and our own. our and Amy’s desire, of modes two through moves that eroticism an suggest work this forming rectangles two the By extension, instead. her Amy, to feel seeing seem we than rather and dejected, away, look eyes downcast Amy’s seductive. and captivating is that intensity emotional by alingering Twice Used Majoli’s Amy Monica white, and black Although Air de Paris, Paris. Paris, de Air and Prints, VRE artist, the of Courtesy inches. 26 by 20 g, 250 Rives BFK on etching Twice Used 17: Plate Amy Majoli, Amy Monica , 2011, and aquatint is colored

Rudy Lemcke poetic meditation on the parallels two between a thus is projection video This Gate Park. Golden Francisco’s San in AIDS living with veteran Vietnam gay ahomeless, concerning anarrative hear you soundtrack, music To gamelan visitors. Indonesian an by cast shadows other with along puppetry, shadow of tradition Balinese the in puppets handmade artist’s by the cast shadows the with mingle will of The front Uninvited in walk you As , your shadow shadow , your

13 minutes, 18 seconds. Courtesy of the artist. the of Courtesy 1813 seconds. minutes, The Uninvited 18: Lemcke, Plate Rudy present. our on casts past the shadows the shadows, these with relationship direct into viewer the AIDS, forcing with people to “other” tendency common the refutes work the By AIDS. implication, War and Vietnam the history: American in crises political lethal catastrophic, , 2003, video, video, , 2003,

35 36

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue exposed body coupled with these actions invokes invokes actions these with coupled body exposed her but identity Black reconstruct and deconstruct to flour white and sweeping, and scrubbing gestures the containers, coffee disposable uses Thomas work, and Through, 2. Part Seeing While Looking Whiteness, 1. Part Absent parts: three in installation a video Keijaun Thomas’s The Poetics of Trespassing is Keijaun Thomas Part 3. Sweet like Honey, Sweet 3. Part like Syrup Black . In this this . In painfully current. current. painfully and ongoing is pornotroping how performs work Thomas’s mind, in this With sexualized. to be them allowed it as just to objects people Black reduced that position to “flesh,”objectified an subjects from reduced were bodies Black slave trade, Trans-Atlantic of the “pornotroping”:as history the through identified famously has Spillers Hortense scholar what

Martinez. Courtesy of the artist. Courtesy Martinez. Sonny Christopher by edited Bermeo, Nicolas by filmed 1280 x720, States, United 17 seconds, 4minutes, video, digital 2014-2016, Whiteness, 1. Part Trespassing: Absent 19: Plate Facing page The Poetics of of Poetics The from still Thomas, Keijaun

Plate 20: , Through Seeing While 2. Looking Part Trespassing: Christopher Sonny Martinez. Courtesy of the artist. the of Courtesy Martinez. Sonny Christopher by edited Bermeo, Nicolas by filmed 1280 x720, States, United 17 seconds, 4minutes, video, 2014-2016, digital The Poetics of of Poetics The from still Thomas, Keijaun ARTIST: Keijaun Thomas ARTIST:

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Plate 21: Plate Christopher Sonny Martinez. Courtesy of the artist. the of Courtesy Martinez. Sonny Christopher by edited Bermeo, Nicolas by filmed 1280 x720, States, United 17 seconds, 4minutes, video, 2014-2016, digital 3 Part Trespassing: The Poetics of of Poetics The from still Thomas, Keijaun . Sweet like Honey, Black like Syrup like Honey, Black like Sweet

Jesse FinleyReed Courtesy of the artist. the of Courtesy inches. 50 by 38 plexi, non-glare to mounted face to aluminum, mounted rear C-prints digital You’re Lonely... #6 22: Plate other similar encounter. indistinguishable from every quickly is time, same the sexual encounter that, at and thrill of an anonymous chance, possibility, all the suggest images these darkness, luminous of #9 curls soft the and of #6 bones collar striking the differences begin to emerge— to blur, seems their image each indiscernible.nearly Yet, just as and obscured entirely to be seem series these in portraits the dark, and Backlit names. their ever knowing without men photographs he which Lonely... You’re Reed’s If Finley Jesse culture, Drawing on anonymous online If If Reed, Finley Jesse is a series in aseries is , 2006-2009, . Blanketed in a a in . Blanketed

39 40

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy inches. 50 by 38 plexi, tonon-glare mounted face toaluminum, mounted rear C-prints digital 2006-2009, You’reIf Lonely... #18 24: Plate Facing page artist. the of Courtesy inches. 50 by 38 plexi, tonon-glare mounted face toaluminum, mounted rear C-prints digital 2006-2009, You’reIf Lonely... #9, 23: Plate Jesse Finley Reed, Reed, Finley Jesse Reed, Finley Jesse ,

Jesse Finley Reed Finley Jesse ARTIST: 41 42

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Nations inheritance. First obvious its from itself of protecting way a as and culture Indigenous “uncontaminated” the for nostalgia of aromantic to deny, out both tends culture dominant that exchange an cultures, two between interchange centuries-long now the about hybridity, and exchange cultural about is work, of Monkman’s like much work, This moves. and that Indigenous hip-hop combines choreography a doing dancers Nations First are her Surrounding Testickle. Eagle Chief Miss as ego alter his in European, part Cree, part himself, artist the is center the In art. Canadian of contemporary masterworks of the one Kent Monkman’s is to Dance Berdashe the Kent Monkman

and sacred, and a feast is given to annually.” him given is afeast and sacred, and disgraceful degradation, is looked upon as medicine to this submitting tribe of the one only the being he and to escape; allowed not is he which duties, degrading and servile most to the driven is he possess, to known is he which privileges extraordinary for and life, all his to be known is he as woman’s clothes, in dressed aman is ‘Berdashe,’ who to the given “a is aletter: in feast by Catlin terms condemnatory in described was ceremony the culture, Nations First in trans, as recognize would we today what or of a“Berdashe,” celebration annual actual an Recording mid-19th the from century. title same of the Catlin by George apainting from derived are theme and title the celebrates, work the hybridity of the example aperfect itself robes, Buffalo synthetic onto Projected courtesy of the artist. the of courtesy and Fund Association Volunteer Arts’ Fine of Museum Montreal the and 1988-1993 Fund Campaign Museum the Purchase, Arts, Fine of Museum Montreal the of Courtesy variable. dimensions installation 10’5” final size x8’), hide (individual projections with hides fabric and 5steel AP; one with 3, of edition 8mm; super and HD formats original minutes, 5 channel video installation surround with sound; 25: Plate Facing page Kent Berdashe to the Monkman, Dance , 2008, 12 , 2008,

courtesy of the artist. the of courtesy and Fund Association Volunteer Arts’ Fine of Museum Montreal the and 1988-1993 Fund Campaign Museum the Purchase, Arts, Fine of Museum Montreal the of Courtesy variable. dimensions installation 10’5” final size x8’), hide (individual projections with hides fabric and 5steel AP; one with 3, of edition 8mm; super and HD formats original sound; surround with installation video 5channel 12 minutes, 2008, 26: Plate 44 page on Image (detail), (detail), Kent Berdashe to the Monkman, Dance

Association Fund and courtesy of the artist. the of courtesy and Fund Association Volunteer Arts’ Fine of Museum Montreal the and Fund 1988-1993 Campaign Museum the Purchase, Arts, Fine of Museum Montreal the of Courtesy variable. dimensions installation 10’5” final size x8’), hide (individual projections with hides fabric and 5steel AP; one with 3, of edition 8mm; super and HD formats original sound; surround with installation video 5channel 12 minutes, 2008, (detail), Plate 27: Plate 45 page on Image Kent Berdashe to the Monkman, Dance ESSAY: Jonathan D. and Katz Conor Moynihan ESSAY:

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue ESSAY: Jonathan D. and Katz Conor Moynihan ESSAY: 45 46

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Joey Terrill Just What is it About Todays That Makes it What About is Homos Just in of Note AIDS. how age the in culture hybridized on to comment commodities American of classic reappropriates Wesselmann’s original appropriations Tom as Terrill such Wesselmann, of artists 1960s vocabulary pop emblematic the Using LA. in living Joey Terrill is a longtime Latino queer artist/activist

the background. in have sex couple interracial an 8ball—as the behind commodities—all queer and to Latino to AIDS drugs, brands American classically from of references range Hamilton) Terrill awide mingles by Richard painting pop first the from derived (a Appealing? So Different, So Them title itself

Courtesy of the artist. the of Courtesy Terrill, Blackjack 8, 28: Joey Plate Facing page 2008-2009, 30 by 51 inches. 51 by 30 inches. 2008-2009, 48 by 36 inches. Courtesy of the artist. the of Courtesy inches. 36 by 48 29: Plate Joey Terrill, Tom Joey Gutierrez , 2001, acrylic on canvas, canvas, on acrylic , 2001, ARTIST: Joey Terrill ARTIST: 47 48

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue of the artist. Courtesy 120 inches. 52 by canvas, on diptych media mixed Appealing? So Different, So Them Makes That Todays Homos itAbout is What Terrill, Just Joey 30: Plate , 2008-2010, ARTIST: Joey Terrill ARTIST: 49 50

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue a heteronormative culture. of favor in biased world art an in creates queerness that “drama” the discern can we identities, gender and sexual of human panoply full the includes that aterm as “queer” word to the stand allow we If 2016 Was aRiot –Stonewall Festival Arts Queer the Queer to Drama my contribution was that work the regarding context provide and observations like some to share I’d and I’m Latinx queer structure. power white dominant by the erased or censured have been repression) violent (and its culture and history our Chicanos, As modality. heterosexual a on focused alens through misinterpreted or of work critique scholarly the in marginal or Historically, has been queer rendered art invisible Look atMe/¡Mirame!

at at

rhetoric and indifference. and rhetoric defiance inthe face of unprecedentedvirulent and anger, body, advocacy the stigma, of mortality, issues explored production art Our degrees. varying to another one for advocated and cared we community a as and death, and of illness onslaught the amidst forged were relationships Collectively, died. patrons art and owners gallery lovers, friends, artists, as smaller got networks homosocial our when era that have survived who of us those for agiven is stress Post-traumatic condition. achronic as HIV with living for allowing of individuals, death the stopped that therapy of antiretroviral advent the after born those and period that through went that of us those between adelineation or, agap best, at left has generation of my artists queer of AIDS on (drama) trauma The Joey Terrill

to visual information. to access and a difference networks developed our in is there years, plague of the worst the experiencing in gap aforementioned the with Along have been. paths generational our different by how though, struck, Iam but granted for it take never and elder an as my status to embrace Ihave come 90s. early and 80s the in born were of whom some artists, of younger work the with juxtaposed is work early Our context). gaymale Chicano to a specific my work (with identity aqueer of proclaiming examples pioneering as positioned are ago years 30–40 created works the exhibits, these Within themes. Latinx Queer explore that shows in 80s and 70s the from my work exhibit to invited Ihave been years, several last the Over setting. of agallery instead online media social through only work artists’ other my and with familiar are of them amajority and researching, are they “history” the have become stories and my art them, For years. earlier those from art and politics the research studies, Latino and queer in immersed artists, and academics young as conversation across-generational for gap, allowing aforementioned the bridging in atool as used being also is media social But community. with engaging for mechanism driving the is worse) Today, or (for better media social intimate. more and smaller were my networks artist, ayoung As expanding. continuously and larger much virtual, are 21st the in century engage they which in networks social many, For artist the experience. their not but history, their It’s definitely experience. not their today, definitely is that queers Latinx later. younger for Thankfully, adecade advocacy my AIDS enhanced that skills honed and justice social for my passion stoked 70s early the in movement liberation gay the concurrently and school high in activism student Chicano in work me,For my volunteer

in Spanish, “¡ Spanish, in me!” at “Look and declaration: simple a to down distilled be can art Latinx all Queer for theme prevailing The today’s technology. with minutes within “virtually” occur can of time aperiod over exhibits art attending or person, in meeting Service, US Postal the on depended once that imagery visual in Engagement prolific. and hastened is to imagery “selfie,”access of the and age of ideas exchange the this In collaboration. artistic of potential networks virtual larger much for allowed has media of social advent the artists Latinx younger for that apparent is it inspiration, for iconography ethnic and historical culture, pop visual same the from pull we While generations. both for there is assumptions cultural hetero-dominant provoking visually while like ourselves, others seek and community, to create impulse The of investigation.worthy and interesting Ifind that work their in queerness assert and to declare choose artists of how range wide the it’s directives, concurrent two those within me, For identity. cultural to Latino intrinsic behavior and roles gender heteronormative the as well as supremacy white on founded hegemony patriarchal the both challenging and to resisting commitment our in ourselves align we artists Latinx queer as that I assume are some painted cartoon ghosts spurting up from from up spurting ghosts cartoon painted some are Tom behind wall the On cocaine. loved and funny athletic, handsome, was who boyfriend, afriend’s was Tom Koreatown. in house our decorating and walls room my dining on drawing and collaging painting, Iin would the 90s. spend about three papering, weeks parties of my Halloween one at balloons white carrying Clown the Pierrot as of Toma photograph dressed Tom on titled painting Gutierrez based is The (2001) Queer to Drama contribution My Mirame! ” was three works. works. three was ESSAY: Joey Terrill ESSAY:

51 52

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Tom Wesselmann’s still lifes from the 1960s, I diverge Idiverge 1960s, the Tom from lifes still Wesselmann’s of trope the Borrowing cone. cream ice strawberry commercial of advertisement a double scoop to a1950s basket of afruit illustrations Victorian from range sources image the works, these For interpretations. to various open innuendo sexual with vulgar, filled and sometimes garish, are lifes still the contemplative, or peaceful being Far from sources. illumination and perspectives textures, of colors, aclash is overall assemblage The cartoonish. sometimes illogical, collaged—is or painted illustrated—whether of items size The logic. any with together go necessarily don’t other each against nestled Items drugs. HIV include that settings in surrealdomestic and floral arrangements advertising placing mid-century commercial food stuffs, products, with to have fun myself Ihave allowed and familiar yet strange to be lifes still like the I’d presence. enigmatic an is it familiar. and others For recognizable is capsule the Norvir, includes that cocktail HIV adaily take who those For combined. is it which with antiretrovirals the of efficacy the to boost considered is that cocktail HIV of an acomponent of Norvir, capsule white extra-large an is center the In blanket. aMexican with covered top table a foregrounded on objects of assembled recipe my usual follow that lifes still of two of one title the is 8(2008) Jack Black balloons. white holding him with moment celebratory that to paint chose year, following the Tom Ilater AIDS and from died By us. surrounding death and illness to the rebuke a in partying hard and celebration their in robust were parties the attended who friends and musicians designers, green and glittering ectoplasm. The artists, of swirls with graveyard, ablue-grey in headstones

Appealing? TodaysIt That So Makes Different, So Homos What is Just diptych large the was work third The profile the be individual. “name” the of well very could also it sites, hookup online the with familiar those for but gum, chewing (clove-flavored) Jack of Black sticks eight indicating package, gum of sticks the from taken is of color.men title The among infection of HIV rates disproportionate the to contributing factors two are sexuality around secrecy and low” “down the on Men men. other with engaging sexually his about open very not and low down the on is he as of anonymity a level to maintain shown not is face His crotch. to his down shoulders the from him profile.shows his It from is Iused pic the and dalliance asexual for online Imet someone site. is He ahookup from taken is image The background. the in table the behind In restrictions. and assumptions gender Latino to challenge is intent My create. and engage cook, men Chicano gay queer. to which in be Aplace home and space adomestic indicates work My others. for confinement arestrictive some, love for familial and of pride asource space: afemale as viewed is part most the for and to women belonged traditionally has realm domestic the art Chicano Within scenarios. to “queerize” life my still “Mexicanize” and attempt an in advertising product American exclusively from collaged images from American magazine advertising, advertising, magazine American from images collaged Appealing? So Different, So Homes Hamilton Today’s It What That is Makes Just work, Pop movement the sprang. The art which from work aseminal as recognized is 1956,from which Hamilton Richard artist of British collage iconic the Black Jack 8 Jack Black (2008-2010) which takes its title from from title its takes which (2008-2010) , I have included a man standing standing aman , Ihave included , consisted of , consisted

memento mori own its as acts reason discernable or context without placed Askull background. the in men two of the colors the referencing frosting chocolate with cake layer of yellow piece of Rice, ahuge Cream of abox shape, iconic its down running sweat cold of beads bottle, ACoca-Cola table. foregrounded the on objects myriad the with along in them taking voyeur, We the are Black. and Latino to be appear coloring, their on based men, The presence. our to viewer, oblivious are the at they out of looking instead and male both are figures two The exploration. anal/oral in buried faces their a69in position, men on a purpletwo sheeted bed sexually embrace glow. ayellow Here with background the illuminating lamp ashaded and roses of red avase with together piled are that advertisements from collaged and painted of items assemblage an is Appealing? So Todays It WhatThat is Makes Different, So Just Homos blanket. Mexican astriped in covered top table of arounded arc by the up taken again is interior of my domestic foreground The source. Hamilton original the from departs then and borrows my piece where is undertone sexual “appealing.” implied the and name the Parodying or intriguing so it makes what is collage the in implied tension of sexual other. subtext of each The instead viewer the at out look figures Both on. come sexual and of titillation offer an implying breast, left her holds She nipples. her covering pasties the for save nude performer, aburlesque is asofa on right To wrapper. namesake the its in covered lollipop of the head round Tootsie the Popextra-large with an carrying and strap aposing wearing arms his flexing builder body naked almost an including adjacent to a Mexican straw bowl bowl straw to aMexican adjacent

men. Look at me! at ¡ Look men. “ butterfly, for word Spanish the also but advocacy, immigrant unfettered for icon fitting a definitely is monarch The jurisdictions. government and to borders oblivious Mexico, into and States United the through south Canada, from traversing them has ritual migratory their as American,” “North truly is monarch the of story The out. and in fly butterflies monarch adozen which from awindow is work of the corner hand right upper The diptych. this in as renderings, painted exaggerated sometimes capsules, and pills actual the sometimes medications, HIV being key elements the with that does series life still My of art.” “works into items banal transforming altered, or or otherwise readymades attached advertisements “ of elements includes often practice art Chicano cereal. abreakfast advertising for appeal its man” “Quaker and of Oats the creation the in role its consider Ialso but violence and rhetoric homophobic “appealing” of men gay atarget making as in religion of role the We recognize Spanish. by the massacre 17th epic an century includes that history Aztec an with but city Catholic avery today is Cholula while Nixon) us gave (they history American on impact its and religion Quaker the Consider encouraged. is brow, low or trite however associations, historic and origins the Exploring readings. and interpretations multiple invites grouping mixed” “culturally This Quaker. grinning the with contrasting Cholula from mujer smiling the with Mexico, Chiapas from sauce hot aMexican of Cholula, abottle to is him Next Man. Oats Quaker smiling the with box Oats Quaker shaped Acylindrical bananas. and limes of lemons, mariposa rasquachismo ” is used as a homophobic slur for gay gay for slur ahomophobic as used ” is ” in the form of collaged images, images, of collaged form the ” in Mirame!

ESSAY: Joey Terrill ESSAY:

53 54

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Laura Aguilar Laura Aguilar’s “ Aguilar’s Laura and nature, animate and inanimate, male and female. and male inanimate, and animate nature, and human between distinction assumed our to question us forces photograph the and blurs, again landscape and body between of The distinction her buttocks. crack the in echo its finding finally before mid-ground, stone the into boulder phallic large, notably the from photograph, of the top the at starts line vertical uneven An landscape. and body between relationship the heightens Untitled ” Grounded Series further further

16 by 16 inches. Courtesy of the artist. the of Courtesy 16 16 by inches. 2007 Series, Laura Aguilar,“Untitled” 32:Plate Laura Grounded aboveImage , archival pigment print, pigment , archival human form. but social repudiation when given alandscape in evoke beauty can shape same the how by showing fatphobia denaturalizes cultural simultaneously she and inanimate the and animate the between demarcation natural ostensibly the to question us challenges Aguilar way, this In anthropomorphized. time same the at while landscape the into naturalized once at thus behind her. Her ample is body boulder rounded of the the shape mimicking camera, to the turned is back Aguilar’s work, this In nature. of definition very our redefine to Aguilar’s Aguilar’s Laura natural, the in beauty Finding 14.5 by 15 inches. Courtesy of the artist. the of Courtesy 14.5 15 by inches. print, pigment archival 2006, 111 31:Plate Aguilar, Grounded Laura Facing page Grounded 111 Grounded

Laura Aguilar Laura ARTIST: asks us asks

, 55 Cassils

Grounded 104 by Laura In their Becoming an Image performances, Aguilar focuses on the Cassils trained maniacally until their materiality of the body. socially “feminine” body became so With her head not muscled and ripped that it resembled visible and her pose nothing so much as a hyper-muscular not immediately legible, man’s form. During the performance Grounded 104 instead Cassils beat a 300 lb. block of clay presents a weird symmetry with their fists in an orgy of masculinist between what logic tells us violence that took place in a pitch-black must be her arms on one room before an audience. Invisible side and her legs on the to the viewer, Cassils’s grunts, panting other. But despite knowing and whacks were the sole evidence of that this is a human body, the performance save for a strobe that we instead see it as an at irregular moments lit the scene, abstracted form, divided capturing Cassils’s body at maximum into mirrored halves, extremity. The resultant sculpture of crablike—the remarkable twisting clay performs the mutability transformation of living of the body but also the daily violence flesh into brute material. experienced by the trans community for cis-gender noncomformity. I Exhibition Catalogue

Plate 33: Laura Aguilar, Grounded 104, 2006, archival pigment print, Plate 34: Cassils, Becoming An Image 14.5 by 15 inches. Courtesy of the artist. Performance Still No. 6, National Theater Quuer Arts Festival I Quuer Arts Festival Studio, SPILL Festival, London, 2013, ed. 1/1 EP c-print face mounted on Plexiglas, 36 by 24 inches. Courtesy Ronald Feldman Fine Arts. DRAMA QUEER 56 57 58

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Courtesy Ronald Feldman Fine Arts. Fine Feldman Ronald Courtesy 24 by inches. 36 Plexiglas, on mounted face 1/1ed. EP c-print Montreal Festival, Woman Edgy No. 2, Still Performance Image 35: Cassils, Plate Becoming An

, 2013, 2013, ,

Feldman Fine Arts. Fine Feldman Ronald Courtesy 24 by inches. 36 Plexiglas, on mounted face c-print Montreal, Festival, No. 1, Still Woman Edgy Performance 36: Cassils, Plate 2013, 1/1 ed. EP Becoming An Image Image An Becoming ARTIST: Cassils ARTIST:

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Vincent Tiley Vincent as objects of mourning, courtship, and affection. and courtship, of mourning, objects as used weight, emotional carry flowers But interaction. the color loss and bees) the and birds (the desire how explores together, work of Tiley’s men generations two these Bringing anus. his into and mouth, open man’s in his younger the toes, between flowers body, Colorado’s pressing on flowers re-arranges obsessively and arranges Reynolds man. able-bodied ayounger, Colorado, Jasper and older, AIDS activist, an Reynolds, Hunter What to features Know Do Bees The Tiley’s Vincent erotic, quietly and poetic, Silent,

Fred Attenborough. Courtesy of the artist. the of Courtesy Attenborough. Fred by Cinematography 10 seconds. minutes, 23 video, digital to What Do Know 37: Bees Tiley, The Plate Vincent , 2014, Vincent Tiley Vincent to the point of embodying them. of embodying point to the person another engages project the like to be someone, means it what Asking themselves. to perform how him, him telling direct sitters his had Faderbetween and each sitter, Fader of another. Acollaboration body the in himself loses literally Fader Sean IWant his In To Put You series, On Sean Fader 36 by 27 inches. Courtesy of the artist. the of Courtesy inches. 27 by 36 print, InkJet 2007, Dad, archival On, Sean 38: Plate Fader, IWant to Put You

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue archival InkJet print, 24 by 36 inches. Courtesy of the artist. the of Courtesy inches. 24 36 by print, InkJet archival Fader, 39:I Want toPlate Put Sean You Raini On, , 20 07, 07, 20 , archival InkJet print, 36 by 27 inches. Courtesy of the artist. the of Courtesy inches. 27 by 36 print, InkJet archival Fader,2008, IWant to Daddy, Put Sean You 40: Muscle Plate On, Facing page ARTIST: Sean Fader ARTIST: 63 64

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue George Steeves artist. the of Courtesy 24 by inches. 20 prints, selenium-toned 1997, chlorobromide silver-gelatin #21:Excavations #7 Entropy (TD) Plate 42:Plate George Steeves, of sex. terms in framed rarely bodies visible making people, older for script social the rewrites kink age-inappropriate Steeves’s an erection. sporting noticeably,a collar, most and, mask, ablack stockings, but nothing wearing a banister man is photographed straddling #21: Entropy #7 (TD) Steeves’ Excavations George In artist. the of Courtesy 24 by inches. 20 prints, selenium-toned silver-gelatin &LH) Steeves #21 #78: Excavations E-Minor 41:Plate George Steeves, feet. and calves female manifestly into legs his extending disquieting aura by seemingly image’s the Steeves’s amplifies photography, nude typical for type body nor age right the shock the bourgeoisie. Neither to designed images in eroticism mixes absurdity, humor, and Steeves’s Highly George performative, Facing page: Excavations , 2001, chlorobromide 2001, , ARTIST: George Steeves ARTIST: , an elderly elderly , an series series

(George (George

65 66

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue as artificialas her accouterments. #18:Excavations Entropy (VD, #4 RIP) seems in model the headdress, elaborate an in crowned and flamingos, plastic by three Framed Facing page

artist. the of Courtesy 24 by inches. 20 prints, (VD, RIP), Excavations #18: Excavations #4 Entropy Steeves, 43: George Plate 1996, chlorobromide silver-gelatin selenium-toned selenium-toned prints, prints, selenium-toned chlorobromide silver-gelatin #14Steeves), 1999, (George Excavations #49: Extasis of the artist. Courtesy 24 by inches. 20 44: Plate belly.of his the circumference ride that chain and handcuffs the reveals inspection Close bath. shower patterned overly an in pose a campily seductive George Steeves assumes else, the photographer nothing and pullover awoman’sto be floral seems what Wearing

George Steeves, ARTIST: George Steeves ARTIST:

67 68

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Courtesy of the artist. the of Courtesy 24 by inches. 20 prints, selenium-toned silver-gelatin 1995, chlorobromide #3 (TD), Extasis #38: Excavations 45: GeorgePlate Steeves, boa. feather soft a with gaze level man’s insistent, the crosses Steeves theatricality, image’s the inherent Exaggerating photographs. staged highly in friends his humor, poses Steeves George dark and of whimsy atouch With

Courtesy of the artist. the of Courtesy selenium-toned 24 by inches. 20 prints, 1997,chlorobromide silver-gelatin #7: #7Excavations (GS) Exegesis: 46: GeorgePlate Steeves, ofphotograph alluring tenderness. a in tendencies opposing melds image the drag, half baptism, Half penis. of his outline the and chest his on hair the glimpse we is ambiguously gendered until Excavations #7: Exegesis: #7 Steeves’sGeorge in figure the dress, wet asoaking in Clad ARTIST: George Steeves ARTIST:

(GS) (GS)

69 70

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue of the artist. Courtesy 24 by inches. 20 prints, selenium-toned chlorobromide silver-gelatin (PB#13 +VD, RIP), 1995, Excavations #48: Extasis George 48: Plate Steeves, artist. the of Courtesy 24 by inches. 20 prints, selenium-toned silver-gelatin 2001, chlorobromide #12 &LH) Steeves (George Excavations #69: E-Minor 47:Plate George Steeves, characteristic. defining its scene the of the surrealism viewer, the at quizzically photographer looks nude the shards, glass Holding apartment. fur—all abusy within same by the offset is photographer’s penis the while nipple her to bite seems that fox a stole revealing pulled her shoulder, off is woman’sThe dress incident. with explodes &LH)Steeves fairly #12E-Minor (George in scenario decorative The Facing page Excavations #69: ARTIST: George Steeves ARTIST:

71 72

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue us as if with another speaking body. speaking another with if as us confronts scale, small its despite Kelley’s art, media, traditional more with along semen or hair pubic and spoken. Deploying bodily materials such as seen is it how govern that codes and rules the and seriously, navigating the embodiment space between politic of body concept the take Kelley’s works Shan Shan Kelley

artist. the of Courtesy 7inches. 5by wood, on hair, resin semen, Kelley, Wish Shan 49: Plate , 2015, oil paint, photo transfer, transfer, photo , 2015, paint, oil and nothing is certain, even with PrEP. with even certain, is doing, so In nothing and condoms, with even perfect, is nothing sex—for after uncertainty anxious the Kelley pinpoints work, this In divide. positive/negative of the side either on furies and fears the negotiates work his and HIV-positive Kelley is ominous. or hopeful possibilities, doubled Chance aphorism Kelley’s pithy Shan plays with with plays artist. the of Courtesy 7inches. 5by wood, on Kelley, Chance, Shan 50: Plate of not knowing. uncertainty the out drawing encounters, all sexual of precarity emotional the up amps Kelley’s work 2015, oil paint, semen, resin resin semen, 2015, paint, oil Shan Kelley Shan ARTIST:

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue covers it over. it covers merely pain, but obliterate doesn’t healing that a reminder injury, initial an to testifies itself healing the awound, covering Yet, skin healed. raised like the be can they that also but injured, be can bodies that body. Once of the Healed corporeality In Once Healed , Shan Kelley draws attention to the to the attention Kelley draws , Shan reminds us us reminds

artist. the of Courtesy 7inches. 5by wood, on hair, resin semen, transfer, photo 51:Plate Kelley,Once Shan Healed , 2015, oil paint, , 2015, paint, oil

around AIDS. around silence the in world art of the complicity shameful the underscores it museums, mainstream in art the large-scale absence of queer and AIDS themed Cure a Kelley’s WithShan Curators Like Needs Who These, bristles with barely contained anger. Addressing anger. Addressing contained barely with bristles artist. the of Courtesy 7inches. 5by wood, Cure a Needs Who Like These, Kelley, 52: With Curators Plate Shan , 2015, oil paint, photo transfer, semen, hair, resin on on hair, resin semen, transfer, photo , 2015, paint, oil Shan Kelley Shan ARTIST: 75 75 76

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue affective times during today’s troubled times. today’s troubled during times affective forging for acall as read be might it as just years plague dark these available—during support only the support—often physical and emotional to communal If We Us acall Can’t Will Hold Who is Each Other Hold

resin on wood, 5 by 7 inches. Courtesy of the artist. the of Courtesy 7inches. 5by wood, on resin Each Other, We If Can’t Hold Us Hold Kelley, Will 53: Who Plate Shan 2015, oil paint, photo transfer, semen, hair, semen, transfer, photo 2015, paint, oil

the artist. of Courtesy 14 inches. 2015, 20 by collage, Skirt Plaid Grossmann, 54: Angela Plate Angela Grossmann

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Angela Grossmann, Gloves Grossmann, Angela 55: Plate artist. the of Courtesy 14 inches. 20 by collage, other out. each to cancel codes social opposing two the causing neckline, a plunging with gloves of white propriety extreme Gloves Grossmann’s Angela crosses the crosses , 2015, 2015, ,

Angela Grossmann’s Grossmann’s Angela hands of the original. original. of the hands statue, evenfamous the out-of-proportion David off, to fall torso and unslung trousers seemingly about gendered indeterminately an With form. to realize asingle of paper scraps different artist. the of Courtesy 14 inches. 20 by David Grossmann, Angela 56: Plate evokes Michelangelo’s Michelangelo’s evokes David pieces together , 2015, collage, , 2015, collage,

ESSAY: Jonathan D. and Katz Conor Moynihan ESSAY: 79 80

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue grotesque critique. comical,sometimes sometimes a landing distinctions, of gender absurdity the amplifiesGrossmann doing, so In foreign. seem familiar the making norms, gender many montages Ginger styles, clothing and of bodies combination absurd An constructed. are and sexuality how gender underscore to materials collage disparate combines Resistance of a recent of body work entitled Models Ginger Grossmann’s Angela artist. the of Courtesy Ginger 57: Plate , 2015, collage, 14 by 20 inches. 14 inches. , 2015, 20 by collage, Angela Grossmann, Grossmann, Angela . In this series, Grossmann Grossmann series, this . In

is part of part is

of the artist. of the artist. Courtesy 5inches. 3by is work each variable, dimensions installation visite, de carte on oil and Gobble Samson; Back; Jackson; Sailor; Graham; Studio; Grand Reynolds; of The view installation Grossmann, 58: Angela Plate gender in the process. the changing image, old an achieves from form a new Grossmann doing, so In adress. in to evoke awoman as away such in beard bushy a with figure amale paints Grand Studio in example, For materials. found of the meaning the inverts Grossmann paint, with Layering found photographs 1999, 2011, 2010, 2016, 2015, 2015, 2014, 2010, 2002, appearance of order in years various work), (central Sit and left), top from Wenzel (circularly clockwise clockwise (circularly , Grossmann Grossmann , Angela Grossman Angela ARTIST:

The The

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Zackary Drucker work and legacy. Simultaneously comically gaudy, comically Simultaneously legacy. and work Sabrina’s Flawless preserve and to document worked has Drucker friend, Aclose time. the at felony cross-dressing—a for times 100 over arrested documentary 1968 of the star and persona drag A notorious 1960s. the since Side East Upper Manhattan’s on occupied has she home the and Doroshow) Jack (a.k.a. Sabrina of Flawless ephemera and life the Street 73rd 5East series Drucker’s Zackary The Queen , Flawless Sabrina was was Sabrina , Flawless documents documents

long live the queen. the live long making, the in always queen spirit—a indomitable an to testament is body aging Sabrina’s frankly Flawless apartment, Side East Upper iconic her in face and head her shaves she as readying here ready. Shown Street 73rd 5East series Drucker’s of Zackary part Also kinship. queer and trans-identity 73rd5 East intergenerational Street explores theatricality, with bursting and pathos, in dripping mounted on aluminum, 25 by 25 inches. Courtesy of the artist. the of Courtesy inches. 25 by 25 aluminum, on mounted c-prints 73rd5 East Street, 2006, Drucker, Zackary 60: Plate artist. the of Courtesy inches. 30 by 30 aluminum, on mounted 59: Plate Facing page Rest in Power. in Rest queen. the live long dead, is queen The folk. queer and trans young other of ahost and Drucker to Zackary Mother in the 1968 the in The Queen film Immortalized competition. wasn’t she knew queens other the sure to make Flawless Mother of persona the adopted and teens, his in still when circuit drag the on producing began He illegal. literally was so doing when Stonewall, before Flawless adecade pageants drag organizing was Sabrina folk, trans young to many mentor and pioneer, activist queer drag queen, iconic An loved. he those by surrounded 2017, 18, 78 November age at on away passed Sabrina Flawless , this image captures Flawless Sabrina getting getting Sabrina Flawless captures image , this 5 East 73rd 5East Street Drucker, Zackary , Mother Flawless was beloved beloved was Flawless , Mother , 2006, c-prints c-prints , 2006, ARTIST: Zackary Drucker ARTIST:

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue owner. the of Courtesy inches. 40 by 46 photograph, Cutting Boy Naked 61: Plate Andreas Fux of transcendence. states other histories, other cultures, of other in terms ambivalently flesh male white, his resignify to power the retain tattoos his that suggesting both, manifestly is he as eroded andsadist masochist is culture, the division between SM much Like merge. violence and peace pleasure, and pain signifiers hand, in blade of blood, his regards coolly boy As the flesh. own his cuts he which with razor the as surely as body his marks hip his on swastika that and boy’s chest, the on iconography Indian the goddess, of the tattoos The Lukacs. Richard Attila to artist photograph this and hephotographer gifted aBerlin-based is Fux Andreas Andreas Fux, Andreas , 1992, 1992, ,

2Fik 85 86

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue navigates all the emotional spaces within this triad. this within spaces emotional all the navigates scenario adulterous 2Fik’s lover,his cheated, the and cheater, the Simultaneously characters. all the by being interaction: this complicates else? further 2Fik someone about fantasizing aman or affair an having aman it Is expression. man’s the on rapturous attention viewer’s the focusing obscured, faces their with portrayed are hijab pink the in woman the and tresses long the with However, woman the both periphery. the on unaware seems hijab pink in dressed woman asecond while man Adultère in roles three assumes 2Fik characters, many Playing artist the of Courtesy 24 19 by inches. aluminum, 62: Plate 85 page on Image

: a woman with long hair straddling another another straddling hair long with : awoman 2Fik, 2Fik, Adultère , 2007, Plexiglas, paper and and paper , 2007, Plexiglas,

of the artist. 63: Plate middle? the in caught and ask, to seems he both, are you if What pairings. opposed diametrically to be seems what between tension the other. the on highlights 2Fik opposition apparent its and hand one on tradition between caught is man The languages. multiple in help for begging sign a holding beater cardboard wife and cap a baseball sporting aman is them between Caught clothing. Arab traditional in donned men of group a to fight preparing of briefs shades colorful in dressed of men agroup is Fagger-Rangers of 2Fik’s left the On versus Musulmen Plexiglas, paper and aluminum, 24 by 13 inches. Courtesy Courtesy 24 13 by inches. aluminum, and paper Plexiglas,

2Fik, 2Fik, Fagger-Rangers versus Musulmen , 2006, 2006, ,

aspect of identity and art history. art and of identity aspect performative the underscoring while natural the humor, using upends 2Fik, politics, identity with as fluidly as history art with playing Gleefully sitters. the as well as photographer the to be himself mirror, the in revealing image the in time a third appears 2Fik absurd, Plainly acondom. holding one and clamps, by nipple together are joined figures two frère et son In Abdel identifications. and identities of amultiplicity to explore image asingle within himself characters different numerous portrays 2Fik

artist. the of Courtesy inches. 20 by 30 aluminum, 64: 2Fik, Plate Abdel et son frère son et Abdel , 2013, Plexiglas, paper and and paper , 2013, Plexiglas, ARTIST: 2Fik ARTIST: 87 88

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue cocaine just as another looks on appalled. As each appalled. on looks another as just cocaine snorting woman the at laughs woman finger,another a raising chidingly while ateacup or glass a shot either to be appears what holds hijab apink in A woman responses. of emotional range awide portraying each on, look others the while cocaine to snort preparing is Awoman table. a small around huddled women 2Fik’s 2Fik’s Freedom Overdose depicts five different different five depicts

orchestrates a complicated chorus of contradictions. chorus acomplicated orchestrates thus 2Fik flips. tenor in emotional the scene, the others the contradict and to negate seems character 2Fik, 65:Plate 2Fik, artist. the of Courtesy 15 by 20 inches. aluminum, and Freedom Overdose , 2006, Plexiglas, paper paper Plexiglas, , 2006, a sharp tongue and surgical wit. surgical and tongue a sharp with strength physical to counter sought long has that voice queer sassy that in back, speak in, they giving than rather But oppression. emotions of doubled and experiences born of to arange voice give they despairing, or angry humorous, ironic, At turns dissent. and visibility public for designed a medium through mobilized sensibility aqueer with slang posters installations American aBlack in speak Smelled Air The Bad Pope’s of Carl Roses dimensions variable. Courtesy of the artist. the of Courtesy variable. dimensions broadsides, installation with letterpress 2004-ongoing, Roses of Smelled Air Bad Pope, The 66: Carl Plate -91 90 pages on Image Carl Pope

nuff! Kray-kray…sho self-destruction. and falseness of abyss an into oneself to fling is contemptible as To Blackness imagine Whiteness. of abject sake the for anti-Blackness by the demonized everything for crematorium alter. symbolic That asacrificial on offering aburnt is be gonna AIN’T Suga…what all of us. Blacknuss around and inside revolveYes…Blackness IS many, which thangs many Man. Invisible of Prologue ahead.” the far lies from Ellison –Ralph and beginning the is end the although end, to the almost story, of the ahead far too getting is “But that mind. the the my in place, inside 1,369 lights, between spaces the alook, with change, and penetrate to me guiding sound, to move its me made Which land the upon aplague delivers fragrance asweet harvest, before corn green good The wind by the apattern given ahorn, through Carried like alot chaos something into From non-form — Carl Pope — Carl

89 90

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Carl Pope Carl ARTIST: 91 92

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue often deadly results of Blackness defined by a defined of Blackness results deadly often and atrocious The mindset. and structure, social binary hierarchical, of aWestern, left to the mention to not of things, “natural of order” the outside positioned by those woven thread anarrative also is Blackness Black. as framing patriarchal the through perceived usually is invisible,immoral, inhuman and uncivilized, unintelligent, ungodly, dangerous, (and unknowable), unknown to be thought commonly is What nature. in transformative and loving, magnetic, intersexual, feminine, being as well as forms, manifested void, the mind, subconscious the emotions, of the realms biosphere, Earth’s to the corresponds Blackness imagination. human of the effort through held and created is what with along continuum, time and space this within daily experience we Light” of “The interpenetration an is essentially which and/or energy asubstance is Blackness Diaspora, African the and population, its Africa, with associated is which a hue only not is Blackness Western elitist perspective are more than abundantly Western perspective elitist The BadAirSmelledofRoses Unpacking andRepackingBlackness

cultural production at the local and national levels by levels national and local the at production cultural Black in excellence for hub amajor was Indianapolis 1980s, to the 1900s early From the of Indianapolis. community Black the within vitality creative to the linked directly is work and on my life influence A profound human and culture the planet. of duration and improvement the for faculties feeling and my thinking of optimizing service in political, the to personal the macrocosmic, to the microcosmic the connects which of Blackness correspondences and attributes of unifying system the access and perceive then Ican it. within do Ican what and society in stand I of where possibilities the expands value having or worthy as Blackness Reframing categorization? binary and by hierarchical Blackness upon placed overt) and (subtle violence from free nature…aesthetically within grounded are which qualities its with agreement to be revised in were Blackness about distortions like the be if society American would clear. what But Carl Pope creative activities. I am still digesting the things things the digesting still Iam activities. creative all of in my concern amajor to be continues society of movement forward the for acatalyst as of art idea war.” of the ending to the greatly The contributed which opinion public changed that television on and War newspapers in Vietnam of the images devastating of horrific, circulation the but protests the not “It was advancement and positive of upliftment society. the for catalyst amazing an be could photography that promoted Hostettler activist. political and critic asocial was who Hostettler, Shea Donna with class photography school my high during began text and pictures between relationship complex to the introduction My language. and imagery visual between andcomprehend promote the interconnectedness to Ihave strived artist, visual American African an As Tavis host show Smiley. talk and critic social author/ and Fox, A. Vivica actress famed Edmonds, Pinkney, musician/writer/producer Kenneth “Babyface” Darryl writer of celebrated rise We the saw midst. our in of many inventiveness sparked also but us, inspired only not upbringing our to during exposed Iwere and Karen my twin that professionalism and of artistry level high The Jr.Gates audience. the in sat Louis Henry and Knight, Etheridge Evans, Mari while Brooks Gwendolyn to hear library to the going or supermarket the at people greeting Ali Muhammad like celebrities Black to see me for occurrence acommon was it and Indianapolis in culture of Black heyday 1970s the the was through late 1960s The entertainment. and sports, arts, the education, of fields the in nation’s the best celebrated has Expo 1970s, Black early Indiana the Since legends. jazz as spotlight international the into J.J. Johnson and Wes Montgomery, Hubbard, Freddie Hampton, Lionel residents local propelled Avenue of Indiana reputation national The families. wealthiest city’s the and C.J. Walker Madame of patronage financial of the way

the World the How to book See amazing his in Mirzoeff, Nicholas by defined aterm activism, of visual vocabulary the in of tactics aset Iuse practices, social retrograde to antidote an as mandate evolutionary its towards ingenuity to human move order In wholeness. and awareness conscious greater provides that aphysiology neuro-network, expanding an produce which brain the in synapses of firing the or space of outer darkness vast the articulate that sky night the in stars like the subject of this expansiveness the in of territory apiece maps passage each me, For progress. in work endless an as universe the maintains and manifests actively Light” “The and Blackness as just progress in work perpetual and acontinuous is exercise writing This nature. and society in of Blackness function and presence ubiquitous the about and/or insight epiphany produce to passages and quotes of short consisting project writing Afro-futurist an is of Roses Smelled Air The Bad (2004–ongoing). of Roses Smelled The in Bad Air dynamically themselves express which objectives artistic my primary informs clearly background educational and cultural My art. conceptual text-based and interventions, art public installations, commercial and photography fine art to multi-media from transition to smoothly freedom the me gave which Age, Information of the of postmodernity, characteristic aprimary is literature into of images reduction The language. of written attributes the representation photographic give by texts—that structure—informed and semantics, syntax, own their with communication of visual dialects are photography and cinema that me teaching for Carbondale at University Illinois Southern at Mike Covell and Gilmore David I credit mid-1970s the during school high in to me imparted Hostettler Donna . Mirzoeff writes, “In visual activist projects, projects, activist “In visual writes, . Mirzoeff Carl Pope Carl ESSAY:

93 94

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue employed in corporate mass media to improve the the to improve media mass corporate in employed structures narrative the Re-purposing 1990. in dictatorship military his and Pinochet of Augusto fall the triggered which Chile in “NO” campaign the was reform social and political widespread of service the in marketing and of advertising appropriations successful most of the One movements. anti-fascist and anti-racist, growing Matter, the Lives Black LBGTQ rights, protests, environmental various including issues, and groups of activist a coalition hosts which Movement, Rights Civil re-emerging the currently, and, marriage same-sex for legislation about the ongoing Women’s Movement, the U.S. opinion in public changes to important led that activists by socio-political appropriated language of advertising use innovative the is It advertising. commercial in used mediums first of the one is broadside letterpress the since fitting was text the illustrate to graphically posters letterpress Choosing branding, publicadvertising, relations, and marketing. corporate speaking, public in used techniques from derived largely is style writing Its of Blackness. vision loving and aprogressive for campaign advertising an as functions of Roses Smelled Air The Bad transformation. cultural and social, personal, for effort interdisciplinary afocused, into production cultural Black in partner acollaborative and literature, of Black areader artist, aconceptual as activities my harmonizes that process is a variations infinite 1 to make change.” actions and of pixels interaction the is activism Visual change... of making of avision service the all in tools, other among mapping and researching networking, archiving, containing collaborative, and collective is there is an alternative visual emerging. vocabulary It More (NewYork: BasicBooks,2016),292-293. Images, from Self-Portraits toSelfies,MapsMovies, and Nicholas Mirzoeff, HowtoSeetheWorld: An Introduction to 1 The mapping of Blackness in its its in of Blackness mapping The

3 2 enticed their nostrils.” before never had which perfumes and of roses aroma the was there and it seen ever had they as clear was air the that said (malaria). air by bad victims Grew Jes Jumbo Mumbo in a“riff” as Air Bad Old and Armstrong Ishmael Reed referenced Ellison’s text about Louis Jumbo Mumboand years) by fifty craze bunker/survivalist underground off-grid, the in trends today’s hottest Ellison’s Ralph Invisiblefrom Man is culled of Roses Smelled Air The Bad title The predicament in Western society. current our in results that matrix grammatical and demystify, disempowered, transcend the geometric to thought-forms egregore areconfiguring revision, aliterary is others and oneself for of life quality horn that counted. that horn Air’s Bad of old bell the from came that music good the was it when dance, the and music the up have broken would it because out, Air Bad old have thrown wouldn’t he kidding, was Louis course Of harvest. the before corn green good “It was says, other out,”air the while foul the let and window the “Open says, of me half one Armstrong Louis With me: within aconflict there’s still And emerge. Imust out, come Imust certainties, your of pattern the within lives which chaos to the pattern to give tried having Thus, individuals. for as well as societies for goes That conceived. was pattern that which against chaos of the sight lose never must living of aplan conceived has that mind the And mind. the mind, the all except it Iwhipped underground, going In of Invisible Man epilogue the In literature. modernist of Black genre the in Ishmael Reed,MumboJumbo (NewYork: DoubleDay, 1972),6. Books,2010[original1952]), 450. Vintage Ralph Ellison,InvisibleMan , 2nded.,e-book version(NewYork: by writing, “Other plagues were accompanied accompanied were plagues “Other by writing, by Ishmael Reed, two very important novels novels important very two Reed, by Ishmael 2 3 , Ellison wrote: wrote: Ellison , (which anticipated anticipated (which

5 4 ofhodgepodge interrelated and seemingly unrelated a as of one’s experience processing conscious the and reading by earlier furthered is Intertextuality revision. formal is intertextuality to Gates, According to Signify.” is to revise and to revise, is rename “to that Jr. Gates Louis concludes , Henry Criticism Literary American of African Monkey: ATheory Signifying The book groundbreaking his In production. cultural Black in originality to inspire literature and art, music, in strategies complex and new to construct collectively cooperated thinkers and artists of Black colloquium informal an Historically, tradition. literary Black the about text postmodern Black seminal Mumbo Jumbo created Reed Ishmael which in methodology the fact, in is, forms literary new to cultivate of writers effort acollaborative as air bad about lines of lyrical revision and construction The Invisible Man Ellison’s Ralph do’s references don’t.”—further it and won’t. It ain’t! it it and and wills is It It is. it and was of Roses Smelled Air The Bad from A passage arrange the relations of the visible and the sayable.” the and visible of the relations the arrange “autonomy the to writes, Mirzoeff as exercise, to fully of self-determination act apolitical is instance, this in one’s mind, speaking Freely of reality. my experience perceive and think Ishould how me, for and best is what Iam, who to know presume who those against adefense as truth inner from Igained prudence the to declare and self of my authentic intelligence the my mind; to broadcast speak to aptly language the finding about essence, in is, breakthrough acreative for conventions and rules enforced against forth and back wrestling the renaming, me, the ality (Durham,NC:Duke UniversityPress, 2011), 1. Nicholas Mirzoeff,- TheRighttoLook: ACounterhistoryofVisu Press, 1988),xxiii. African AmericanLiteraryCriticism (London:Oxford University Henry LouisGatesJr., TheSignifyingMonkey:ATheory of . , a , —“It —“It 4 For For

fallen intofallen knowledge.” already sense some in always is knowledge; and knowledge of earlier abearer always is forearmed; and “A us, tells forewarned to be, has by definition, reader Reading in After Theory concisely it said Cunningham Valentine reading. by previous embraced content the furthers that reading of continuous activity the through restructured and developed are references and theories, structure, Narrative narratives. 6 wholeness and unity. wholeness of expressions affirming life loving, unique, into us to transmute Blackness allow we as evolutionary, and revolutionary as of Blackness phenomenon natural and preconceived notions, comprehend we the can slanders void, without the in Blackness, in forth and back By moving of ourselves. aspect an only is that realize then we us, before is what understand and to know come we after And unrecognizable. unseen, previously of something image an to glimpse Or ways. expansive in imagine increasingly and think, to look, one’s on ability placed by limits shrouded or overlooked simply are that connections uncover to world the of seeing ways new into shift radical a ametamorphosis, To arebirth, undergo willingly Blackness. into to venture readers to its suggestion ahypnotic also is of Roses Smelled Air The Bad “Blacknuss.” navigating when needed of “shade” sometimes is amounts copious and degree of literary, fierce “reading” comprehension ahigh with revision formal for Aknack truth. shocking often ahidden, on based insight adeeper at arrive to observations of subtle use expert an connotes Paris Burning is Corey, documentary Dorian the in superstar drag “reading” “shade” and by legendary Wiley-Blackwell, 2002),5. Wiley-Blackwell, Valentine Cunningham, ReadingAfterTheory(Hokoben,NJ: 6 The vernacular definitions of definitions vernacular The when he when Carl Pope Carl ESSAY:

, 95 96

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Attila Richard Lukacs Courtesy of the artist. the of Courtesy 120 144 by inches. canvas, Dead 7 Devils 67: Plate Lukacs, Richard Attila Attila Richard Lukacs Attila ARTIST: , 2008, oil on on oil , 2008,

97 97 98

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue and theological all at once. As things develop out of of out develop things As once. all at theological and the flamescontain mutating human, forms—animal, The Tattooed in how Note, example, for Liar address. barely can language that things to suggest ability the possess such as and essays, not paintings, are they But art. contemporary by most unmatched power apictorial and of reference adensity also but politic, anti-war an only not share they violence, ramifying its and war Iraq the with concerned Broadly judgment. of that validity the underscore year, one from 2008, all paintings, massive three today. world These the in painters living finest of the one is Lukacs Richard Attila

Quit Smoking” dominates the painting. the dominates Smoking” Quit I Can’t “Why reads smoke smoke/battle cigarette whose skeleton grinning Apink devil? by ablue away pulled being youth of aMuslim legs lower the as well Dead Devils 7 in soldier central of the arm the how See reversals. their to experience time works these Give hold. not does center the and obverse its become quickly can something when metamorphosis undifferentiated of an vision hellish Lukacs’s glimpse we things, other into back dissolve then and becomes a phallus reading “Dildo Diablo,” “Dildo reading aphallus as becomes

Courtesy of the artist. artist. the of Courtesy mothers Lukacs, Richard 68: Attila Plate Facing page [artist’s translation: ], 2008, oil on canvas, 101 by 104 inches. 101 inches. 104 by canvas, on oil 2008, ], Paradise is found under the foot of foot the under found is Paradise

The Tattooed The Liar Lukacs, Richard 69:Plate Attila oil on canvas, 80 by 162 inches. Courtesy of the artist. the of Courtesy 162 by inches. 80 canvas, on oil Attila Richard Lukacs Attila ARTIST: , 2008, 2008, ,

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue artist. the of Courtesy 12 inches. 22 by ) ground parade on Lukacs, 71: Plate the two. hierarchy between established the leveling pornography, gay with mingle mainstream sources They compositions. into them folding before him, with resonate that images for culture popular scours Lukacs Richard Attila way the to attest collages These Courtesy of the artist. the of Courtesy ) boys Lukacs, Richard 70:Plate Attila , 1998, 16, 1998, 11 by inches. Untitled Untitled ( 5 seated (5seated Untitled Attila Richard Richard Attila

( soldiers ( soldiers , 1998, 1998, ,

Courtesy of the artist. the of Courtesy DAD HAPPY YOUR YEAR NEW –I’M 72: Lukacs, Plate Richard Attila 1998, 141998, 11 by inches. artist. the of Courtesy Untitled 73: Lukacs, Richard Plate Attila 102 page on Image , 1998, 15, 1998, 11 by inches.

( LIFE May 6, 1940( LIFE 6, May ) Attila Richard Lukacs Attila ARTIST:

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Sabina vanderLinden owner. the of 17 Courtesy 12 by transfer, photo inches. n.t. n.d., Linden, der 74: van Plate Sabina

103 104

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Vika KirchenbauerVika our own position in this spectacularized work. spectacularized this in position own our scrambling positions, objects and subject viewer-viewed the disrupts Kirchenbauer’s essence, In position. subject film-viewing normative our unsettles and confronts, deconstructs, that awork in at looked being and looking of dynamics the with plays viewer, Kirchenbauer the to on back gaze the body. Flipping entire viewer’s the YOU ARE BORING! installation evokes video 3D Kirchenbauer’s Vika patted, of apig being slap rhythmic the alongside of swallowing sounds the Using

VG Bild-Kunst. Courtesy11 of seconds. the13 minutes, artist & video, 3D YOU ARE BORING! Kirchenbauer, 75:Plate Vika , 2015, 2015, ,

Bild-Kunst. &VG artist the of Courtesy 11 13video, minutes, seconds. 76: Plate Vika Kirchenbauer, YOU ARE BORING! Kirchenbauer, Vika

, 2015, 3D ARTIST: Vika Kirchenbauer ARTIST: 105 106

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue the ostensibly public sphere. sphere. public ostensibly the with even control social of mechanics the to testifies address public of whited-out image this queers, for resonance distinct with Ametaphor words. likely are what covering to be seems paint the as censorship, of and of silencing ideas evokes image The of paint. rectangles various with covered wall aflat depicts #2550 Decisions of Human ASeries Jacobson’s Bill York. New Gallery, Saul Julie and artist the of Courtesy inches. Decisions #1710 77: Plate Bill Jacobson as much as it forecloses your inclusion. your forecloses it as much as image the into you pulling surface, in shallow while depth in rich image an Decisions #1710 of Human In ASeries surface. flat a photographing actually while space interior evocative and open an suggests Jacobson photograph, people. the from people By removing absent spaces of human account of Human Decisions Bill Jacobson’s 2003, in Begun A Series of Human Human of ASeries Jacobson, Bill , 2005, pigment print, 39 x 30 x30 39 print, pigment , 2005, , Jacobson creates creates , Jacobson is a photographic aphotographic is A Series Series A

and Julie Saul Gallery, New York. New Gallery, Saul Julie and artist the of Courtesy inches. x30 39 print, pigment 2008, #2550 Decisions Human of A Series 78:Plate Jacobson, Bill Facing page , ARTIST: Bill Jacobson ARTIST: 107 ARTIST: Bill Jacobson

Looking like nothing so much as an That age old pictorial convention of the Ellsworth Kelly hard-edged abstraction, horizon line here in Some Planes #115 Some Planes #601 exploits strong contrasts achieves new purposes as it describes at to capture painterly abstraction within the once a landscape, seascape, and a pure real world. But that abstraction points to abstraction. The luminous sky and wavy a more particular social relevance in its foreground point to shallow seas, but evocation of polar or binary constructions, the actual location of the place pales in such as us and them or gay and straight, comparison to its magisterial, unpeopled that do violence to the nuances of the real absences, an evocation of silence that world they claim to describe. fittingly is the other face of the high-keyed emotion of Drama Queer.

Plate 79: Bill Jacobson, Some Planes

I Exhibition Catalogue #601, 2008, pigment print, 52.5 x 39 inches. Plate 80: Bill Jacobson, Some Planes #115, 2005, Courtesy of the artist and Julie Saul pigment print, 52.5 x 39 inches. Courtesy of the Gallery, New York. artist and Julie Saul Gallery, New York. Quuer Arts Festival I Quuer Arts Festival DRAMA QUEER 108 109 110

DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue latter being her first body of work done in color.in done work of body first her being latter (1990–94), Clothed/Unclothed series), best-known her probably (1986–89; Lesbians Latina include series photographic Her obese. and dyslexic, lesbian, Latina, as identities of intersection personal her navigate self-portraits recent more Her idealizations.” or bodies and disassociates them from male-centered nostalgia female Chicana of images normative societally the from away moves “Aguilar that consciously observes writer one feminism; Chicana with work Aguilar’s identify closely scholars and Critics life. still and landscape of genres the with portraiture fuses Stillness series her In race. and gender, class, of sexuality, norms societal challenges she as body own her with toterms to come self-portraiture uses often She obese. the and people, black lesbians, Latina on focusing beauty, of constructs social contemporary challenges and form human the on centers work Her portraiture. of genre the in primarily works Aguilar Laura Laura Aguilar lifeartist’s experiences and personality. the from stem and photographs interconnected all are his in featured characters recurring the backdrop, diverse this of out Drawn ramifications. socio-political its and identity of issues toexamine him inspired environment multicultural city’s the with encounter His 2003. in Montréal to moved 2Fik family, Muslim toaMoroccan Paris in Born scenes that comment on thoughtfully current society. orchestrating playfully reference, of points assumed viewer’s the destabilize images constructed his reality, Toying with familiarre-enact compositions derived from paintings. famous often that images elaborate stages 2Fik performer, and photographer, director, artistic of roles multiple the Assuming 2Fik Artist Biographies (1996–99), Motion Plush Pony (1992), and Grounded (1992), and (1999) and Center and (1999) (2006–07), with the (2006–07), (2001), she she (2001),

James D. Phelan Award in photography in 1995. Her work work Her 1995. in photography in Award D. Phelan James the and Award AWoman Was recipient Anonymous an of a2000 was She Barbara. Santa in California of University the at Gallery Women’s Center the and Center; Photography Angeles Los the (LACE); Exhibitions Contemporary Angeles Los the Gallery; Bridge Hall City Angeles Los the Italy; 1993 the Venice including Bienniale, exhibitions, international Aguilar’s have works appeared innational more and than fifty Cassils forges a series of powerfully trained bodies for for bodies trained powerfully of aseries forges Cassils aesthetics, male gay art, body feminism, conceptualism, on Drawing slipperiness. and spasm indeterminacy, of a space in works that embodiment of aform becoming, of process acontinual as crossing from rather but one sex to another a as not transgender performs Cassils binaries, gendered images. of Bashing factor” through truth “documentarian the tochallenge order in camera for acts constructed andurgency of ephemerality live against performance struggle, and survival, often the juxtaposing immediacy, contemplating for histories of violence, representation, experiences shared offer artworks Cassils’s regimes, training bodies of transformed by physical strict series a Featuring sculpture. social of aform as body the with engagement for a rigorous recognition international achieved has Cassils art,” contemporary of landscape the changing are who artists transgender as ten of “one Post Huffington the by Listed Cassils Initiative. Getty the by part in funded is and Center Research Studies Chicano UCLA collaboration in 2017–18.in organized being is It with the exhibitions of series LA/LA Time Standard Pacific the of part as College Angeles Los East at Museum Art Price at the Vincent scheduled retrospective first her has Aguilar YorkNew City. Art, Contemporary of Museum New the and Angeles; Los Art, Contemporary of Museum Art; of Museum County Angeles Los Bloomington; University, Indiana Reproduction, and Gender, Sex, in Research for Institute Kinsey the at ones including collections, public of anumber in held in is

Vice, Art/Slant, Art News, Gothamist, NY1, the Huffington NY1, Huffington the Gothamist, News, Vice, Art Art/Slant, FCity, Art Hyperallergic, MOMUS, includes press Recent Grass. of ABlade and (NYFA) Arts the for York Foundation New include fellowships Recent York New City). in Gallery Share and This!City); Appropriation After Cynicism Portraits New College); (Haverford Thomas Willis Hank by curated Boys White include shows Group Springfield. in Illinois of Sup? and (NYC), Fair Art Pulse and (NYC), Show Art Break Spring (Chicago), Gallery Defibrillator include shows solo Previous (Miami). Show and Socrates Sculpture Park, and Park, Sculpture Socrates and include #365ProfilePics Yaddo tosupport from grant amaterials and FIT from grant enrichment faculty a received Fader Arts. the for Foundation Elizabeth the and Art, Contemporary for Center Yaddo, at Bemis residencies during Gallery was #365ProfilePics was Gallery Denny with Show Arts Spring/Break for show solo recent Fader’s (SAIC). Chicago of Institute Art the of School the MFA an from and (MICA) Art of College Institute Maryland the from arts digital in MA an (b.1985) Fader holds Sean Sean Fader Emmy-winning Me Is This docu-series the for Producer Emmy-nominated an is Drucker others. among SFMoMA, and Diego, San MCA Ontario, of Gallery Art PS1, Museum, MoMA Hammer 2014, Biennial Whitney the including festivals film and galleries, museums, in internationally work her exhibited has She andperformed seeing. and sexuality, gender, about think we way the down breaks who woman trans and producer, cultural artist, independent an is Drucker Zackary Zackary Drucker histories. and ideologies around critique avisual constructs Cassils that sinew and blood sweat, with is It purposes. performative different , as well as a Co-Producer on Golden Globe and and Globe Golden on aCo-Producer as well , as #ferwings , curated by Richard Prince (Gagosian in New York New in (Gagosian Prince Richard by , curated Transparent at Bemis Center for Contemporary Art Art Contemporary for Center Bemis at . . #365ProfilePics . Recent performances Yaass Gaga Yaass #wishingpelt was developed at the University University the at at Satellite Art (Denny

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Foundation’s Flash Award Forward for Emerging Magenta the include awards Recent Slate. and Post, vintage toys and puppets. and toys vintage clothing, doll’s rooms, hotel gritty in naked posing women of “erotic” photos found of acombination are they photos; ( collages larger The ongoing. is it and years thirty than more for in lived has she cities different the in work this continued has Grossmann markets. flea local in photos the sourced She 1980s. late the in Amsterdam in living while paintings Life photo than Smaller her began Grossmann Angela Angela Grossmann http://www.andreas-fux.de/ Andreas Fux Brooklyn. in based is Fader Photographers. Prague, Czech Republic atelier. Painting Prague, Arts Fine of Academy 2006 Chicago of Institute Art the of School The Drawing, and Painting Arts, Fine of Bachelor 2008 Chicago of Institute Art the of School The Drawing, and Painting Arts, Fine of 2014 Master EDUCATION boundaries. gender and expected world, inner and physical the abstraction, and figuration between line the blur that possibilities new presents He form. human the of limits the of stretching aplayful is all of center the at but tofantastical, biographical from subject in varies work His books. comic and sculpture ceramic video, film, in drawing has recentlyinvestigations expanded with interest in 2014.painting primary in His program and Masters (SAIC) Chicago of Institute Art the of School the from (b.1985) graduated Holmquist Andrew artist Berlin-based Andrew Holmquist Mistress Works ) are also made from found anonymous anonymous found from made also ) are ARTIST BIOGRAPHIES

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue oversharing and perversions of participatory culture. participatory of perversions and oversharing explicitness, exaggerated like methods contradictory ostensibly through “othered” the of torepresentation relation in opacity explores she work her In Berlin. in based currently producer music and writer artist, an is Kirchenbauer Vika Vika Kirchenbauer Mexico. and Europe Canada, USA, the in collected and curated been has work His Art. Out (With) Day 26th the Presence Radiant in featured was and member, artist AIDS aVisual is Kelley and activism. art between the slippage amidst of sits intersections that practice a mixed has He justice. social and reform health-policy for advocate Shan Kelley is and an Edmonton-born, Montréal-based artist Shan Kelley Avenue figure, 2015, in and Books Radius have (Series) been produced, including Place Ranieri Foundation. work Jacobson’s of monographs Six Bogliasco Foundation, and Civitella Colony, MacDowell The Yaddo, at artist-in-residence an been has and Arts, the for the Pollock-Krasner Foundation, and the New York Foundation fellowships from the John Simon Guggenheim Foundation, received has Jacobson Museum. Albert and Victoria The The Nelson-Atkins Museum Hammer Museum; of and Art; Houston; Arts, Fine of Museum The MoMA; Francisco San Boston; Arts, Fine of Museum Museum; Guggenheim Art; American of Museum Whitney Art; of Museum Metropolitan the include work his collected have which Museums Europe. U.S. and the throughout widely toshow continues and 1993, in his exhibited first Jacobson Institute. Art Francisco San MFA from University Brown aBAfrom and receiving an 1982, after since York New City in worked (b.1955) and lived has Jacobson Bill Bill Jacobson at New York University’s Grey Art Gallery Gallery Art Grey York University’s New at Portraits Interim , both published in 2017 by Some Planes Press. Planes 2017 in Some by published , both , an international screening of works marking marking works of screening international , an

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psychiatry, performer/spectator relations, contemporary of relationships power the staring, unilateral on insistence its and warfare drone modern economy, experience the and post-Fordism within labour including contexts larger in individual the on impacts affective its as well as at” looked “being and “looking” of nature troublesome the discusses She Francisco State University, The San Francisco Art Institute, Institute, Art Francisco San The University, State Francisco San College, Mills Cruz, Santa and Berkeley at California of University the at speaker and lecturer aguest been has He Museum. History GLBT the and Frameline Festival, LGBT Film International Francisco San the of part as regionally and City Mexico York, Paris, New in screened been has work video His Hushka. Rock and D. Katz Jonathan by curated York New as such institutions at lectures given has She European Festival. Media Art and Festival Film Short International Oberhausen Festival, Film Experimental International Toronto, Bucharest Festival Images Festival, Film Arbor Ann Berlin, Ufer Am Hebbel Krems, Biennial, Film Artists’ Donaufestival London ICA Art, Modern of Bonn Museum Kunstverein, Berliner Neuer including contexts of range awide in exhibited been has work Her everyday life experience of ambiguously gendered individuals. the as well as politics representational queer and display art in the nationally traveling exhibition traveling nationally in the included was work His Manila. in Museum Vargas the and Museum Art Berkeley DeYoung the the Museum, Art, American of Museum Whitney the as such museums and galleries in internationally exhibited been has artwork His Multimedia Studies Program. State Francisco San from Technology and Design Web in adegree and Belgium, Louvain, of University the from Philosophy in adegree with artist media anew is Lemcke Rudy Rudy Lemcke Kassel. Arts of Academy the and Cologne Arts Media of Academy the Arts, the of University Berlin the Copenhagen, of University the London, of University Goldsmiths University, Art AIDS America AIDS Art

relocated to Maui for several years where he was able to to able was he where years several for to Maui relocated Lukacs time, this After alike. critics and painters of a generation provoked and shocked sexuality, homo-erotic of overtones with works, explicit brutally These influences. artistic Eastern and Western historical with merged Cadets, Military American and primates skinheads, male of examination his extended he York New City, in where time spent Lukacs 1990s, the During culture. skinhead of youth disenfranchised the with charged became art his time, this During years. ten next the for work would he where toBerlin relocated Lukacs Bethanian, Kunstlerhaus at Program Residency aStudio of offer the with 1986, In artist. emerging askilled as himself established already had 1985, Lukacs in graduating Upon Design. and Art of University Carr Emily the from education arts an 1981 in topursue Columbia, British toVancouver, moved Lukacs Richard 1962, in Attila Alberta, Edmonton, in Born renaissance realism. and neo-expressionism European to neo-classicism, returning styles, historical art diverse from borrow often paintings His culture. low and high of melding artistic skillful his for acclaimed critically is Lukacs Richard Attila Attila Richard Lukacs others. and Organization, Arts LGBT Latina/o the Company, Dance Asian) (South Abhinaya Arts, the in BRAVA Women for including the Women’s Asian American Association, Artists several Bay Area and women’s multi-cultural organizations arts for websites launch and develop helped has he years the Over University. Yale at program Studies Gender the for webmaster was he 2000-2006 From Center. Cultural Queer He is Communications currently Director for the San Francisco QIY: Queer-It-Yourself Violence of AHistory include: Francisco San in (SOMArts) Center Cultural Market of South the for projects curatorial His Art. Modern of Museum Francisco San and Arts of College California The , 2019; to #Selfie From Self (2017); and (2017); (2016). (2016). Bomb Glitter Creative Labor , 2018; Creative Labor

into the historical treatments of pastoral and bucolic themes. bucolic and pastoral of treatments historical the into reveal a commune deep with landscape, and an exploration works These practice. studio astrong of centrality the reassert being, who reverses the colonial gaze, upending received received upending gaze, colonial the reverses who being, supernatural and trickster, provocateur, agent an as work his of much in appears Chief Miss alter-ego diva glamorous painting, film/video,performance, and installation. His including mediums, of avariety in explored experience—are complexities of historic Native and contemporary American resilience—the and loss, sexuality, colonization, of Themes reinterpretations of landscapes. romantic American North provocative his for known well is Monkman Kent Kent Monkman Art. of School Yale at University program Studies Graduate the and Berkeley UC at taught also has She Irvine. California, of University the and at Studies Graduate Painting in Art of aProfessor now is She Angeles. Los California, of University the BA (1989) from MFA her (1992) and earned Majoli Angeles, 1963 in Los in Born irresolution.” its of admission an and catharsis for asite both “is and mortality” and intimacy, identity, of rituals and “themes investigates work Majoli’s fetishism.” sexual of scenes depicted have present the to 1990s early the from paintings “figurative Majoli’s Art, American of Museum Whitney tothe According collections. permanent their in work her include all Francisco San Art, Modern of Museum the and Angeles Los Institute, Research Getty the Angeles, Los Museum, Hammer the York, New Art, American of Museum Whitney York, the New Institute of Contemporary Art. The Museum of Modern Art, Art, Modern of Museum The Art. Contemporary of Institute KW at Art Contemporary of Biennial Berlin 2006 the and Rubberman Her image. sexual documentary the through expressed consciousness, and physicality between relationship the examines Monica Majoli whose artwork is artist an American Monica Majoli series was featured in the 2006 Whitney Biennial Biennial Whitney 2006 the in featured was series ARTIST BIOGRAPHIES

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue and the 2007 and 2015 Toronto International Film Festival. Festival. Film 2015 and Toronto International 2007 the and Berlinale, 2008 and 2007 the including festivals, international and national various at screened been have works video and film short award-winning His Museum. Art Denver the at recently most Verney, and Compton Indian, American the of Royal Ontario Museum, The Smithsonian’s National Museum The Collection, Art Canadian McMichael the at performances specific site memorable created has Monkman stage, centre at Chief Miss With people. Indigenous and history of notions widely represented in the collections of major museums museums major of collections the in represented widely is and internationally exhibited been has work His (2017). University OCAD from degree doctorate honorary an and (2017) Award Centre (2014), Bonham the Award Arts Visual Foundation (2014), Hnatyshyn the Award (2012), Indspire the Award Leadership Egale the awarded been has Monkman 2020. until Canada Resilience of Prejudice: AStory exhibition, solo touring national second His Ryerson University, Toronto. In 2013 Muholi became an Toronto. became 2013 In Muholi Ryerson University, at Media MFA: Documentary an completed 2009 in and Johannesburg, Newtown, in Workshop Photo Market the at Photography Advanced studied Muholi townships. the in women young for workshops photography co-facilitates and totrain continues beyond.” She and SA in crimes hate of height the at existence and resistance our of to know world the for Africa South of history visual trans and queer ablack “to re-write is mission self-proclaimed Muholi’s queer and visual (activist) media. in 2009 founded Inkanyiso (www.inkanyiso.org), a forum for Women of (FEW) in 2002, Empowerment and for Forum the co-founded She Johannesburg. in living and Durban, Umlazi, in (1972) born photographer and activist avisual is Muholi Zanele Zanele Muholi Fe. Santa in Projects Peters and Calgary in Baer Trepanier Toronto, and Montreal in Contemporain Art Ouellette Pierre-Francois by represented is He USA. the and Canada in will visit museums across Shame and

at Museo Amparo, Amparo, Museo at Identity of (2017); Structures Ghent S.M.A.K at Pictures I–Other (2017); Photographic The d’Art York New (2017);in Traversées Ren@rde 17 Performa include shows group Recent Grahamstown. in Festival Arts National the during Gallery Bank Standard Town the and Cape Institute, Maitland the London, in ABP Autograph Amsterdam, in Museum Stedelijk the at Ngonyama Somnyama The Palmas. Las Africa, Casa and Williamstown; Art, of Museum College Williams Berlin; Museum, Schwules Ulm; Einsteinhaus, Norway; Kunstsenter, York; Akershus New Museum, Brooklyn Liverpool; Gallery, Eye York; Open New Galleries, Gallatin Amherst; Museum, Art Mead the including institutions at place taken have exhibitions Solo Biennial. Paulo São 29th 13,dOCUMENTA the and Biennale; Venice 55th the at Pavilion African South the Art; of Museum Carolina North the at including places in shown has series Faces Her 100. Power and Phases 2016 ArtReview the of one as listed is Muholi (2009). photography African of biennial Bamako de Rencontres Les at award Blachère Fondation a and photographer female best for award Africa Casa the (2013); and award art Censorship Expression of -Freedom on Index (2013); the Award Claus aPrince International; emerging an for artistPrize at theFine 2013the Carnegie Award Alumni International (2016); Outstanding the Award Creativity and Courage (2016); Africa’Sout! Photojournalism and Documentary for Award Infinity ICP the including awards numerous won has Muholi für Künste Bremen. the National Underground Railroad Freedom Center, Cincinnati, Town (2017); Personae Kyoto (2017); Today APainting Festival, Photography International (2017) Kyotographie Paris Vuitton, at Fondation Louis atelier nouvel le Afrique, (2017); Art/ Quito in Metropoliano, Cultural Centro at power language, gender, Sex, (2017); INTIMACY IS POLITICAL. Dresden in Hygiene-Museum at Deutsches (2017); Face: The Clues for ASearch Mexico Honorary Professor at the University of the Arts/Hochschule Arts/Hochschule the of University the at Professor Honorary series has been recently exhibited in solo shows shows solo in exhibited recently been has series at the FotoFocus Biennial, held at at held Biennial, FotoFocus the at

from Ryerson University (2016); University Ryerson from , Stevenson,Cape at Transpalette Centre Centre Transpalette at across various locations various across locations

to produce large-scale public art interventions that stimulate stimulate that interventions art public large-scale to produce and into communities an ongoing with artists collaborative effort evolved art public in method 1999, In work his Art. American of at the Whitney Museum Male Black and Art Modern of Museum 6at the Photography New in exposure international and Foundation. Tiffany Pope’sComfort work gained national Louis The and Arts the for Endowment The National Endowment, Lilly The Foundation, Guggenheim the from support generous receiving Chicago, in Photography Contemporary of Museum the and Art Modern of Museum the including venues prestigious at shown were investigations media multi His transformation. collective and individual for acatalyst as art of idea tothe committed is practice Pope’s artistic Carl Carl Pope include 2006-14 Faces and Phases publication her for Prize Photography Börse 2015 Deutsche the for shortlisted was Muholi York New (2014). in Art Lesbian and Gay of Museum Meet: From ResistancePotentiality to Ulm in (2014) Collection and Walther The at Collection Walther the from Photography Things: of Order (2015); Bilbao Guggenheim the at and Rhein Weil am in Museum Design Vitra the at Design Contemporary of Continent Collection (2016);Williamstown in Art of Museum College Williams the State at the Against Art (2016); African Carolina North in Art of Museum Nasher at the Surroundings My of (2016); Reality Arles in Ateliers des Parc LUMA, at image contemporary the of production of forms Museum New Open? (2016); Systematically Oslo in (2016); Mina/Meg Biennale Berlin the Visions (2016) Mauritius in Ocean Indian Art Contemporary of tête? la Institute the (2016); at poser Ohio Où (Stevenson, 2006). (Stevenson, picture the half Only and 2010); 2011); Fábrica, La Faces and and Africa Phases(Casa at the Prince Claus Fund Gallery in Amsterdam (2016); Amsterdam in Gallery Fund Claus Prince the at Zanele Muholi: African Women Photographers #1 Photographers Women African Muholi: Zanele (Steidl/The Walther Collection). Other publications publications Other Collection). Walther (Steidl/The Making Africa: A Africa: A (2015); Making Paris in Rouge Maison La at After Eden/Après Eden - The Walther Walther -The Eden Eden/Après After ; Supporting Alternative Alternative ; Supporting at the Leslie-Lohman at the Kulturhistorisk Kulturhistorisk the at After Our Bodies Bodies Our After (Prestel, (Prestel, The The

within myself and in the imagination of my audience.” my of imagination the in and myself within epiphany create to ways tofind emotions and memory of realm the “I navigating am space. inner into exploration ongoing his continue campaigns billboard recent his and Roses of Smelled The Bad Air posters, letterpress of essay Pope’s ongoing 2000. FoundationsLannan and was included in the Whitney Biennial and Warhol the from funds with Anthnaeum Wadsworth Palimpsest installation video/text the produced landscape internal his into Pope’s excursions public dialogue and/or revitalization. community Concurrently, Europe and Quebec. Northern in widely exhibited also has 1993 and in Canada of Gallery National the at exhibition aretrospective had Steeves Montréal. and Halifax in live who scholars and writers, performers, theatrical are photographs his of subjects The humour. black chilly and pain, emotional for reverence sexuality, grotesque with through iconography His is shot darkroom. own his in prints and photography chemical in exclusively works He Canada. Halifax, in lives Steeves George photographer Self-taught George Steeves film, film, documentary first his directing is he Currently, apologies. of meaning the exploring Germany, Berlin, in work of abody toproduce stipendium aDAAD and families, lesbian and gay involving work for Grant Initiative Kramer aLarry received He Athens. and Zurich York, Berlin, New Mexico including in cities City,internationally Los Angeles, and nationally artwork his shown has he Art, of School Yale the of University Agraduate CA. Angeles, Los in based artist visual and director acreative is Reed Finley Jesse Jesse FinleyReed psychological impact of the AIDS crisis. AIDS the of impact psychological The Long Shadow of Fear of Shadow Long The , which looks at the long term term long the at looks , which commissioned by the ARTIST BIOGRAPHIES

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue current artistic practice. artistic current in found identity of Queer investigation fermenting to the add and with to engage seeks He medications. HIV with lifes still and paintings self-portrait recent as Beautiful 1970s (like Homeboy pre-AIDS the Queerly Tehuantin construct notions of Black identity within black personhood. personhood. black within identity Black of notions construct that images and symbols, histories, the investigates work within spatial, temporal,sensorialenvironments. andHer and repeated read, observed, be can that language visual a as well as structures, and objects tools, as function that materials and movement between oscillate that installations multimedia and performance live creates Thomas Keijaun Keijaun Thomas Angeles. Los in circles art queer and Chicano of synergy creative and politics energy, the conveys work His Kahlo. 20th-century painters ranging toFrida Brooks Romaine from Mexican Hockney, David Kent, retablos, Corita Pop art, and as diverse as influences lists and College Heart Immaculate native Angeleno,A second-generation Terrill attended to America AIDS, Art, from ranging to exhibits contributed today. has He artists Queer Latino for a touchstone as work of his investigation of academic generation a new to embrace come has he decade last the Over Fair. Book Art LA MOCA the at featured and group) arts Chicano (queer Collective Maricon the with collaboration Beautiful Magazine Homeboy was time that from work Aseminal production. art for astrategy as clash) they where and overlap they (where identity male gay and Chicano of intersection the explored always 1970s, Terrill has the since art making and Painting Angeles. Los in organization art Latino lesbian and gay VIVA!, first the of member board aformer is and activism cultural AIDS and movement art Chicano the in figure aformative Terrill is Joey Joey Terrill Axis Mundo: Queer Networks in Chicano LA Chicano in Networks Queer Mundo: Axis from 1978 which was re-issued in 2015 in in re-issued was 1978 from which in San Francisco with works from from works with Francisco San in ) as well well ) as , to to ,

Institute for American Art in Portland, Maine. Maine. Portland, in Art American for Institute the at aresident as 2017 in well as (FIAR) Residency Artist Island Fire the in aparticipant was Tiley Vincent NYC. (2015) Festival Film Porn NYC International The and 2 Mentors Buffalo; of (2017) University Art in Ease: at Dis-ease Ill Kinetic Intimacies include festivals and shows group Select NYC. Gallery Bird City (2015) Moon the at Look NYC; and Gallery Stout Heat Silent Canada; 7Gatineau, AxeNeo in (2017) Nights Past Three The Chicago; Science, Surgical of Museum (2017) Eyes International Material shows solo including internationally, and country the across widely exhibited been has artist The designer. and artist an as works he York New where Brooklyn, in lives currently Tiley Chicago. of Institute Art the of School the from master’s his 2013 In received he distinction. Laude Cum Summa received he 2010, where in Art of College Institute Maryland the from art fine in bachelor’s his received He Virginia. West Charleston, in raised and born was Tiley Vincent Vincent Tiley Kingdom. United the and Canada; Vancouver, and Saskatchewan Lebanon; Turkey; Beirut, Istanbul, Chile; Santiago, Mexico; City, Mexico France; Paris, Taipei, and York, NY; Taiwan; FL; New Miami, MA; Boston, IL; Chicago, ME; Portland, OR; Portland, CA; Angeles, Los in internationally and nationally work shown has Thomas Chicago. of Institute Art the of School the from degree Master’s their earned Thomas existence. of structure binary codependent, amongst materials addressing blackness outside of a of outside blackness addressing materials amongst thingness of notions and service, labor, domestic disposable to relation in bodies black of representations marginalized and eroticized, visibility, hyper-visibility, trespassing, passing, notions and reconstructs Thomas examines, deconstructs, of (2015); (2015); Miami Satellite Chicago; Galleries, (2016) Sullivan (2016) CFHILL, Stockholm; Painting Stockholm; in Time: (2016) CFHILL, Part (2017) Museum of Art and Design, NYC; Design, and Art of (2017) Museum (2016) Christopher (2016) Christopher

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DRAMA QUEER I Queer Arts Festival I Exhibition Catalogue Drama QueerPlateList 2Fik, 2Fik, 2Fik, 2Fik, 2Fik, 2Fik, 2Fik, aluminum, 24 by 13 inches. 5 East 73rd Street 5East Drucker, Zackary 24 inches. by 36 Plexiglas, London Festival, SPILL Studio, Cassils, Montreal Cassils, Montreal Cassils, 16 16 by inches. Graham Reynolds of view installation Grossmann, Angela Gloves Grossmann, Angela Ginger Grossmann, Angela David Grossmann, Angela Cutting Boy Naked Fux, Andreas inches. 36 24 by Raini You Put to IWant On, Fader, Sean inches. 27 by 36 print, Daddy Muscle You Put to IWant On, Fader, Sean inches. 27 by 36 Dad You Put to IWant On, Fader, Sean inches. 30 by 30 73rd Street 5East Drucker, Zackary inches. 25 by 25 Laura Aguilar, “Untitled” Aguilar, Grounded Series Laura 111 Grounded Aguilar, Laura Grounded 104 Aguilar, Laura de visite, installation dimensions variable, each work is 3 by 5inches. 3by is work each de variable, visite, carte 2011, on installation2010, oil 2016, 2015, dimensions 1999, 2014, 2015, 2002, 2010, appearance Sit and left), top from clockwise Abdel et son frère son et Abdel Freedom Overdose Adultère Fagger-Rangers versus Musulmen ; Becoming An Image Performance Still No. 6, National Theater Theater National 6, No. Still Performance Image An Becoming Festival, Woman 2, Edgy No. Still Performance Image An Becoming Festival, Woman 1, No. Edgy Still Performance Image An Becoming , 2013, ed. 1/1 EP c-print face mounted on Plexiglas, 36 by 24 inches. by 36 Plexiglas, on mounted face 1/1 c-print EP ed. , 2013, , 2013, ed. 1/1 EP c-print face mounted on Plexiglas, 36 by 24 inches. by 36 Plexiglas, on mounted face 1/1 c-print EP ed. , 2013, Sailor , 2007, Plexiglas, paper and aluminum, 24 by 19 24 by inches. aluminum, and paper Plexiglas, , 2007, ; Jackson , 2013, Plexiglas, paper and aluminum, 30 by 20 inches. 20 by 30 aluminum, and paper Plexiglas, , 2013, , 2006, Plexiglas, paper and aluminum, 20 by 15 by inches. 20 aluminum, and paper Plexiglas, , 2006, ; Back , 2015, collage, 14 by 20 inches. 14 20 by collage, , 2015, , 2006, archival pigment print, 14.5 by 15 14.5 by inches. print, pigment archival , 2006, , 2015, collage, 14 by 20 inches. 14 20 by collage, , 2015, , 2015, collage, 14 by 20 inches. 14 20 by collage, , 2015, , 2006, archival pigment print, 14.5 by 15 14.5 by inches. print, pigment archival , 2006, , 2013, ed. 1/1 EP c-print face mounted on on mounted face 1/1 c-print EP ed. , 2013, ; Samson , 1992, photograph, 46 by 40 inches. 40 by 46 photograph, , 1992, (central work), various years in order of of order in years various work), (central , 2006, c-prints mounted c-prints on aluminum,, 2006, mounted c-prints on aluminum,, 2006, , 2007, archival InkJet print, print, InkJet archival , 2007, ; , 2007, archival InkJet print, print, InkJet archival , 2007, , 2006, Plexiglas, paper and and paper Plexiglas, , 2006, (circularly (circularly Wenzel and Gobble , 2007, archival pigment print, pigment archival , 2007, , 2008, archival InkJet InkJet archival , 2008, ; The Grand Studio

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250 g, 20 by 26 inches. 26 by 20 g, 250 Twice Used Majoli,Monica Amy inches. 12 22 by Untitled ( soldiers on parade ground ) ground parade on (soldiers Untitled Lukacs, Richard Attila 1940 ) 6, (LIFE May Untitled Lukacs, Richard Attila ) boys (5seated Untitled Lukacs, Richard Attila Liar Tattooed The Lukacs, Richard Attila DAD YOUR –I’M HAPPY YEAR NEW Lukacs, Richard Attila inches. 104 101 by mothers of foot the under found is Paradise Attila Richard Lukacs, Lukacs, Richard Attila Dead 7Devils Lukacs, Richard Attila The Uninvited Lemcke, Rudy YOU ARE BORING! Kirchenbauer, Vika 7inches. 5by wood, on resin hair, semen, transfer, photo aCure Needs Who These, Like Curators With Kelley, Shan 7inches. 5by wood, Wish Kelley, Shan 7inches. 5by wood, on resin hair, semen, transfer, photo Other Each Hold We Can’t If Us Hold Will Who Kelley, Shan 7inches. 5by wood, on Once Healed Kelley, Shan Chance Kelley, Shan #601 Planes Some Jacobson, Bill #115 Planes Some Jacobson, Bill inches. x30 39 #2550 Decisions Human of ASeries Jacobson, Bill inches. x30 39 #1710 Decisions Human of ASeries Jacobson, Bill Undress Holmquist, Andrew Hips Holmquist, Andrew Disguise Holmquist, Andrew Plaid Skirt Grossmann, Angela , 2015, oil paint, photo transfer, semen, hair, resin on on resin hair, semen, transfer, photo paint, oil , 2015, , 2015, oil paint, semen, resin on wood, 5 by 7inches. 5by wood, on resin semen, paint, oil , 2015, , 2015, oil and acrylic on canvas, 16.5 by 20 inches. 20 by 16.5 canvas, on acrylic and oil , 2015, , 2015, oil paint, photo transfer, semen, hair, photo resin paint, oil , 2015, , 2015, oil and acrylic on canvas, 36 by 44 inches. 44 by 36 canvas, on acrylic and oil , 2015, , 2015, oil and acrylic on canvas, 16.5 by 20 inches. 20 by 16.5 canvas, on acrylic and oil , 2015, , 2003, video, 13 minutes, 18 seconds. 13 minutes, video, , 2003, , 2005, pigment print, 52.5 x 39 inches. x39 52.5 print, pigment , 2005, , 2015, collage, 14 by 20 inches. 14 20 by collage, , 2015, , 2008, pigment print, 52.5 x 39 inches. x39 52.5 print, pigment , 2008, , 2011, aquatint and etching on BFK Rives Rives BFK on etching and , 2011, aquatint , 2008, oil on canvas, 120 by 144 inches. 144 120 by canvas, on oil , 2008, , 2015, 3D video, 13 minutes, 11 seconds. 13 minutes, video, 3D , 2015, , 2008, oil on canvas, 80 by 162 inches. by 80 canvas, on oil , 2008, ], 2008, oil on canvas, canvas, on oil 2008, ], , 1998, 16 11 by , 1998, inches. , 2005, pigment print, print, pigment , 2005, , 1998, 14 11 by , 1998, inches. , 2008, pigment print, print, pigment , 2008, , 1998, 15 11 by , 1998, inches. [artist’s translation:[artist’s , 2015, oil paint, paint, oil , 2015, , 2015, oil paint, paint, oil , 2015, , 1998, 1998, ,

chlorobromide silver-gelatin selenium-toned prints, 20 by 24 inches. &LH) Steeves #12 (George E-Minor #69: Excavations Steeves, George chlorobromide silver-gelatin selenium-toned prints, 20 by 24 inches. Steeves) #14 (George Extasis #49: Excavations Steeves, George chlorobromide silver-gelatin selenium-toned prints, 20 by 24 inches. #13 +VD, RIP) (PB Extasis #48: Excavations Steeves, George silver-gelatin selenium-toned prints, 20 by 24 inches. (TD) #3 Extasis #38: Excavations Steeves, George silver-gelatin selenium-toned prints, 20 by 24 inches. #21: #7 (TD) Entropy Excavations Steeves, George silver-gelatin selenium-toned prints, 20 by 24 inches. RIP) (VD, #4 #18: Entropy Excavations Steeves, George silver-gelatin selenium-toned prints, 20 by 24 inches. #7 (GS) #7: Exegesis: Excavations Steeves, George inches. 50 by 38 plexi, non-glare to mounted face aluminum, to mounted You’re If Lonely... Reed, #18 Finley Jesse inches. 50 by 38 plexi, non-glare to mounted face aluminum, to mounted You’re If Lonely... Reed, #9 Finley Jesse inches. 50 by 38 plexi, non-glare to mounted face aluminum, to mounted You’re If Lonely... Reed, #6 Finley Jesse variable. dimensions broadsides, letterpress Roses of Smelled Air Bad The Pope, Carl inches. 23.8 by 34 Zanele Muholi, Zanele Muholi, USA Boston, I, and Caitlin Muholi, Zanele inches. 23.8 by 35 Zanele Muholi, variable. dimensions installation final x8’), 10’5” size hide (individual projections with hides fabric and 5steel AP; one with 3, of edition installation with surround sound; original HD formats and super 8mm; Berdashe the to Dance Monkman, Kent ID Crisis ID Mini Mbatha, Durban, Glebelands, Jan. Glebelands, Durban, Mbatha, Mini Bona, Charlottesville , 2003, silver gelatin print, 16.7 by 23 inches. inches. 23 16.7 by print, gelatin silver , 2003, , 2015, silver gelatin print, print, gelatin silver , 2015, , 2004-ongoing, installation with installationwith , 2004-ongoing, , 2006-2009, digital C-prints rear rear C-prints digital , 2006-2009, , 2006-2009, digital C-prints rear rear C-prints digital , 2006-2009, , 2009, c-print, 17 by 23.6 inches each. inches 17 23.6 by c-print, , 2009, , 2008, 12 minutes, 5 channel video video 5channel 12 minutes, , 2008, , 2006-2009, digital C-prints rear rear C-prints digital , 2006-2009, , 1995, chlorobromide , 1995, chlorobromide , 1997, chlorobromide , 1997, chlorobromide , 1997, chlorobromide , 1997, chlorobromide , 1996, chlorobromide chlorobromide , 1996, , 2010, c-print, c-print, , 2010, , 1995, 1995, , , 1999,

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like Syrup like Black Honey, like Sweet 3. Part Trespassing: of Keijaun Poetics Thomas, The Martinez. Sonny Christopher by edited Bermeo, Nicolas by filmed x720, 1280 Through Seeing While 2. Looking Part Trespassing: of Keijaun Poetics Thomas, The Martinez. Sonny Christopher by edited Bermeo, Nicolas by filmed x720, 1280 States, United 17 seconds, 4minutes, video, digital 2014-2016, Whiteness 1. Absent Part Trespassing: of Keijaun Poetics Thomas, The Tom Gutierrez Terrill, Joey inches. 52 120 by Appealing? So Different, So Them Makes That Homos Todays About it is What Just Terrill, Joey Blackjack 8 Terrill, Joey chlorobromide silver-gelatin selenium-toned prints, 20 by 24 inches. & LH) Steeves #21 (George #78: E-Minor Excavations Steeves, George Del LaGrace Volcano, INTER* Volcano, LaGrace Del Herm Torso Volcano, LaGrace Del 17 12 by inches. transfer, photo n.d., n.t., Linden, der van Sabina 10 seconds, cinematography by Fred Attenborough. Do to What Know Bees The Tiley, Vincent Martinez. Sonny Christopher by edited Bermeo, Nicolas by filmed x720, 1280 Del LaGrace Volcano, INTER* Volcano, LaGrace Del Del LaGrace Volcano, INTER* Volcano, LaGrace Del Om Terrorist Abu Terrorist Om Volcano, LaGrace Del Face White Moj: Volcano, LaGrace Del Antarctic the of Moj Volcano, LaGrace Del Tears Minstrel Moj: Volcano, LaGrace Del Shanti and Lazlo Volcano, LaGrace Del , 2014-2016, digital video, 4 minutes, 17 seconds, United States, States, United 17 seconds, 4minutes, video, digital , 2014-2016, , 2014-2016, digital video, 4 minutes, 17 seconds, United States, States, United 17 seconds, 4minutes, video, digital , 2014-2016, , 2008-2009, 30 by 51 by inches. 30 , 2008-2009, , 2008-2010, mixed media diptych on canvas, canvas, on diptych media mixed , 2008-2010, , 2001, acrylic on canvas, 48 by 36 inches. 36 by 48 canvas, on acrylic , 2001, me me me BACK, 2011, digital c-print, 16 by 20 inches. 16 20 by c-print, 2011, BACK, digital CLAW, 2011, digital c-print, 16 by 20 inches. 16 20 by c-print, 2011, CLAW, digital OFFER, 2011, digital c-print, 16 by 20 inches. 16 20 by c-print, 2011, OFFER, digital , 1999, digital c-print, 28 by 21.5 inches. by 28 c-print, digital , 1999, , 2005, digital c-print, 18 24 inches. by c-print, digital , 2005, , 2004, digital c-print, 40 by 27.2 by inches. 40 c-print, digital , 2004, , 2000, digital c-print, 16 by 20 inches. 16 20 by c-print, digital , 2000, ESSAY: Jonathan D. and Katz Conor Moynihan ESSAY: , 2005, digital c-print, 16 by 20 inches. 16 20 by c-print, digital , 2005, , 2005, digital c-print, 16 by 20 inches. 16 20 by c-print, digital , 2005, , 2014, digital video, 23 minutes, minutes, 23 video, digital , 2014, , 2001, 2001, , ,

119 ESSAY: Jonathan D. Katz and Conor Moynihan

The Pride in Art Society (PiA) presents, produces and exhibits with a curatorial vision favouring challenging, thought-provoking work that pushes boundaries and initiates dialogue. As producer of the Queer Arts Festival, PiA brings diverse communities together to support artistic risk-taking, and incite creative collaboration and experimentation.

Founded by Two-Spirit artist Robbie Hong, PiA began in 1998 as a volunteer-run artist collective on the sovereign, unceded territory of the (Musqueam), (Squamish), and (Tsleil-Waututh) nations. PiA was incorporated as a nonprofit in 2006, and mounted the first multidisciplinary festival in 2008. Since incorporation, PiA has developed from its small grassroots beginnings to a professional cutting-edge arts organization. PiA has presented over 1,888 artists in more than 240 events, welcomed 69,500 patrons, and incited the creation of dozens of new Canadian works through commissions, premières, and curation.

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