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Lesbian love story a memoir in archives / by Possanza, Amelia.(CARDINAL)869313;

For readers of Saidiya Hartman and Jeanette Winterson, Lesbian Love Story is an intimate journey into the archives—uncovering the romances and role models written out of history and what their stories can teach us all about how to love. When Amelia Possanza moved to Brooklyn to build a life of her own, she found herself surrounded by queer stories: she read them on landmark placards, overheard them on the pool deck when she joined the world’s largest LGBTQ swim team, and even watched them on TV in her cockroach-infested apartment. These stories inspired her to seek out lesbians throughout history who could become her role models, in romance and in life. Centered around seven love stories for the ages, this is Possanza’s journey into the archives to recover the personal histories of lesbians in the twentieth century: who they were, how they loved, why their stories were destroyed, and where their memories echo and live on. Possanza’s hunt takes readers from a drag king show in Bushwick to the home of activists in Harlem and then across the ocean to Hadrian’s Library, where she searches for traces of Sappho in the ruins. Along the way, she discovers her own love—for swimming, for community, for New York City—and adds her record to the archive. At the heart of this riveting, inventive history, Possanza asks: How could lesbian love help us reimagine care and community? What would our world look like if we replaced its foundation of misogyny with something new, with something distinctly lesbian? "[Possanza] expertly weaves in the stories of her own life that have some relation to the stories she’s unearthed for us. Through the stories of these other women, we learn about Possanza’s struggles and successes in coming out, creating and sustaining relationships, and grappling with her gender and gender expression. It creates an interesting reflective effect where we see how Possanza’s own life experiences connect to the lives of the people in the book while also making us contemplate the ways we’re connected, as well . . . An introspective reminder about how much we owe to the people who came before us and how much we can learn from their example.." —Stef Rubino, Autostraddle

Subjects: Autobiographies.; Biographies.; Possanza, Amelia.; Memoirs and biographies.; Lesbians; Lesbians; Autobiographies.; Sexual minorities.; Gay & Lesbian Interest.; Biography.; Nonfiction.; Lesbians.; LGBTQ+ people.; Sexual minorities.; Lesbian biographies.;

Available copies: 2 / Total copies: 2

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Building a pro-black world : moving beyond DE&I work and creating spaces for black people to thrive / by Suarez, Cyndi,editor.(CARDINAL)889740;

Includes bibliographical references and index."In recent years, following the popularity of books like Ijeoma Oluo's So You Want to Talk About Race? and Ibram X. Kendi's How to Be an Antiracist, there has been a surfeit of books published on the politics of race and racial injustice; within the field of nonprofit organization and management, these books have tended to focus on diversity, equity, and inclusion (DEI) initiatives as a proxy for antiracism. NPQ's focus on "pro-Black" is a fresh perspective that pushes the field into thinking beyond corrective DEI measures. The proposed book names something that Black liberation movements in the U.S. have advanced--and continue to advance--in public discourse, but which people have not been talking about in the nonprofit sector: The urgent need to build a world in which Black people can thrive. An explicitly "pro-Black" framing focuses on designing nonprofit organizations, programs, services, philanthropy, and more for people who are most marginalized by systems of power. It advances the understanding that designing a better world for those who are marginalized will create a better world for everyone. NPQ has argued that this shift--"from critiquing white supremacist culture and calling out anti-Blackness to designing for pro-Blackness"--is already happening in the field (Suarez 2022). The reader captures this shift in nonprofit theory and practice; it will also include articles that present new possibilities for action."--Enacting pro-Black leadership : a better world is possible. Going pro-Black / Cyndi Suarez -- Defining pro-Black / Cyndi Suarez -- When Blackness is centered, everybody wins : a conversation with Cyndi Suarez and Dax-Devlon Ross -- Leading restoratively : the role of leadership in a pro-Black sector / Sequoia Owen -- Building pro-Black institutions : narrative and forms. What it looks like to build a pro-Black organization / Liz Derias and Kad Smith -- To build a public safety that protects Black women and girls, money isn’t the only resource we need / Shanelle Matthews -- Combatting disinformation and misinformation : a struggle for democracy and racial justice / Kitana Ananda -- Forms : a new theory of power / Cyndi Suarez -- Hierarchy and justice / Cyndi Suarez -- A journey from white space to pro-Black space / Isabelle Moses -- Building pro-Black institutions : philanthropy and evaluation. The emergence of Black funds / Cyndi Suarez -- Reimagining philanthropy to build a culture of repair / Aria Florant and Venneikia Williams -- How philanthropy can truly support land justice for Black communities / Savi Horne and Dr. Jasmine Ratliff -- What does Black feminist evaluation look like? / Cyndi Suarez -- Nothing is broken : what evaluation and philanthropy can learn from abolitionism / Dr. Aisha Rios -- Implementing reparations : health and well-being. Revolutionary Black grace : finding emotional justice in global Black communities / Esther A. Armah -- What is healing justice? / Nineequa Blanding -- The US "healthcare system" is a misnomer—we don’t have a system / Amira Barger -- Pro-Black actions that health justice organizations can model / Amira Barger -- Repairing the whole : how reparations can address physical and mental health / Trevor Smith -- Addressing inequities in health technology / Sonia Sarkar -- Implementing reparations : work and ownership -- Resurrecting the promise of 40 acres : the imperative of reparations for Black Americans / William A. Darity Jr. and A. Kirsten Mullen -- Solutions centering Black women in housing / Natasha Hicks, Anne Price, Rakeen Mabud, and Aisha Nyandoro -- Linking racial and economic justice : the struggle of our time / Steve Dubb -- What if we owned it? / Darnell Adams -- How do we build Black wealth? : understanding the limits of Black capitalism / Francisco Pérez -- Organizing for the future : community and politics -- Making Black communities powerful in politics—and in our lives / Alicia Garza -- Justice beyond the polls : investing in Black youth organizers / Carmel Pryor -- The liberatory world we want to create : loving accountability and the limitations of cancel culture / Aja Couchois Duncan and Kad Smith -- Dimensions of thriving : learning from Black LGBTQ+/SGL moments, spaces, and practices / Dr. Kia Darling-Hammond -- Pro-Blackness Is aspirational : a conversation with Cyndi Suarez and Shanelle Matthews.Cyndi Suarez is President and Editor-in-Chief of Nonprofit Quarterly. She is the author of The Power Manual: How to Master Complex Power Dynamics. Suarez has experience as a strategy and innovation consultant with a focus on networks and platforms for social movements. NPQ also know as nonprofit quarterly, has published a quarterly journal since 1999. Today it also regularly publishes written, video, and audio content online. NPQ curates conversations among civic actors that build shared understanding around core themes of racial justice, economic justice, climate justice, health justice, and leadership. By deepening field knowledge, NPQ aims to advance the theory and practice of multiracial democracy.

Subjects: Race.; Black people; Anti-racism.; Racial justice.; Equality.; Nonprofit organizations.; Racism in the workplace.; Diversity in the workplace.; Racism against Black people.; Black people; Anti-racism.;

Available copies: 1 / Total copies: 1

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Félix González-Torres, Roni Horn / by González-Torres, Félix,1957-1996,artist.(CARDINAL)217534; Ault, Julie,writer of added commentary.(CARDINAL)269961; Horn, Roni,1955-artist.(CARDINAL)161155; Bourse de commerce-Pinault collection,host institution.(CARDINAL)883579; Group Material (Firm : New York, N.Y.),associated name.(CARDINAL)883014; Steidl Verlag,publisher.(CARDINAL)835949;

"In 1990, Félix González-Torres encountered an artwork by Roni Horn called Gold Field (1980/82), a simple sheet of gold foil placed on the floor of the Los Angeles Museum of Contemporary Art. González-Torres was deeply moved and wrote to Horn, beginning an exchange between the artists that would last until González-Torres' passing in 1996. 'Félix González-Torres Roni Horn' was created as a photographic essay with the intention of sharing the experiential qualities of the artists' work and the profound relationships underlying it. It explores four iconic works (among others) - Untitled (For Stockholm) (1992) and Untitled (Blood) (1992) by González-Torres, and Well and Truly (2009-10) and a.k.a. (2008-09) by Horn - and emphasizes notions of doubling, duality, repetition, and identity. Images of these pieces, taken on the occasion of a 2022 exhibition at the Bourse de Commerce-Pinault Collection in Paris, reveal both artists' radical visual vocabularies, as well their shared passion for language, writing and poetry. Their intention emerges as two-fold: to create a tension between artist, viewer and object; and to grasp the inexpressible, the immeasurable." - From publisher.This exhibition highlights the principles of duplication, duality, complexity in repetition and identity at work in the respective practices of the artists Félix González-Torres and Roni Horn. It retraces the artistic conversation that began between them in 1991 and continued until González-Torres's death in 1996."Felix Gonzalez-Torres was born in Guáimaro, Cuba, in 1957. He earned a BFA in photography from Pratt Institute in Brooklyn, New York, in 1983. Printed Matter, Inc. in New York hosted his first solo exhibition the following year. After obtaining an MFA from the International Center of Photography and New York University in 1987, he worked as an adjunct art instructor at New York University until 1989. Throughout his career, Gonzalez-Torres's involvement in social and political causes as an openly gay man fueled his interest in the overlap of private and public life. From 1987 to 1991, he was part of Group Material, a New York-based art collective whose members worked collaboratively to initiate community education and cultural activism. His aesthetic project was, according to some scholars, related to Bertolt Brecht's theory of epic theater, in which creative expression transforms the spectator from an inert receiver to an active, reflective observer and motivates social action. Employing simple, everyday materials (stacks of paper, puzzles, candy, strings of lights, beads) and a reduced aesthetic vocabulary reminiscent of both Minimalism and Conceptual art to address themes such as love and loss, sickness and rejuvenation, gender and sexuality, Gonzalez-Torres asked viewers to participate in establishing meaning in his works. In his "dateline" pieces, begun in 1987, Gonzalez-Torres assembled lists of various dates in random order interspersed with the names of social and political figures and references to cultural artifacts or world events, many of which related to political and cultural history. Printed in white type on black sheets of paper, these lists of seeming non sequiturs prompted viewers to consider the relationships and gaps between the diverse references as well the construction of individual and collective identities and memories. Gonzalez-Torres also produced dateline "portraits," consisting of similar lists of dates and events related to the subjects' lives. In Untitled (Portrait of Jennifer Flay) (1992), for example, "A New Dress 1971" lies next to "Vote for Women, NZ 1893." Gonzalez-Torres invited physical as well as intellectual engagement from viewers. His sculptures of wrapped candies spilled in corners or spread on floors like carpets, such as "Untitled" (Public Opinion) (1991), defy the convention of art's otherworldly preciousness, as viewers are asked to touch and consume the work. Beginning in 1989, he fashioned sculptures of stacks of paper, often printed with photographs or texts, and encouraged viewers to take the sheets. The impermanence of these works, which slowly disappear over time unless they are replenished, symbolizes the fragility of life. While in appearance they sometimes echo the work of Donald Judd, these pieces also belie the Minimalist tenet of aesthetic autonomy: viewers complete the works by depleting them and directly engaging with their material. The artist always wanted the viewer to use the sheets from the stacks--as posters, drawing paper, or however they desired. In 1991 Gonzalez-Torres began producing sculptures consisting of strands of plastic beads strung on metal rods, like curtains in a disco. Titles such as Untitled (Chemo) (1991) and Untitled (Blood) (1992) undercut their festive associations, calling to mind illness and disease. In 1992 he commenced a series of strands of white low-watt lightbulbs, which could be shown in any configuration--strung along walls, from ceilings, or coiled on the floor. Alluding to celebratory décor--in the vein of the charms of outdoor cafés at night--these delicate garlands are also a campy commentary on the phallic underpinnings of numerous Minimalist creations, particularly Dan Flavin's rigid light sculptures. Also in 1992, Untitled (1991), a sensual black-and-white photograph of Gonzalez-Torres's empty, unmade bed with traces of two absent bodies, was installed on 24 billboards throughout the city of New York. This enigmatic image was both a celebration of coupling and a memorial to the artist's lover, who had recently died of AIDS. Its installation as a melancholic civic-scaled monument problematized public scrutiny of private behavior. Gonzalez-Torres received fellowships from the National Endowment for the Arts in 1989 and 1993. He participated in hundreds of group shows during his lifetime, including early presentations at Artists Space and White Columns in New York (1987 and 1988, respectively), the Whitney Biennial (1991), the Venice Biennale (1993), SITE Santa Fe (1995), and the Sydney Biennial (1996). Comprehensive retrospective exhibitions of his work have been organized by the Museum of Contemporary Art Los Angeles (1994); Solomon R. Guggenheim Museum (1995); Sprengel Museum Hannover, Germany (1997); and Biblioteca Luis-Angel Arango, Bogotá (2000). Other exhibitions have been held at the Hamburger Bahnhof-Museum für Gegenwart, Berlin (2006-07); PLATEAU, Seoul (2012); and Leeum, Samsung Museum of Art, Seoul (2012). A survey of his work, Specific Objects without Specific Form, was organized by WIELS, Centre d'Art Contemporain, Brussels (2010), and then traveled to the Fondation Beyeler, Basel (2010), and the Museum für Moderne Kunst Frankfurt am Main (2011). In 2007, Gonzalez-Torres was selected to represent the United States at the Venice Biennale in the exhibition Felix Gonzalez-Torres: America. He died in Miami on January 9, 1996." - Full biographies available on:"Roni Horn's work consistently generates uncertainty to thwart closure in her work. Important across her oeuvre is her longstanding interest to the protean nature of identity, meaning, and perception, as well as the notion of doubling; issues which continue to propel Horn's practice. Since the mid-1990s, Horn has been producing cast-glass sculptures. For these works, colored molten glass assumes the shape and qualities of a mold as it gradually anneals over several months. The sides and bottom of the resulting sculpture are left with the rough translucent impression of the mold in which it was cast. By stark contrast, the top surface is fire-polished and slightly bows like liquid under tension. The seductively glossy surface invites the viewer to gaze into the optically pristine interior of the sculpture, as if looking down on a body of water through an aqueous oculus. Exposed to the reflections from the sun or to the shadows of an overcast day, Horn's glass sculpture relies upon natural elements like the weather to manifest her binary experimentations in color, weight and lightness, solidity and fluidity. The endless subtle shifts in the work's appearance place it in an eternal state of mutability, as it refuses a fixed visual identity. Begetting solidity and singularity, the changing appearance of her sculptures is where one discovers meaning and connects her work to the concept of identity. For Horn, drawing is a primary activity that underpins her wider practice. Her intricate works on paper examine recurring themes of interpretation, mirroring and textual play, which coalesce to explore the materiality of color and the sculptural potential of drawing. Horn's preoccupation with language also permeates these works; her scattered words read as a stream of consciousness spiralling across the paper. In her 'Hack Wit' series, Horn reconfigures idiomatic turns of phrase and proverbs to engender nonsensical, jumbled expressions. The themes of pairing and mirroring emerge as she intertwines not only the phrases themselves but also the paper they are inscribed on, so that her process reflects the content of the drawings. Words are her images and she paints them expressionistically, which--combined with her method--causes letters to appear indeterminate, as if they are being viewed underwater.Notions of identity and mutability are also explored within Horn's photography, which tends to consist of multiple pieces and installed as a surround which unfolds within the gallery space. Examples include her series 'The Selected Gifts, (1974 - 2015),' photographed with a deceptively affectless approach that belies sentimental value. Here, Horn's collected treasures float against pristine white backdrops in the artist's signature serial style, telling a story of the self as mediated through both objects and others--what the artist calls 'a vicarious self-portrait.' This series, alongside her other photographic projects, build upon her explorations into the effects of multiplicity on perception and memory, and the implications of repetition and doubling, which remain central to her work."- Artist statement from:"The art practice of Julie Ault encompasses many roles not typically associated with the visual artist, including that of archivist, curator, editor, and theorist. Invited to assemble a "show within a show" for the 2014 Biennial, Ault selected as points of entry works by David Wojnarowicz (1954-1992) and Martin Wong (1946- 1999) from the Whitney's permanent collection, exhibiting them alongside artifacts from these artists' personal archives, held by the Downtown Collection at New York University's Fales Library. Both Wojnarowicz and Wong were active in New York during the 1980s and early '90s, when Ault was a member of the influential artists' collaborative Group Material. Ault has since maintained her commitment to a practice defined by collaboration, exchange, community and research, tracing vital links between art and politics. Departing from the dominant narratives that have sought to represent the era of Wong and Wojnarowicz as a period marked primarily by the AIDS crisis and the culture wars, Afterlife: a constellation recontextualizes their work in this atmospheric installation, whose geographical compass extends from downtown New York to the Sierra Nevada. A range of voices, energies, artworks, artifacts, and texts, all displayed as equal participants, invoke themes of disappearance and regeneration and the notion that subjectivity is an integral dimension of archiving and historical representation. The works on view in the Biennial include a photograph related to the Donner Party migration; entryway mirrors inspired by the ones that adorned Liberace's mansion in Las Vegas; copies by James Benning of a ledger drawing by Black Hawk (1832-1890?) alongside a hand-lettered sign by Jesse Howard (1885-1983); a book by Martin Beck about David Mancuso's "The Loft" communal dance parties; a slide show by Matt Wolf that explores Wojnarowicz's personal archive of ephemera; a heliogravure by Danh Vo of the newspaper announcement of the marriage of Barbara Bush (née Pierce); a poetic misfile as sculpture by Robert Kinmont; an interview with the founder of the Downtown Collection, Marvin Taylor; and textual elements written and compiled by Ault." - From:

Subjects: Exhibition catalogs.; González-Torres, Félix, 1957-1996; Horn, Roni, 1955-; Art, Modern; Artistic collaboration; Gay artists.; Lesbian artists.; Gay art.; Lesbian art.; LGBTQ+ artists.; LGBTQ+ arts.; Queer (Verb); Queer art.; Queer artists.; Gay artists.; Lesbian artists.;

Available copies: 1 / Total copies: 1

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