DC Comics has ordered Kathleen Cullen Fine Arts gallery in New York to remove the “Queer Batman” works by Mark Chamberlain. A couple dozen works were displayed in the gallery’s office area. Artnet.com was also told to remove seven works from the series from the artist’s webpage.
Painter Lenore Chinn from San Franicsco, playwright Sharon Bridgforth from Austin, and novelist Susan Stinson from Northampton were featured in the June 2005 newsletter of the Fund for Women Artists.
Maria DeGuzmán’s book Spain’s long shadow: the black legend, off-whiteness, and Anglo-American empire, recently published by the University of Minnesota Press (Aug. 2005, ISBN 0-8166-4528-0), contains some queer and campy readings of nineteenth-century visual culture -- namely, of John Singer Sargent’s “El Jaleo” (1882) and of cartoons from the era of the Spanish-Cuban-American War of 1898, particularly as their “queerness” is imbricated in questions of race, ethnicity, and geopolitics. Meanwhile, the photo-text project Camera query continues to expand and may be found at www.cameraquery.com. Please send your suggestions for further GLBTQ links to DeGuzmán at firstname.lastname@example.org
Roberto Ferrari has started doctoral studies in art history at CUNY Graduate Center. His website on Simeon Solomon, the Victorian painter, has moved to www.simeonsolomon.org
Several archival galleries of Harmony Hammond’s work from the 1970s have been added to her research-oriented website harmonyhammond.com. The website also includes current work and exhibitions, catalog essays, reviews and bios, all in downloadable PDF. Hammond was co-grand marshall of the Albuquerque Pride Parade this summer (with Delmas Howe). In conjunction with Pride, she exhibited “A queer reader” in the Uncensored Expressions exhibition. Her “Represent women: a primer” was reproduced in Richard Meyer’s “Slasher story” in the spring 2005 Art journal. The work is also reproduced in Out in the library, a tribute to the Hormel Center at San Francisco Public Library. Hammond’s studio was included in New Mexico artists at work, by Dana Newman and Jack Parsons, Museum of New Mexico Press.
Daniel Heyman was included in three group shows this summer-fall: “New prints” at School House Galleries, Provincetown, Mass., July-Aug.; “Male desire two” at Mary Ryan Gallery, New York, June-Sept. (curated by Jonathan Weinberg); faculty exhibition at the RISD Museum of Art, opening Sept. 29. He has been awarded an Independence Foundation Grant ($7,500) to create an installation at the Eastern State Penintentiary in Philadelphia, with the subject being prisoner abuse at Abu Ghraib Prison in Iraq.
Rinaldo Hopf will be co-editor with Axel Schock of the third volume of My gay eye/Mein schwules Auge, to be published by Claudia Gerhrke, Konkursbuchverlag in spring 2006. www.konkursbuch.com
The International Homo/Lesbian Informationcenter and Archives (IHLIA) has a searchable catalog of their library, the largest in the Netherlands. www.ihlia.nl
The Jewish Museum has named Norman Kleeblatt chief curator; he was previously curator of fine arts. cf Art news, Oct. 2005, p. 82
At ease: Navy men of World War II by Evan Bachner (Abrams) received the Lambda Literary Award in the Visual Arts/Photography category. The gender frontier by Mariette Pathy Allen received the award in the Transgender category.
Tirza True Latimer’s dissertation book Women together/women apart: portraits of lesbian Paris is to be published this fall by Rutgers University Press. ISBN 0-8135-3595-6 (paper) ISBN 0-8135-3594-8
Sallie McCorkle became professor and head of the Department of Art at Oklahoma State University in Stillwater on July 1st. Her mother, Elizabeth Max, was a professor there for 20 years and helped establish the national Women’s Studies Association. Sallie is finding it interesting and somewhat surreal to return to OSU. Her new email address is email@example.com
Jeff McMahon’s essay “Future conditional: a short time teaching in Cuba” has been published in PAJ:a journal of performance and art, issue #81. mitpress.mit.edu
Carrie Moyer is included in the “2005 Next Next Visual Art” show at the Brooklyn Academy of Music. The show opens on October 6th and will be on view during BAM Next Wave performances (and by appointment).
Outfest, the Los Angeles Gay and Lesbian Film Festival, has teamed with the University of California, Los Angeles, for the Legacy Project which will collect and preserve GLBT films. cf. Advocate, Aug. 30, 2005, p. 26
Robert Rindler has moved from Cooper Union to the position of President at the Milwaukee Institute of Art and Design. Biography, statement, and interviews with Milwaukee journal sentinel and other media are available at www.miad.edu
The retrospective exhibition of works by Robert Smithson at the Whitney this summer provided some tantalizing glimpses of his collages which include physique and other potentially “queer” images, some mixing male and female body parts. The show originated at the Museum of Contemporary Art, Los Angeles. The exhibition labels and catalog text are remarkably silent about the images though a few are illustrated in the catalog. A review of the show by Caucus member Jim Bergesen appears later in this issue.
“The new Adam” by Harold Stevenson, a nine-panel painting (8 feet high and nearly 40 feet long), originally made for a 1962 show at the Guggenheim but replaced by curator Lawrence Alloway, and recently selected for the jacket and endpapers of Male desire by Jonathan Weinberg, has been given to the Guggenheim Museum in New York. cf “Exposure for a nude” by Carol Vogel, New York times, Sept. 30, 2005, p. E35
Robert Summers, PhD student in art history at UCLA, was in a residency at Bricktops where he hosted Ms Vaginal Davis, and gave numerous performative lectures mixing fact, fiction and gossip on artists, artworks and popular icons of the 1920s and ’30s. He will be presenting a paper in late October in Hamburg titled “9/11 and the gift of death.” He is now collaborating with Jason Goldman to create an archive of Bricktops, a queer sexual-space in Los Angeles. One Institute has expressed an interest in taking the archive when completed.
John Taormina, Director of the Visual Resources Center, Dept. of Art and Art History, Duke University, was the recipient of both the Visual Resources Association’s 2005 Distinguished Service Award and the 2005 Nancy DeLaurier Award at the association’s annual conference in Miami Beach in March, 2005. The VRA Distinguished Service Award, a lifetime career award, was given “in recognition of his many contributions to the visual resources profession, especially his outstanding leadership through publicaiton and educational programs.” The VRA Nancy DeLaurier Award, an annual achievement award, was given jointly to both Taormina and Mary Wassermann (Philadelphia Museum of Art), “in recognition of their efforts toward launching the highly successful inaugural 2004 ARLIS/NA-VRA Summer Educational Institute for Visual Resources and Image Management.” Taormina is the first male recipient of the VRA Distinguished Service Award since the award was established in 1988. Taormina also concluded a nine-year tenure as editor of the VRA bulletin, the association’s international print journal, at the Miami conference. Taormina was recently appointed Professional Editor of ARLIS/NA.
Vagner Whitehead will have some images and writing published in the fall 2005 issue of Nueva luz photographic journal. He is now at Oakland University in Michigan.
The Women’s Studio Center in Long Island City, New York announced the first issue of Vernacular, a collection of poetry, fiction and creative non-fiction by women of diverse voices, languages and backgrounds.
Award-winning painter Maud F. Gatewood (8 January 1934-8 November 2004) died at 70 in Chapel Hill, North Carolina, from complications related to a stroke. Among many other places, her work hangs in the National Museum of Women in the Arts in Washington, D.C. She is described as salty and blunt, hard-drinking and smoking, and having a feisty personality. Born in Yanceyville, North Carolina, she received a BA in Art from Woman’s College of University of North Carolina, Greensboro (now UNC at Greensboro) in 1954. In 1962-1963, she won a Fulbright grant for graduate study in Austria which included art history at the University of Vienna and painting with Oskar Kokoschka in Salzburg. Gatewood taught at Huntingdon College (Montgomery, Alabama), Texas Christian University (Fort Worth), the University of North Carolina (Charlotte) and elsewhere. Sculptor Richard Lippold was a friend and helped arrange a 1972 show at the Willard Gallery in New York City. “Gatewood: Facing the White Canvas” is an hour-long documentary about her life and work. It was co-produced and co-directed by Carlyle Poteat and David Kasper of The Empowerment Project of Chapel Hill, N.C. Poteat and Kasper began production on the documentary in 2001 and completed it in August 2004. Gatewood saw and approved the film before she died. According to David Fellerath, writing the April 13, 2005 Arts Feature for The Independent Weekly (Durham, NC), “Viewers of this film may find themselves wondering about something else that remains unsaid: Gatewood’s romantic relationships with women go unexplored, much to the regret of Poteat, who said that the topic was off-limits. ‘She was gay, but at her insistence we kept it out of the film,’ Poteat says. ‘I felt it didn’t need to be spelled out but I also felt like it needed to be in there.’ ‘The great love of her life was Molly Sexton,’ Poteat continues, ‘who was her model for some of her most joyful paintings. I had quite a few conversations with her by phone and e-mail.’ Sexton hesitated then finally declined to be interviewed for the film. Although Sexton’s relationship with Gatewood ended many years ago, the women remained in touch and Sexton, a Greensboro resident, was one of two people at Gatewood’s bedside when she died.” http://indyweek.com/durham/2005-04-13/ae.html
“Gatewood: Facing the White Canvas” is available in videocassette and DVD formats. The DVD contains 250 of Gatewood’s paintings in index form and as a chronological slide show, Copies can be obtained by contacting the Caswell County Historical Association at (336) 694-4965 or by visiting www.empowermentproject.org. Several copies of a book about her art, Maud Gatewood: Re-Visions by Robert Hobbs (North Carolina: Weatherspoon Art Gallery, the University of North Carolina at Greensboro, 1994), are available from online used booksellers for around $7.
David Whitney, curator, art world insider, and longtime partner of architect Philip Johnson, died on June 12th in New York. cf Art news, Oct. 2005, p. 78