The Archive: Issue 47 Fall 2013 by Leslie-Lohman Museum of Art

AUTUMN 2 0 1 3

T HE ARCHI VE 47 The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art

Sara Swaty, Untitled, 2011, C-type photographic print, 11 x 8.5 in., Gift of Julia Hass, This image is from the project In Between & Outside, which depicts Harrison in his 4th month of testosterone therapy as he transforms from Hayley to Harrison.

About the Leslie-Lohman Museum of Gay and Lesbian Art

The Leslie-Lohman Museum of Gay and Lesbian Art is the first and only dedicated LGBTQ art museum in the world with a mission to exhibit and preserve LGBTQ art, and foster the artists who create it. Accredited by the New York State Board of Regents, the Museum has a permanent collection of over 20,000 objects, spanning more than three centuries of queer art. We host 6-8 major exhibitions annually, artist talks, film screenings, panel discussions, readings and other events. In addition, we publish THE ARCHIVE - a quarterly art publication and maintain a substantial research library. The Museum is the premier resource for anyone interested in the rich legacy of the LGBTQ community and its influence on and confrontation with the mainstream art world. There is no other organization in the world like it. The Leslie-Lohman Museum is operated by the Leslie/Lohman Gay Art Foundation, a non-profit organization founded in 1987 by Charles W. Leslie and Fritz Lohman who have supported LGBTQ artists for over 30 years. The Leslie-Lohman Museum embraces the rich creative history of the LGBTQ art community by informing, inspiring, entertaining and challenging all who enter its doors.

Founders

Charles W. Leslie J. Frederic Lohman (1922‒2009)

Board of Directors

Jonathan David Katz, President Steven J. Goldstein, Vice-President Daniel R. Hanratty, Treasurer John Caldwell Kymara Lonergan Robert W. Richards James M. Saslow Peter Weiermair Jerry Kajpust, Secretary Ex-Oﬃcio

CONTENTS THE ARCHIVE NUMBER 47 AUTUMN 2013 SASCHA SCHNEIDER S CHOICE: TWO AVAILABLE MODELS OF HOMOSEXUALITY IN GERMANY AT THE DAWN OF THE 20TH CENTURY

JONATHAN DAVID KATZ, CURATOR

SYMBOLISING HOMOSEXUALITY: SOME PARALLELS BETWEEN SASCHA SCHNEIDER AND ENGLISH AND CONTINENTAL ART

ROBERT ORME

GALLERIES OF INTEREST

INTERNING AT A YOUNG MUSEUM

HOW COME YOU DON T CALL ME ANYMORE?

NOTES ON THE LESLIE-LOHMAN COLLECTIONS

NEWS FROM PRINCE STREET

WHAT DOES DESTINY J., AGE 20, HAVE IN COMMON WITH ANDY WARHOL?

HUNTER O HANIAN, MUSEUM DIRECTOR

CORRINE FITZPATRICK, INSPIRED BY THE WORK OF AZSA WEST

WAYNE SNELLEN, DEPUTY DIRECTOR OF COLLECTIONS

ROB HUGH ROSEN, DEPUTY DIRECTOR FOR PROGRAMMATIC OPERATIONS

DIANA SCHOLL

21 NOT-SO-COMMON THREADS:

Co-Founder & Director Emeritus

CRAFTING IDENTITY AND COMMUNITY

Charles W. Leslie

JOHN CHAICH, CURATOR

Staff

Hunter O Hanian, Museum Director Wayne Snellen, Deputy Director for Collections Rob Hugh Rosen, Deputy Director for Programmatic Operations Jerry Kajpust, Deputy Director for External Relations Branden Wallace, Collections Manager Todd Fruth, Oﬃce Manager Victor Trivero, Exhibition Lighting Stephanie Chambers, Bookkeeper Daniel Sander, Receptionist

Volunteer Staff

Cryder Bankes, Library Steven Goldstein, Collections, Administration Daniel Kitchen, Museum Advocate Oliver Klaassen, All Departments & Research Johnathan M. Lewis, Collections Stephan Likosky, Collections

EVENT PROGRAMMING AT LESLIE-LOHMAN MUSEUM JERRY KAJPUST, DEPUTY DIRECTOR FOR EXTERNAL RELATIONS

Back Cover: UPCOMING EXHIBITIONS AT LESLIE-LOHMAN MUSEUM

Tai Lin, Collections Paul Nissenbaum, Collections Chuck Nitzberg, Events Tiﬀany Nova, Marketing & Communications Maddie Phinney, Research Frank Sheehan, Drawing Studio James Thacker, Graphic Design

The Archive

The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art, Number 47 Tom Saettel, Editor Joseph Cavalieri, Production and Design

any form without the written permission of The Leslie-Lohman Museum of Gay and Lesbian Art. Copyrights for all art reproduced in this publication belong to the artists unless otherwise noted. All rights reserved.

The Archive is available for free in the museum, and is mailed free of charge to LL Museum members.

Museum

26 Wooster Street, New York, NY 10013-2227 (212) 431-2609 info@leslielohman.org, leslielohman.org Gallery Hours: Tues. ‒ Sun. 12 ‒ 6pm, Closed Mon., all major holidays and between exhibitions FRONT COVER: Sascha Schneider, Der Anarchist (The Anarchist, Detail), 1894, Lithograph (published by Breitkopf & Hartel, Leipzig), 19.7 x 15.7 in., Courtesy of the Röder Collection

John Burton Harter, Estrangement, 1995, Oil on board, 40 x 24 in., The John Burton Harter Charitable Trust

This issue of The Archive is made possible by a generous donation from the

John Burton Harter Charitable Trust.

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

EXHIBITION ISSUE 47

Sascha Schneider’s Choice:

Two Available Models of Homosexuality in Germany at the Dawn of the 20th Century Jonathan David Katz, Curator

Sascha Schneider, Juenglingsportraet (Portrait of a Youth), 1919, Watercolor on paper, 14.6 x 11.4 in., Courtesy of the Röder Collection

Contradiction, incoherence,

and sheer absurdity combined to determine German social policy governing homosexuality at the turn of the 20th century. Perhaps no single entity best captures Germany’s contradictory attitudes toward sexuality than the name of the police bureau charged with prosecuting homosexuals in Berlin. Founded in 1890, its full ofﬁcial name was the Department of Blackmailers and Homosexuals. Of course, blackmail and homosexuality were often unhappy companions in the days before liberation, but that the police arm charged with prosecuting homosexuals was also charged with prosecuting those who preyed on homosexuals helps make explicit the contradiction inherent in ofﬁcial attitudes towards homosexuality. After all, how is it possible to both protect and persecute the same target population? But this was exactly the department’s mission. Still, Germany’s incompletely liberal attitudes towards homosexuality, especially in the tense years following the trial of Oscar Wilde in the UK, helped make Germany, and Berlin

in particular, a magnet for homosexuals from throughout the West, including a number of now celebrated figures like the American painter Marsden Hartley or, later, the British writer Christopher Isherwood. Sascha Schneider (1870-1927) emerges as a significant German painter at the same moment in which social and political attitudes towards homosexuality in Germany were at their most incoherent and self-contradictory. As he was first making his mark as a painter in the late 19th century, tourists were coming to Germany to witness its more or less open queer culture. As in the Castro or Christopher Street decades to follow in America, this queer culture would become something of a calling card. None other than the great Swedish playwright August Strindberg thinly fictionalized a homosexual ball he witnessed in the winter of 1893 in Berlin in his short story The Cloister.1 It was the most horrible thing he had ever seen. In order that a better check might be kept on them, the perverts of the capital had been given permission to hold a fancy-dress ball. Men danced with men...the one playing the ladies’ role might have the moustache of a cavalryman and a pince-nez, he might be ugly, with coarse masculine features, and not even a trace of femininity. As was the case with homosexual culture throughout the West, drag became one of the chief markers of sexual difference, and effeminacy its most reviled component. But whereas most European countries had little tolerance for drag balls—though they were not uncommon under the radar of official culture—in Germany they were, as Strindberg suggests, made legal, or quasi-legal, with the chief of police not only in attendance, but knowing the names of a fair number of the participants, and not from a rap sheet but from personal acquaintance. Strindberg goes on to describe how the police chief would call various men over

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

Sascha Schneider, Rückenakt mit Handtuch, (Rear View of Nude with a Towel), c. 1920, Oil on canvas, 40 x 14.5 in., Courtesy of the Röder Collection

to his place at the head table, addressing them by their first names. But this quasi-official drag culture, with its celebration of gender nonconformity, would have held little appeal for an artist like Sascha Schneider, who valued— perhaps overanxiously—masculinity as his goal. His paintings, in contrast, are filled with image after image of men and youths in traditionally masculine roles, from combat to athletics. Above all, they project an aura of masculine activity, of health and even, for all their eroticization of the nude male, “normativity.” These are images of men being men, as maleness was traditionally conceived, and as such Schneider’s homoeroticism went unmarked, for it didn’t seem to share the slightest aspect of the drag culture then synonymous with queerness. While Paragraph 175, Germany’s antihomosexual legislation was still officially enforced, drag culture did flourish and become the public face of homosexuality. But a masculinized homosexuality was not visible as such—that is until it became caught up in other crimes. It was above all two particular types of crime that made male homosexuality a province of the police: prostitution and blackmail. Prostitution, generally by workingclass male youths who may or may not have been queer themselves, was rampant, and Germany was well known at the turn of the 20th century not only for its “boy bars” as they were known, but for an outdoor cruising/pick up scene which was unrivaled in Europe. Some of these areas, like Berlin’s Tiergarten, remain active even today. Schneider himself became the victim of blackmail by his much younger partner, Hellmuth Jahn in 1907, and thus was caught up in the legal dragnet against homosexuals and was forced to flee Germany. Schneider fled to Italy, where, in the poorer regions of the country, attitudes regarding sexuality were much looser, generally out of economic necessity. After Italy itself began a campaign against homosexuals, Schneider ironically returned to find refuge in his former home country. Schneider’s art, with its notable emphasis on the ephebe, (the Greek term for a pubescent youth) thus occupies a liminal space in German culture between criminality and high cultural aspiration. In Germany at the time, the image of a healthy, clean, masculine youth developing mind and body—especially out of doors—was as keyed to German national identity as it was essential to the more prurient exchange of those same bodies

for cash. The Greek ideal of cultural development, so prevalent in late 19thcentury German culture, offered excellent camouflage for baser instincts. Male prostitution occupied an unsettled position on the gender/sexuality spectrum, as the men who contracted with male prostitutes generally adhered to masculine social norms in dress and comportment. They were not, broadly speaking, exemplars of the feminized or drag-identified aspects of the newly visible queer culture. Likewise, the male prostitutes by dint of economic exchange, were themselves not viewed as queer. As a consequence, while male prostitution—along with other expressions of homosexuality—was clearly against the law, in some ways this hypermasculine milieu adhered to the most conservative, time-honored, and traditional notions not only of gender but of German nationalism itself. Schneider built a gymnasium in his studio and advertised that he was as able to sculpt actual living human flesh as he was able to sculpt in bronze or marble. He thus exploited the contemporary incoherence surrounding homosexual desire

(top) Sascha Schneider, Hypnose (Hypnosis), 1904, Lithograph, 20 x 15.75 in., Courtesy of the Röder Collection (above) Hugo Erfurth, Untitled (Portrait of Sascha Schneider), 1904, Photograph, 14.8 x 10.8 in., Courtesy of the Röder Collection

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

EXHIBITION ISSUE 47

and the adoration of healthy male form, and cast his interest in them as a selfless, deeply nationalistic interest in the future of the German nation. His multiple images of archaic masculine forms, akin to the Greek kouroi, and his representations of Greek and Babylonian men encouraging their youth, are thus part of broader campaign of cultural camouflage. Thus images of German youth, sometimes alone, sometimes being tutored by their seniors, are prevalent in Schneider’s art. Like Renaissance images of St. Sebastian, the image of the male nude became the mechanism for creating a homoerotic art fully within the most canonical conception of German culture. This imagery of youth and men developing their strength was—and this was key—in no way visibly correlated with the burgeoning homosexual subculture of the drag balls. For decades this strategy worked— until it didn’t. An increasingly active homosexual rights movement was forcing a national conversation about the place of gays in German culture. That conversation was taking place at every level of society. Even Berlin’s chief of police, overseeing the Department of Blackmailers and Homosexuals, was an early participant in Magnus Hirschfeld’s first gay rights organization. As the national debate about homosexuality roiled German culture in a way not all that dissimilar from that in our own time, it cast light onto a host of issues and practices that

previously flourished only in the dark. Among these was Schneider’s investment in images of healthy nude German bodies. He died in 1927 of complications from diabetes. In the years following his death, his legacy would be cast as less lofty and idealizing and more corporeal and lusty than it aspired to be. Decades of neglect followed, and today Schneider, once one of the most celebrated artists in Germany, is a mere footnote, if he is known at all. Schneider’s opus is the victim of the ever shifting standards of high and low, normal and abnormal—in other words, a victim of history. ■ Nude in Public: Sascha Schneider, Homoeroticism and the Male From circa 1900, Sept. 20‒Dec. 8, 2013, opening Friday, Sept. 20, 6-8 pm, at the Leslie-Lohman Museum, was curated by Jonathan David Katz, president of the Leslie-Lohman Museum board of trustees and director of the Visual Studies Doctoral Program, University at Buffalo. The German collector Hans-Gerd Röder has painstakingly rescued Schneider s legacy by seeking out every work by Schneider he could find. Mr. and Mrs. Röder and their family have generously agreed to lend their collection of masterworks to the Leslie-Lohman Museum for this exhibition. See The Archive, Issu e 46, for a previous article on Sascha Schneider by Jonathan David Katz. For an excellent account of this period to which this piece is indebted overall, see Robert Beachy s, To Police and Protect: the Surveillance of Homosexuality in Imperial Berlin, in After the History of Sexuality, eds. Spector, Puff and Herzog (New York: Berghahn Books), 2012. 1

(top) Sascha Schneider, Triumph der Finsternis (Triumph of Darkness), 1896, Mixed media on canvas, 63 x 106 in., Courtesy of the Röder Collection (above) Sascha Schneider, Kriegsruf, (War Cry), 1915, Charcoal on paper, 20 x 14 in., Courtesy of the Röder Collection

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

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Symbolizing Homosexuality: Some Parallels Between Sascha Schneider and English and Continental Art Robert Orme

The themes and ideas

developed and promulgated by Sascha Schneider (1870-1927) were also shared by many other artists and writers in England and on the continent in the late-19th and early-20th centuries. These themes revolve around the belief that male homosexual unions could be the source of spiritual, social, and political revelation and included the adoration of the nude, young men, nature, and sunlight.

(top) Sascha Schneider, Hochstrecke, (High Stretch, from Kallisthenie, a portfolio of 12 images), 1923, Color lithograph, 12.2 x 9.4 in., Courtesy of the Röder Collection (above) Duncan Grant, Football, 1911, Oil on canvas, 109 x 78 in., ©Tate, London, 2013

Schneider’s art was not unknown in England in the 1890s, and by 1897 the well-known critic, Gleeson White, and the Victoria and Albert Museum had both acquired copies of Aemil Fendler’s book of Scheider’s drawings (Zeichnungen von Sascha Schneider, Weber, 1895, Leipzig, 16 plates). An inﬂuential article on Schneider by the Count C.S. de Soissons appeared in The Artist in 1901 praising the artist’s imagination and “originality of conception.”1 The Artist magazine had been the main vehicle for the publication of Uranian literature and art, especially under the editorship of Charles Kains Jackson (1888–1894) and its publishing house in Hammersmith, West London was

the center of a homosexual coterie of artists and writers such as Henry Scott Tuke, John Addington Symonds, and John Gambril Nicholson.2 In addition to coverage of Schneider, The Studio and Photogram published articles by Gleeson White—a married homosexual—in praise of photographs of the male nude, including examples of Von Gloeden.3

Christ as a Symbol

De Soissons, a French count living in England and an avowed admirer of women, wrote as if he was aware of Schneider’s sexuality, that “[the artist did] not care for the soft graceful lines of the female ﬁgure,” but instead painted “splendid ﬁgures of nude men” which can be

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

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(far left) Charles Ricketts, Christ Cruciﬁed (Illustration for The Sphnix by Oscar Wilde published 1894), c. 1890, Watercolor and ink on paper, 7 x 6 in., Courtesy of the Manchester Art Gallery, Manchester UK

“likewise sensual.” But the most interesting aspect of de Soissons’ approach was his awareness of the “new direction” of Schneider’s symbolism, one that portrayed “Christian ideas and symbols” in a “new form” without “a religious church character” and that “freely employs Christian legends and Catholic symbols to express modern ideas.” On this theme of a new religion, Schneider himself wrote to the German writer Karl May of how he was viewed as an “outsider” and was called a socialist, anarchist, “god cleanser,” and atheist, and of how he rejected belief in one god, church, or faith.4 Schneider identified with aspects of the Jesus legend. Schneider portrayed Christ preaching in the wood engraving Eins ist Not! (One Is Not!, 1894) with the Devil behind him, and ready to be crucified on the cross. Fendler interpreted this painting to be about Menschenliebe (a love for one’s fellow man), with the inscription on the cross as freedom, happiness, and brotherhood, and resonating a rejection of homosexual repression.5 Oscar Wilde similarly identified himself with Christ in De Profundis (1897), arguing for an “immediate connection between the true life of Christ and the true life of the artist” with Christ as “leader of all the lovers” and “most supreme of individualists.” In Wilde’s poem The Sphinx, he called the crucified Jesus a “Pallid Burden.” (Charles Ricketts’s

(left) Sascha Schneider, Eins ist Not! (One Thing Is Necessary ), 1894, Wood engraving, 12.6 x 9.4 in., Courtesy of the Röder Collection

drawing for the book shows an atypical, rear view of Christ on the cross with his drapery crumpled round his buttocks.) Wilde also used the story of Christ and Judas to symbolize the false friendship of Lord Alfred Douglas, who at that time he felt had betrayed him, just as Schneider was blackmailed by his lover, Hellmuth Jahn, in 1907. Schneider created many striking images of Judas as “man suffering,” and related to May, “Judas could be me.” In 1903, he told May that he felt alone and that “deviation” was viewed as an “anathema” and a curse. De Soissons interpreted his Judas Ischarioth as the “psychology of a man, who, having committed a terrible blunder for low reasons, acknowledges it, and hence his suffering. The source of his torture is in himself, in his conscience.”

Nature and Light

But in contrast to this psychology of regret, Schneider developed a positive symbolism of his sexuality. De Soissons thought that the “intense longing for the beautiful and for liberty” was the “soul” of all Schneider’s “creative power,” and that he had found a “strong

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

and eloquent” way “to express his Ego” and his “complicated nature.” At a time when homosexuality was widely viewed as unnatural, Schneider sought to posit his sexuality in nature, as in the work Knowledge Awakened (1903/04), with a nude young man overlooking lakes and mountains. Kains Jackson had written on the mythical character Hyacinthus that the figure did not prefigure nature, but “Suns and springs the earth employs/ Symbols of her men and boys.” Light was often used as a symbol of homosexual liberation, as in Schneider’s Triumph of Light for the cover of a Karl May novel in 1904. Elisar von Kupffer (1872-1942) wrote in his esoteric philosophy Klarismus (Clarity)—which elevates androgyny as the ideal of human perfection—of youths as the joy of light set in a natural paradise against the difficulties of the dark.6 And in England, the PreRaphaelite painter Simeon Solomon wrote in his prose poem “A Vision of Love Revealed in Sleep” (1871) about the “wounds and weakness the bitter darkness of the world has inflicted” on love, but that love will regain its “natural power” and be “clothed with light.”

EXHIBITION ISSUE 47

In Schneider’s drawing Morgendämmerun (Dawn, 1897) for Adolf Brand’s journal Der Eigene (The Own, Berlin, 1896-1932), he portrays “Dawn” as a young man rising over the knees of an older pensive ﬁgure.7 And the mystic English writer, artist, publisher—and follower of Blake—Ralph Nicholas Chubb (1892-1960) wrote that the idealization of young men was “the light that glows” and published his ideal as The Child of Dawn in 1948, with his winged child of dawn on the title page.8 Chubb wrote of the “temple of the sun child,” with the sun child at its center, “aglow with unimaginable beauty and intense life,” and often pictured young men swimming in the sea and on mountains with their arms raised to the sun, as it brings them health. Examples of the symbolism of the sun abound. Schneider’s sculpture, Sonnenanbeter (Sunworshipper, 1912/1925), now in Eckberg castle in Dresden, is modelled after the ﬁgure of the Hellenistic bronze Berlin Adorante, a graceful adolescent with his arms raised in prayer, in the Staatliche Museum, Berlin. And the German artist Fidus (Hugo Höppener, 1868-1948) also used the Adorante as a reference for his drawing and oil of the Lightbearer, which became the symbol of the German life reform and naturism movement. In England, Robert Hobart Cust—the art historian who wrote on Cellini and Sodoma—who was a friend of Gleeson White and Kains Jackson, published his photos of young men with one raising his arms to the sun to show off his “youthful grace as an ‘English lad’ in the open air.” Henry Scott Tuke (1858-1924) exhibited his painting Sunworshipper at the Royal Academy in 1904 showing a nude posing in the woods. Arts-and-Crafts designer Charles Robert Ashbee, who helped the working class in his Guild and School of Handicrafts, chose a nude young man with his arms up to the sun as the emblem for his book of poems and songs, Echoes from the City of the Sun (1905), which refers to the image as a “pagan soul” and symbol of “deep friendship”—again the faith in the redemptive qualities of youth, nature, and light.

Health

At a time when homosexuality was often categorised as a disease, Schneider devoted much of his life to painting men and boys as ﬁt specimens, just as the Swedish painter Eugène Jansson (1862-1915) did in images painted of men swimming, diving, and doing

gymnastics as an antidote to his blue melancholy. Schneider’s cult of the body was in the tradition of Walt Whitman’s motto of “be not afraid of my body.” Whitman wrote: “In the best poems reappears the body, man’s or woman’s, well shaped, natural, gay” and “without shame.” In England, Edward Carpenter in Towards Democracy (1883) personiﬁed democracy as the “Gigantic Thou, with head aureoled by the sun-wild among the mountains” and as a ﬁgure with “huge limbs naked and [a] stalwart erected member.” In Civilisation: Its Cause and Cure (1889), Carpenter rejected the decadent world just as Schneider did and praised health against its darkness as the “shining forth of this inward sun” and “rays of love,” so that “the central power is restored in man” and claimed, “The bodily is no longer antagonistic to the spiritual love.” Schneider made his own cult of the body which he explained in his 1912 Mein Gestalten und Bilden (How I Form and Shape My Works), where the body was not just a “spiritual impulse” but “something of value for its own sake” and a “gathering together of all our desires” in “health—manhood— beauty.” In 1914 Breitkopf & Härtel published his essay Über Körperkultur (About Physical Culture) with a portfolio of his drawings of athletes. In 1889 John Addington Symonds writing to his friend Horatio Brown on a painting by Harry Strachey (British, 1863-1940) of Somerset footballers described it as “full of the aura” and explained that this aura of sexuality was also the “key of Tuke’s work.” And in 1912 Duncan Grant welcomed the chance to decorate the Borough Polytechnic with scenes of rugby players and bathers which The Spectator praised for showing the “joys of lean athletic life”.9 At the time, all over Europe, symbolism was moving away from the abstract ideals of the original “symbolisme”—epitomised in the generalized titles of Schneider’s early work such as Lofty Thoughts (1903)—and was developing a new language of symbolic types to express the individual and his sexuality. De Soissons’ essay concludes,“An artist strives to express himself in his art,” and he felt that Schneider had found a “strong and eloquent way to express his Ego,” which surely would have pleased Schneider as a supporter of the journal Der Eigene and the creator in 1903 of Der Aussergewöhnliche (The Chosen/Exceptional One). ■

Sascha Schneider, Morgendämmerung (Dawn), 1904, Lithograph (published by Breitkopf & Hartel), 18.9 x 15.3 in., Courtesy of the Röder Collection

The Artist and Journal of Home Culture (1880-1902), published by Archibald Constable & Co. contained a notable undercurrent of homoeroticism without being so overt as to alienate its mainstream̶ heterosexual̶readership. 1

The best introduction to the uranians remains T D A Smith, Love in Earnest (London, 1970), but it is now supplemented by M. M. Kaylor, Secreted Desires (Brno, 2006), and Lad s Love (Kansas City, 2010). 2

Photogram, published by Dawbarn and Ward (London, 1894-1905) featured Pictorialist photography printed as photogravure (copperplate etchings). 3

Karl May (1842-1912) was known for his travelogues and Wild West novels published in Germany. Scheider illustrated 25 book covers for May. 4

Aemil Fendler, Zeichungen von Sascha Schneider (Leipzig, 1895), v.

Elisar von Kupﬀer published at his own expense in 1900 Leiblingminne und Freundesliebe in der Weltlitteratur (The Admiration of Beautiful Youths and the Love of Friends in World Literature), an anthology of mainly Western literature, from the ancient through modern periods. One of his primary goals was to counterbalance the biomedical explanations of homosexuality (a term he rejected) by demonstrating the historical and cultural aspects of same-sex love. With his partner Eduard van Mayer, Kupﬀer devised an esoteric philosophy, called Klarismus, which elevated androgyny as the ideal of human perfection. 6

Der Eigene (The Own) was the ﬁrst gay journal in the world, published from 1896 to 1932 by Adolf Brand in Berlin. 7

Although published in 1948, Chubb s self-published Child of Dawn belongs to this earlier era. 8

Douglas Blair Turnbaugh, Duncan Grant and the Bloomsbury Group (London, 1987), 45. 9

..........................................................................................

Robert Orme was born in England in 1945. He studied history at Cambridge and now teaches art history in London and researches the conscious use of sexual symbolism in art.

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

GALLERIES ISSUE 47

Galleries of Interest

Please see our new feature Current and Upcoming Exhibitions at Leslie-Lohman Museum Back Cover.

Vitruvian Gallery, LLC, 734 7th Street, SE, Washington, DC, vitruviangallery.com

NEW YORK CITY

Antebellum Gallery, 1643 N Las Palmas Ave., Hollywood, CA, antebellumgallery.blogspot.com

Andrew Edlin Gallery, 134 10th Ave, NYC, edlingallery.com Sept 12‒Oct 19 Brian Adam Douglas: How to Disappear Completely ClampArt, 521-531 W. 25th St., NYC, clampart.com Sept 12‒Oct 12 Manjari Sharma: Photographs‒ Darshan and Shower series Envoy Enterprises, 87 Rivington St. NYC, envoyenterprises.com thru Oct 6 Erika Keck; Nov 21‒Dec 22 Kelsey Henderson Lambert Fine Arts, 57 Stanton St., NYC, lambertﬁnearts.com La MaMa La Galleria, 6 East 1st St., NYC, lamama. org/category/lagalleria Michael Mut Gallery, 97 Avenue C, NYC, michaelmutgallery.com Sept 18‒Oct 12 Luiza Cardenuto: It s A Matter Of Mind Munch Gallery, 245 Broome St., NYC, munchgallery.com Museum of Sex, 233 Fifth Avenue, NYC, museumofsex.com thru Oct 6 William Kent: My Life Ruined by Sex Ongoing Universe of Desire; Sex Life of Animals New-York Historical Society, 170 Central Park West nyhistory.org thru Nov 13 Keith Haring All-Over Participant Inc, 253 E. Houston St., NYC, participantinc. P•P•O•W, 535 West 22nd St., NYC, ppowgallery. com Oct 17‒Nov 16 Julie Heﬀerman, New Work; Nov 21‒Dec 21 Dotty Attie, The Lone Ranger Whitney Museum of American Art, 945 Madison Ave. whitney.org thru Jan 5, 2014 Robert Indiana: Beyond LOVE

NEW YORK CITY—BROOKLYN Figureworks 168 N. 6th St., Brooklyn, NY, ﬁgureworks.com

WEST

Craig Krull Gallery, 2525 Michigan Ave, Bldg B-3 Santa Monica, CA thru Oct 12 Don Bachardy: Literary Figures GLBT History Museum, 4127 18th St., San Francisco, CA, glbthistory.org/museum thru Oct 27 Be Bad...Do Good: Activism with a Beat JDC Fine Art 2400 Kettner Blvd, #208, San Diego, CA ONE Archives Gallery & Museum, 909 W. Adams Blvd, Los Angeles, CA onearchives.org Oct 26‒TBD Caroline May, photographs Rio Bravo Fine Art, 110 N Broadway St., Truth or Consequences, NM riobravoﬁneart.net Oct 8Dec 29 Delmas Howe: Guys and Canyons Opng Oct 12 6-9

MIDWEST Leather Archives & Museum, 6418 N. Greenview Ave. Chicago, IL leatherarchives.org thru Jan 5 HIDE: Karl Hamilton-Cox of Art On Leather; Ongoing Etienne; Fakir Musafar

CANADA La Petite Mort Gallery, 306 Cumberland St., Ottawa, Ontario, Canada, lapetitemortgallery.com

EUPOPE

CHILE

Galería Artevistas, Passatge del Crèdit 4, Barcelona artevistas.com thru Oct 30 Miguel Leal, The Rainbow Is Gone

La Perrera, Av Pdte Balmaceda 2610, Santiago Chile perrerarte.blogspot.com Nov 1‒30 Post Mortum-International Art Fair in conjunctions with La Petite Mort, Ottawa

Splatterpool, 138 Bayard St., Brooklyn NY, splatterpool. com

NORTHEAST Firehouse Gallery, 8 Walnut Street, Bordentown, NJ, ﬁrehousegallery. com Work by Eric Gibbons Kymara Gallery 2 Main St., Biddeford, ME kymara.com Lyman-Eyer Gallery, 432 Commercial Street, Provincetown, MA, lymaneyerart thru Nov 15 Lyman-Eyer Gallery Fall Series Rice/Polak Gallery, 430 Commercial St., Provincetown, MA ricepolakgallery.com thru Dec 31 Gallery Artists Group Exhibition Studio Holtquist, 891 Main St. South, Woodbury, CT, www.holtquist.com Works by Doug Holtquist The Andy Warhol Museum, 117 Sandusky St., Pittsburgh, PA, warhol.org Oct 6‒Jan 14 Yasumasa Morimura: Theater of the Self

Yasumasa Morimura, Doublonnage (Marcel), 1988, Color photo, Courtesy The Andy Warhol Museum, the artist, and Luhring Augustine, New York

Delmas Howe, Guys and Canyons 3, 2013, Oil on canvas, 7 ft. x 5 ft., Courtesy the artist and Rio Bravo Fine Art

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

Barcelona

Berlin Schwules Museum, Lutzowstrasse 73, Berlin, schwulesmuseum.de thru Oct 10 Rinaldo Hopf: Trickster; Oct 25‒Dec 1 Wilfried Laule: Desire, Love, Passion; Dec 6‒Mar 10 Renata Har & Conor Creighton: If the Sand Could Talk: Corrective Rape in Cape Town; Dec 6‒Mar 10 Friedrich Wilhelm Murnau; Dec 9‒Jan 6 New in the Collection

Brussels Pink Art, rue Haute 207, Brussels, pinkart.be

Groningen, NL Galerie MooiMan, Noorderstationsstraat 40, 9717K P Groningen, NL, mooi-man.nl Sept Zomerfruit (Summerfruit) paintings of Martin-Jan van Santen, Nebojsa Zdravkovic paintings

Madrid La Fresh Gallery, Conde de Aranda 5, Madrid, lafreshgallery.com thru Oct 11 David Delphin: Interiors

Munich Kunstbehandlung, 40 Müller Strasse 40, Munich, kunstbehandlung.de thru Oct 5 Robert Rore: The Glass Bead Game Oct 10‒28 Rinaldo Hopf: Trickster

Paris La Galerie au Bonheur du Jour, 11 rue Chabanais, Paris, aubonheurdujour.net thru Nov 30 Nus Masculin: Academic and Erotic Nudes 1860-2011; Ongoing Erotic objects, paintings and drawings

Vienna Leopold Museum, at the Museums Quartier, Vienna leopoldmuseum.org Oct 4‒Jan 27, 2104 Kokoschka: The Self in Focus ■

THE MUSEUM ISSUE 47

Interning at a Young Museum Hunter O’Hanian, Museum Director

At its core, a museum is an

educational organization; we do this daily through the work that is preserved and exhibited. It is our hope to convey to the public information and ideas about a shared human experience. While we do this everyday though our exhibitions and programs, we also have a responsibility to those just starting their careers through their internships at the Museum. Over the last year, the Museum has worked to develop a viable internship program. It has brought new, younger voices to the organization, while at the same time offering professional training in the curatorial and museum ﬁeld. Over the past six months, six interns, at different points in their educational and professional training, have worked in the Museum to develop their skills, increase their knowledge, and assist the Museum with its work. In every instance, we hope that we can tailor the experience to the individual’s own interests. “Seeing the breadth of what queer people are doing—have done—has been amazing for me,” says Johnathan Lewis,

“Over the past six months, six interns, at different points in their educational and professional training, have worked in the Museum to develop their skills, increase their knowledge, and assist the Museum with its work.” an artist living in Brooklyn who works in the collections area. Johnathan imagines that his professional life will be focused on his art making (photography) and the experience he has had through working with the Museum’s collection. “I can

Museum interns are heavily involved in preparing exhibitions such as the Queers in Exile: The Unforgotten Legacies of LGBTQ Homeless Youth, which was enjoyed by these attendees at the opening on July 17, 2013. Photo by Johnathan M. Lewis

deﬁnitely see myself working in an art archive someday. “This experience has been great to demystify things. I have loved the opportunity to move from knowing about Jasper Johns and Robert Rauschenberg, to other lesser known artists who are equally committed to their art making. I have seen so much new work and learned about artists that I would probably have never seen but for spending time with the collection.” Maddie Phinney, in her second year of a master of visual studies program at the University of Buffalo, is researching the Museum’s upcoming 2014 Classical Nude and the Making of Queer History exhibition and says, “I have interned a lot. And many of them have been good experiences, but I have felt very connected to this one. I have seen how a team of people works together—each picking up the slack—toward a common goal. It has allowed me to feel very connected to the work that I am doing. I love the fact that our experiences are tailored to our strengths and interests.” Tiffany Nova, who will be a junior at Smith College in Northampton, Massachusetts, says, “A big part of being here is trying to understand how Leslie-Lohman

can ﬁt into the larger network of institutions, and how it has to be its own thing and establish itself as a new way of looking at art.” In addition to interning at the Leslie-Lohman, Tiffany is interning at the Studio Museum in Harlem. Oliver Klaassen, who recently received his degree in art, media and cultural studies from Carl Ossietzky Universitaet in Germany, is spending four months at the Museum in a structured program that allows him to rotate through each of themuseum areas—collections, exhibitions, and external relations. In addition, he has been assigned one exhibition, the upcoming Sex!Art!Music!, performing core research on how queer culture inﬂuenced popular music genres such as punk, disco, and glam rock. “For me, it has been an interesting experience. I have liked seeing how the organization is evolving from a gallery into a museum. I have been able to participate in many formative discussions which would not have been possible at other institutions.” We take our responsibility to our interns—and to all our volunteers—very seriously and appreciate all of their contributions. If you would like more information about the program, please contact the Museum. ■

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

THE WINDOW GALLERY ISSUE 47

How Come You Don’t Call Me Anymore? Corrine Fitzpatrick, In Conversation with the work of Azsa West

“The psyche is highly ﬂammable material. So we are always wrapping things in asbestos, keeping our images and fantasies at arm’s length because they are so full of love.” —James Hillman

Last week in Maine, I took

forty-six pictures of my grandmother on my cell phone. There are portraits of her brow-knitted and staring at me; shots of her hand blurred in gesticulation; closeups of her arm skin; her alone or with my sisters; images of her sitting, eating, pushing her walker, reclining with a plastic ﬂower behind her ear. My Grandma Georgine is eighty-three years old and lives in a home for elderly people afﬂicted with dementia. Our visits are a few hours long at most, compressed into a number of consecutive days one to two times per year. Her vocabulary of relations—Are you my daughter? Is that your father?— falters and when she looks at any member of our family the effort to reconstruct narrative ligaments is plainly visible behind her eyes. Familial intimacy is undeniable, though, mainly through constant physical touch, very old memories, and singing nursery songs. Why so many snapshots? Why spend so many moments of our precious time together with a smart phone literally between us? What motives feed into the compulsion to photograph? The most obvious conclusion would be that when we take a picture, we are simply attempting to capture a moment. I believe Kodak

once branded that notion. In the case of a loved one who is well advanced in age, there is also the photographer’s wistful desire to hold onto her subject; to virtually immortalize a smile, a gesture, or a reciprocated gaze. Taking the wide view in the context of dementia, the act of photographing runs perpendicular to one’s atrophied capacity to remember. Contra such loss, photography produces remembrance. It is easier to think about the artifact—the portrait itself—than to consider the action and psychology of the photographer, precisely within the moment that produces the photograph. Our smart phones are prostheses—this is no new thought. Beyond search engines and calculators, map tools and apps, these little machines alter and exaggerate our way of inhabiting our interrelations. We can be—or at least are offered the illu-

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

sion of being—evermore present during our moments with one another. Let me illustrate this concept: I am sitting across the table from my grandmother, looking at her. I hold up my phone and look at her on the screen while I continue to look at her in person. The camera phone reduplicates my ability to see her; it multiplies her image and, furthermore, saves it. There is a voraciousness to this double-looking; it is an idealistic attempt to out-experience, or cancel out, the loss inherent in parting. The stultifying catch to such effusive looking is the inevitable distance the presence of the camera phone creates between the photographer and the photographed. While on the surface this boundary may seem in contrast to the enamored photograph en abyme1 I laid out above, the self-imposed borderline could be thought of as stemmed from a desire to control,

THE WINDOW GALLERY ISSUE 47

(left to right) Azsa West, M, 2013, Digital tapestry, 74 x 36 in., Courtesy of the artist Azsa West, Sarah, 2013, Digital tapestry, 74 x 36 in., Courtesy of the artist Azsa West, Ryen, 2013, Digital tapestry, 74 x 36 in., Courtesy of the artist

a way to mitigate or savor the intensity of certain interpersonal moments. My feelings can be huge at times, inarticulate and unwieldy, especially if aroused by my love—familial, platonic, romantic, whichever—for a person near to me. The camera phone, ubiquitous and at the ready, can in these moments become sieve, prism, proxy, and safe box for inchoate or too-complex emotions. Roland Barthes described the type of consciousness particular to photography, “...its reality that of the havingbeen-there, for in every photograph there is the always stupefying evidence of this is how it was...”2 How might we apply this idea of consciousness toward an understanding of the newer photographic reality, in which every moment and interaction is likely to be doubled and viewed through a screen? It is an enlarged present moment, indeed. ■

Craig Owens, Photography en Abyme in Beyond Recognition: Representation, Power, and Culture (Berkeley and Los Angeles: University of California Press, 1992), 16-30.

Publication Studio, and her art has been featured in Girls Like Us Magazine, Fader, and Ad Busters. West currently works as Creative Director at Wieden + Kennedy.

Roland Barthes, Rhetoric of the Image in Image-Music-Text (New York: Hill and Wang, 1977), 44.

Corrine Fitzpatrick is a poet and independent art writer whose criticism appears in Artforum (online), the Toronto-based C Magazine of International Contemporary Art, and elsewhere. She lives in Brooklyn.

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Blanket, an exhibition by Brooklyn-based artist Azsa West, is on view in the Wooster St. Window Gallery, Jul. 20‒Oct. 13, 2013. Blanket is a series of digitally printed camera phone images of the artist s close family and friends printed on fabric. The unconventional marriage of the camera phone and fabric in these tapestries reﬂects West s unconventional relationship with her subjects. West studied photography at the California College of the Arts, and graduated from 12, a school, disguised as an experiment, otherwise known as a place to understand where ideas come from, housed inside the ad agency Wieden + Kennedy. She has exhibited in Los Angeles, Portland, New York, Brazil, and Paris. A book of her previous drawings Nature Study On Lonesome Island, was published in 2011 by

The Window Gallery is a streetfacing gallery featuring work by contemporary, emerging, and underrepresented LGBTQ artists who address issues of gender, identity, sex and pop culture. The Window Gallery is visible from the street, and is on view 24 hours a day. Upcoming exhibitions in the Wooster St. Window Gallery: Ketch Wehr, Oct. 19, 2013–Jan. 26, 2014; Jade Yumang, Jan. 31–Apr. 27, 2014

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

THE COLLECTIONS ISSUE 47

Notes on the Leslie-Lohman Collections Wayne Snellen, Deputy Director for Collections

The Leslie-Lohman Museum

is fortunate in that so many donors and artists wish to be part of this unique institution. All donations are processed with a Deed of Gift that makes the transfer of the work from the donor to the museum official and legal. Artboydancing is represented by four pieces donated by Paul Wirhun. Don Bachardy is now represented in the collection by a third drawing donated by Richard Gerrig and Timothy Peterson. Bastille (Frank Webber) is now represented by a second piece in the collection through the generosity of Edward Lippincott. Bastille first showed at the Leslie-Lohman Gallery in 1984. Don Gene Bell has donated 24 of his drawings to the collection. Bell first showed at the Leslie-Lohman Gallery in 1983. Peter Berlin now has an additional piece in the collection donated by Wayne Snellen. Berlin had a major one person show at the Leslie/Lohman Gay Art Foundation Gallery in 2006. James Fetterman donated 11 drawings to the museum. Fetterman first showed at the Leslie-Lohman

Gallery in 1979.

Michael Mitchell has given us 30 small drawings from the 2007 Dirty Little Drawings exhibition. George Quaintance is now represented in the collection with four rare signed relief sculptures, Neptune’s Children. The Quaintance sculptures, as well as a Lucian Freud signed print were donated by Charles O’Neal. David Sawtell (AKA Jugga) an Australian artist is represented by a drawing donated by Edgar Carpenter. Sara Swaty and Jacob Love are both represented in the collection by donations from Julia Haas. Swaty and Love were presented in the Window Gallery in 2012 and 2013 respectively. James Wentzy has given the museum an important archive of 37 VHS tapes on AIDS/HIV plus 28 posters relating to AIDS/HIV. Wentzy, a videographer and photographer, lived on the same block as the museum for many years. The New York Public Library has also accepted many of his tapes. A major donation of work by Paul Thek, Robert Rappaport, Theodore Newman, and Paul Fisher has been made to the museum by Peter Harvey. Additionally, another drawing by

James Fetterman, MN146, 2002, Graphite on colored paper, 8.5 x 9 in., Gift of the artist

Paul Fisher has been donated by

Bruce Boyd. The Museum received an anonymous donation of 74 boxes of collages, books and ephemera from the 1960s to 2010 by an anonymous artist.

James Wentzy, Fight Back, Fight AIDS: 15 Years of ACT UP, 2002, Still from video, Gift of the artist

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

THE COLLECTIONS ISSUE 47

Books

A two-volume edition of the Johann Joachim Winckelmann, Monumenti Antichi Indenti, published in Rome in 1767, was purchased by the museum in honor of Charles Leslie’s 80th birthday. Charles Leslie continues to be an important contributor and supporter of the museum as well as a featured curator of exhibitions at the 127B Prince Street Project Space—the old Basement Gallery. James Saslow, a board member donated two books, Homosexualita V Dejinach Ceske Kultury, by Martin C. Putna et al., and What a Material! Queer Art From Central Europe by Ladislav ZikmundLender. Saslow has been instrumental in putting the “gay arts” on the map by writing and publishing his own wonderful book, Pictures and Passions, which surveys the breadth, scope and inﬂuence of “gay” art. It is a must read. ■ ............................................................

The Leslie-Lohman Museum is grateful for these donations and wishes to acknowledge the artists and donors in these pages. Hopefully you will all continue to support the museum through your ﬁnancial support, contributions of art, as well as by volunteering. If you are interested in volunteering for the Collections Department please contact either Wayne Snellen, Deputy Director of Collections, or Branden Wallace, Collections Manager, to oﬀer your services̶no experience is necessary.

(top) Eric Rhein, Arthur, Portrait of a Faerie Man, 2010, Gelatin silver print, 20 x 16 in., Gift of the artist, and Charles W. Leslie (above) George Quaintance, Neptune s Children, 1953, Hydrostone, 14.5 x 4 in., Gift of Charles O Neal

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

PRINCE STREET GALLERY ISSUE 47

News from Prince Street Rob Hugh Rosen, Deputy Director for Programmatic Operations

This past July 12, 13, and 14, the Prince Street Basement hosted the launch party for issue #154 (Summer 2013) of RFD, (Radical Faeries Digest) and an accompanying art exhibit curated by Paul Wirhun, with the following twelve participating artists: Artboydancing, John Butler, Lawrence Brose, Ericc Cram, Arthur Durkee, Krys Fox, Keith Gemerek, Max-Carlos Martinez, Ves Pitts, Steed Taylor, Vincent Webster, and Paul Wirhun. At the close of the show, the artist known as Artboydancing gave his four collages to Paul Wirhun, who then donated them to the Leslie-Lohman collections. The donation was much appreciated. Aug. 9, 10, and 11: The launch party was given for issue #9 of Spunk [arts] Magazine, published by New York-based artist Aaron Tilford since 2003. Spunk is a 5.5 inch by 8.5 inch journal featuring original artwork and memoir-style writings revolving around the arts. The accompanying exhibit, curated by Tilford, had the following participating artists: Paul Caranicas, Ricky Day, Delphine

Delas, Robert Fontanelli, Rory Golden, Dan Halm, Scott Hug, Simen Johan, Scooter LaForge, Chuck Nitzberg, Mike Nolan, Gio Black Peter, Robert W. Richards, Mauricio A. Rodriguez, Dan Romer, Emma Tapley, George Towne, and Petrito Zezus. Sept. 13, 14, and 15: Pulled Pork: Unseen Images of Warhol’s Only Play. Curated by Kymara Lonergan and Oliver Klaassen, this is a solo show of photographs by Leee Black Childers, who was the play’s stage manager. There will be readings from the original script and a display of memorabilia from the LeslieLohman collections. Opening Friday 6 pm, Oct. 25 through 27, will be an exhibit of work submitted by members of the New York Photo Club, juried by Charles Leslie. The participants will be Alan Barnett, Lester Blum, Gerald L. Dilley, Mark Edward, Laird Mark Ehlert, Adam Goldberg, James Hanlon, Stephan Likosky, Pedro Pena, Peter J. Robinson Jr., Steven Rosen, Rick Shupper, Mark Silverstone, and Howard G.

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

Williams. The club, founded in 2004, meets at New York’s LGBT Community Center and offers help in an LGBT-friendly environment to anyone interested in learning about photography. Nov. 8, 9, and 10: A solo show for the San Francisco-based portrait photographer Darren Ankenbauer. Ankenbauer has been publishing Handbook, An Alternative Quarterly, since 2007. He will be presenting issue 4, vol .7, as the quarterly’s last printed edition. All future publication will appear digitally on eBooks. Nov. 22, 23, and 24: An exhibition by the Housing Works Art Therapy Program. Dec. 6, 7, and 8: Underground New York: Images of the 1970s and 80s NYC GLBTQ Disco Scene, curated by Kymara Lonergan. This is a solo exhibition of the photographer Veretta Cobler. During the opening celebration, there will be a live performance by Paint on Velvet featuring Benjamin Miller, James Ilgenfritz, and Kymara Lacrimosa, who are recording a composition to commemorate

(opposited page left to right) Veretta Cobler, Mesmorized Disco Woman, 1980, Medium format 2 1⁄4 x 2 1⁄4, black & white ﬁlm digitally scanned and printed, 16 x 16 in., Courtesy of the artist Socatoba, Animal s Darkness V, 2013, Graphite on paper, 16.5 x 11.4 in., Courtesy of the artist (this page clockwise from top left) Artboydancing, We Don t Know Her. She Was Never In Paris, 2013, Collage on paper, 11.8 x 8.2 in., LLM Collection, Gift of Paul Wirhun Darren Ankenbauer, Cory‒April, 2013, Digital print, 14 x 11 in., Courtesy of the artist Alan Barnett, Vapors, 2011, Archival pigment print, 12 x 18 in., Courtesy of the artist

Upcoming at Prince Street Gallery Oct. 25–27 New York Photo Club Nov. 8–10 Darren Ankenbauer Nov. 22–24 Housing Works Art Therapy Program Dec. 6–8 Veretta Cobler/ Underground New York

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

EXHIBITION ISSUE 47

What Does Destiny J., Age 20, Have in Common with Andy Warhol? Diana Scholl

Both Warhol, a 20th-century

Andy Warhol, Ladies and Gentlemen, 1975, Screen print on Arches paper, 43 7/8 x 28 7/8 in., Courtesy of the Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution of the Andy Warhol Foundation for the Visual Arts, Inc., 2013, Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

iconic pop artist, and Destiny J., a homeless youth who is also a photographer, had images on display in Queers in Exile: The Unforgotten Legacies of LGBTQ Homeless Youth, a groundbreaking exhibition curated by Alexis Heller that was presented at Leslie-Lohman Museum of Gay and Lesbian Art. Queers in Exile was part of the 11th Annual All Out Arts Fresh Fruit Festival, and was on display from July 17 to July 28, 2013. The exhibition used transgender activist Sylvia Rivera’s essay “Queens in Exile, the Forgotten Ones” as inspiration to explore the powerful personal histories, creativity, and activism of LGBTQ homeless and street-involved youth from the Stonewall riots to today. Warhol’s contribution to the exhibition was two 1974 photographs of transgender activist and artist Marsha P. Johnson, a formerly homeless youth, from his Polaroid series, “Ladies and Gentleman,” featuring drag queens and a large 1975 screen print of Marsha Johnson as well. One of Destiny J.’s two photos on display was a self-portrait taken on the Staten Island Ferry on her way to see her mother. “I’ve never had my work in a museum,” Destiny J. said. “Usually work like this doesn’t end up in a museum.” Destiny J.’s photos selected for the exhibition were two of many she took as part of a class at the Hetrick-Martin Institute—a nonproﬁt school for LGBT youth—taught by photographer Samantha Box, whose photography series, “Invisible,” of young people from the New York City LGBTQ shelter Sylvia’s Place, was also on display. Box’s work was presented in conjunction with a large format shot of the interior of the shelter, plus an installation of an actual twin bed exactly like the ones used by youth in the shelters. On opening night, Museum visitors were able to lie down on the bed, put on an iPod that was loaded up with excerpts of individual oral histories of Sylvia’s Place residents relating their experiences with homelessness. These stories were collected by The Hear Me ROAR! Project. A goal of the exhibition was to show

the diverse legacies of LGBTQ homeless youth history so that they will not be forgotten. “There’s a lack of storytelling and these stories are made invisible,” the exhibition’s curator Heller told the packed house who attended the exhibition opening. “We have to keep these legacies alive because that will make change.” In addition to Warhol, Destiny J., and Box, featured artists included Thomas Lanigan-Schmidt, Gerard Gaskin, Diana Davies, Leonard Fink, Rich Wandel, Richard Renaldi, Carol Polcovar, Van-

(clockwise from top left) Samantha Box, A young person smokes a cigarette outside of Sylvia s Place, 2007, Archival inkjet print, Courtesy of the artist Destiny J., Self Portrait, Staten Island Ferry, 2013, Color photograph, Courtesy of the artist and Hetrick-Martin Institute Diana Davies, Sylvia Ray Rivera (front) and Arthur Bell at Gay Liberation Demonstration, New York University, 1970, Exhibition print, Courtesy of the New York Public Library Camille F., 2, 2013, Color photograph, Courtesy of the artist and Hetrick-Martin Institute

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

EXHIBITION ISSUE 47

guard Revisited Project, The Hear Me ROAR! Project, The Ballroom Archive and Oral History Project, and Destination Tomorrow. In addition, the exhibition partnered with Whose Streets, Our Streets (whosestreetsourstreets.org) for a website and smart-phone-enabled walking tour that highlights sites of queer resistance in New York City to include the sites of LGBTQ homeless youth history from the exhibition. Through oral history, photography, archival footage, and submitted pieces, the show engaged the voices of Sylvia Rivera, Marsha P. Johnson, San Francisco’s Vanguard Youth, young people at San Francisco’s Larkin Street Services and Sylvia’s Place, the House/Ballroom community, and others in an intergenerational conversation that reﬂects the incredible resilience and important contributions of queer homeless and transitional young people, in spite of society’s desire to keep them at the margins. The exhibition was part of the efforts of Leslie-Lohman to reach an audience who may not have been to the Museum before. Museums have not traditionally been seen as inclusive of young people, people of color, and the poor. In order for the show not to further label its subjects as the ‘other’, the curator sought to make the work accessible to LGBTQ street-involved youth both inside and outside of the space. “Queers in Exile allows the Museum to reach different communities and tell an important historic story of Marsha Johnson and LGBTQ youth who face so many different hurdles,” said LeslieLohman director, Hunter O’Hanian. ■ ............................................................

Diana Scholl is cofounder of We Are the Youth, a photojournalism project that shares the stories of LGBT youth on display at Leslie-Lohman last year. She is an award-winning journalist whose article, For Transgender Homeless, Choice of Shelter Can Prevent Violence, was recognized for excellence in newswriting by the National Lesbian and Gay Journalism Association. In addition to writing, she currently serves as a communications strategist for the American Civil Liberties Union.

(top to bottom) Hear Me ROAR!, Installation (Bed, iPod, audio tape of oral histories of Sylvia s Place residents), Photo 2013 Stanley Stellar

Gerard Gaskin, Untitled, Legendary Series, 1997, Gelatin silver print, Courtesy of the artist Samantha Box, Misty and Her Boyfriend, Keith, at Sylvia s Place, 2006, Archival inkjet print, Courtesy of the artist

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

UPCOMING EXHIBITION ISSUE 47

Not-So-Common Threads: Crafting Identity and Community Curated by John Chaich, Jan 17–Mar 16, 2014, Leslie-Lohman Museum John Chaich

Not-So-Common Threads:

Crafting Identity and Community will present contemporary artists who use thread-based craft materials and/or practices to create works that engage, challenge, and transform notions of aspiration, socialization, and representation within the LGBTQ community. This group exhibition, Not-So-Common Threads, will feature numerous artists and fully activate the Museum’s main gallery with felt paintings, latch-hook tapestries, embroidered portraits, knit sculptures, and crocheted installations, as well as archival video and photography with potential for live performance. A mix of well-established and emerging talent, this exhibition is the ﬁrst time these works have been shown together to speciﬁcally highlight the queerness of the work. Likewise, some of the featured artists are internationally recognized but have been seldom or never been shown in New York City. The Smithsonian American Art Museum has agreed to lend L.J. Roberts’ The Queer Houses of Brooklyn in the Three Towns of Breukelen, Boswyck, and Midwout during the 41st Year of the Stonewall Era, to the exhibition. ■ (above) Nathan Vincent, Locker Room (Detail), 2011, 144 x 228 in., Yarn, Courtesy of the artist, Photo by Stephen Miller (left) Chiachio&Giannone, Familia Guaraní, 2009, 51 x 48 in., Hand embroidery with cotton threads, jewelry threads, and rayon on fabric, Courtesy of artist, Photo by Daniel Kiblisky

“I wish you great success with your exhibition, and I am honored to have the Smithsonian American Art Museum represented.” —Elizabeth Broun, the Margaret and Terry Stent Director of the Smithsonian American Art Museum

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

SPECIAL EVENTS ISSUE 47

Event Programming Jerry Kajpust, Deputy Director for External Relations

Several great events were held

this past quarter at the Museum, including an inspiring discussion on June 5, 2013 between Jonathan David Katz, cocurator, and Stephen Koch, director of the Peter Hujar Archive, about Paul Thek and the Museum’s exhibition Paul Thek and His Circle in the 1950s. During the conversation, the two explored the relationships between the artists in that exhibition and its impact on their art making at a time when being gay was considered “sexual deviance” by executive order of the president of the United States, and the great social impact of Susan Sontag’s 1964 essay “Notes on Camp” which brought homosexuality into general discourse. On June 6, 2013, over 200 people honored our founders, Fritz Lohman and Charles Leslie, while celebrating Charles’ 80th birthday during our ﬁrst Founders’ Day celebration. Held at the GMHC in their Keith Haring-inspired dining room, the festivities included hors d’oeuvres, cocktails, a silent auction (featuring donations by artists azt, Leee Black Childers, William Donovan, Joe Kaminski, Joe Radoccia, Eric Rhein, Robert W. Richards, Shungaboy, Richard Taddei, Branden Wallace, Patrick Webb, and Todd Yeager) and entertainment by the legendary cabaret singer Baby Jane Dexter, the surprising musical talents of Michael Barimo, and jazz musicians Benjamin Rush Miller on saxophone, and James Ilgenfritz on upright bass. At the event, the Museum announced the creation of a new membership program designed to help it acquire new works of art in the spirit of generosity displayed by Charles and Fritz. Charles was also presented with a Proclamation from the City of New York, honoring his vast achievements, including the work he and Fritz did in “exhibiting, presenting, and fostering the creation of LGBTQ art and artists, past and present.” Later in June, a standing-room-only crowd packed the Leslie-Lohman Mu-seum for the Trans Pride Storytelling Night. “We wanted to do something for the trans community that was afﬁrming and fun,” says event co-organizer Noah Lewis, himself a trans rights attorney. There was no shortage of fun, thanks to Red Durkin, a writer and comic who hosted the event, and storytellers Kit Yan, who recited some story packed

Stephen Koch, Director of the Peter Hujar Archive, Photo by Matthew Israel

Jonathan David Katz, President of the Leslie-Lohman Muesum Board of Directors

Janet Mock, on stage at Trans Pride Storytelling Night, Photo by Aaron Tredwell Photography

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

“...we see men openly sharing affection and exchanging creative sparks, a nurturing reality we might know nothing about were it not for the dedicated labor of this invaluable museum.” — Holland Cotter, on the Paul Thek Exhibition, The New York Times, Friday June 28, 2013 slam poetry, and Janet Mock, who told of her own life and the need for trans woman sisterhood; Cecilia Gentili, who recounted her life as a young trans girl, wondering if she had been born on another planet; Sasha Alexander Goldberg, who told of his being adopted; and two open-mic performers. For photos, video clips to come, and to learn of future trans events, like the Trans Pride NYC, go to the Facebook page at facebook.com/TransPrideNYC/. Rain on June 30, 2013 didn’t keep away the over 2 million people from watching this year’s 44th Annual NYC LGBT Pride March, which made this year’s theme, “Rain to Rainbows,” doubly appropriate as a bright rainbow led the parade inspired by the recent repeal of DOMA. The Leslie-Lohman Museum was proud to march along with Grand Marshalls Edie Windsor, Harry Belafonte, and Earl Fowlkes and over 350 other groups representing a vast array of non-proﬁts, community organizations, corporate sponsors, small businesses, and political candidates and activists. Charles Leslie, along with 25 museum supporters and staff, marched alongside a fabulous vintage pink convertible owned and driven by the skilled Eric Lonergan, husband of board member Kymara Lonergan. As Branden Wallace, one of the marchers said, “I can’t believe the amazing energy of the crowd you get when you march in the parade; it’s such an amazing experience!”

In The News...

Paul Thek and His Circle in the 1950s brought the Museum some excellent coverage including articles and reviews in ArtForum, Art in America, The New Yorker, and The New York Times. ■ Be sure to check out next month’s issue for reviews of lectures by Duane Michals (August 13, 2013), and Catherine Opie (September 12, 2013), plus several other exciting events.

(top to bottom) Founders Day, June 6, 2013, Photo by Johnathan M. Lewis Founders Day, June 6, 2013, Baby Jane Dexter and Charles W. Leslie, Photo by Johnathan M. Lewis 44th Annual NYC LGBT Pride March, June 27, 2013, Photo by David Jarrett

The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art ● NO 47 ● AUTUMN 2013

Current and Upcoming Exhibitions at Leslie-Lohman Museum

Not-So-Common Threads / 26 Wooster Street Jan. 17‒ March 16, 2014

Ten contemporary artists using thread-based materials that changed notions of aspiration, socialization and representation. Curated by John Chaich Allyson Mitchell, QUEER UN-NATION, 2012, Yarn and felt, 36 x 48 in., Courtesy of the artist

Sascha Schneider / 26 Wooster Street Sept. 19 ‒Dec. 8, 2013

First US exhibition of early 1900s German painter who was one of the ﬁrst self-consciously gay artists. Curated by Jonathan David Katz Sascha Schneider, Werdende Kraft (Growing Stronger ), 1904, Oil on canvas, 79 x 54 in., Courtesy of the Röder Collection

GMHC / 26 Wooster Street

Stroke / 26 Wooster Street

Works by GMHC art therapy program participants. Curated by Osvaldo Perdomeo and David Livingston

Artwork from gay male magazines (1940s-1990s) exploring the role magazines played in an area with few opportunities for sexual expression. Curated by Robert W. Richards

Dec. 19, 2013 ‒ Jan. 5, 2014

David Livingston, Boxer, 2011, Pencil and watercolor on paper, 11 x 13.75 in., Donated by the artist to the 2012 GMHC Exhibition, Private collection NYC

March 28 ‒ May 25, 2014

Mel Odom, Untitled, 1992, Pencil on vellum, 14 x 11 in., LLM collection, Gift of George Dudley