CO LO R A D O'S LG B TQ M AGA ZINE | F R E E
CONTENTS AUGUST 19, 2020 VOL44 NO10 IGNITING PASSION WITH THE QUARTER SPACE BETWEEN PUTS THE FOCUS ON PHOTOS SHE’S GOT YOU: HOW A LESBIAN ROMANCE LED TO AN OUTPOURING OF AMERICANA ART 'EMBODIED' BY TIFFANY NICKEL INTRICATE INTERSECTIONS: NATIVE, TWO-SPIRIT, AND QUEER IDENTITIES QUEERING UP YOUR DESIGN WITH BOBBY BERK QUEER CITY OF THE PLAINS GIVES US DENVER’S LGBTQ HISTORY BEAUTIFUL IMPERFECTIONS
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SERVING THE LGBTQ COMMUNITY OF THE ROCKY MOUNTAINS SINCE 1976 PHONE 303-477-4000 FAX 303-325-2642 WEB OutFrontMagazine.com FACEBOOK /OutFrontColorado TWITTER @OutFrontCO INSTAGRAM /OutFrontColorado FOUNDER PHIL PRICE 1954-1993 ADMINISTRATION info@outfrontmagazine.com JERRY CUNNINGHAM Publisher J.C. MCDONALD Vice President MAGGIE PHILLIPS Associate Publisher JEFF JACKSON SWAIM Chief Strategist EDITORIAL editorial@outfrontmagazine.com ADDISON HERRON-WHEELER Editor VERONICA L. HOLYFIELD Creative Director KEEGAN WILLIAMS Copy Editor BRENT HEINZE Senior Columnist DENNY PATTERSON Celebrity Interviewer INTERNS Apollo Blue, Arianna Balderrama, Izzy Yellin, Justine Johnson, Ray Manzari, Sadie Cheney WRITER: Belle Stockdale ART art@outfrontmagazine.com DESIGN2PRO Graphic Designer COVER DESIGN Veronica L. Holyfield COVER ART Jolene Nenibah Yazzie
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O U T F R O N T M A G A Z I N E . C O M // 5
FROM THE EDITOR
ART IS FOR EVERYONE I
t’s 2020, and the world is on hold, but artists are still creating extremely relevant work. It is art that covers the statues after long weeks of protesting, that is painted on the streets to say Black Lives Matter. And, as we navigate this global reset with the impacts of COVID, nationwide protests, and rampant racism, we make art about it. In this issue, you’ll find all kinds of art, from pieces that tell the story of the Two-Spirit community to works that deal with sexual assault and chronic illness. You’ll also find tips to beautify your coffee table and re-organize your house. Why not focus just on the hard-hitting, protest art that also finds its way into these pages? Because art is also about self-care, something we should all be focusing on right now. Not everyone is a writer, musician, visual artist, or movie maker, but we can all appreciate the aesthetic of a good outfit or perfectly arranged bedroom. It’s all valid. So, hopefully with any pretense about what art is or isn’t aside, dive on into our art issue, discover some amazing pieces and creators, learn about social justice, rearrange your room, and learn more about yourself along the way. -Addison Herron-Wheeler
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IGNITING PASSION WITH THE QUARTER by Veronica L. Holyfield
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or anyone who is deemed a creative, be it amateur or professional, the line between feedback and criticism is often obscure and blurred, and for artists of all mediums, putting work into the world is scary and often followed by negativity and nastiness. When seeking work, networking is essential, and once a job is booked, it is often necessary to collaborate with other creatives. However, how do folks proceed when the culture of creativity is often stifling rather than uplifting? The Quarter is trying to change all that for LGBTQ folks and allies through a collaborative and inspirational, online community. Founders and friends Sena Astorga and Caro Bernardini created The Quarter as a passion project to foster a safe space for creatives (artists, musicians, poets, writers, etc.) who embrace the LGBTQ community to contribute creative visions, provide and receive feedback from other creatives, and to connect with others who share similar artistic passions. Stemming from a combination of the words queer and art, the laid back, albeit deliberate approach of fostering such a community has truly sparked and ignited a synergetic energy for folks who were looking for just this. “One of the reasons why we created this community was to be a counterculture of what happens on the internet and to open a safe environment for everybody to show their stuff,” explains Bernardini. “People can criticize, and especially in our community or towards members of the LGBT community.” Astorga explains that the way in which people use social media and the internet to share and showcase their art can create an 8 \\ A U G U S T 1 9 , 2 0 2 0
unapproachable space for others. “People show off stuff like these grand, illusionary, one-ofa-kind types of art, and it's cool; their work is good, but it does come up very intimidating for someone who's just starting out or is not used to showing their work. It becomes really discouraging,” Astorga confesses. The nature of art in and of itself is extremely vulnerable, and oftentimes for LGBTQ folks, it can be a way of healing through trauma, rejection, and societal marginalization, and for feedback and critique to come from a place other than positive and helpful can be extra damaging. Through extensive sharing of their own pieces, either finished projects or works in progress, Astorga and Bernardini have seen engagement grow, and people of all skill levels and artistic mediums are sharing their work and receiving kudos and encouragement. From a place of authenticity and a genuine desire to create a collaborative community, The Quarter is thriving, and the founders couldn’t be more thrilled. Having only been active since June of this year, the Facebook group has already amassed a large following of active and eager participants by the collective encouragement of both Astorga and Bernardini. The Quarter has members who are painters, graphic designers, cross-stitchers, writers, woodworkers, and even hairstylists. The page's discussion feed not only features projects, but, there are recommendations of books, queer artist features from magazines, and even funny memes to keep everyone feeling inspired.
“Mainstream doesn’t really talk about queer history whatsoever, so it’s a kind of a nice break to find something that you’re going to actually learn about and enjoy instead of having the doom and gloom on you all day,” Astorga says. Bernardini adds, “Especially on Facebook, you have your feed saturated with everything that’s going on, so there’s a break, if needed.” While the two are based out of Denver, through the nature of virtual communication, they are looking to reach outside of the Mile High City to connect with as many queer creatives as they can and provide a safe space for them, to collaborate, educate, and participate. Though The Quarter may have begun as a couple of friends exploring ways to brainstorm with other creatives and create a safe space for artistic feedback, it’s clear that their authentic, vulnerable, and respectful approach to building community ignites a passion for engaged creativity which transcends any and all expectations. We talked to Astorga and Bernardini about a couple of their most meaningful pieces.
SENA ASTORGA The picture that I drew actually came from a photograph by a woman named Tanya Chalkin. It was a black-and-white photograph in the early 2000s, and I remember it being a hot topic because lesbians were very sexualized when it came to, like, the media and stuff like that.
CARO BERNARDINI My piece is a memorial piece for Walter Mercado who is an icon in the LGBT community since forever, especially in the Hispanic LGBT community. I moved from Argentina in 2003, and I had a lot of spare time when I got in the country, and one of the things that I did a lot was watch TV. I remember watching Walter Mercado, and I'm like, ‘Who are you!?’ He was this glamorous, glorious, very flamboyant astrologer, and I would be amazed by his outfits and body positivity. Coming from a Latino background, the LGBTQ community is not very widely accepted in many countries. The fact that he could be himself in the 80s, and nobody questioned him; everybody loved him. I feel that it's something that speaks to all the stuff that I am: I'm an immigrant; I'm gay and Latina.
The first time I saw that photograph, it felt like it was basically like the first time that my sexuality was legitimate; it wasn’t some kind of deviant concept; I could find a real, human connection. So, it was, like, a big thing for me, and in high school, I had an opportunity to draw something that was inspirational and naturally I chose that picture. Unfortunately, my teacher was a bit homophobic, and she tried to fight with me about whether or not I was allowed to submit that as an assignment. It was not only the first time that I felt like my sexuality was perceived to be a legitimate form of love and human connection, but also the first time that I've ever had to defend my sexuality against the outside world. It was a lot of fun recreating something that was really important to me at 17, and redoing it now is still just as important at 32 as well. O U T F R O N T M A G A Z I N E . C O M // 9
'Space Between' Puts the Focus on Photos by Ray Manzari
Photos provided by Space Between
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ince August 14, The Colorado Photographic Arts Center, located at 1070 Bannock Street, has been operating The Space Between, an exhibit which highlights two separate bodies of work. One is by Kris Sanford, who uses photographs to explore an imagined queer history, and the other is a collaboration of poetry and images that reveal Petal, a persona whom Philip Matthews manifests to tell a story along with David Johnson’s photographs. Founded in 1963, The Colorado Photographic Arts Center is the only nonprofit organization in Denver dedicated exclusively to the art of photography. Each year, CPAC presents up to 10 photography exhibitions, offers more than 50 classes and workshops, and hosts dozens of events to raise awareness of excellent photography and the artists
who create it. CPAC’s gallery is free to the public and conveniently located within Denver’s Golden Triangle Creative District. “What we do at the Center when we put together these art exhibitions is try to get two or more artists in the same show, in order to have a larger conversation. So, that’s kind of where this title, ‘The Space Between,’ came from. Thinking about both their projects but also creating this space to talk about identity and relationships and sexuality.” Samantha Johnston, CPAC's executive director and curator, tells OUT FRONT. She continues, “Each year, we take a look at our exhibition calendar and try to make sure we’re showing a broad spectrum of work. We try to make sure our artists aren’t just coming from one community or one demographic. We’re always looking to find ways of bringing different voices together surrounding the same topic. We’re 1 0 \\ A U G U S T 1 9 , 2 0 2 0
In Wig Heavier Than a Boot, there is a dynamic relationship between author, character, and observer. Originally, photographer Johnson was inspired by Matthews and the persona of Petal being used to write a different kind of poem. However, as the project went on, Johnson began writing about the ‘observer,’ meaning Johnson, and power within the three’s dynamic. The title refers to Petal’s donning of both a wig and cowboy boots. One being a femme object, the other being more masculine, Johnson felt the femme object had more emotional weight to it.
constantly thinking and wanting those voices to be heard and to have a place to be heard.” This August, CPAC features the voices of queer artists Sanford, Matthews, and Johnson. Growing up queer, Sanford searched for a history that spoke to her identity and included her. Photography gave her the space to imagine such history. Sanford’s work from her series Through the Lens of Desire offers a new lens to view vintage photographs of men pictured together and women together from the 1930s through 50s.
“We’re trying to convey to the viewer that these objects take on more than just being objects of dress and become objects that play certain gender roles. Looking at Petal and Philip, they’re really two different personalities occupying the same form. There were two different types of gestures at play, and there seemed like this moment where the two of them were the most divergent in personality in front of the camera. But, as the project came to its conclusion, it was clear to me that Petal was of Philip and Philip of Petal.” Both Through the Lens of Desire and Wig Heavier Than a Boot can be viewed for free by the public at The Colorado Photographic Arts Center through September 23.
“The time period that I use, mostly from the 1930s to the 50s, is where a lot of my source material comes from. I think there’s something very unselfconscious about the way people interacted in front of the camera back then, that’s just different now. I think that’s part of the reason why I gravitate toward those pictures, and that unselfconsciousness is part of what I’m looking for,” Sanford says. By subtly implying another narrative for the relationships pictured, real or imagined, Sanford is able to reflect on her own desires and experiences. Intimate moments of gestures, touches, and proximity are all identified and focused on through Sanford’s intentional, circular crop, inviting the viewer to wonder through the possibility of a different story. Matthews and Johnson have collaborated since 2014, and their first shoot together was in 2015. During this time, Johnson began noticing the word petal appearing more often in his poems. As time went on, Petal manifested into a character or persona. And, with the help of friends from within the worlds of photography and drag, Petal had her first, official shoot.
O U T F R O N T M A G A Z I N E . C O M // 1 1
O T G U Y O S ’ E H S
How a Lesbian Romance Led to an Outpouring of Americana Art
by Addison Herron-Wheeler
W
Art courtesy of Laura Goodson
hen Laura Goodson first started painting, it wasn’t because she felt a higher calling or was desperate to earn a living as an artist—she just wanted to get the girl. When she started dating local, Houston badass Magen Pastor, she knew she needed to be impressive.
Then, when Goodson went home and started painting, something magical happened. It wasn’t just about getting the girl anymore. She started painting cowboys, since that’s what she had learned to draw as a child. Starting with nothing but a cowboy hat on each illustration, the people she drew began to come to life.
“She is really plugged into the art scene in Houston,” Goodson explains. “And so, when we first started dating, we were going to a lot of art shows, and I quickly realized that she was gonna lose interest in me if I didn't have some sort of creative engagement with her. And so, I quickly was like, ‘Oh, I'll paint you a piece.’ So, I went and went to an art store to get some canvas and paint. I had never painted before, but was inspired because I wanted to get a girl.”
“The whole cowboy thing came about because of my grandfather, who was really influential in my life,” Goodson says. “When I was really little, he taught me how to draw a cowboy hat and nothing else. And so, for whatever reason, it stuck with me whenever I had the chance to be creative. It was like the one thing I knew how to do. And so I started there, and I think a lot of the characters are just reflections of people that have been in my life at some point, maybe not this life; it may have been a past life.”
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Even though the paintings were compelling, however, she still thought of it as a hobby. Then she began to get attention. “Eventually, I had, like, four or five paintings. Almost immediately, I got asked to do a solo, pop-up show at a leather goods shop. So, I did a pop-up, and I didn't know what I was doing. I hadn’t expected all this; I had initially just wanted to impress somebody.” After that, things began to fall into place. Goodson and Pastor became an official item (though Goodson still jokes that the jury is out on whether or not Pastor is impressed), and Goodson got an offer to move out of her comfort zone working in natural gas to take a major job in Denver in green energy. While relocating to Denver was an extremely tough call to make because Goodson was in love not only with Pastor, but with the family she had found in Pastor’s twin daughters, she realized it was the path the universe wanted her to take. It helped that Pastor pushed her to take the leap. “Thank God for Megan's push, because it got us out here, and the girls are in a wonderful school; my art is doing really well. I've been connected with some awesome folks here, collectors. We were able to get a studio. We've had three or four big art shows at the Dairy Block and in Mexico, and I think it has opened me up creatively in a big big way. I think lifting the heaviness of Texas off was kind of instrumental.” Now, the couple have a studio here in Denver that is perfect for creating and that they one day hope to turn into a space for showing art. They also still have an artist rental cabin in
Texas that poses the perfect solution to the COVID art-buying crisis. Instead of having to go look at a busy art show or browseonly online, you can actually go stay at the cabin and pick out the art you want to buy during your stay. “We went out there after we bought the cabin, and we basically just fully reconnected with nature,” Goodson says. “I started painting out there, and we kind of decided that we wanted to give that space to other people because we loved it so much. So, we made it into a shoppable cabin.” Other brilliant ideas to stay relevant include tattoo tickets for folks who want Goodson’s art on their bodies and a Cowboy Country Club, an exclusive group that gets first access to buy Goodson’s work, along with fun freebies like T-shirts and mugs. A ton of collectors are all about Goodson’s work, and some of those collectors, cowboys and Ameriana enthusiasts, are more conservative. But, once they meet Goodson and Pastor, they start to see things differently. Just seeing the love that the couple have for each other, their family, and their community is enough to change hearts and minds. “We've always been this way but even more so now, just like, how can you help someone? And when you walk into the room, I think not what can I get, but how can I help them. And that goes from being in your neighborhood to, you know, the community that you're living in to the bigger global community to the gay community, just all of it.” Visit lauragoodsonart.com to learn more.
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O U T F R O N T M A G A Z I N E . C O M // 1 3
'EMBODIED' BY TIFFANY NICKEL By Ray Manzari
by Ray Manzari Art by Tiffany Nickel
All of her paintings begin as sketches. From there, they get practice paintings, which she has just recently begun to sell. The pieces and stories that she feels most connected to get painted on large canvases.
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he first thing one notices about artist Tiffany Nickel is that she breathes creativity. From her BA in creative writing to her time as a pastry chef, Nickel is all about color, self-expression, and inspiration. Nickel has been painting since 2015 and working on her current collection using real, nude, female models since 2018. The Embodied collection centers around survivors of sexual or domestic abuse and seeks to bring life to their stories. She told OUT FRONT that she has more than 280 women sketched in her personal notebook. These models either pose for her live or send in pictures. When the project started, most of her models were Denveror Colorado-based. However, as her art began to gain popularity on social media, she has since painted women worldwide. 1 4 \\ A U G U S T 1 9 , 2 0 2 0
In contrast to the dark stories of abuse that come with each painted model, the art featured in the Embodied collection is strikingly colorful. “Color makes people feel emotions, and if there’s one thing I want to convey through these pieces, it’s emotion. Unfortunately, sometimes people can be afraid to feel, which is why, I think, sometimes my paintings don’t sell.” The bright and playful pallets used in the paintings make each piece impossible to ignore. Perhaps intentionally, since all too often, victims of sexual or domestic abuse are overlooked or underrepresented. Just in Denver, there have been 302 sexual assaults reported so far this year, an average of 45 per month, or 1.5 per day. Denver has also had 997 domestic violence crimes reported in 2020 so far, an average of 150 per month, or five per day. To say that there is an epidemic of sexual assault and violence on women would be an understatement. Each of the paintings in the Embodied collection is accompanied by a short blurb depicting the survivor’s account of abuse.
Survivors’ Stories Defiance Girl: The woman depicted in this painting is a survivor of a brutal gang rape. She chose to participate in this project because she is now a mother of three daughters and works full-time in the finance world. Because she is Black, she felt like there were extra societal expectations placed upon her to be something she wasn’t. So, this painting is representative of her telling the younger generation to be who they are no matter what society tells them. Woman 54: This painting depicts a woman who lost her case in trial against her rapist. He did no time after drugging and raping her at a high school party. She said for years, people who knew her called her a liar and she got what she asked for, and for years, she believed she had failed. She started controlling the only things she felt like she could in her life. She developed an eating disorder; she used drugs to numb her pain and would sleep with anyone. She was hurting and wanted more out of her life. She went to a recovery center, joined a support group, and started seeing a therapist.
Defiance Girl
She said once she began eating, sleeping, and taking basic care of herself, it was like a haze lifted, and she could see she needed to take control and wrap herself in self-love. She is painted in shades of pink because she works on romancing herself every day. For every art show the Embodied Collection holds, Nickel picks a non-profit, usually a women’s safe house or shelter, to give 40 percent of the proceeds back to the community that has helped this project grow. Follow Nickel on social media at @paintmenickel on all platforms.
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O U T F R O N T M A G A Z I N E . C O M // 1 5
Intricate Intersections NATIVE, TWO-SPIRIT,
AND
QUEER IDENTITIES
by Veronica L. Holyfield Art by Jolene Nenibah Yazzie
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“I
think I always knew I was gay at probably the age of 3 or 4, and at some point, I started really looking up to my brothers. I had three older brothers at the time, and they used to dance in the Powwows. They used to be Fancy War Dancers, and I used to mimic them all the time,” Jolene (Bean) Yazzie explains. Yazzie, whose pronoun is ‘bah’ from bah’s Native, Navajo language, is gay, Two Spirit and Navajo and works as a graphic designer. Bah has experienced a lifetime of pushback because of these identities; not only outside of the Native, Indigenous communities and cultures, but even from directly within them. “Being one of the boys, and not being able to be a boy, especially in a girl’s body, is really hard,” bah admits. Wanting to dance in the dance styles bah’s brothers were permitted to, Yazzie explains that while bah had the support of both parents, the traditions and the elders stood in the way of that. “My dad had to find somebody to initiate me, which is basically welcoming me into the Powwow circle. A lot of older men said no, and my dad was getting really frustrated because he didn't think that it was a problem, but he just kept asking people, and one man said that it was OK,” Yazzie says.
O U T F R O N T M A G A Z I N E . C O M // 1 7
While bah’s wish of being initiated into the Powwow circle eventually came true, Yazzie was bullied for a long time after. “I wouldn't say it broke me; it made me stronger, but it made me also question my own elders and their beliefs,” Yazzie says. In trying to find ways of dealing with that struggle, Yazzie found art as a way of expressing that frustration. Two of bah’s brothers were incredibly artistic and challenged Yazzie in developing those creative and channelling skills. Through trying to mimic what bah saw in magazines and comics, it quickly became apparent that there was a major gap in representation within those pages. “I started to notice how some superheroes, I couldn't really relate to any of them—because, you know, there's the favorites of Spiderman, Batman, Wonder Woman, and Superman—I could just never relate to any of them,” Yazzie explains. In thinking about what kind of superhero Yazzie may be able to relate to, bah was also bearing witness to dear friends enduring traumatic life experiences such as rape, molestation, and domestic violence. It was through these stories and wanting to provide these individuals safety and strength that bah began to draw strong women warriors and created the series Sisters of War. “In our creation stories, they don't really talk about women warriors, and that's one thing I always wanted to capture, especially with their regalia. Some of them that you've seen; they have hats on, and usually men warriors are supposed to only wear the hats. So, even when it comes to sexism, the stereotypical roles of a woman's place and a man's place, I started to question those and tried to turn a woman's role into a man's role,” Yazzie elaborates. Oftentimes, bah’s artwork is considered controversial within Native communities because of its challenge of binary representation and regalia. However Yazzie's work has also been embraced by many in the community and has been featured in many murals and art exhibitions, including the Harwood Museum of Art, the National Museum of the American Indian in 1 8 \\ A U G U S T 1 9 , 2 0 2 0
Washington, D.C., and most recently at Denver’s Museo de las Americas. In addition to creating the comic, superhero-style series Sisters of War, Yazzie has collaborated with spouse Hannahbah Blue on extremely impactful and necessary projects which highlight the stories, struggles, and tragedies of women within Indigenous communities. The Sing Our Rivers Red event and movement showcased a display of intricate, delicately designed, and beautifully crafted earrings, and while each piece embodied a traditional, Native beauty, each earring is missing its other half. As a way of awareness to the innumerous number of Native and Indigenous women who are murdered and/or go missing, organizers, including Blue, brought the annual display to America from Canada. Canada has tracked the number of missing and murdered Indigenous women since 1980, yet as of 2020, law enforcement in the United States still does not have adequate agencies established to track and respond to these horrendous events. Blue is a poet and wrote pieces reflecting on these tragedies to bring awareness, and ultimately change, while Yazzie created an illustrated art piece to bring a visual representation to the words Blue composed. The collaboration between them was titled Make the Night Holy Again, as many times, it is at night when Native and Indigenous women go missing.
of our communities, and that's been frustrating,” says Blue. “Even though it's not blatant racism, it’s still harmful. We've definitely felt embraced here (in Denver) as a gay couple, but the intersectionality of being gay and Native, it's just like people don't really know how to interact with us.” The couple are preparing to leave Denver so they can move back to New Mexico in order to be closer to family. Due to COVID-19, their Navajo tribe members and family have experienced intense and tragic impacts, so moving back feels like the right thing to do. However, the decision doesn’t come without some trepidation. “Our reservation, even though we have in our creation story and this tradition of accepting and really valuing TwoSpirit people, we still had a hard time finding a medicine person who would conduct our wedding,” Blue says. She goes on, “I think our traditional knowledge has been greatly influenced by colonization, assimilation, and Christianization, and that’s even affected our ceremonies. The ‘traditional Navajo ceremony’ is very gendered and focused on procreation.”
While Blue and Yazzie are life and collaborative partners, they also share a unique experience in facing oppression from every angle as they navigate through life. From the AngloAmerican perspective, they are misunderstood in their Native and Two -Spirit identities, and within their Navajo community, they are misunderstood as Diné, LGBTQ-identified women. “I think the biggest thing that we've experienced is people not knowing and not having a lot of connection, understanding, or awareness
Make the Night Holy Again
The now-married partners had to source outside of the traditional, ceremonial leaders and scripts in order to have their wedding. One medicine woman whom the couple asked to perform their ceremony said she wouldn’t feel comfortable because, while there once was a ceremony for LGBTQ weddings, it stopped being performed due to the Christian influence in their tribe and has since been lost. “Even our own tribe doesn’t have gay marriages; even our own tribal government is not allowing us to have the marriage license in the Navajo Nation,” Yazzie laments. With the many genders that are expressed within the Navajo language and accepted within that community, including the encompassing Two-Spirit term, many of the traditions are still based on the gender binary and create issues similar to the LGBTQ hierarchy of representation. Blue explains, “Another aspect to it is that there's still this paternalism in our community, even in, like, Western, gay culture, gay men have arguably more visibility, at times more power.” There is a greater understanding that if there is not equal access to participation in ceremony and representation of all genders within the
traditions, women, gender-variant, and LGBTQ folks are deemed less valuable. “There's this huge movement going on in our communities across all native tribes around decolonization trying to detangle the practices or traditions that have been affected due to colonization,” Blue explains. “But, I think what's been left out of that is our Two-Spirit culture. “It seems to me that decolonizing is trying to get back to a certain place, but what is that place we're trying to get back to? How can we rather move forward, support young people, incorporate culture, and come up with new ceremonies?” Facing obstacles in every direction, the couple find relief in the fact that they can go through these experiences with the support of one another. Whether it be pushback about their marriage within their own tribe or misunderstanding of their genderqueer identities from those who aren’t of the Indigenous heritage, through art, poetry, and love, the pair, and the Two-Spirit community at large, can find recognition and acceptance from one another.
Yazzie concludes, “It's like we’re stuck in the past, and that's the problem. I know it's really important, but this is now, you know, and especially when we're thinking about having a family. What kind of world do I want my kids to be living in when I'm gone? I want them to be able to go to a medicine man or woman and be like, ‘I identify as nonbinary, and this is who I'm with, and can you marry us?’ “I hope they don’t have a problem like we did.” Through the art and vulnerability of folks like Yazzie and Blue, conversations can spark, and the awareness and understanding of the intricate intersections of identity and tradition can truly be explored. For Two-Spirit and LGBTQ Native and Indigenous folks, there has not been a place for them to safely share their truth for far too long. While Yazzie’s and Blue’s story is not encompassing as the story, it is through these conversations that we can shed light on the issues of oppressed, marginalized, and misrepresented communities.
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B
obby Berk wore many hats before becoming the interior design expert on Netflix’s Emmy Award-winning show Queer Eye. Raised in a small, Missouri town, he dropped out of high school at 15 and worked various retail jobs. Driven to pursue his growing passion for interior design, he settled in New York in 2003 and worked his way up in companies like Bed Bath & Beyond and Restoration Hardware. This led him to eventually become Portico Home + Spa’s creative director. Berk started his own company and launched his brand and lifestyle website, bobbyberk.com, before becoming a member of the Fab Five. Now in its fifth season, Queer Eye is one of the most popular shows on Netflix and is streaming in more than 100 countries. Earnest and endearing, Queer Eye continues to challenge social norms and bring change to people’s lives. OUT FRONT had the opportunity to chat more with Berk about Queer Eye, collaborating with Tempaper to donate to GLSEN , and how one can spruce up a home while on a budget.
Hi, Bobby! What a pleasure it is to chat with you! Can you begin by telling us more about your recent collaboration with Tempaper?
QUEERING UP YOUR DESIGN WITH
BOBBY BERK by Denny Patterson Photo by Luke Fontana
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I have actually worked with Tempaper for, like, 10 years now. It’s owned by a set of twins, and it was started by their aunt who was a set production designer on Broadway. She was constantly having to put up wallpaper, and it was driving her nuts. So, she started printing wallpaper on contact paper for these Broadway sets, and her nieces were like, ‘This is a great idea.’ Six months later, they walked into my store, and they were like, ‘We have this removable wallpaper product, and we want to know if you would carry it in your store.’ I said, ‘Sure, put some up on a wall, and we’ll see how it goes.’ I think I was one of their very first resellers ever. Our relationship grew into a friendship. Years later, I decided to do my own wallpaper line. I wanted to do a line that people can install and deal with themselves. Wallpaper can be inexpensive, but when you add in the cost of installation, it’s not cheap. Wallpaper installers are very talented tradespeople. So, I wanted to make sure I came out with a line that is very much a DIY product. I went to Tempaper
and asked to do a line with them, and we put together the very first line in two weeks for a big trade show. It did very well. We then launched three collections and recently launched the limited edition “You Are Seen” decals through GLSEN. It was great to do a product that helps an organization that means a lot to me.
Why did you want to team up with Tempaper to donate to GLSEN? Because GLSEN means a lot to me. I wish I had an organization like GLSEN when I was in school. I wish I had a support network like that of not just adults who were there for me but also a group of other students who were LGBTQ and allies. The boys and I met up with a GLSEN group in New York two years ago, and I was just so impressed with the organization. I really want to make sure that I do as much as possible for the kids and young adults who are a part of it. Even for our Family Feud episode, our money went to support GLSEN. It’s an organization that’s not just important to me, but important to the whole Fab Five.
You have started that you are a prime example that it gets better for LGBTQ youth. Can you touch more on that? Often, I am asked what is my advice for kids that are growing up in a very religious family and community, and I’m like, ‘It gets better.' This is such a small smidgen of time in your life. Adulthood gets way better. You are able to either leave that town or people and evolve. Also, keep remembering, all those people that are so cool and popular in high school, this is their peak. It is pretty guaranteed that this is going to be the highlight of their life when you are just getting started. So, you will laugh when you go back to your reunion.
Now,the world knows you as the design expert on Netflix’s Queer Eye.How did you initially get involved with the show? My publicist at the time heard that they were recasting the show and asked if I wanted to throw my name in the ring. I said yes. I did an audition on Skype, and I thought it was awful, but apparently it wasn’t. A week later, I got a call back that they wanted me to come in for in-person auditions, but they had gone through about 3,000 auditions, so it was narrowed down to the top 40. They had been casting for,
like, six months. I came in the last week of it, and the rest is history.
Did you watch the original Queer Eye for the Straight Guy on Bravo? Absolutely. I still remember where I was the moment I watched the very first episode.
Because Queer Eye for the Straight Guy was such a huge success, did you have any hesitation or reservations about a reboot? Not really. Because it was such a huge success, I was very excited to be on it. I had worked with Thom multiple times while living in New York. First, when I was managing Restoration Hardware, Queer Eye for the Straight Guy filmed there; then they filmed at Portico, a company I worked for. So, I mean, I was always fangirling over the show and Thom. It was very important to me because it was kind of the first show where real-life, gay people were on TV showing that it does get better. That you can be successful. There were no other real, gay people on television. I think Ellen was out at the time, but it wasn’t as easy to relate to Ellen. You know, these five guys really doing what their careers were, so it was the first time we were like, ‘Oh, OK, gay guys can be successful. We can go out there and do whatever we want to do, and the world will embrace us for it.’
What is the best part about working with Jonathan, Tan, Karamo, and Antoni? The great thing is, none of us take ourselves too seriously. That’s how we get through the long days that we put in, and the long weeks, months, and years. We are always there for each other and willing to support each other no matter what.
Out of all the makeovers you guys have done, is there one that stands out to you the most? There are definitely ones that are most memorable for different reasons. If we’re talking about ones that are definitely more of my design aesthetic, then Wesley from Season One, AJ from Season One, but those are the looks I would very much have in my own home. The most memorable for the amount of change it affected would be Wesley Tammye, the firehouse, often the ones where I am able to help a community. They usually mean the most to me because it’s having the biggest impact. Not to say that the ones where we’re helping an individual or a family aren’t important, but it’s always wonderful when I am able to affect a whole community in the same amount of time that I would normally just have one person.
Have you always had a passion for interior design?
It gave me a lot of hope, and I hope that the new Fab Five and I are able to give that type of hope to a new generation as well. Not only can five gay guys go on TV and be a stereotype that the world is comfortable with, because that’s what happened back then, this is no shade to them, but the world was barely ready to see gay people, but it was OK because they fit in a very specific box. They were interior designers, fashionistas, cooks, culture people, and groomers.
Yes. Even when I was little, I remember changing my bedroom around and redecorating based on a dinosaur poster, moving the furniture around in my parents’ house and changing where rooms were. I think that’s why I recently went back and completely gutted and remodeled my parents’ home. I always wanted to. It took me years, literally years, to talk them into letting me do it. I would always be like, ‘Let me redo your kitchen!’ They’re like, ‘No, no, no. We can’t let you do that.’
OK, yeah, we can wrap our heads around that these are gay people, but if they had talked back then about the things we do, like our kid, husbands, and relationships, it wouldn’t have worked. The world would have been like, ‘Oh no, no, no. You stay in your lane. This is not OK.” So, I think it was ready for a reboot because the world was ready to see the gay community in a very different way. I hope that we are able to catapult change like the original guys did.
Then finally, one day, the kitchen was just falling apart, and the bracket that held the dishwasher up to the top of the counter broke. The dishwasher was just kind of hanging out, and the same week, a drawer fell apart, so my mom was like, ‘That’s it!’ She called me and said, ‘I have a surprise for you. I’m going to let you redo my kitchen.’ Oh, you’re going to let me, huh? Then I was like, ‘I can’t just redo the kitchen; I have to do it all.’ Just like an episode of Queer Eye. O U T F R O N T M A G A Z I N E . C O M // 2 1
What do you want the Bobby Berk brand to always be known for? Accessibility. If you notice on bobbyberk. com, occasionally there will be some things that are a bit expensive, but they are also very unique. We don’t really sell anything on the website; we recommend a lot of things. Like, we’ll do design breakdowns, but for the most part, we really strive ourselves to be accessible. We do articles on our favorite pillows, starting at $5. Some of them might go up to $200, but the majority of them are, like, $5 and under. So, I think that is what I like being known for. Design doesn’t have to be expensive. It’s not just for the wealthy; It can be accessible to everyone. Also, teaching people that design can really affect your mental health is what I want to be known for as well. Design can really change your life and the way you look at the world.
What are some of your best tips to spice up your home? If you want to spice up your home on a budget without changing anything
structurally, I always recommend starting with rugs and pillows. It’s a great way to change the look of a room drastically without spending a lot of money. Rugs traditionally used to be quite expensive. There are a lot of great rugs out there that are printed that aren’t expensive at all. You can really change the look of a room with rugs and pillows without spending a lot.
Are there any upcoming design trends we should be on the lookout for? You know, the last major design and trade shows have all been canceled, so I haven’t really been able to look at any common trends. I know neutrals are still a really big thing. My home is still very neutral; it’s been that way for years. So, I am glad people are finally catching up to that.
What are some design trends to stay away from? Doing things to your home just because a magazine tells you to instead of doing what you love. Your home should reflect you. If your taste is tacky, do it. No one else lives there; it’s your house. Follow your heart, and do things that make you passionate. If you love that tacky-ass credenza from your aunt Gertrude, go for it.
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What do you believe every home should have? Good bedding. Even when I was dirt-poor, bedding was something I would always splurge on. It is very important to get a good night’s sleep. You spend so much of your life in bed; you should feel every night as if you are at a nice hotel.
What’s next? Any other upcoming projects we should be on the lookout for? We are constantly launching new stuff on bobbyberk.com. I have some new products that will be coming out soon. I can’t say what yet, we haven’t announced, but I will also be launching a new collection with my furniture line with A.R.T. That was supposed to be out in April, but it now may be October or next April. We’ll see. I am also still working with Target. Target has a very close and warm place in my heart. Target inspired me to be a designer, and it’s been amazing working with them and coming full circle To stay up-to-date Berk, follow him on Instagram @bobby, on Facebook at facebook.com/BobbyBerkOfficial, and visit bobbyberk.com.
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Queer City of the Plains Gives us Denver’s LGBTQ History by Arianna Balderrama
T
he LGBTQ movement is filled with important figures and events that left marks cemented into crusade. Looking into the history of the LGBTQ community, many know the general story of our journey: The Stonewall Riots, cake denial, and the legalization of same-gender marriage in 2015. However, looking within Denver, can you pinpoint stories and people within the queer movement that happened beneath your feet? Perhaps your surroundings on the way to work have a place within history that lead you to live freely today (well … almost). Queer City of Plains is an art exhibit currently being held at the McNichols building in the Civic Center Building. The purpose of the exhibition is to look into the history of the LGBTQ movement in Denver and highlight stories that might have been buried in the chaos. The art exhibit includes the work of various, contemporary artists and historians assisting in the pieces reflecting the history of the queer movement with accuracy. Each artist was given a certain time period to look at and interpret in order to craft their new works of art.
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Brenden Picker is the curator of Queer City of Plains. He works for Denver Arts and Venues as a public art program administrator, and OUT FRONT was able to chat with him about this insightful exhibit.
history into four, distinct elements starting up when the city incorporated as a city into the present day. I located artists whom I thought would be interested in working with the project to basically respond to each of the four narratives through art.
How would you describe Queer City of the Plains?
We have a section about the history of the rainbow flag written by Genevieve Waller, who is another historian. I had Steven Frost respond to the history of the rainbow flag. Jonathan Saiz responded to the first historical narrative, which was 1859 to 1939.
I work in the McNichols building; that's where the cultural affairs team works. My colleague, Shana Shelby, manages the exhibitions that happen. Over a year ago, she asked if I would help curate a show for summer 2020 that would coincide with gay pride and the Civic Center and would have kind of an LGBTQ team for the show. So, I was thrilled at the opportunity. And, right off the bat, I wanted to illuminate Denver’s queer history. It wasn't just about the art, but it was something a little more educational. I found David Duffield, who is a historian, and he works part-time at the The Center on Colfax, and has done a lot of work with queer history in Denver and Colorado. I partnered with him, and we basically decided to divide Denver's
Adir Norris is a really amazing artist as well, and she responded to the narrative from 1940 to 1969. The Secret Love Collective, which is a queer arts collective, did 1969 to 1996. Brian Corrigan responded to 1996 through 2020. Steven Frost, who is an amazing textile artist, did a reinterpretation of the rainbow flag and did a queer flag for the City of Denver. We also have Yvie Oddly who won Season 11 of Rupaul’s Drag Race, one of her signature looks on the show, and she also wore it when she came to Civic Center last year for gay pride. Jared Polis, who is the first openly gay U.S. governer, his
iconic blue sneakers are also in the show. The show, we just really wanted it to be accessible to all ages. We want to illuminate some stories that may not have been told in the past and really bring together a diverse group of artists to respond to those historical stories through art.
As curator, what were you looking for when seeking out artists? I definitely wanted artists who are contemporary artists. I wanted artists who were willing to create new work for the show and to kind of utilize the space of the McNichols building. The third floor is a huge space, and I really didn't want to use existing work. I wanted the artists to create new work and use the space. I wanted artists to be site-specific and installationbased. I also wanted to represent the diversity of the contemporary artists who self-identify as lesbian, gay, bisexual, transgender, queer, since that is the thrust of the show is the LGBTQ+ community.
How has Queer City of the Plains incorporated artists and pieces that reflect different backgrounds? Are indigenous people represented? Jonathan Saiz, in that first narrative about the early days of Denver, there's some mention of that in that narrative. So, Jonathan Saiz created a really beautiful piece in that show about the Two-Spirit people, and I think that's a really a really poignant piece on the wall. Steven Frost, although he's not Native, he did really want to reflect some of
that Native history inextiles. The fibers he used to create the rainbow flag were used to connect back to the Native roots of Colorado and Denver.
Why do you think it is important for people to take a look into our LGBTQ history? In a lot of ways, we've made some strides in terms of gay rights and transgender rights, but there's still sort of a long way to go. It felt important to keep telling the stories and illuminate new stories. The struggle is really not over, so having a show that can be accessible through art for people of all ages [felt important]. Your kids can come see the show and learn about the rainbow flag and learn about some of its history. Our elders can see the show and hopefully recognize some of their contributions that have been made in Colorado and Denver. The struggle is not over. I think we have to keep telling our stories and keep illuminating stories that aren't being told. And so, it's kind of continuous sharing. Also, to enjoy the positive things that have come out. I also want the show to reflect that and celebrate our victories as well.
Why does the exhibit highlight themes such as storytelling, camp, and resistance? How does each theme play a role in the Denver LGBTQ movement? This summer, obviously with the pandemic, the Civic Center celebration was online and virtual. The Black Lives Matter movement is another, similar story of struggle and
resistance to oppression and injustice. There's so many stories to be told about the fight for justice and the fight for equality, and this is just one sliver of that. The McNichols building is kind of the arts and cultural hub at least for the city. It’s so important to bring to light some of these queer stories and illuminate that within the building, which is public building. I think that's an important part of the show.
Working with historians, what information about Denver’s queer history has impacted you personally? The Wendall Sayers interview is amazing to listen to. The Secret Love Collective’s response to their section has to do with HIV and AIDS and that pandemic and the struggle for equal rights. Their installation is just beautiful, and they also wrote up a beautiful poem responding to that: 10 verses, and there's a timeline at the bottom that kind of highlights landmark decisions in the city and state. It’s so rich; there's so much to tell.
What are some pieces worth highlighting, and why? I have to say, it was really fun to work with Yvie Oddly. She actually came to McNichols to deliver her umbrella herself. It was such a joy to meet her. It was really fun to highlight that rise to stardom and have that iconic, pink umbrella in the show. So, that was definitely a fun highlight. For more information, visit mcnicholsbuilding.com to check out the digital exhibit or plan your visit.
O U T F R O N T M A G A Z I N E . C O M // 2 5
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Beautiful
imperfections Words and art by Belle Stockdale
W
hat is the purpose of art? Humans have asked this question for centuries. To me, the most important role art holds is communication. It is a way to convey the unutterable, to share a personal experience with others so they may grasp it, see it, feel it, understand it on a level that conversation cannot impart. I was in my final year of college when I became sick. After studying acting, and directing for a decade, by my senior year, I was unable to keep up with the many physical demands theatre requires. When my time stopped being consumed by constant rehearsals on my feet, I turned to art I could create on my ass. It all started with the ugly Ikea table taking up too much space in my tiny apartment. I hated looking at that cluttered, ring-stained surface. It was something so plain and neglected, but I knew it could be transformed into something better. Yet, I was nervous that I would somehow ruin it and be stuck with something I didn’t like. Then I wondered: how could putting love, time, and effort into something make it any worse? Once I finished the table adorned with cacti and flowers, I felt enormously proud of what I had created, but soon after, felt this strange sense of guilt come over me. I had been taught for so long that “good” art comes from trauma. I was led to believe that the only ways I could contribute to my artwork were through
personal pain. I looked at this cheerful, pink image and suddenly felt inauthentic. I’ve spent so much time creating art out of my trauma and pain. I would force myself to stay in these dark, depressed states in order to create something that mirrored my experiences. And that can be extremely dangerous. It took me so long to understand that my art can be whatever I want it to be. Ask me a question, and I will answer with complete honesty and transparency. Some of my best and proudest moments as an artist have come from exploring my personal pain and presenting it to others. It can be an extremely effective, proactive, and healthy way to work through trauma and communicate inner workings. However, my illnesses, my obstacles, my traumas, do not make up the sum of who I am. They are a piece of me; they have contributed to who I am and what I care about, and they are a part of my identity, but they do not define me. Through creating visual art, I realized something profound: I am allowed to paint what I want life to be as opposed to how I experience it now. I want to surround myself with images of progress, of light and growth, of beautiful imperfections. I use paint to convey the experiences that words simply cannot express. But, the majority of my
O U T F R O N T M A G A Z I N E . C O M // 2 7
artwork is a reflection of where I am going as opposed to where I am now. I had to give myself permission to do that. When I first started getting really sick, I felt that I should be making images of my pain, yet I found myself constantly creating light images of plants blooming. While before, I had felt the urge to wallow and ruminate, painting broke me out of that box. I strive to produce art that communicates a piece of my experience. Why can’t that be joy? Why can’t that be fantasy? Communicating your story, your perspective, does not always have to encompass your pain. It took me a long time to allow myself to create art for me and not for other people. It is just as important. Creating visual art is something I am so lucky to be able to do despite my disabilities, even though most of the time, I feel like sh*t when I sit down to paint. When I feel ugly inside, and riddled with pain, I want to get out of that, not push myself deeper into it. Painting is my escape. It’s how I surround myself with happiness. Don’t get me wrong; I absolutely love paintings that portray true human darkness. For me, though, it is not always something I’m able or want to commit to, and that’s OK, too. I have learned so much about myself and how to approach life through working with acrylics and canvas. I’ve learned that paint is forgiving. If I mess up, I can paint over it, good as new. The paint forgives my mistakes, and I should, too. I’ve learned that sometimes, you have to walk away from a problem and let it dry before you can fix it. I’ve learned that art can be whatever I want or need it to be. I have so much pride in my Ikea table now. I keep it clean and tidy and show it off to everyone who comes to visit. I transformed this broken, ugly thing into something that’s one-of-a-kind, redefined, loved by me, loved by all. I fell in love with painting because I desperately wanted to paint myself. I want to transform this fragmented, damaged, melancholic person I see in the mirror into something beautiful and admirable, into someone I am proud of. I want to love myself the way I love my art. 2 8 \\ A U G U S T 1 9 , 2 0 2 0
When I create something beautiful, it helps me see my own value. It helps me see the beauty in myself, the brilliance of my mind, the capabilities my body
still has, and I am filled with gratitude and pride. If I am able to transform an inanimate object into a work of art, why can’t I do the same to myself?
O U T F R O N T M A G A Z I N E . C O M // 2 9
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