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The Archive

Number 26 Winter 2008

T h e Jou r na l o f T h e

leslie/lohman

Gay arT foundaTion

Top: Joseph Modica, Rob, 1985, C-print, 38 x 50, Bottom: Frank Sheehan, Untitled #1, 2007, Archival digital dye print, 2 x 3

See the article on The Great Gay Photo Show on Page 7

This PublicaTion is made Possible by a Generous donaTion from The John burTon harTer chariTable TrusT.

The foundaTion Would also like To Thank daryl and leWis for Their Generous suPPorT.

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A NOte ON ART, AcTUAlly!

By CHArleS W. leSlie

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reCeNt DONAtiONS AND ACquiSitiONS

By WAyNe SNelleN

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The GReAT GAy PhoTo Show

By tOM SAettel

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tHe PASSiON OF WilliAM CriSt

By tOM SAettel

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DIRTy lITTle DRAwINGS Out iN tHe OPeN

By DOuglAS BlAir turNBAugH

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AN iNSiDerS VieW: tHe SeCOND leSlie/lOHMAN tOur OF PriVAte Art COlleCtiONS

By eArl CArlile

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tHe MArMOreAN FlOCk 19tH CeNtury leSBiAN SCulPtOrS rOBert giArD: A POrtrAit

By JAy BODA

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20 22

J.B. Harter, Nude: Torso 2nd Version, 2001, Oil on board, 111 x 55

rOBert gABle--1918­2008 DelMAS HOWe--tHe 2007 leSlie/lOHMAN liFetiMe ACHieVeMeNt AWArD DAN rOMer

AN iNterVieW By rOBert W. riCHArDS Cover: Sonia Melara, Joy, 2006, Black pencil, oil, copper and gold leaf on museum board, 60 x 40

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Number 26 · Winter 2008

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Joseph radoccia, The encounter, 2008, Oil and acrylic on panel, 32 x 20 (8 panels), Collection Daniel lovette

a noTe on Art, ActuAlly!

by charles W. leslie

few weeks ago i went to two reputable galleries in Chelsea where, in one of them, i saw three bicycle tires, an ordinary broom suspended by fishing line and several pieces of an old broken chair adroitly arranged in what i was told was "a complex interrelationship". the ensemble was priced at $9,000 and to my utter astonishment had been sold. later that same week i made my first and possible last visit to the new New Museum on the Bowery at Prince Street. At least the building itself is worth looking at. the bizarre marriage of the trendy and dog eat dog capitalism is doing untold damage to and profoundly deforming the status of art as we enter the 21st century. Often accomplished with a high degree of technical skill and simply vibrating with "theory" much of what is passed off as art nowadays has nothing to say and one cannot help but feel that the buyers have been duped. in Art, Actually! we sail against the modish wind by offering an array of work by artists who can actually draw, paint, sculpt and otherwise create images and objects of genuine artistic value which can be appreciated for years to come--and in ways that a pile of hay (in another Chelsea gallery) strewn with lurex rags and splattered with sequins can never hope to achieve. Art, Actually! is just what it says it is--Art. Actually.

A

The artist exhibiting in Art Actually: Grant Arnold Anderson, curtis Balls, Keith Batten, Frank Boros, warren Bradley, Zen Browne, Joe canto, Gianni cagnoni, Joe canto, James childs, linn cohen-cole, Brendon connors, william h. crist, chris Diedericks, Robert Dunn, erich erving, Joe Fanelli, Don Miguel Figueroa, Marco Finn, Michael e. Flynt, Steven Frim, Victor Gadino, e. Gibbons, colin Ginks, Anthony D. Gonzalez, leif harmsen, John Burton harter, Peter harvey, Douglas holtquist, John w. Kelley, Steven J. King, Josef Kozak, walter lape, lou laurita, Mike leckie, Tai lin, edwin lopez, Daniel l. Malisky, chuck McKinney & chino, hinrick Kroger, Sonia Melara, Joseph Modica, Jules Frank Mondoloni, Michael Moran, Jack Millette, Mosher Kenneth Nadel, yiannis Nomikos, Michael Pfleghaar, Joseph Radoccia, Martin Ramos, James Rauchman, Robert c. Rhodes, Jeffrey Rouse, carmine Santaniello, Jonathan Schweitzer, Isaiah Shackelford, Gerald Simcoe, Gary J. Speziale, Richard Stabbert, Fred Strugatz, Richard Taddei, Jody Thompson-Adams, George Towne, Gilbert Trent, Michail Tsakountakis, Patrick webb, Paul wirhun, Todd yeager, Kurt Zager, Bob Ziering

Patrick Webb, Shower II, 1998, Oil on canvas, 40 x 20

Number 26 · Winter 2008

The Archive: The Journal of the Leslie/Lohman Gay Art Foundation

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recenT donaTions and acquisiTions

by Wayne snellen

to take this opW e would like thank our many portunity to contributors of art, books, and financial support. your donations help fill gaps in the collection and make possible a more comprehensive overview of gay and lesbian contributions to the arts. Art richard Arnold, A Daybook for Richard Arnold (2004 ­ 2006) and an untitled bronze placque. Donated by the artist. tom Castele, Photograph, cloud, 2005. Foundation purchase. Brendon Connors, 2 photographs, NyC, 2007, and lA Pride, 2007. Foundation purchase. Anthony D. gonzales, 2 drawings, two men having sex, and three men in living room having sex. Foundation purchase. giovanni guadagnoli, Photograph, Untitled #1. Foundation purchase. Steven Haas, 5 photographs from the Arthur Aviles suite (5 photographs). Foundation purchase. kim Hanson, Photograph, Deep cell. Foundation purchase. Josef kozak, 4 untitled drawings and 2 untitled paintings. Donated by the artist. Frank louis, Photograph, Doug, window #1. Foundation purchase Donald Marshburn, 2 boxes of epherema including over 100 mid20th century physique magazines. Donated by Mr. Marshburn. reed Massengill, Photograph, Sasha in Repose. Foundation purchase. Nicholas V. McCausland, Bronze sculpture on marble base by Doug Johns. Donated by Mr. McCausland. ralph Modica, Photograph, The Kiss, 2006. Foundation purchase. Freddy Pena, Drawing, David and Frank, 2005. Donated by the artist. Stanley Stellar, Photograph, Grand concourse I. Foundation purchase. edwin townsend, Photograph, untitled vintage print of tony Sansone. Foundation purchase.

Left: richard Arnold,

A Day Book for Richard Arnold, 377 pages, ink on paper, 8 x 5.5, Begun 11/20/2004 and ending 6/11/2006.

Below: Josef kozak. Untitled, 2008, ink drawing on paper, 24 x 18

These two recent donations are prime examples of the incredible diversity of line, integrity and intelligence of thought represented in the collection.

Fred Watson, Photograph, handful. Foundation purchase. Brett Wexler, Photograph, Motion Study #16. Foundation purchase. Al urban, untitled, vintage print of Steve Wengryn. Donated by Deane Doolen. Books ¿y QUÉ? Queer Arts Made in Texas, Catalog for a exhibition at texas tech university, School of Art. Curated by Harmony Hammond. Compliments of landmark Arts gallery. Harry Bush. hard Boys, edited and with an introduction by robert Mainardi and forward by thomas Waugh. Published by green Candy Press. Donated by robert Mainardi. comin' at ya! The homoerotic 3-D photographs of Denny Denfield, by David l. Chapman and thomas Waugh. Compliments of the publisher Arsenal Pulp Press, Vancouver. Financial Support We deeply appreciate the financial support of the John Burton Harter Charitable trust and Daryl and lewis. your gifts help promote the Foundations education and exhibition programs. Again, thank you all!

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The Archive: The Journal of the Leslie/Lohman Gay Art Foundation

Number 26 · Winter 2008

The GreaT Gay PhoTo shoW January 16­february 16, 2008

by Tom saeTTel

the walls of the leslie/lohman galley for the exhibition The Great Gay Photo Show. Curated by the llgAF exhibition committee from submissions from around the world, the exhibition seemed to be about what it is to be gay in the first decade of the 21st century, and by and large the joy in it. Several themes permeate the exhibition, and several artists have feet in more than one camp. i might add that lesbians were conspicuously absent from the exhibition, but we look forward to a good showing in the forthcoming lesbian exhibition in May, 2008. Poignant visual investigation of the role of relationships was present in the work of Frank Sheehan and gerald Mocarsky. Sheehan's photographs of two, small, male, porcelain dolls placed as if with loving affectionate regard for each other make us ponder our own relationships. Four photographs by Mocarsky of men dancing--older men engaged in ballroom dancing; younger men possibly at a sexy two-step event-- show men in tender social engagement, refreshingly different from the photographs we as gay men encounter daily in magazines and on the internet. Several portraits, those by grant Anderson, reed Massengill, and Delvin elijah, make us wonder who are these beguiling men, what makes them tick? Whereas in the many and varied nude studies exhibited, we are in a way distracted from concerns we have with the portraits and delight in the beauty of the bodies portrayed and more formal concerns of composition and light. i have never met a gay man who did not believe that viewing nude male photography was not his inalienable right as a gay man-- perhaps they do exist. And then several of the nude studies take us in new directions. Brett Wexler's elegant smooth photographs of young men with frames, obviously interior shots, but are these men climbing

T wo hundred works by seventyone photographers graced

ralph Modica, The Kiss, 2006, C-print, 34 x 28 , Collection llgAF

through or embracing the enigmatic frames. Michael Harwood's studies of handsome men playfully inhabiting ordinary kitchens in rather unordinary ways are elegantly formal but at the same time give us a prurient rush of wild sex on the kitchen table. george Dinhaupt's self-effacing, full body self-portrait presents us with a man gracefully content with age and girth. Joseph Modica treats us to the 38 x 50 C-print Rob. A pose usually reserved for the female

nude, this faceless nude sends our minds reeling through all of Western art history--titian, eduoard Manet, george Platt lynnes, Bert Stern. the pink throw adds a cheeky, quaint, vintage note; the scars and blemishes on the man's ass, a humbling one. One of Michael Skoglund's nude studies is only of a booted tattooed leg hanging over the edge of a bathtub but quite a rush for many. Several groups of impeccable and very sexy nude portraits stand out

Number 26 · Winter 2008

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Michael Harwood, Third Person Singular (Mike), 2008, Silver gelatin print, 11 x 14

as beautifully crafted work; i will mention Wilson Models and timothy lomas as blazing examples. the three large C-prints by ralph Modica bridge several themes. the extremely labor-intensive experimental work based on classical pieces of sculpture, begin with a live shoot of models covered in white body paint, standing on constructed plinths. later a multitude of images are masterly combined in Photoshop. they evoke 19th century tableau vivant performances, and they harken to the photographs of tenderness discussed earlier. Walter kurtz's nude studies are quite captivating as well. He uses chiaroscuro in the freshest way i have ever encountered. And his choice of subject shares this freshness-- an exquisitely beautiful arm tattooed with a rather art nouveau image; a torso and most delicate buttocks. Skillfully shot documentary works dot the exhibition. Martin Fishman, a heterosexual photojournalist, who has regularly contributed to llgAF group photo exhibitions, serves us with four images--two of New york drag queens; and two men as angels, one white, one black. Dance photography often bridges documentary and portraiture as in lois greenfield's portraits of Arthur Aviles of BAAD (Bronx Academy of Art and Dance). in two photographs the fine-

feathered Aviles literally takes flight. ross Bennett lewis will tell you, "i shoot what i see," but his exquisitely composed photography always moves deep into ones soul. His found image of a man in a laundromat melted me. Both Douglas Blair turnbaugh and Michael Wakefield have unique color vocabularies, and their work seems to speak of the infinity of love. tom Castele's photographs of gay men on Fire island depict young men having fun. Somewhat documentary although obviously staged, the joy of the men sings clear. robert W. richards, not known for his photography but rather for his drawings, treats us to a very quizzical image, Nelson comes to Tea--a rather butch man in a crinoline sitting on the artist's sofa. is this a model? is this a friend? Does he do drag or is he just camping it up in the moment? i don't wanna know. i don't wanna hear. i just want to swoon in the surrealism. these notes would be remiss not to mention the many artists working in a more experimental mode, such as Hugh Holland, Mark Davis, and Santiago Javier infantino working in photo montage; robert irwin, giovanni guadagnoli, robert leach, and Bill travis who have reworked their photographs either in Photoshop or with actual paint. Chuck Hovland who will

always surprise has in this exhibition distorted his hypersexed models almost to oblivion. Farsad labbauf also distorts his images as in his woven strips of porn meant to evoke the fractured glimpses of bodies as we browse so many many internet images. He has also dissected his own image and sewn some of his fragmented self together again. Tom Saettel is the editor and designer of this publication, the Archive: the Journal of the leslie/lohman gay Art Foundation. The complete list of photographers in the exhibition follows: Michael Alago, Matthew Albanese, Tommy Allen, Grant Anderson, Jonathan Atkin, Dominick Avellino, Philip calkins, Tom castele, Regis cebrain, Thomas clay, Brendan connors, Mark Davis, Francisco Deleon, George Dinhaupt, Devin elijah, yoshua eyal, Andy Fair, Maurizio Fiorino, Martin Fishman, claude Furones, Robert Miller Galster, lois Greenfield, Giovanni Guadagnoli, Steven hass, Kim hanson, Michael harwood, Fayette hauser, hugh holland, charles hovland, Santiago Javier Infantino, Robert Irwin, David Jarrett, Michael Johnstone, Michael Kaye, Michael Kurtz, Farsad labbauf, Robert leach, Ross Bennett lewis, harry lines, Timothy lomas, Frank louis, Donald Manza, Reed Massengill, Greg Mitchell, Gerald Mocarsky, Joseph Modica, Ralph Modica, ocean Morisset, Nathaniel Ndosi, John D. Nieman, Xavier Radic, Paul Reitz, eric Rhein, Robert w. Richards, Neil Malcolm Roberts, Alfredo Rossi, Frank Sheehan, Michael Skoglund, Stanley Stellar, Richard Taddei, The. Titolo, Bill Travis, Douglas Blair Turnbaugh, Jiro Ueno, Michael wakefield, Allen warren, Fred watson, Richard weaver, Bret wexler, Tony whitfield, wilson Models.

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The Archive: The Journal of the Leslie/Lohman Gay Art Foundation

Number 26 · Winter 2008

The Passion of William crisT

by Tom saeTTel

on it. William Crist's paintings and drawings are intriguingly beautiful, but he is statedly not interested in pretty. Passion is what guides his art. He says art is his salvation. A rather reticent man personally, Crist channels his passion into his drawings and paintings of the figure. His intense love and admiration of his friends (portraits of many of them exist) and other models he recruits is evident in his work, though Crist knows, perhaps not always evident in his personal interaction. Crist too is passionate about the very process of art, this wonderful nonverbal expressive mode. He is also passionate about his art heroes. He states he is not an innovator and is quite happy to work in a style he has synthesized from the many artists he reveres. By looking and looking at his extensive collection of art books and during his frequent visits to museums studying artists' work firsthand, he has absorbed the lessons of his heroes into his art. His long list of heroes include Michelangelo; the Mannerist Jacopo Pontormo; from the late 19th Century and early 20th Century, Paul Cezanne, Vincent Van gogh, egon Schiele, edvard Munch, Chaim Soutine, Oskar kokoschka, ernst ludwig kurshner, Ferdinand Holder, Max Beckman, Otto Dix, Alberto giocometti; from the later part of the 20th Century, Francis Bacon, Willem de kooning, lucien Freud, and Alice Neel. the large painting Danny is an arresting work to stand before. this is not a pretty portrait of his friend but rather hits us with an existential frankness. But joy is found in this brutal world. the lessons of Crist's artistic inheritance suffuse the painting. the pose of the standing figure has been modified to fit the artist's needs. the limbs, fingers, protruding skeletal forms, and the especially the swirls of body hair, which Crist loves, all are enlisted to create a subliminal geometry of

H e paintbutpretty someday. Maybe, i wouldn't count

arcs, something he absorbed from Michelangelo. Crist has told me how he would squirrel away with books on Michelangelo to avoid a very unhappy teenage existence and later in college did copies of Michelangelo. More obvious in the painting is the homage to Cezanne's Bather (1885-87, Museum of Modern Art, New york) with the centrally positioned standing male figure against a pasty impasto background. the background has very little depth and seems parallel to the picture plane as in Bather and most Cezanne paintings--possible Cezanne's greatest contribution to the western pictorial vocabulary. But Crist's creations are never mere parodies, and in contrast to Cezanne's rendering of the figure in Bather, here the rendering and stark overhead lighting are reminiscent of Pearlstein's candid nudes. Although Crist will not qualify Pearlstein as a hero, he will admit the influence. Schiele influence, often present in his paintings, is especially profuse in his drawings--gaunt figures, an earthy palette, distraught expressions, and an overall feeling of angst all hint at this. the figures staring out at the viewer, eye to eye, create a theatrical engagement between viewer and subject: the essence of the figures seems to be the act of being seen. Crist has been a member of numerous drawing groups--the historic Bell Boys, queer Men's erotic Art Workshop, and Mark Beard Studio. And he will often draw to familiarize himself with a model and try out poses, preferring to work on a drawing for several hours, but the drawings are astonishing works in and of themselves. Often executed in color pencil, frequently olive, burnt siena, or red, Crist creates a crisp contour of the figure and models with marks which seem to depict every undulation of the skin's surface. Although i viewed over fifty large full figure, life size nude portraits of Crist's friends and recruited models,

William Crist, Danny, 1995, Oil on canvas, 72 x 36

i was repeatedly drawn to the smaller portraits of his friends, more often than not cropped at the waist on 36 x 24 canvases. these portraits of people mostly professionals in the arts, gay men, and straight men and women, reveal his passionate dedication to his friends which no words could encompass. Henry Wallengrenis a portrait of the ceramic dealer painted before Wallengren succumbed to AiDS in June, 2000.. With an uncharacteristic blue and

Number 26 · Winter 2008

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green striped background--Crist's backgrounds are usually flat modeled surfaces--this simple portrait is captivating. So too is the portrait of the ceramic artist gary Di Pasquale (Crist's lover of 24 years; indeed Wallengren was Di Pasquale's first New york dealer.) the portrait far from a photographic representation, contains a cubist twist not often found in Crist's work. the subject seems to be doing a double-take in a mirror and we the viewer are privy to this as if we were the mirror. the head seems to be viewed from the side, the broad cheek, and from the front, but blended in a manner inviting not disturbing. the blue and white Hawaiian shirt--typical of a pattern challenge the artist will occasionally attempt--is a shirt often worn by Di Pasquale, a loving domestic note. Matt Nolan is a painting which oddly veers closer to pretty than any of the artist's figurative work i have seen. Perhaps the natural beauty of this young ceramic artist's stature and poise was hard to obliterate even as the artist has rendered the face with his signature tinges of abnormal garish color. Nolan, dressed in a stunning military jacket, embroidered with a

scarlet AiDS ribbon, hold a a piece of his own work, a ceramic figurative stopper for a bottle. March Madness is a series of self portraits. the title is taken from the basketball playoffs which occur in March. March has a particular pull for Crist who shares his birthday, March 30, with Van gogh. the goal, almost achieved, was to paint one self portrait a day through the month. the series was a meditation on aging. (See page 24.) Crist says he has never quite been able to shake a depressive nature engendered by a severely repressive father--he was absolutely forbidden to attend the Arts Student league of Chicago, a short bus ride away when he was in high school. His sole encouragement to a creative life while growing up came from his maternal grandfather, a forest ranger and craftsman who wrote poetry. But his self-professed curmudgeon persona is often belied by an enthusiastic twinkle in his eyes, and his passion for life shows through like the alizarin crimson outline so often present in his paintings. Tom Saettel is the editor and designer of this publication.

William Crist Top: Gary Di Pasquale, 1995, Oil on canvas, 30 x 20, Top Right: MattNolan, 1996, Oil on canvas, 36 x 22 Above: Douglas, 2008, Color pencil on paper, 17 x 14

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The Archive: The Journal of the Leslie/Lohman Gay Art Foundation

Number 26 · Winter 2008

dirTy liTTle draWinGs ouT in The oPen

by douGlas blair TurnbauGh

Left: Chuck Nitzburg Right: Anthony gonzales

gay child's inalienable affliction, i contracted tonsillitis and later developed symptoms of Francophilia. My tonsils were neatly ablated. However, the Francophilia turned out to be an ineradicable condition, see below. it was clear to me, and everybody else, that i was not a regular boy. i would not play basketball or baseball. And i had no interest in peeping under little girls' skirts. ewwww! i loved to read. tom Sawyer was my first erotic book, those boys swimming naked! i fantasized being with them and longed to make a picture of them (i didn't know thomas eakins had done such pictures). So, of necessity, and in secret, i began to try to make pictures of my own desires. My mother suffered this freaky child with the limp justification that "he's artistic." to back up my mother's not-guilty-just-sensitive

deprivation of cogniA s well aswas/is the American tion that

Dirty little Drawings: The Queer Men's erotic Art workshop edited by Harvey redding, robert W. richards, rob Hugh rosen Bruno gmünder, Berlin, 2007 $40.00

defense, i produced sunny pictures of family life that would have satisfied Dr. goebbels, children playing, blue skies smiling at me, and even prim little girls with blond pigtails, based on my hateful sister. But this was propaganda for Mother to show her friends: "How beautifully he draws tulips," (see Mapplethorpe using same device). My Norman rockwellesque juvenilia was premeditated to mask my lust for images of, for want of other models, my own sex. "Art" seemed the way to go for realization of my own person. My energy went into clandestine drawings, cloned from tracings of the outlines of the bodies from the funny papers, tarzan and Boy, Batman and robin, red ryder and little Beaver, and sometimes terry (so hot!) and the Pirates, leaving off their bodystockings, chaps, loin cloths and jeans to expose full-frontal pop-up erections. these drawings i knew could convict me of moral turpitude and send

Number 26 · Winter 2008

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Left: todd yeager Right: Michi yamaguchi

me to prison and Hell. So with Aztec stoicism, after a final wank, i would light a candle to sacrificially burn each masterpiece over the altarpiece of the toilet. Mother: "What are you doing in there?" Flush. But could J. edgar Hoover's forensics squad find the ashes and reconstruct them to convict me? this was not childish paranoia but simple recognition of the mortal danger of defying the Semitic religious injunction against representations of the figure, reclycled in the united States to make a fearful taboo of male genitals. At the intellectually moribund university of Washington (where a teamster union mobster boss was on the board of regents), the Art Department daringly allowed a "life" drawing class, but the nude models were aged ladies apparently on loan from a nursing home. except for the occasional gerontophile, this was not about studying the joy of the human body. As an e.t., my wish to find my way home was excited when it entered my consciousness that in Paris, France, artists lived in cozy garrets where they worked in intimate privacy with naked models. Here was a "legitimate" reason to be with a (beautiful) naked person (of my own sex) and draw him in his full splendor. About this time, Mme. David, my beloved French teacher, in tears, announced the death of a famous man, Andre gide. She discreetly made me aware that he

was a homosexualist boy-lover (who also wrote books). thus i learned that i was not alone, after all. Mme. David always began class with the singing of the Marseillaise. With my vision of a liberated life in France, this was like a gay revolutionary anthem. thanks, Napoleon, for your Code. i finally escaped from Seattle, en route to Paris, i supposed. On my first visit to the Metropolitan Museum of Art, in the hall of greek antiquities, i overheard two little boys who were carefully observing a nude kouros. "Well," said one, "he wasn't Jewish." i wasn't in Seattle anymore, toto. But i was still a long way from home. i know now, of course, that my story is not unique and, dare one hope, ancient history. But it is a preface to explain (pedagogic impulse) to a younger generation my personal appreciation of the goals and achievements of the leslie/lohman gay Art Foundation, and its many projects in support of human rights and the freedom of choice. inevitably the Foundation has suffered derogatory criticism, the typical carp being "it's all about the penis" and therefore it's not "art" but "porn," etc. Well, it has faced down the mighty hysterical taboos against depiction of the erect penis, an object of religious worship in the history of civilization. it has shown and collected thousands of images of incalculable historical value, which illustrate the variety and extent of gay desire that would

otherwise have been destroyed. this alone makes it a unique treasure house for research on gay history and sociology. Art is a matter of taste, fashion, and merchandising. Finding relief from oppression is surely more important than a place among the sterile inanities merchandized through MoMA. the llgAF has supported the quest of gay men to find a way home in more ways than exhibiting pictures. One astonishing achievement has been the queer Men's erotic Art Workshop. to quote from the preface to Dirty little Drawings, "On December 27, 2000, a group of 14 artists met in a basement art gallery in New york's SOHO district. their goal: expanding the boundaries of academic nude figure drawing. Harvey redding, the founder of what came to be known as the queer Men's erotic Art Workshop, had hired a model who was willing to break through the glass ceiling of what live, nude modeling had previously been. this was to be full out, rock hard, unapologetic, sexual posing; nothing held back, nothing sacred. every week attendance grew and the workshop expanded to a second weekly evening with the addition of rob Hugh rosen as codirector. "inspired by this enormous pool of talent, artist robert W. richards with redding, envisioned a way of making erotic artwork readily available and affordable for an

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The Archive: The Journal of the Leslie/Lohman Gay Art Foundation

Number 26 · Winter 2008

Left: yuen Jen Right: robert W. richards

ever growing public appetite for sexually explicit art. "the concept was to create an exhibition in which all drawings would be identically sized and identically priced and available directly off the gallery walls. rosen came up with the perfect title, Dirty little Drawings. the artists were asked to produce as many drawings as they wanted; some created 50 or more, others only a few. the first of four exhibitions was held in 2003, the collectors came by the hundreds, and the artwork flew off the walls. "A New york art scene phenomenon was born!" Here was a realization of the quest i began as a child, to be able to see unashamed naked men, posing for other unashamed men, showing their bodies and their virile members in splendid full erections, even ejaculating for the visual delight and inspiration of all present. even beyond my wildest fantasies is the achievement of these artists' works being exhibited, being appreciated, being collected, and being published, giving them even wider exposure and verification. exhibitions must come down, but the book has an extended life and prestige in itself. this book, despite its raw sex material, is itself a sophisticated art object, a beautifully produced bibliophile treasure. like a elegant candy-box, at about 7 x 7 inches, and about an inch thick, it contains treats of 288 drawings by 72 won-

derfully gifted artists, including the three authors. reproduced full size, in rich black and white, and gorgeous color, the drawings fill the pages with no margins, no pagination, no text, nothing but the color and line confront you: you don't know who the artist is. this is at first disconcerting, but forces you (more pedagogy) to look at the pictures without any reference to influence your response. if you don't already know an artist's work, you have to check the picture index. As you learn your favorite artists' names, you establish your own critical appreciation of their particular styles, and go through the book again, trying to spot other work by them, and find your eyes being sharpened in the process. the images are on facing pages, even when sometimes stylistically at odds with each other. But, although not always obvious on first scan, Joris Buiks, the art director, has cleverly made relationships between them, mated them as pairs. it is a delicious production, like a mille feuille pastry, with rich layers of multiple delights. the raw material book is a pleasure and is being successfully sold throughout the world. it is impossible to know the fallout from a book, but it surely will enhance the reputations of many of the already famous artists whose work is in Dirty little Drawings, and will also serve to launch the careers of others. For a wonderful example,

one of the most popular artists in the Workshop's exhibits is the subject of another Bruno gmünder book, Rascals, The erotic Art of Todd yeager, edited by Harvey redding, which has just been published. Dirty little Drawings is available from the leslie/lohman gay Art Foundation gallery. Rascals will be available at llgAF at the book launch on Mar. 25, 2008. Douglas Blair Turnbaugh, author, collector, filmmaker, is a Member of the llGAF Advisory committee, and a frequent contributor to the Archive. complete list of the artist represnted in Dirty little Drawings: Richard Alan, Grant Arnold Anderson, Frank Barrett, Jarrod Beck, Brian Bednarek, charles w. Bryant, James campbell, Brian coape-Arnold, chris collicott, hank hudson, Brendon connors, Damian costilla, Ron csuha, william Donovan, Richard ely, Gennaro Fredella, Steven Frim, Victor Gadino, Roberto Garcia, Jr., Bryon Gibbs, Steven P. Gillespie, elliott Gerber, enrico Gomez, Anthony D. Gonzales, George Gozum, GRAe, Gareth hendee, chuck hettinger, Geoff howell, Michael e. Jacobs, larry e. Johnson, Jon Michael Johnson, Jonathan Ned Katz, John Kirslis, elliot Kreloff, Peter liao, Tai lin, David livingston, edwin lopez, yoav Madorsky, Fritz Masten, Kevin h. Maxwell, Peter Mccaffrey, chuck McKinney, Robert de Michiell, James Millefolie, J. Miller, Michael Mitchell, B. Mueller, chuck Nitzberg, Freddy Peña, eric Rawlins, harvey Redding, Robert w. Richards, John Riddle, Blane Robison, Dan V. Romer, Rob hugh Rosen, Alfredo Rossi, Alejandro Sanchez, Frank Sheehan, Nathaniel Siegel, Samir Sobhy, Milton Sonday, Gary J. Speziale, Jiro Ueno, Tony whitfield, Michi yamaguchi, Todd yeager, Raphael yepez, yuan Jen, Zom.

Number 26 · Winter 2008

The Archive: The Journal of the Leslie/Lohman Gay Art Foundation

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an insiders VieW

by earl carlile

overwhelmed, your highest expectations almost immeasurably exceeded? if you were on the recent leslie/ lohman gay Art tour, on December 8, 2007, you know what it feels like to be completely overwhelmed! What a festive way to start a Saturday, a few weeks before Christmas, by gathering with 20 other art patrons, lovers, and collectors for the ultimate insiders view of four different private art collections. this year's tour, like the first gay Art tour in 2006, was organized by David Jarrett and Anna Canepa as a benefit for the leslie/lohman gay Art Foundation. the owners of each collection personally presented the works of art that they have chosen to live with and shared intimate, highly personal details that make each collection a work of overwhelming beauty and passion. to have joined the tour, the Medici might surely have begged to rise from their graves! the collection of Paul Bridgewater was the first stop, on 3rd St between Avenues A and B, in the heart of the east Village. Consisting of over 450 pieces, nothing about this collection supports the notion that less is more. Diana Vreeland would surely have taken note and felt right at home. like the collection of ira Smith, who presented his collection on the 2006 art tour, each piece in Paul's collection comes with its very own only-in-New york story. Whether high-life or low-life, taken together, those 400 stories are nothing less than Paul's autobiography, a breath-taking life lived in the glorious presence of art in abundance for over three decades. For example, Paul speaks of his early art world career, while he lived in Paris and worked as the assistant of Fernando Botero: "While there i had an affair with Pierre Commoy (Pierre of Pierre et gilles) whom i shared with David Hockney, but since Hockney lived in london and Pierre and i lived blocks from each other, i was

The second leslie/lohman Tour of PriVaTe arT collecTions

C an you remember the last time that you were completely

at a distinct advantage" What, i ask anyone, trumps that? to be fair about it, the Bridgewater salon is in no imminent danger of collapse in the event that Paul sells a piece, lends an artwork, or--as he has done many times--just gives a piece away. Paul says that as much as he loves the art business, "i really prefer to give a piece of art when the right person will truly love it and wants to show it." With three storage units now filled with about 1200 artworks, Paul calculates that during more than three decades, as many as 6,000 pieces have passed through his hands, and he has viewed infinitely more. Vreeland would surely have loved such unrestrained passion, as well as Paul's notion that "Art is supposed to be a part of your life and to stir your thinking." two pieces in Paul's collection readily illustrate Paul's traditional role as collector, curator, gallery owner, and dealer both for himself and for artists whom he represents. With his usual brand of honesty and good humor, Paul describes his dealer role as follows: Part of being a dealer is the discovery that you get 50% off all the art you are willing to pay for. everything's a bargain. So if you already have those tendencies, obsessive, additive behavior, you are definitely in trouble as you see by my collection. the first time my mother saw my home she said, `Boy, am i thrilled you found art before heroin, because if you'd found heroin first, you'd be dead' then, there's the added aspect of becoming friends with the artists. that's an added deal maker. if you've got someone sleeping on your sofa, you're certainly going to buy something to help." The experiment, by Sean earley, is one of Paul's favorite pieces, and earley was one of Paul's best-selling client-artists. earley was originally from Dallas,texas. His artwork often developed into a series of related works. The experiment was a part of one such series known as The Nuclear Family. the painting features a young child acting upon an almost universal childhood fantasy--the desire to stick something--a fork, in this painting--into an electric socket. earley died, not from electrocution, but from AiDS in 1991, and Paul is the executor of his estate. A second piece, a photograph by lori Nix, is entitled The Tent Revival, and features a revival tent, camp-meeting style, being struck by lightening. Outside the tent, a sign proclaims "Jesus Saves." About her work, including The Tent Revival, Nix's website notes that her memories of growing up in kansas--"a place that seems to attract disasters like no other"--have influenced her artwork. the state of kansas is located in the middle of the united States geographically and also represents the moral middle of the road as a state of mind where conventional family values and good citizenship go hand in hand. By linking disasters with moral imperatives, Nix allows herself to question conventional codes of society at the same time as she explores the unsettling memories of her youth. Nix's artistic statement is particularly understandable in the life of gay men and lesbians. As Paul points out, the layers of humor, meaning, and intent in this photo resonate brilliantly-- a fact that was not lost on numerous corporations that have bought Nix's photos for their art collections. in addition to the traditional role (if there is anything "traditional" described above), Paul also fills a particularly important role usually reserved for impresarios--discovering, presenting, nurturing, and representing new artists and new work. Craig Coleman is one such artist. His painting Paul Bridgewater Takes a Break from lounging is central to Paul's bedroom (the Craig Coleman room). When Paul discovered him, Coleman was living and painting in a small hovel in the east Village-- nothing exceptional, you might say for a starving artist in the east Village. What was exceptional, how-

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ever, was the fact that more than 80% the floor had rotted almost completely out and was randomly covered in planks and plywood, substantially reducing the habitable space--habitable???? space????? are you feeling it???? to top it off, the downstairs neighbors screamed non-stop 24/7. this sealed the deal. Paul bought 40 drawings and moved Coleman to the sofa of his penthouse that day. eventually, Coleman became noticed, and with notice came money, and with money came a much better quality of life. Paul's bedroom walls are nearly filled with Coleman's artwork. Coleman, regrettably, died from AiDS. When Paul speaks about Coleman and his art, Paul breaks into a great big laugh and says: "i laughed the whole time that i knew him". the celebrated collaborative artists McDermott and Mcgough further illustrate Paul's impresario ambitions, and the successes which Paul has discovered and nurtured. Undecided is a particularly good example of the wit and edge that are McDermott and Mcgough trademarks. like one of Pavlov's dogs, a gay young lad stares longingly at two cocks--one cut, the other uncut--presented side by side. Which will he choose--first? What a dilemma--the angst of choice! "So many men, so little time!" Before McDermott and Mcgough became widely published, these two were living somewhat hand to mouth, you might say. realizing that Bridgewater's largesse was not endless, they once inquired how much he had advanced them, whereupon Bridgewater took out his account book and responded, "enough for you to owe me a painting," as if Paul needed another painting! Michael kaye and Dean Cronin, the hosts of the third stop on both this year's and last year's art tour, have amassed a treasure trove in painting, sculpture, photography, and related

publications in the visual, graphic, and literary arts. Make no mistake about it--as soon as the elevator operator (yes, you read correctly: a real elevator operator in Manhattan) asks who you are visiting, you know that this collection has got to be good! No one could have imagined the extent to which the kaye/Cronin collection has grown during the last year. in a little over 12 months, Michael and Dean have acquired four more of Mark Beard's paintings and an exceptionally fine bronze bust. About the bust, Michael says "i always coveted Mark's work in bronze." After seeing this new acquisition, it was surely worth the wait! it is no exaggeration to suggest that Beard is one of the most prolific, and most important, young

artist working in America today. it is also no exaggeration to suggest that the kaye/Cronin household may be home to the largest collection of artwork by Beard that is in a single private residence anywhere in the world. By bringing together such a formidable collection of works by Beard, in a mini-Hermitage of sorts, the kaye/ Cronin collection allows the talent of the artist himself to speak with clarity and elegance. While an artistic statement of this sort is generally expected of a world-class museum or gallery, it is certainly unusual to find a home collection that speaks with the intelligence, taste, and style that are the trademarks of kaye/Cronin--as well as of Peter and Catherine the greats! the John Stevenson gallery in New york, who represents Beard

Undecided, 1952/86, Oil on linen, 8 x 35, Above: lori Nix, The Tent Revival, 2000, Chromogenic print/paper, 20 x 24 Both Collection Paul Bridgewater, NyC

Top: McDermott and Mcgough,

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and show his artwork in New york, provide the following: Mark Beard, born in 1956 in Salt lake City, now lives in New york. His works are in museum collections, including the Museum of Fine Arts Boston, the Wadsworth Atheneum; the Whitney, Metropolitan Museum of Art and the Museum of Modern Art, New york; Princeton, Harvard, and yale universities; graphische Sammlung, Munich, and others worldwide, as well as more than 100 private collections. Work by Beard is not the only new acquisition now prominently featured in the kaye/Cronin collection. Beautifully arranged horizontally next to each other, extending across a white bathroom wall, are a series of 8 super-sexy commissioned drawings by robert W. richards, an internationally celebrated fashion illustrator and a close personal friend of Michael and Dean. richards is the author of a book published in 2007 and titled Allure, which features his erotic art. the string of drawings on the bathroom wall are not the only fine examples of richards's widely celebrated talent for drawing beautiful men that are featured in the kaye/Cronin collection. Michael and Dean also own 10 framed and 14 unframed erotic drawings by richards. in addition, Michael and Dean have commissioned richards to draw between 16 and 24 drawings of male models and porn stars from the `70s, `80s, and `90s. When finished, this pantheon will join the drawing of Jeff Aquillon that richards published in Torso Magazine in the 1980s and that now hangs proudly at the entrance to Michael and Dean's apartment. lacking the near-infinite floorand wall-space of the romanovs, there is a risk in housing an important collection like Michael and Dean's: important works might seem to compete with each other for attention. Michael and Dean have artfully managed to minimize any such conflict in at least two ways. First, Michael and Dean justifiably take great pride in having built a library of visual, literary, and graphic publications devoted to male figurative art. Presented with taste and style that is their trademark, this library is itself a work of art. Whenever a viewer feels visually over-loaded or over-stimulated, a beautiful book is close at hand and provides a welcome respite.

Second, Michael and Dean's photography collection of 40 beautifully framed and matted works enhances the collection as a whole with interest and appeal that is not the least bit random. like a beautiful puzzle, where each piece has a special relationship to what surrounds it, Michael himself has deliberately placed each photograph in an artful relationship to its neighbors. in short, nothing of visual interest and appeal gets lost in the shuffle, and a viewer's eye is constantly challenged to linger and look with care. Nine photographs by Bruce Weber are a perfect complement in images and style to the kaye/Cronin collection of paintings by Beard. Similarly, three photographs by Victor Skrebneski and one each by irving Penn and Herb ritts reinforce the serious attention to quality that Michael and Dean have invested throughout their collection and the pleasure derived from serving as their own curators. like the first leslie/lohman Art tour, this tour offered an exclusive insider's view into the private and deeply personal connection between collectors, their collections, and the art and artists that appeal to them. each collector presents his collection in the privacy of a home setting, where the heart and soul of the collector is as much on view as the art. in a museum or gallery setting, the collector's persona is not always on view. in someone's home, however, each collector's life is as present and palpable as the art that he collects. Viewing even one such collection is an humbling experience; taken together, the visit to four such collections in the space of an afternoon is an only-inNew york experience of a lifetime. in the next issue of The Archive, the two other collections visited on the December tour will be discussed--Arthur lambert's important collection of painting and sculptural glass, and of Charles leslie and Fritz lohman's overwhelming collection assembled through over five decades of passionate commitment to gay artists.

This article, the first of a two-part review of the Second leslie /lohman Art Tour, gives earl carlile an opportunity to once again throw open the closet door and to step bravely into the world of journalism. when he grows up, earl wants to be a collector like Ira, Paul, Michael and Dean, and like David, Grant, Arthur, charles and Fritz--see part 2 next issue!

Mark Beard, as Bruce Sargent, Top: Untitled, 2007

Oil on canvas, 25 x 13 Right: Matthew, Bronze, 2007, 18 x 14,

Both Collection Michael kaye and Dean Cronin, NyC

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19Th cenTury lesbian sculPTors

The marmorean flock

S ome of our most recognizable 19th century American sculp15,000 paid admissions to a Boston showing of Zenobia, she opened her own studio in rome. eventually she returned to the uS and was one of 37 women sculptors to exhibit at the 1893 Columbian exposition in Chicago. there was actually a Women's Building, but Hosmer exhibited her Queen Isabella I in the California Building commissioned by the Chicago isabella a group of activists women touting the idea that isabella, a woman, deserved as much credit as Columbus for the europeans' discovery of America. Nathaniel Hawthorne immortalized Hosmer as Hilda in his italian novel The Marble Faun. the second of the "Marmorean Flock" emma Stebbins (1815-1882) arrived in 1859 and stayed until 1869, basically avoiding the American Civil War. Stebbins ousted Matilda Hays--actress, writer and george Sand translator--as Cushman's lover, and she remained so until the actress's death in 1876, publishing charlotte cushman, her letters and her Memories of her life in 1878. Her bronze Horace Mann was installed outside the statehouse in Boston in 1865. But she is most famously known for Angel of the waters (1873) atop Bethesda Fountain in Central Park, New york City. (Mary) edmonia lewis (18441907) was the third of our sisters to settle on the hill. Born of an Ojibwa (Chippewa) mother and an AfricanAmerican father, she was orphaned at a young age and raised by her mother's tribe where she was known as Wildfire. Her brother made a windfall profit in the 1848 gold rush and sent lewis to Oberlin College. She then moved to Boston where, through her mentor sculptor edward Brackett, she met Hosmer and Whitney. No true evidence exists of her homosexuality but all details of her life point to it--surviving photos of her shows her wearing manly attire. the 1893 Columbian exposition was criticized for being "too white"; while, paradoxically the uninvited

ture is the work of a band of expatriate lesbian sculptors who lived in rome in the middle of that century. Henry James termed the group the "Marmorean Flock"--that strange sisterhood of American "lady sculptors" who at one time settled on the Seven Hills of rome. (Specifically near the Spanish Steps.) the "Flock" consisted of the famously dubbed "lesbian sculptors" Harriet Hosmer, (Mary) edmonia lewis, emma Stebbins, and Anne Whitney; and their "non lesbian" sisters louisa lander, Margaret Foley, Florence Freeman, and Vinnie ream Hoxie (the only "sister" to marry). undoubtedly there were an untold number of un-named lady sculptors working in the area as well. the first know lesbian artist to arrive on the Hills was Hosmer (1830-1908), lured there by renowned actress Charlotte Cushman (18161876) who met Hosmer while having her portrait painted by thomas Sully. the lantern-jawed Cushman at age 36 was one of the best actresses of her day. Profiled in when Romeo was a woman by lisa Merrill (university of Michigan Press, 1999) she was known for her cross-dressing "breeches" or men's roles. Cushman convinced Hosmer's father to allow the 22-yearold artist to follow her back to rome for more study under her care. the artist was already known for her hesper, the evening Star (1852.) Moving to rome in late 1852 Hosmer apprenticed herself to the english sculptor John gibbons. She produced Zenobia in chains (1859) the Syrian warrior queen captured by the romans, laden in jewels and finery. in the words of Jeffery Byrd writing in the GlBTQ encyclopedia, "this image can easily be read in relation to the condition of 19th century women, who were placed on a pedestal but simultaneously enslaved by harsh financial constraints that bound them to men." through sales of her work and the

emma Stebbins, Angel of the waters, 1873, Bronze Photograph by Sara Cedar Miller, Central Park Conservancy

lewis exhibited concurrently her Death of cleopatra in Chicago. the sculpture is now in the National Museum of American Art at the Smithsonian. egyptian-themed images as symbols of a noble people who were wrongly enslaved were popular in 19th century America as were portraits of abolitionists, and mythology--bent to show republican values as opposed to european magnificence and empire. the fourth, migrating in 1866, was Anne Whitney (1821-1915). Her early portrait busts was of the painter Abby Adeline Manning with whom she has a "Boston Marriage." Whitney's sculpture Roma--a peasant woman whose cloak is edged with emblems depicting some of italy's most revered art--was so controversial as to be banned in rome. After her return to the uS she received a commission for a sculpture of Samuel Adams for the Capitol Building. Her bust of her friend lucy Stoner was exhibited in the Women's Building at the Columbian exposition. (A woman who kept her maiden name after marriage came to be known as a "lucy Stoner.")

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roberT Giard: a PorTraiT

by Jay boda

nudes, still lifes, and portraits. While his first works were of nudes--one is in the llgAF collection--he eventually concentrated on black and white portraits to create his epical Particular Voices: Portraits of Gay and lesbian writers (M.i.t. Press. 1997). Produced in a large-size format, Particular Voices is a document of over 150 intimate and personal portraits of gay, lesbian, and transgender writers. Opposite each picture is a pertinent selection from their writings. the book is arranged in chronological order covering the pre-Stonewall era, the liberation movement, lesbian feminism, AiDS, and related issues and ideas. giard wrote that this book was his autobiography, as the writers' words resonate with his experiences and development as a person. the genesis of the book dates to 1985 when giard came to New york from his home in Amagansett to celebrate lesbian and gay Pride weekend. in a euphoric mood from the festivities of the day, he attended an evening performance of larry kramer's "the Normal Heart." the play made an enormous impact on him. He felt emotionally overwhelmed by the power of its words to memorialize events and feelings central to gay men who had gained so much freedom since the Stonewall riots, only to be cut down by the AiDS epidemic. From that time, giard devoted himself to chronicling the writers who wrote and recorded the manifold aspects of gay and lesbian life. He started to take pictures of writers in New york whom he had contacted through friends. As he became aware of the multitude of subjects not only in New york but nationwide, his efforts took on a life of their own. A tireless worker of great imagination and skill, giard met hundreds of writers throughout the country to gain the comprehensive document he sought. the image of

R obert giard (1939-2002) was a photographer of landscapes,

robert giard, Man on a Motorcycle, Silver gelatin print, 14 x 11, Collection llgAF, © estate of robert giard

giard as an itinerate photographer who did not have a driver's license and only used public transportation is part of the lore that makes him so distinct. By 1997, when it was time to publish his work, he had amassed over 500 portraits. A key factor to giard's work is his relationship to his subjects. Before he began shooting, he would try to get to know his subjects and gain their trust to the degree that the portrait would reveal distinctive personal traits. While he often used a wall as an abstract background to highlight a meditative pose, he also used his

subjects' home environment to tell a story. Allan gurganus is surrounded by his collection of masks; kitty tsui is in her gym clothes at her gym; rebecca Brown sits among religious artifacts; and Allan Berube shows his collection of vintage radios. the book begins with Harry Hay and John Burnside in front of their bungalow-style home in los Angles. Hay was the founder of the Mattachine Society, the prototype for gay rights organizations. Next come Del Martin and Phyllis lyon the founders of the Daughters of Bilitis sitting comfortably at home in San

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robert giard, Frank Bidart, Silver gelatin print, 16 x 20, ©estate of robert giard

Francisco. the accompanying text for both concerns the derivation of their groups' names. the story of the Stonewall riots is described by four authors, historically by Martin Duberman, fictionally by edmund White, dramatically by Doric Wilson, and visually in a cartoon by Howard Cruse. essex Hemphill is featured with his poem, "in the life." Wayne koestenbaum, Frank Bidart, Charles ludlum, and terrance McNally each give reflections on Maria Callas. the portrait of the poet Bidart is noteworthy because it includes giard and could go under the rubric of artist and model. the picture is shot through a mirror and shows giard busy with his camera and Bidart in the center of the room, surrounded by his books with his hands clenched and an uncomfortable expression on his face. Since

giard could not get Bidart to be at ease, he photographed him indirectly through a mirror and included himself for support. Among the 150 portraits, there are: Allen ginsburg, quinton Crisp, Audre lorde, richard Howard, Marilyn Hacker, leslie Feinberg, Assotto Saint, Olga Broumas, James Purdy, edward Albee, larry kramer, Adrienne rich, tony kushner, and May Sarton. in conjunction with the publication of the book, the New york Public library, which owns an extensive collection of giard's work, had an exhibition of photographs from Particular Voices. Since then there have been numerous exhibits of giard's work, including at his alma mater, yale. yale's Beinecke rare Book and Manuscript library owns a complete set of his photographic work and of his personal and professional writings.

Soon after his death, the robert giard Foundation was set up to preserve his photographic and literary legacy. the giard Foundation has an excellent web site--http://robertgiard foundation.org--which has many of his work on view and more information on his life. On Monday, March 10, the lesbian, gay, Bisexual & transgender Community Center on W. 13th Street in New york City is having an opening for a retrospective of giard's portraits. i encourage everyone to be there to celebrate the artistry of this extraordinary man. Jay Boda volunteers for llGAF and works on various projects including this publication. he was a long time friend of Robert Giard.

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The leslie/lohman Gay arT foundaTion

is a non-profit foundation which was established in 1990 to pro-

vide an outlet for art work that is unambiguously gay and that is frequently denied access to mainstream venues. the Foundation's gallery mounts exhibitions of work in all media by gay and lesbian artists with an emphasis on subject matter that speaks directly to gay and lesbian sensibilities, including erotic, political, romantic, and social imagery and providing special support for emerging and under-represented artists. its programs include regularly scheduled exhibitions, artists' and curators' talks, panel discussions, a membership program, a quarterly journal, an archive of artists' data, and a permanent collection of art.

The Archive the Journal of the leslie/ lohman, gay Art Foundation Number 26 · Winter 2008 editor: tom Saettel Contributors: Charles leslie, Fritz lohman, Jay Boda, Paul Bridgewater, earl Carlile, William Crist, roberto garcia, Jr., Michael kaye & Dean Cronin, robert W. richards, rob Hugh rosen, Dan romer, Scott runyon, tom Saettel, Wayne Snellen, Douglas Blair turnbaugh. Please submit articles for consideration for The Archive to the editor, tom Saettel, POB 7785 New york, Ny 10116, [email protected],com © 2008 the leslie/lohman gay Art Foundation. No part of this newsletter may be reproduced in any form without the written permission of the leslie/lohman gay Art Foundation. Copyrights for all art reproduced in this newsletter belong to the artists unless otherwise noted. All rights reserved. Foundation and Gallery: 26 Wooster Street, New york, Ny 10013-2227, gallery Hours: tues.­Sat., 12­6pm Closed Sun. & Mon., all major holidays and between exhibitions 212-431-2609 [email protected] http://www.leslielohman.org Artists and curators are encouraged to submit images and proposals to AttN: the exhibition Committee at above address. Appointments and studio visits are possible, by contacting: Wayne Snellen, Director of Collections, at above address/telephone.

roberT Gable 1918­2008

ing gay was the best thing that ever happened to him. Born into the lap of luxury in 1918 in Hollidaysburg, Pennsylvania, near Altoona, he was the grandson of William F. gable the founder of gable's Department Store. His enthusiastic father, a pilot and photographer himself, supported his son in all his passions. His sole sibling William ii was also gay. At an early age gable developed a crush on the famous (and heterosexual) animal trainer Clyde Beatty. gable's father made it possible for gable to travel with Bailey-Cole Bros. Circus during the summer of his seventh year. He was taught makeup by the famous "Weary Willie" clown emmett kelly. gable would never miss a year without a visit to the circus for the rest of his life. the stock market crash of 1929 hit the gable clan hard but his entrepreneurial father soon put the family back on its feet. gable graduated from the Philadelphia Museum School. He served in WWii stationed in london which he described as a very naughty time. He began his professional life as a fashion illustrator for Nan Duskin's in Philadelphia, but by his own account he was not very good at it--his style was not consistent enough, and he gable his P ainter robert karlinski told becousin tamia that was not fast enough. gable moved to New york in the early 1950s and remained in the same 15th St. apartment until the autumn of 2007. He worked as a set designer for NBC. Other passions, besides the circus, were the theater, ballet and especially Nureyev. He would travel the world following the dancer, regularly visiting him in his dressing room. Once Nureyev invited gable to a party, which thrilled his groupie heart. But drawing and painting was his true passion. He is said to have attended every art school in New york at one time or anther. And he attended many drawing groups--the Bell Boys, life Drawing at the glBt Center, and especially Minerva Durham's Spring Studio where he was a fixture in drawing and paining sessions even to the last weeks of his life. Durham mounted several exhibitions of his work throughout the sixteen years in which gable was a part of the studio. in 1992 at the onslaught of the AiDS epidemic gable started a drawing workshop at gMHC. He would run the sessions for the next ten years. His kind, relentless, encouragement enkindled many a heart. Joseph Modica volunteered at gMHC but was able to attend the group. He wrote, "Bob gable, Bob gable--a giving, loving, kind man--to my mind truly defines what gay community is all about." And of his wonderfully dry sense of humor, Modica tells of a drawing that was getting blacker by the moment, gable glancing over said, "you might want to add a little BlACk to that..." And how when they would meet at openings gable would whisper, "keep drawing!" keith russell related, "he inspired hope in artists through study of anatomy and proportion, and the vicarious appreciation of the male form; his loving "godfather" voice; and with an occasional warm pat on the back." Juan Manuel Arellano, also a member of the group, became a close friend, and later they would regularly draw side by side at Spring Studio.

Co-founders J. Frederick lohman Charles W. leslie Board of Directors J. Frederic lohman Charles W. leslie Phil rubin Charles Vozzi thomas knapp Jonathan David katz, Ph.D. Gallery Staff Charles W. leslie, executive Director and Chief Curator Wayne Snellen, Director of Collections and Co-curator rob Hugh rosen, Director of Operations and Co-curator Scott runyon, Director of Development and Communications Victor trivero, Facilities engineer tom Saettel, Director of Publications roberto garcia, Jr., Office Assistant Advisory Committee Anna Canepa, Co-chair David Jarrett, Co-chair lowell Detweiler Daniel kitchen Norman laurila Nicholas McCausland Sonia Melara Marion Pinto robert W. richards James Saslow Norbert Sinski Victor trivero Douglas Blair turnbaugh Peter Weiermair

robert gable Drawing, 2007 Photograph by Minerva Durham

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delmas hoWe

The 2007 leslie/lohman lifeTime achieVemenT aWard

robert gable, Untitled, Standing Male Nude, n.d., Oil on canvas, 24 x 18, Collection llgAF

gable was in four exhibitions at the leslie/lohman gallery beginning with a one-person exhibition Robert Gable--Male Nudes in 1977. this was followed by three group shows The Gallery Retrospective, 1978, Founders' choice III, 1998, and Summer Invitational--Three ways of Seeing, 2000. Additionally he donated a painting to entranced, the llgAF silent auction benefit in 2006. unfortunately or fortunately the painting did not sell and is currently the only gable painting in the permanent collection. Shortly before his death karlinski helped him deliver a group of framed drawings to the Foundation as a donation. in addition to his exhibitions at llgAF and Spring Studio, he

exhibited at gMHC; the lgBt center, Bodies Beautiful--A Retrospective, 2006; in Palm Beach, an exhibition arranged through one of his best collector, robert Hebel, who he met during his first showing at llgAF in 1977; and at one of his favorite New york haunts 8th and eighth restaurant The Blue Drawings, 2005. The Foundation thanks the following for graciously sharing their remembrance of Robert Gable: his cousin Tamia Karlinski; artist and Spring Studio Director, Minerva Durham; craig Russell; Joseph Modica; Jeff Rindler, Director, Volunteer, work and wellness center, The Gay Men's health crisis; and Juan Mañuel Arellano.

Charles W. leslie presents the 2007 leslie/lohman lifetime Achievement Award to Delmas Howe Award designed by Douglas Holtquist Photograph ©Stanley Stellar 2007

The foundaTion also mourns The deaThs of shoZo naGano and simon Gerard. We Will Pay TribuTe To These TWo arTisTs in The neXT issue of The archiVe.

Number 26 · Winter 2008

present for the gala award ceremony where Delmas Howe received the second annual leslie/lohman gay Art Foundation lifetime Achievement Award on December 18, 2007. the evening was catered by Philip Marie restaurant. Charles W. leslie kicked off the ceremony by introducing Howe. Peter Flinsch, recipient of the award in 2006, called on speakerphone to congratulate Howe. Fritz lohman,who could not be present, followed with a call to congratulate Howe. Howe presented a PowerPoint display of his life's work with live commentary. He explained that after years in New york studying art at the Art Students' league and the School of Visual Arts, while working as a professional musician, he returned to the land he loves, his native New Mexico. He described growing up on the laps of cowboys and finding

O ver 75 llgAF members and invited guests were

visual erotic stimulus in books on mythology. it was years later that he combined the two in his Rodeo Pantheon series where beautiful nude gods cavort with handsome, rugged, mortal male cowboys. He joked that "Brokeback Mountain" is a story he sees played out everyday of his life in his hometown of truth or Consequences, NM. He went on to describe his synthesis of european religious painting, his sadness over the AiDS epidemic, the wild eroticism of the piers in the West Village, and the SM scene in New york, resulting in his Stations series, recently displayed at llgAF. Howe concluded with images from his current Angel series. Nathaniel Siegel read his poem missing people places and things dedicated to Howe and written for the occasion. the award designed by sculptor, Douglas Holtquist, was the presented to Howe by leslie, his longtime friend and admirer. Congratulations, Delmas!

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dan romer

an inTerVieW by roberT W. richards

gant man with silvery hair and an interestingly configured goatee whose distinguished demeanor gives no clue to the riotously colored drawings and paintings he produces. A Romer image doesn't depend on realistic renderings of genitalia or blunt depictions of carnal activity to deliver sexual clout--the energy and spontaneity he invests in even a simple portrait can carry it further over the erotic rainbow than a dumpster full of porn DVDs ever could. a native BronxD an Romer, york, is aoftall eleville, New

Robert W. Richards (RWR): What do you see as the next step in your artistic journey? Dan Romer (DR): i want to paint. i drag my feet, not necessarily because of fear, but because i still love the pure essence of the drawing. i can get a painterly aspect in a drawing, but i'm more and more interested in having the images integrated with the background so that it becomes richer. RWR: if you painted would the male figure remain your primary subject? DR: Oh, definitely! RWR: So, that's home base for you? DR: i have drawn some females at Steven Broadway's group, but it's different--the bodies are so different. Not just because they have breasts and this and that, but it's how it all goes together. Very different! i still like the strength of the male body. RWR: you've been a long time participant in the queer Men's erotic Art Workshop. DR: yes--it's been great because previously i was working with color Xerox and computer and collage and all that, but with life drawing you just get this freedom. Just taking that color and going--w-h-o-o-s-h! And now i'm no longer censoring my work. if i put something down i don't like, i work with that. i love divine accidents! RWR: isn't that where a lot of art lies? i know my own work never ends up being quite what i started out to do. Has the workshop helped sharpen your appreciation for the divine accident?

DR: For one thing, not all models stand stock-still, and i prefer it when they don't because shift is about the emotion they're experiencing and that emotion is what i want to put into my drawing. Working from a live model has been great--whether the model is turning himself on or teasing the audience; it's what's happening at that moment and that's a big plus. it gives the artist a lot to work from, many directions he can take. RWR: Do you see a big difference between your work in the first year and what you're doing now? DR: Absolutely! My strokes are more assured, my color is more refined. i sometimes go back to an old drawing

and think there was something precious about the naiveté in it, something i may not have anymore. But, you know, i always want to surprise myself and although i miss something in the old drawings, that a certain flavor is missing, now there are many strengths i've developed that i'm happy with. RWR: As a child did you have the same uninhibited feel for color that you now have? DR: i don't recollect that i did. i was more interested in building things. i like to build cities out of found objects-- bottle caps and pieces of plastic. i was always collecting pieces of plastic. it was more about putting things

Dan romer, Rodger, 2007, Oil pastel with color pencil, 17 x 14

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The Archive: The Journal of the Leslie/Lohman Gay Art Foundation

Number 26 · Winter 2008

together. When i draw i'm still putting things together, i see a shape and the shape has mass to it, and i want to convey that on paper. if there's a nuance in the color of the head of the penis or the color of the nipples, i want it to play against what else i've seen--maybe something that's going on in the face. When i was a child, it was more about putting things together than about color itself RWR: Amazing! your sense of color is very powerful. it's very free and abstract, full of odd interior shapes, and it's always unexpected and almost disorienting. you're de kooning compared to what the other workshop artists are doing. DR: (laughs) i have to admit that sometimes it's just that i pick up the wrong color and i've already put it down so i just go with it and enjoy the surprise. i can see that often happens in painting--artists just going with what's happening. For instance in Matisse sometimes there's a whole different outline that he's painted over or a leg that he's re-positioned and simply left the old one in. i totally get that now. i appreciated painting, but i never loved painting the way i do now. i guess because when i was in school i wanted to do the "new thing," and painting was the farthest thing from being new. Now, i know it's not the materials you use, it's the approach you take, what's coming from within. RWR: Do you work with models privately outside of the workshop situation? DR: Sometimes--but not enough; i'm trying to organize my studio so i can do more work there with models.

RWR: When you do work with a model in your studio, do you find it more empowering if you're calling the shots--controlling the poses, etc.--as opposed to going along with someone else's decisions? DR: i think i'd sometimes like more romantic poses so that the eroticism is about what's building up in the model rather than the imposed eroticism he has to bring out when posing for a specifically erotic group, RWR: Describe your dream model-- the one who'd take your breath away if he appeared on your doorstep. DR: Someone who's smiling--and hairy and comfortable in his skin. the body type doesn't really matter if he's confident in his sexuality or he's really sexy and not aware of it. those are great things to play off of and that's what i like in a model. Physically, the ideal would be Brendan Fraser. RWR: Does working with other artists in the room influence you at all? DR: Absolutely--i constantly feed off of other people. RWR: What do you take from them? DR: Someone's color sense or sense of abstraction--i just like to learn all the time. if someone treats a foot in away i never would, i think in the back of my head that somewhere down the line i may see it that way. i'm a sponge. RWR: yet every thing you do is unique and totally your own; you seem so very uninfluenced. Do you have a favorite artist--someone who made you re-think the world? DR: i've looked at Francis Bacon a lot. i don't want to emulate him, but

i'm fascinated by his minimalism-- though he has a lot going on in the figure, everything else is minimal. And i've always loved Pierre Bonnard and James rosenquist. RWR: Do you ever measure yourself against what other artists are doing? DR: yes, especially if i see someone whose work i'm not particularly in tune with and they get something and i don't. i can be very competitive. RWR: i hadn't even thought of the word "competitive" but i guess that's what it is, isn't it? DR: Oh yes, yes--i have germanic blood! RWR: How do you feel when someone buys a painting or drawing of yours? DR: i'm so new at this that i would want to hear every minute reason for their liking the piece. i`m especially happy if it's one that i like and they understand it. RWR: Are you happy with where you are artistically at this moment? DR: Stylistically--yes! this month-- yes! there could be two weeks in the next month where i think "what am i doing, this just isn't working" but i have to relax during those periods and then all of a sudden--it's back again. And back even stronger! Back in ways i never even expected! Romer's work can be seen in Banana Republic stores worldwide. Robert w. Richards is an artist, writer, and filmmaker. he is a long-time friend and member of The Foundation and a frequent contributor to the Archive.

Dan romer, Left: claudiolisque, 2007, Oil pastel with color pencil, 17 x 14 Right: Ilian, 2007, Oil pastel with color pencil, 17 x 14

Number 26 · Winter 2008

The Archive: The Journal of the Leslie/Lohman Gay Art Foundation

23

uPcominG schedule

MAR. 12­APR. 12, 2008 Art! ActuAlly!

Painting, Drawing, and Sculpture Opens tuesday, Mar. 11, 2008 6-8pm

MAR. 25, 2008 Rascals: The eRoTic WoRk of Todd YeageR Book lAunch And Signing

Members only 6-7pm Open to the public 7-9pm

MAY 2­3, 2008 ExhiBition By hoSing WorkS opEnS FridAy, MAy 2, 2008 6-8pM MAY 4­13, 2008 llgAF itAliAn tour thE MAgic itAliAn lAkES in thE MoSt gloriouS SEASon And VEnicE

Make your reservations ASAP. For information and reservations call 212-758-4719 or email Anna Canepa international. [email protected]

MAY 21­JUN. 28, 2008 thE grEAt lESBiAn group ShoW

Opens tuesday, May 20, 2008 6-8pm

SUMMER, 2008 FrESh Fruit FEStiVAl: gAllEry inStAllAtion SEPT.­OCT. 2008 FAShion illuStrAtion

Curated by robert W. richards

William Crist, March Madness, 1997, Oil on matt board, 13 x 10

NOV.­DEC. 2008 iMAginAry prtrAitS: gAy loVErS in hiStory

See Artist Call

iMAgES FroM thE triAnglE 2,117 dAyS oF SilEncE

the AiDS Paintings of Peter Harvey installation by Nathaniel Siegel

become a member and the Archive Will be mailed To your home.

Go to www.leslielohman.org, or call us at 212-431-2609

The Archive

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26 Wooster Street New york, Ny 10013-2227 212-431-2609 [email protected] www.leslielohman.org gallery Hours: tues.­Sat., 12­6pm Closed Sun. & Mon., all major holidays and between exhibitions

Number 26 Winter 2008

Celebrating Five DeCaDes DeDiCateD to Preserving the visual legaCy oF gay Men anD WoMen

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