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Speaking for vice : homosexuality in the art of Charles Demuth, Marsden Hartley, and the first American avante-garde / by Weinberg, Jonathan,1957-(CARDINAL)207095; Demuth, Charles,1883-1935.(CARDINAL)148250; Hartley, Marsden,1877-1943.(CARDINAL)140720;
Includes bibliographical references and index.
Subjects: Demuth, Charles, 1883-1935; Hartley, Marsden, 1877-1943; Homosexuality in art.; Erotic painting; Avant-garde (Aesthetics);
Available copies: 1 / Total copies: 1
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Lyle Ashton Harris : today I shall judge nothing that occurs : selections from the Ektachrome archive / by Harris, Lyle Ashton,1965-artist,photographer.(CARDINAL)884226; Aletti, Vince,contributor.(CARDINAL)682375; Attille, Martina,contributor.(CARDINAL)884280; Baer, Ulrich,contributor.(CARDINAL)680746; Bordowitz, Gregg,contributor.(CARDINAL)873201; Burton, Johanna,contributor.(CARDINAL)279934; Edwards, Adrienne(Art critic),contributor.(CARDINAL)782756; Gaines, Malik,contributor.(CARDINAL)855605; Gallun, Lucy,contributor.(CARDINAL)565504; Harris, Thomas Allen,contributor.(CARDINAL)884387; Johnson, Rashid,1977-contributor.(CARDINAL)353066; Lax, Thomas J.,contributor.(CARDINAL)855500; Lewis, Sarah Elizabeth,1979-contributor.(CARDINAL)281757; Lin, Parissah,contributor.; Lord, Catherine,1949-contributor.(CARDINAL)856456; Marconi, Roxana,contributor.; Newkirk, Pamela,contributor.(CARDINAL)704298; Otis, Clarence,Jr.,contributor.; Reid-Pharr, Robert,1965-contributor.(CARDINAL)278720; Storr, Robert,contributor.(CARDINAL)183035; Thomas, Mickalene,1971-contributor.(CARDINAL)316691; Udé, Iké,contributor.(CARDINAL)884233; Aperture Foundation,publisher.(CARDINAL)195492;
Includes bibliographical references and index.Throughout the late 1980s and early 1990s, a radical cultural scene emerged in cities across the globe, finding expression in the galleries, nightclubs, and bedrooms of New York, London, Los Angeles, and Rome. In Lyle Ashton Harris: Today I Shall Judge Nothing That Occurs, the artist's archive of 35 mm Ektachrome images are presented alongside journal entries and recollections from a host of artistic and cultural figures. It offers a unique document of what Harris has described as "ephemeral moments and emblematic figures shot in the 1980s and '90s, against a backdrop of seismic shifts in the art world, the emergence of multiculturalism, the second wave of AIDS activism, and incipient globalization." As a young artist experimenting with installation, performance, and collage at the time, Harris obsessively photographed his friends, lovers, and individuals who either were, or would become, figures of influence, such as Marlon Riggs, Cornel West, bell hooks, Stuart Hall, Klaus Biesenbach, Nan Goldin, Catherine Opie, Glenn Ligon, and others. The images record the confluence of multiple international communities--gathering points for the exchange of ideas and the development of theoretical positions on art and culture that continue to resonate to this day. Together, these photographs and the journals not only sketch a personal history of a unique time of importance to contemporary art, but also show the development and shaping of Harris's eye and influences as an artist. -- From Publisher's website:Lyle Ashton Harris has cultivated a diverse artistic practice ranging from photography and collage to installation and performance art. His work explores intersections between the personal and the political, examining the impact of ethnicity, gender, and desire on the contemporary social and cultural dynamic. Harris has been widely exhibited internationally, including most recently in "Photography's Last Century" at the Metropolitan Museum of Art, New York; in "Basquiat's 'Defacement': The Untold Story'' and "Implicit Tensions: Mapplethorpe Now" at the Solomon R. Guggenheim Museum, New York; in "United by AIDS" at Migros Museum f|r Gegenwartskunst, Zurich; in "Kiss My Genders" at the Haywood Gallery, London; in "Tell Me Your Story" at Kunsthal KaDE, Amersfoort, NL; in "Elements of Vogue" at the Centro de Arte Dos de Mayo, Madrid (traveled to Museo Universitario del Chopo, Mexico City). Harris's work was included in the 52nd Venice Biennale (2007), the Busan Biennial, South Korea (2008), the Bienal de Ŝo Paulo (2016), the Whitney Biennial (2017), and presented by Ciňma Du Řel at the Centre Pompidou, Paris (2018). Harris is represented in the permanent collections of The Museum of Modern Art (MoMA), New York; the Metropolitan Museum of Art, New York; the Solomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; The Studio Museum in Harlem, New York; the Hessel Museum of Art at Bard College, Annendale-on-Hudson, New York; the Museum of Contemporary Art (MOCA), Los Angeles; the J. Paul Getty Museum, Los Angeles; the Los Angeles County Museum of Art; the Museum of Fine Arts, Boston; P̌rez Art Museum, Miami; the Walker Art Center, Minneapolis; the Tate Modern, London, UK; Museo de Arte Contempor̀neo de Castilla y Le̤n, Spain; Migros Museum f|r Gegenwartskunst, Zurich, Switzerland, among others. Harris has also presented performances at a range of venues, most recently at Volksb|hne Gr|ner Salon sponsored by KW Institute for Contemporary Art, Berlin (2019); a lecture/performance on Andy Warhol presented by the DIA Art Foundation, New York (2018); and an installation/performance at Participant Inc., New York (2018); and a lecture/performance on experimentation, politics and sexuality in the work of filmmaker Marlon T. Riggs at Griffin Art Projects, Vancouver BC, Canada (2020).arris received a fellowship from the John Simon Guggenheim Memorial Foundation (2016), the David C. Driskell Prize from the High Museum of Art, Atlanta (2014), and the Rome Prize Fellowship (2000) among other awards and honors. Harris joined the Board of Trustees of the American Academy in Rome in 2014 and was appointed a trustee of the Tiffany Foundation in 2016. Born in the Bronx, New York, raised in Dar es Salaam, Tanzania, and New York, Harris obtained a Bachelor of Arts degree from Wesleyan University, a Master of Fine Arts degree from the California Institute of the Arts, and attended the Whitney Museum of American Art Independent Study Program. His work is available from the following fine art galleries: Salon 94 (New York, NY, USA); David Castillo (Miami, FL, USA); Albert Merola Gallery (Provincetown, MA, USA); Maruani Mercier (Brussels, BE). Harris is a Professor of Art at New York University and lives in New York.-- From artist's website (January 2024):
Subjects: Harris, Lyle Ashton, 1965-; African American artists; African American gay people; African Americans in art.; Artists, Black; Black people in art.; Gay people, Black; Gay men, Black; Gay people; African American photographers.; Photographers, Black.; Photography, Artistic.; Photography; Vernacular photography.; Queer gaze.; Queer (Verb); Queer art.; Queer artists.; LGBTQ+ artists.; LGBTQ+ arts.; African American queer people.; Black queer people.; Queer people.; LGBTQ+ people.; Black gay men.; Homosexuals.;
Available copies: 1 / Total copies: 1
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Lyle Ashton Harris : ektachrome archive / by Harris, Lyle Ashton,1965-interviewee,artist.(CARDINAL)884226; Allen, Jafari S.,1968-contributor.(CARDINAL)889443; Bost, Darius,contributor.(CARDINAL)889727; Gartenfield, Alex,writer of foreword.; Moreno, Gean,1972-editor,curator,interviewer.(CARDINAL)886360; Institute of Contemporary Art, Miami,organizer,publisher,host institution.(CARDINAL)884721;
Includes bibliographical references."ICA Miami presents "Ektachrome Archive," a seminal body of work by New York-based artist Lyle Ashton Harris (b. 1965, Bronx, New York; lives in New York). Comprising thirty-six documentary photographs and fifteen journals dating from the early 1990s, the installation chronicles the emergence of a new generation of Black cultural producers and scholars in the wake of the Black Arts Movement and the conservative turn of the 1980s, and amid a continuing AIDS epidemic. Among the figures prominent in these documents are late filmmaker Marlon Riggs, curator Thelma Golden, activist scholars bell hooks and Michele Wallace, and artists Glenn Ligon, Gary Simmons, and Carrie Mae Weems. The archive documents critical events that initiated the emergence of radical thinking and artistic work in Black studies and Black cultural production in the mid-1990s, such as the Black Popular Culture and Black Nations/Queer Nations? conferences. It also presents institutional and academic spaces that hosted significant Black artists, such as the Independent Study Program at the Whitney Museum of American Art, New York, which Harris attended in 1992. This archive and the moment it documents are the bedrock--too often neglected or underappreciated--of a great deal of thinking that informs today's activism and critical perspectives of race, gender, and inclusion. "Ektachrome Archive" is the first project in a new initiative by ICA Miami inviting artists to engage in dialogue with Robert Gober's Untitled (1994-95), on long-term view on the museum's ground floor. Dedicated to the exchange of art and ideas, these exhibitions promote dynamic and complex discussions among artistic practices. "Ektachrome Archive" by Lyle Ashton Harris is organized by ICA Miami and curated by Gean Moreno, Director of the Knight Foundation Art + Research Center." -- Exhibition webpage:"Lyle Ashton Harris (b. 1965, New York) is one of the most important and prolific artists of the last thirty years. His work engages pressing questions around identity and queerness. The hundreds of photographs that make up the 'Ektachrome Archive,' shot at the end of the 1980s and in the early 1990s, entwine the personal and the political, the adventures of an artist coming of age in a newly globalized world and the emergence of a trailblazing generation of Black intellectuals and cultural producers asking new and deeply critical questions about race, gender, and empire."-- Back cover.
Subjects: Exhibition catalogs.; Harris, Lyle Ashton, 1965-; African American artists; African American gay people; African American photographers.; African Americans in art.; Artists, Black; Black people in art.; Gay men, Black; Gay people, Black; Gay people; Photographers, Black.; Photography, Artistic.; Photography; Vernacular photography.; African American queer people.; Black queer people.; LGBTQ+ artists.; LGBTQ+ arts.; LGBTQ+ people.; Queer (Verb); Queer art.; Queer artists.; Queer gaze.; Queer people.; Black gay men.; Homosexuals.;
Available copies: 1 / Total copies: 1
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Queer abstraction / by Ledesma, Jared,1982-author,curator.(CARDINAL)898089; Getsy, David,contributor.(CARDINAL)302843; Fleming, Jeff,writer of foreword.; Des Moines Art Center,publisher,organizer,host institution.(CARDINAL)137215; Nerman Museum of Contemporary Art,host institution.(CARDINAL)565021;
Includes bibliographical references.Queer Abstraction will be the first exhibition in the Des Moines Art Center's 70-year history to focus exclusively on queer subject matter. It marks a substantial shift in the Art Center's programming by purposely including queer voices that have been left out of art history. Assistant Curator Jared Ledesma is organizing the exhibition. For more than a century, many Lesbian, Gay, Bisexual, Transgender, and Queer artists have turned to the language of abstraction to illustrate diverse facets of sexuality and gender. In response to specific struggles - such as the criminalization of homosexuality, the Civil Rights Movement, and the AIDS crisis - queer artists have embraced abstraction to communicate their unauthorized desires and identities through an accepted mode of art. Marsden Hartley's modernist portrait of his fallen lover, Louise Fishman's queer feminist canvases, and Felix Gonzalez-Torres's tender, conceptual works are but a few examples. Currently, abstract art that embodies this mode of expression has gained the moniker "Queer Abstraction," and has become a growing aesthetic force during the present, unsettling era. Queer Abstraction unites contemporary artists who utilize the amorphous possibilities of abstraction to convey what it means to exist on the margins.--Museum website
Subjects: Exhibition catalogs.; Homosexuality and art; Queer theory; Sexual minorities in art; Art, Abstract; Art, Modern; Queer theory.;
Available copies: 1 / Total copies: 1
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Making sweet tea [videorecording] / by Gross, Nora,film producer,screenwriter,film director.; Jackson, John L.,film director,film producer,screenwriter.; Johnson, E. Patrick,1967-film producer,screenwriter,onscreen participant.(CARDINAL)349718; Lewis, Stephen,film producer,screenwriter.(CARDINAL)683508; Random Media (Firm),publisher.;
E. Patrick Johnson.The documentary accompanies southern-born, black gay scholar and performer E. Patrick Johnson on his journey back home to the south to confront his past and narrate the lives of several black gay men whose stories he studies and performs.DVD, all regions NTSC, widescreen (1.78:1); Dolby Digital 5.1; [color]
Subjects: Documentaries and Factual Films; Documentary films.; Video recordings for the hearing impaired.; African American gay men; African American theater; Gay people and the performing arts; Homosexuality in the theater;
Available copies: 2 / Total copies: 2
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Queer networks : Ray Johnson's correspondence art / by Johnson, Ray,1927-1995,artist.(CARDINAL)169136; Kienle, Miriam,1979-author.(CARDINAL)876163; University of Minnesota.Press,publisher.(CARDINAL)855718;
Includes bibliographical references (pages 235-278) and index."Utilizing the postal service as his primary means of producing and circulating art, Ray Johnson cultivated an international community of friends and collaborators through which he advanced his idiosyncratic body of work. Highlighting his alternative modes of community building and playful antagonism toward art world protocols, Miriam Kienle demonstrates how Ray Johnson's correspondence art offers new ways of envisioning togetherness in today's highly commodified and deeply networked world"--"Ray Johnson (1927-1995) was a seminal Pop Art figure in the 1950s, an early conceptualist, and a pioneer of mail art. His preferred medium was collage, that quintessentially twentieth-century art form that reflects the increased (as the century wore on) collision of disparate visual and verbal information that bombards modern man. Integrating texts and images drawn from a multiplicity of sources -- from mass media to telephone conversations -- Johnson's innovativeness spread beyond the confines of the purely visual. He staged what Suzi Gablik described in Pop Art Redefined as perhaps the "first informal happening" and moved into mail art, artist books, graphic design, and sculpture, working in all modes simultaneously. Johnson not only operated in what Rauschenberg famously called "the gap between art and life," but he also erased the distinction between them. His entire being - a reflection of his obsessively creative mind - was actually one continuous "work of art." His works reflect his encyclopedic erudition, his promiscuous range of interests, and an uncanny proto-Google ability to discover connections between a myriad of images, facts, and people.Born in Detroit, Michigan on October 16, 1927, Johnson grew up in a working class neighborhood and attended an occupational high school where he enrolled in an advertising art program. He studied at the Detroit Art Institute and spent a summer in a drawing program at Ox-Bow School in Saugatuck, Michigan, an affiliate of the Art Institute of Chicago. Leaving Detroit in the summer of 1945, he matriculated at the progressive Black Mountain College, where he spent the next three years with the exception of the spring of 1946. He studied painting with former Bauhaus faculty Josef Albers and Lyonel Feininger, as well as Robert Motherwell. By the summer of 1948, Johnson had befriended summer visiting lecturers John Cage, Merce Cunningham, Willem de Kooning, Buckminster Fuller, and Richard Lippold and fellow student Ruth Asawa. He participated in "The Ruse of Medusa," the culmination of Cage's Satie Festival (characterized by scholar Martin Duberman as "a watershed event in the history of 'mixed-media'") with Cage, Cunningham, Fuller, the de Koonings, and Ruth Asawa, among others." -- Full biography at:Miriam Kienle is associate professor of art history in the School of Art and Visual Studies at the University of Kentucky.
Subjects: Mail art.; Personal correspondence.; Johnson, Ray, 1927-1995; Art, American; Artists; Artists; Collage, American.; Gay artists; Gay artists; Gay community; Gay community; Gay people; Gay people; Homosexuality and art.; Mixed media (Art); Words in art.; Gay art.; LGBTQ+ artists.; LGBTQ+ arts.; LGBTQ+ communities.; Queer art.; Queer artists.; Queer community.; Gay artists.; Gay community.; Homosexuals.;
Available copies: 1 / Total copies: 1
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The first homosexuals : the birth of a new identity 1869-1939 / by Katz, Jonathan D.,1958-editor,curator.(CARDINAL)877057; Willis, Johnny,editorcurator.; Wrightwood 659 (Gallery),publisher,host institution.(CARDINAL)900129;
Includes bibliographical references and index.A global survey of more than 300 artworks made following the introduction of the term "homosexual" in 1869. Featuring 500 illustrations and 22 original essays by leading experts in art and queer history, each focusing on one geographical region - from Japan to Australia to the Indigenous populations of South America.
Subjects: Exhibition catalogs.; Homosexuality in art; Homosexuality and art; Gender identity in art; Gender nonconformity; LGBTQ+ people; Sexual minorities in art; Lesbians; Gay artists; Gay men in art; Two-spirit people; LGBTQ+ artists.; LGBTQ+ arts.; Queer culture.; Queer art; Indigenous LGBTQ+ people.; LGBTQ+ people of color.;
Available copies: 0 / Total copies: 1
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The queer encyclopedia of film & television / by Summers, Claude J.(CARDINAL)724502;
Includes bibliographical references and index.
Subjects: Biographies.; Dictionaries.; Gay people in the performing arts; Gay people; Homosexuals.;
Available copies: 1 / Total copies: 1
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Queer exhibition histories / by Hendrikx, Bas,1986-editor,contributor,interviewer.(CARDINAL)884751; Peaches,1968-contributor.(CARDINAL)884318; Anosova, Dar'i͡a(Translator),translator.(CARDINAL)885237; Appiah, Tawanda,contributor,interviewee.(CARDINAL)889042; Betsky, Aaron,contributor.(CARDINAL)266013; Boudry, Pauline,contributor.(CARDINAL)856452; Durmuşoǧlu, Övul Ö.,contributor,interviewer.(CARDINAL)884739; Gajowy, Aleksandra,contributor.; Gysel, Jessica,contributor.(CARDINAL)884543; Hleba, Halyna,contributor.(CARDINAL)884698; Iakovlenko, Kateryna,contributor.; Iancu, Valentina,contributor.(CARDINAL)884463; Kearney, Rían,contributor.; Kivimaa, Katrin,contributor.(CARDINAL)883287; Kovač, Leonida,1962-contributor.(CARDINAL)883229; Kruijswijk, Ĺeon,contributor.; Lebovici, E.(Elisabeth),contributor.(CARDINAL)886327; Lorenz, Renate,contributor.(CARDINAL)856451; Murphy, Amanda,1985-translator.(CARDINAL)883560; Nasr, Edwin,contributor.; Põldsam, Rebeka,contributor.(CARDINAL)883470; Pirak Sikku, Katarina,contributor.; Piron, François,contributor.(CARDINAL)884252; Radziszewski, Karol,1980-contributor.(CARDINAL)873437; Sadzinski, Sylvia,contributor.; Salminen, Sara,contributor.; Triisberg, Airi,contributor.(CARDINAL)884654; Viola, Eugenio,contributor.(CARDINAL)884375; Wegman, Simone,contributor.; Yu, Liang-Kai,contributor.; Boudry/Lorenz,contributor.; Valiz,publisher.;
Includes bibliographical references and indexes."Queer Exhibition Histories is composed of case studies, interviews and essays that emphasize different queer exhibitions and their modes of presentation and archiving. Many of these projects were short-lived or were executed between the walls of the private or domestic space, far beyond the scope of any institutional recognition. Therefore, the exhibitions materialized on limited budgets, were hardly documented and received barely any media coverage. For this reason, the legacy of these projects is highly dependent on personal archives, memories and paraphernalia, whereof the entries are not always easy to find. The events were not only artistic, but they could equally be discursive, activist and educational, or serve as a tool for community building. At the intersection of queerness and contemporary art, Queer Exhibition Histories investigates how the efforts of LGBTQIA+ artists and curators have advanced their public presence"--
Subjects: Interviews.; Illustrated works.; Case studies.; Gay artists.; Homosexuality and art.; Lesbian artists.; LGBT activism.; LGBT community centers.; Minorities in art; Minority arts facilities.; Museums and sexual minorities; Queer theory.; 2SLGBTQ+.; Bisexual art.; Bisexual artists.; Gay art.; Lesbian art.; LGBTQ+ artists.; LGBTQ+ arts.; Queer (Verb); Queer art.; Queer artists.; Queer gaze.; Queer museums.; Transgender art.; Transgender artists.; Two-Spirit art.; Two-Spirit artists.; Sexual minority culture.; Gay artists.; Lesbian artists.; LGBTQ+ community centers.; Queer theory.;
"CC-BY-NC-ND 4.0 Part of the contributions in this book are licensed under a Creative Commons Attribution-NonCommercial-NoDerivativeWorks 4.0 International license ... www.creativecommons.org/licenses/by/4.0/ "--Page 286.
Available copies: 1 / Total copies: 1
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There are no homosexuals in Iran / by Rasti, Laurence,1990-author,photographer.(CARDINAL)873714; Shaban-Azad, Sara,translator.(CARDINAL)873793; Edition Patrick Frey,publisher.(CARDINAL)873320;
Ahoura -- Pedram -- Bahar -- Mani."Speaking at Columbia University on September 24, 2007, Iranian president at the time Mahmoud Ahmadinejad proclaimed: "In Iran, we do not have homosexuals like in your country." While most Western nations now officially accept homosexuality and some even same-sex marriage, homosexuality is still punishable by death in Iran. Homosexuals are not allowed to live out their sexuality there. Their only options are either to choose transsexuality, which is tolerated by law but considered pathological, or to flee. In Denizli, a city in Turkey, hundreds of gay Iranians are stuck in a transit zone, their lives on hold, hoping against hope to be welcomed into a host country someday where they can start afresh and come out of the closet. Set in this state of limbo, where anonymity is the best protection, my photographs explore the sensitive concepts of identity and gender and seek to restore to each of these men and women the face their country stole from them." --Artist's statement."While most Western nations now officially accept homosexuality and some even same-sex marriage, homosexuality is still punishable by death in Iran. Homosexuals are not allowed to live out their sexuality there. Their only options are either to choose transsexuality, which is tolerated by law but considered pathological, or to flee. In Denizli, a town in Turkey, hundreds of gay Iranians are stuck in a transit zone, their lives on hold, hoping against hope to be welcomed into a host country someday where they can start afresh and come out of the closet. Set in this state of limbo, where anonymity is the best protection, my photographs explore the sensitive concepts of identity and gender and seek to restore to each the face their country stole from them."--Publisher
Subjects: Illustrated works.; Interviews.; Rasti, Laurence, 1990-; Gay people; Gay people; Homosexuality; Identity (Psychology) in art.; Identity (Psychology) in art; Identity (Psychology); Iranian diaspora; Iranians; Lesbians; Lesbians; Refugees; Homosexuality.; Homosexuals.; Lesbians.; LGBTQ+ asylum seekers.; LGBTQ+ refugees.;
Available copies: 1 / Total copies: 1
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