A Gay-Oriented Collection of Art Works, Literary Quotes, Songs, Films, Cubs, Otters, and Other Guys. Please be aware thet there is mature content on this blog. Available worldwide to all above the age of eighteen. Information and links to sources will be provided unless unknown. Enjoy your visit.
Hervé Lassïnce is a French theatrical actor, screen writer,and self-taught photographer who grew up in Créteil, a culturally diverse suburb of Paris. Before he pursued his passion for photography, he had begun a career as a theatrical actor, a talent which he still continues. Lassïnce has performed with actors Jérôme Deschamps and Macha Makeîff and, in 2016, appeared in a Jean-Michel Ribes play at Paris’s Théâtre du Rond-Point.
Lassïnce began his career in photography with images of those closest to him, his family, friends and lovers. The strong emotional connection he had with these subjects, displayed in his initial work, is still evident in his most recent photographs. Generally, Lassïnce prefers to photograph subjects he knows as the sense of familiarity is stronger; however, he often photographs people he meets who catch his attention. As he considers his photography a story of friendship, Lassïnce still makes an effort to know his subject better before attempting the composition of the shoot.
Hervé Lassïnce photographs natural landscapes, an example of which is his large format photograph of water rushing over the cliffs of Niagara Falls. For many of his photographs, however, natural scenes serve as settings for his nude male subjects. In these shoots, Lassïnce presentsnatural and joyful images that show men as ordinary people comfortable in their skin. There exists in most of his nude compositions an unexpected, often curious, element that catches the eye and draws the viewer’s interest, such as tinted lighting, vased flowers, lit cell phones, or a cat sitting quietly nearby.
Lassïnce first began showing his work through Facebook and Instagram. After seeing images of his work printed on fine art paper, he began to exhibit in galleries and sell editions to collectors. In 2015, Lassïnce’s first photography collection was published by Florian Gaité, entitled “Mes Fréres (My Friends)”. At this time, he also expanded his work as a freelance photographer by shooting personality portraits and illustrating articles for magazines.
Among the influences on his work, Hervé Lassïnce has listed the work of American photographer Nam Goldin who became known for her exploration of the lives and intimacies within the LGBT subcultures. He was also influenced by the compositions and homo-eroticism in works by such painters as José de Ribera, Caravaggio, and Théodore Géricault, one of the pioneers of France’s Romantic movement.
Lassïnce’s photography has been the subject of several exhibitions including those at Paris’s Galerie P38 and Galerie Agathe Gaillard; the November 2020 exhibition at Villa Noailles in Hyères, France; the International Festival of Fashion and Photography in Los Angeles; the Offarch Gallery in Milan; the Philharmonie de Paris; and the 2021 “Gallery of Instant Love” exhibition at the Design Museum of London.
McDermott & McGough, “If You Had Been the Moon”, April 2009, 10:16, Directed by Peter McGough, Starring MichaelKavalus, Bryan Deckhart, Claybourne Elder, Christopher Le Rude, Alex Michael Stoll, and Andrew Lord
The art collective McDermott & McGough consists of the contemporary artists David McDermott and Peter McGough who are known for their work in sculpture, painting, film and photography. Their work examines such issues as religion, popular culture and art, medicine, advertising, fashion, and sexual behavior. McDermott and McGough are best known for their gay-themed paintings and the use of historical processing techniques in their photographic work, which includes film development with palladium, gum bichromate, salt, platinum, and carbon black.
Born in Hollywood, California in 1952, David McDermott studied at Syracuse University in New York from 1970 to 1974. He moved to New York City where he became famous in the downtown area for his odd manners and outdated formalwear, such as detachable collars, cummerbunds, and top hats. Born in Syracuse in 1958, Peter McGough studied at Syracuse University in 1976. He relocated to New York City where he briefly studied at the Fashion Institute of Technology. After dropping out from the Institute, McGough was employed to sell tickets at Danceteria, a famous, albeit illegal, nightclub with several locations in the city.
Peter McGough met David McDermott in a Manhattan theater at the end of the 1970s. As David kept Peter company during the early club hours before sunrise, a strong relationship developed between themthat also included an artistic alliance which would last forty years. In the 1980s, the gay couple became known in New York’s East Village art scene for their immersion in the Victorian era. McDermott and McGough questioned the ideas of nostalgia; they pursued an art form and lifestyle narrative of reorienting the past for the future. Dressed and living as early 1900s dandies with an air of erudition and impertinence, their lives and art became an exploration of time and history, as well as, a challenge to the boundaries of art history and cultural identity.
McDermott and McGough’s collaborative output was expressed through a proliferation of drawings, paintings, film and photographs, and architectural interiors. Their photographs and films, which appropriated images and objects from the late 19th century to the style of the 1930s, explored contemporary cultural issues but produced them through vintage materials and techniques. McDermott and McGough’s obsession with the past is reflected in the styles and subjects they resurrect; many of their works are titled with fictional dates that reference the latter years of the 1800s.
The later work of McDermott and McGough was inspired by advertising motifs, Hollywood cinema, and the comic books of the 1950s and 1960s. They reinvented major works of twentieth-century photography, Pop Art icon images, and produced photo-realistic paintings of vintage film stars. During the 1980s when their work was selling well, McDermott and McGough were a major part of the downtown New York scene, where the attended clubs and mingled with Keith Haring, Jean-Michel Basquiat, and Andy Warhol. They bought three properties including a 1860s French Second Empire style bank, owned horses and vintage automobiles, hosted lavish baroque parties, and bestowed expensive gifts to friends.
In 1992, the art market began to feel the effects of the stock market crash of October 1987. Out of all the paintings McDermott and McGough had onexhibit at the Armory Show, only one small painting sold. Their debts, which included framing costs for their exhibitions, came due; many of these debts were paid through the transfer of their existing artwork to galleries and other debtors, among whom was the Internal Revenue Service. Eventually everything the couple had was auctioned off except for a few pieces they managed to save and later shipped to the docks of Dublin, Ireland. David McDermott relocated to a smallrental house near Ballsbridge, Ireland, and in 1995 McGough reunited with him.
McDermott and McGough started painting and soon were able to rent a small art studio in Temple Bar in downtown Dublin. Through Swiss art dealer and gallery owner Bruno Bischofberger, they received many silhouette commissions. With the assistance of the gallery’s director Andrea Caratsch, McDermott and McGough had an exhibition in 1998 entitled “The Lust That Comes from Nothing” at Paris’s Galerie Jérôme de Noirmont.
McDermott and McGough’s previous exhibitions include the Whitney Biennial, New York, in 1987, 1991 and 1995, and a mid-career retrospective at the Provincial Museum voor Moderne Kunst, Oostende, Belgium. In 2017, their work was the subject of the exhibition “I’ve Seen the Future and I’m Not Going’ held at the Dallas Contemporary Museum in Texas. Other solo and group exhibitions include such institutions as the Irish Museum of Modern Art in Dublin, Centre Pompidou in Paris, New York City’s Galleria Gian Enzo Sperone, and the Frankfurter Kunstverein in Germany.
McDermott and McGough’s work is represented in numerous collections including the International Center of Photography in New York; Los Angeles County Museum of Art; New York City’s Metropolitan Museum of Art; Spencer Museum of Art at the University of Kansas in Lawrence; Tampa Museum of Art in Florida; Minneapolis’s Walker Art Center; and Whitney Museum of American Art in New York, among others.
Notes: In 2017, David McDermott and Peter McGough opened the Oscar Wilde Temple, a non-secular sacred space for LGBTQ people in a chapel at the Church of the Village located in New York City’s Greenwich Village. It is both an art exhibition space and a place for marriages; donations go to homeless LBGTQ youth. A second location at the gallery Studio Voltaire in London was opened in October of 2018.
In 2019, Peter McGough published his memoir “I’ve Seen the Future and I’m Not Going There” through Penquin Random House. Set in New York’s Lower East Side, the memoir chronicles his life withDavid McDermott during the 1980s and mid-1990s.
Top Insert Image: David McDermott and Peter McGough, “Portrait of the Artists, 1928, 1990”, Palladium Print on Paper, 35 x 26.5 cm, Private Collection
Second Insert Image: David McDermott and Peter McGough, “Love is Gone- So What Can Matter? 1966, 2008”, Oil on Linen, 152.4 x 122.2 cm, Private Collection
Third Insert Image: McDermott and McGough, “Joel at Lower Baldonell House, Dublin, 1910, 2003”, Palladium Print on Paper, 50.8 x 40.6 cm, Private Collection
Fourth Insert Image: McDermott and McGough, “The Annointed”, 1991, Photographers and Friends Against AIDS Exhibition, Palladium Print on Paper, 16.5 x 11.8 cm, Private Collection
Fifth Insert Image: McDermott and McGough, Title Unknown (Reading Comics), Image from the “Detroit, 1958” Series, 2007, Carbro Print, Private Collection
Bottom Insert Image: McDermott and McGough, “Portrait of the Artist (With Top Hats) 1865”, 1991, Palladium Print on Paper, Collection of the Artists
The coldness of the floor
In the boys’ lav., the cold-
Ness of the boys themselves
Stripping off their gym shorts
And t shirts: the wetness
Of the spot which showed on
The shorts of each boy who
Climbed alone on ropes, the
Wetness of sweat which
Soaked the boys who wrestled
In the matroom, glistened
On the bodies of the
Boys who stood for weighing-
In with jockey shorts or
Nude: the odor of the
Floor in the boy’s lav., the
Odor of the boys them-
Selves from the soap they passed
Among themselves in the
Showers, the odor of
The soap they passed among
Themselves when older, stop-
Ping from their showers, dress-
Ing for their classes in
Laundered cotton shirts and
Boxer shorts: the coldness
Of rain soaked running trails
In Late October, the
Cold, red hands of the run-
Ners after practice: the
Wetness of their hairy
Bodies drying off near
Steamfilled showers, the wet-
Ness of the gym itself
With aingle shower’s drip
Dripping late at night: the
Motion of the young men
Washing, young men dressing,
Young men acting out their
Conflicts and frustrations. . .
Winthrop Smith, Excerpt from Retrospective at 33, The Weigh-In: Collected Poems,1996
Raised in Rye, New York, Winthrop Smith is a gay minimalist poet whose work explores the the undercurrent of gay experience in America. Having lived in New York City from 1987 to 2003, his early poetry covers a period of gay life before the gentrification of the city. In his work, Smith captures the gay male experience of pre-DisneyTimes Square, the St. Mark bathhouses, the city’s docks and cruising areas, and the scene on the West Village’s Christopher Street known for being the “Main Street” of gay New York.
Winthrop Smith’s first collection of poems, “Ghetto: From the First Five: Sixty-Four Poems”, was published in January of 1990. His second collection was the 1996 “The Weigh-In: Collected Poems”. Influenced by contemporary minimalist music and the work of modernist poet Gertrude Stein whose writing style broke the conventions of the linear narrative, Winthrop Smith formats his poetry into short pictorial lines each of which contain a complete mental image or thought. These narrative lines are stacked, sometimesending in split hyphenated words,to form sentences that often trail into the following stanza.
Smith’s third collection, the 2006 “Skin Check: New York Poems”, is a minimalist book-length poem of encounters experienced during a walk taken by Smith, his partner, and their two dogs from their Chelsea apartment to the West Village and back. His next collection was”Wrestling Starting Position” which was published in December of 2016. It is an autobiographical book-length poem which spans from his childhood in Rye, New York, to the second decade of the new century. The poem, told through the basic positions of wrestling, expounds on the issues of the artwork of Patrick Angus, the 1960s and city life at that time, the death of peers, personal ads, and capital punishment, among other topics.
Winthrop Smith’s latest work is the 2021 “Take Down Portraits: Drawings and Portraits by Larry Stanton”, which include poems by Smith that envision conversations and scenes that may have taken place in Larry Stanton’s studio during his lifetime. Although he never actually met Stanton, Smith was inspired by his artwork, having had dozens of Stanton’s works in his care. The poems, duets in essence, are composed in fragmented phrasing with small details to evoke the emotion of the conversations.
Smith was infected with the HIV virus during his first sexual experience at a Times Square bathhouse in 1984. After moving to New York City in 1987, he worked as a home attendant for the first program which was dedicated to terminal AIDS patients. Since then, Smith worked on the National AIDS hotline and was on the board for the People with Aids Coalition.
Winthrop Smith is a trustee and a program manager of the EGR Writers House in Augusta, Maine, which subsidizes housing for writers. He currently resides and writes in Wappingers Falls, New York. Smith is the author of four blog sites which can be found through: https://www.blogger.com/profile/11816360238911707217
Joseph Meehan is an American freelance illustrator and concept artist who currently lives and works in New York. He studied at New York City’s Fashion Institute of Technology where he earned his Bachelor of Arts in Toy Design.
Meehan worked initially as an intern at Hasbro where he designed toys fo the GI Joe series, and also did preliminary work for “GI Joe: The Movie”. Beginning in September of 2011, he worked for three years at Mattel where he designed action figures, vehicles, and created new features and play patterns for its Batman action-figure line.
In September of 2014, Joseph Meehan began working freelance at Volta Studio in New York, a design studio dedicated to creating high-end 2D and 3D visuals for video games, films and toys.As a Senior Artist, he created illustrations and concept art for a wide range of products, such as mobil games, trading cards, and triple-A games. In October of 2020, Meehan became a full-time Senior Illustrator at Rockstar Games in New York City.
Meehan is skilled in a multitude of software graphic systems including Keyshot, Photoshop, Adobe Creative Suite, ZBrush, and Solidworks. Meehan has produced artwork for numerous leading names including Random House, Wizards of the Coast, Bioware, Bethesda, Ubisoft, NetherRealms, Hasbro, and Mattel. among others.
Photographers Unknown, Luncheon Had Made Us Hungry
Luncheon had made us hungry
for one another
After the curry and fried bananas
we added our own heat to
the hot afternoon
simmering in sweat and coconut oil
as our two humidities rose
high higher Bang!
outside the window Bang!Bang!
and the houseboy’s laughing shout
He had been tossing firecrackers
at the roof
to dislodge itinerant pigeons
But at his feet had fallen
a passing oriole
shocked into gape beak ajar
Hurrying from the bedroom
we saw him kneel to the yellow bird
fondle cajole kiss it offer it
back to the day
Still it sat rigid in his hand
Chuckling then you said
Is this a golden trophy of
our shooting match?
At which the oriole blinked
stretched and puffed
spurted into the air
vanished beyond the pawpaw tree
James Broughton, Afternoons in Ceylon I, Word of Mouth: An Anthology of Gay American Poetry, 2000
Born to affluent parents in Modesto, California in November of 1913, James Broughton was a poet and filmmaker. He was a member of the San Francisco Renaissance movement, a 1950s collective of American avant-garde poets which included such poets as Kenneth Rexroth, Madeline Gleason, Robert Duncan and Jack Spicer, among others. Known best for his cinematography, Broughton made poetic experimental films, both in color and black and white, throughout his career.
After the death of his father in the deadly 1918 influenza epidemic, James Broughton spent his early years in San Francisco. He started his formal education at a military school; however, at the age of sixteen after having an affair with a classmate, he was expelled. Broughton pursued a career in writing at Stanford University until 1935, at which time he relocated to New York City and became a theater critic. Through his written work, Broughton met artist Sidney Peterson, who would later establish San Francisco Art Institute’s Workshop 20, the first college program to teach filmmaking as art.
After he moved back to San Francisco, Broughton wrote and produced the play “Summer Fury”, for which the Stanford Dramatists’ Alliance gave him the 1945 Alden Award for Original Screenplay. In 1946, a collaboration between Broughton and Sidney Peterson produced the 16mm film “The Potted Palm”, a depiction of Freudian desires that combined the erotic with the decaying. Broughton later credited his working with Peterson on this film as the influence that led him to experimental filmmaking.
James Broughton’s early 16mm short films, which ran from nine to thirty-eight minutes, covered a wide range of genres, including personal journals, comedy, music, theater, and queer stories. Broughton’s first solo film was the 1948 avant-garde classic “Mother’s Day” which dealt with human pain and lack of emotion. He followed this film’s success with five more films between 1950 and 1953, among which was the 1953 “The Pleasure Garden”, a collaboration with partner Kermit Sheets. Made in England, the film was successful only in Europe where it received several awards including one at the Cannes Film Festival presented byJean Cocteau.
In 1953, Broughton stopped his filmmaking to concentrate more fully on his writing which, through his career, totaled more than twenty published works. His poetry collection “True & False Unicorn”, poems of Broughton’s complex search for his true self, was published in 1955 and later choreographed on stage by Jergen Verbruggen. Broughton’s autobiographical prose poem collection “The Androgyne Journal”. published in 1977, was a strongly personal book about breaking creative boundaries.
James Broughton published two retrospective collections of his poetry: “A Long Undressing: Collected Poems 1949-1969”, published in 1971 by Jargon Society Press, and “Packing Up for Paradise: Selected Poems 1946-1996” published in November of 1997 by Black Sparrow Press. In 1993, Broughton published his memoir, an autobiography entitled “Coming Unbuttoned”, which documented his eighty-year artistic journey in life through the famous and infamous circles of 1930s New York to the avant-garde culture of San Francisco in the 1960s and 70s.
Starting in the late 1960s, James Broughton returned to filmmaking and produced both short and full length films. His first film was the 1968 “The Bed”, which won prizes at many film festivals. Containing a highly energetic musical score by Warner Jepson, it featured ground-breaking full-frontal, yet innocent, nudity of male and female figures gathered around the same bed. Broughton’s later poetic films include such works as the 1972 “Dreamwood”, a story of one man’s journey to a mysterious island: “The Water Circle”, a 1975 poetic homage to sage Lao-tsu on the world’s bodies of water; the 1979 “Hermes Bird”, a celebration of the transformative power of the phallus; and the 1988 “Scattered Remains”, one of six films created with his partner Joel Singer, in which Broughton acts out his verses in unlikely situations.
Broughton’s honors include a Fellowship from the John Simon Guggenheim Memorial Foundation and an American Film Institute Award for Independent Film and Video Artists. He was an early poet member of the Radical Faeries, a counterculture movement that redefined queer consciousness through secular spirituality, and a member of The Sisters of Perpetual Indulgence, a protest and street performance group that used drag and religious imagery to call attention to sexual intolerance. Broughton also taught at both San Francisco State University and San Francisco’s Art Institute.
James Broughton had relationships with both men and women. He lived briefly with film critic Pauline Kael, with whom he had a daughter in 1948. At the age of forty-nine, Broughton married Suzanne Hart, with whom he had two children. In 1973, he met Joel Singer, a twenty-five year old student at one of his San Fransisco Art Institute classes, and began both a strong personal relationship and a lengthy film collaboration. In 1989, Broughton and Singer moved to Port Townsend, Washington, where they lived until Broughton’s death, at the age of eighty-five, in May of 1999.
“The quietest poetry can be an explosion of joy. True delicacy is not a fragile thing. The most delicate and yielding of our necessities, water, can be the most powerful destroyer, swallowing everything.
True delicacy is indestructible. Take Shelley, Dickinson, Firbank, Basho. I like things which appear fragile but are tough inside. In the long run the deadly can outmaneuver the brute, the bird is more resourceful than the rhino.” – James Broughton
Born in Portland, Oregon in July of 1946, Martin Wong was an American painter of Chinese-Mexican ancestry whose work was a studious blend of visionary and social realism art styles. His work explored different ethnic and racial identities, and acknowledged his own queer sexuality.
Raised by a supportive family in the Chinatown district of San Francisco, Martin Wong began to express his artistic inclination at an early age. He entered California’s Humboldt State University and graduated with a Bachelor of Arts in Ceramics in 1968. Wong won a competitive ceramics exhibition held in 1970 at San Francisco’s de Young Museum.
Wong resided in San Francisco’s Haight-Ashbury district from 1964 to 1978. While at home, he studied art history and became interested in subjects such as modern painting and Asian decorative objects. During this period, Wong was active in the art scene of the Bay Area, often painting portraits under the pseudonym of Human Instamatic. He also served as the set designer for the art performance group The Angels of Light, a social trope that was part of the emerging gay consciousness of the period.
Encouraged by his friends’ response to his art, Wong made the decision in 1978 to settle in the Lower East Side of Manhattan for a career as an artist. Largely self-taught, his work was inspired by his immediate surroundings and ranged from uncompromising renderings of the Lower East Side’s decay to colorful paintings of the Chinatowns of New York and San Francisco. Wong also painted a series of work entitled “Traffic Signs for the Hearing Impaired”, artworks identical in color and shape to standard city traffic signs that utilized sign-language of the deaf to express their message.
In 1982 at the group exhibition “Crime Show” held at the collective gallery ABC No Rio in the Lower East Side, Martin Wong met poet Miguel Piñero, a leading member of the Nuyorican literary movement and author of the Pulitzer Prize winning play “Short Eyes”. Shortly after their meeting, Piñero moved into Wong’s apartment which began a relationship that would last until Piñero’s death in 1988. Through Piñero association, Wong became more integrated into the local Latino community; he began a series of collaborative work with Piñero that became entitled “Urban Landscapes”. This series of paintings combined Wong’s meticulous cityscapes and stylized sign-language with Piñero’s prose and poetry. Wong presented these paintings at a solo exhibition in 1984 at curator and recording artist Barry Blinderman’s Semaphore Gallery East.
In 1985 and 1986, Wong began a series of work entitled “The Last Picture Show”, a series of life-size images of shuttered storefronts. He amassed a large graffiti collection while living in New York and, in 1989, co-founded with friend Peter Broda the Museum of American Graffiti on the East Village’s Bond Street. By the 1990s, Wong’s work became quieter and more grim as gentrification took over the neighborhood and his peers were dying for drug addiction and AIDS.
In 1993, Matin Wong had a solo exhibition, “Chinatown Paintings”, at the San Francisco Art Institute. In these works based on his own memories and experiences, he presented an outsider’s view of Chinatown that lent itself more to myth than reality. Following complications in his health in 1994, Wong donated his graffiti collection to the Museum of the City of New York. In 1994, he was diagnosed with AIDS and, with declining health, moved back to San Francisco. He died under his parents’ care at the age of fifty-three from AIDS-related illness in August of 1999.
A retrospective of Martin Wong’s work was held at the Bronx Museum of Arts in 2015. His work can be found in many public collections, including the Metropolitan Museum of Art, the Syracuse University Collection, the Whitney Museum, the Museum of Modern Art, and the Art Institute of Chicago, among others.
Note: Martin Wong’s 1984 painting, “My Secret World”, included in the above images, is an image of his first residence in Manhattan, a cheap hotel bedroom on the Lower East Side with a view to the South Street Seaport. The bedroom pictured is tidy with three of his earlier works on the walls. One depicts a series of hands sprouting from white cuff=links, The hands spell out in American Sign Language the words “Physiatrist Testify: Demon dogs drive man to murder”, which references the serial killer Son of Sam who stalked New York in 1983. Included in the books presented on the dresser are fictional works by Raymond Chandler and John Cheever.
Second Insert Image: Martin Wong, “Starry Night”, 1982, Oil on Canvas, 55.9 x 76.2 cm, Bronx Museum of the Arts, New York
Third Insert Image: Martin Wong, “Crossing Sign”, Traffic Signs for the Hearing Impaired Series, 1990, DOT Aluminum Steel Signs
Fourth Insert Image: Martin Wong, “Angelito”, 1992, Acrylic on Canvas, 61 x 56.2 cm, Private Collection
Bottom Insert Image: Martin Wong, “Tell My Troubles to the Eight Ball”, 1978-1981, Acrylic on Canvas, 122 x 122 cm, Private Collection
Last time I saw myself die is when police killed Jessie Hernandez
A 17 year old brown queer // who was sleeping in their car
Yesterday I saw myself die again // Fifty times I died in Orlando // &
I remember reading // Dr. José Esteban Muñoz before he passed
I was studying at NYU // where he was teaching // where he wrote shit
That made me feel like a queer brown survival was possible // But he didn’t
Survive & now // on the dancefloor // in the restroom // on the news // in my chest
There are another fifty bodies that look like mine // & are
Dead // & I’ve been marching for Black Lives & talking about police brutality
Against Native communities too // for years now // but this morning
I feel it // I really feel it again // How can we imagine ourselves // We being black native
Today // Brown people // How can we imagine ourselves
When All the Dead Boys Look Like Us? // Once I asked my nephew where he wanted
To go to College // What career he would like // as if
The whole world was his for the choosing // Once he answered me without fearing
Tombstones or cages or the hands from a father // The hands of my lover
Yesterday praised my whole body // Made angels from my lips // Ave Maria
Full of Grace // He propped me up like the roof of a cathedral // in NYC
Before we opened the news & read // & read about people who think two brown queers
Can’t build cathedrals // only cemeteries // & each time we kiss
A funeral plot opens // In the bedroom I accept his kiss // & I lose my reflection
I’m tired of writing this poem // but I want to say one last word about
Yesterday // my father called // I heard him cry for only the second time in my life
He sounded like he loved me // it’s something I’m rarely able to hear
& I hope // if anything // his sound is what my body remembers first.;
Christopher Soto, All the Dead Boys Look Like Me, Bullets into Bells: Poets and Citizens Respond to Gun Violence, 2017
Born in 1991 to El Salvadoran parents who immigrated to the United States, Christopher Soto is a poet and prison abolitionist who spent the formative years of life in Los Angeles. Soto studied at New York University as a Goldwater Hospital Writing Fellow and, in 2015, earned a Master of Fine Arts in Poetry .Soto has worked with the Lambda Literary Foundation since 2014 as editor of the online literary journal “Nepantia”.
Christopher Soto’s first chapbook collection of poems was the 2012 “How to Eat Glass”. Soto’s second collection, the chapbook “Sad Girl Poems” was published in January of 2016. This collection of narrative poems dealt with the social issues affecting young queer people of color, among which are homelessness, gender identity, abuse in the family, and death of a lover. In 2016, Soto co-founded, along with Macelo Castillo and Javier Zamora, the Undocupoets Campaign which successfully removed the citizenship requirement from first-book competitions, thus allowing undocumented poets and writers to participate. For this, the organization and Soto received the Barnes & Noble Writer for Writers Award.
After receiving an invitation from The Center for Justice at New York’s Columbia University, Soto taught a community-based writing workshop in 2017 at the university as part of the June Jordan Teaching Corp, named in honor of the queer black poet and essayist. In 2018, Soto edited and published through Nightboat Books the anthology “Nepantia: An Anthology Dedicated to Queer Poets of Color”. This publication was the first major literary anthology of queer poets of color in the United States.
Relocating back to Los Angeles in 2019, Christopher Soto began working with the University of California’s Ethnic Studies Research Center. Soto became a member of the Boardof Directors for Lambda Literary and joined the CantoMundo Fellowship which supports Latino poets and poetry. Working alongside Javier Zamora, Jan Henry Gray and Anni Liu, Soto co-organized the “Writers for Migrant Justice” campaign, a national movement in over forty cities to raise the necessary funds to aid migrant families in detention.
As a lecturer in 2020 with the University of California’s Honors College, Soto began teaching inter disciplinary creative writing courses, such as “Poetry and Protest Movements”. Awarded in 2021 a National Endowment for the Arts Fellowship in Poetry, Soto became a visiting Assistant Professor of Creative Writing at Los Angeles’s Occidental College, where he still teaches.
In May of 2022, Copper Canyon Press will be releasing Soto’s new collection of poetry, “Diaries of a Terrorist”. This collection of political surrealist poems, which discusses the issues of power and police violence, is expressed through alternating humor, deep vulnerability, and frank queer punk bawdiness.
Christopher Soto’s poetry, reviews, interviews and articles can be found in many literary publications, including Poetry magazine, Tin House, American Poetry Review, the Los Angeles Review of Books, and the Guardian, among others. Soto’s workis available in many translations including Japanese, Spanish, Portuguese and Thai.
Osvaldo Louis Guglielmi, “Subway Exit, 1946, Oil on Canvas, 76.2 x 66 cm, Jule Collins Smith Museum of Fine Art, Auburn University
Born in April of 1906 in Cairo, Osvaldo Louis Guglielmi was an American painter. He was the only son of Talmiro Guglielmi, a violinist and viola player with Arturo Toscanini’s orchestra, and Dometilla Secchi Guglielmi, who returned to her native Milan shortly after her son’s birth. Talmiro Guglielmi toured with Toscanini’s orchestra throughout Australia, Europe and the Americas. After a tour through Canada, Brazil and North America with Russian ballerina Anna Pavolova, he brought his family to New York City where the settled in the largely Italian immigrant community of East Harlem.
At a young age, Louis Guglielmi pursued an interest in sculpture and worked in a local bronze casting facility in the city. During his high school years,.he began in 1920 evening art classes at the National Academy of Design and studied sculpture at Manhattan’s Beaux Arts Institute. In 1923, Guglielmileft high school to concentrate full-time on courses at the National Academy. At his life drawing class, Guglielmi met fellow student Gregorio Prestopino, who is known for his social realist scenes of the urban working-class executed in the style of the Ashcan School . Through their college years, the two men shared a studio space in the city.
After his graduation in 1926, Guglielmi struggled financially for six years and took various inadequately-paid jobs to support his painting. In 1927 at the age of twenty-one, he was granted citizenship in the United States. Guglielmi relocated in 1932 to the New England area and, once again, began a serious period of intense painting. With the aid of a fellowship, he was able to spend eleven summers at the prestigious MacDowell Art Colony in Peterborough, New Hampshire. The solitude of the scenery surrounding the colony and Guglielmi’s interactions with his fellow artists inspired him and focused a newdirection to his work: the plight of humanity caught in the midst of the Great Depression.
During the early 1930s as the Depression settled on the country, Louis Guglielmi applied for relief from the government. In 1934, he managed to secure meager wages as a painter for the Works Project Administration, the federal New Deal program the employed jobseekers, mostly men and not formally educated, for public works projects. This program subsidized many artists and craftsmen in the 1930s. Guglielmi worked with the WPA for five years during which time he traveled and painted both easel work and murals.
Having seen Guglielmi’s work for the WPA, prominent art dealer Edith Gregor Halpert invited him in 1936 to join the group of artists at her Downtown Gallery in New York’s Greenwich Village. In 1938, Guglielmi showcased his paintings in his first solo exhibition which was held at Halpert’s gallery to major critical acclaim. On May 22nd in 1939, he married Anne Di Maggio, who seven years later gave birth to a son.
Louis Guglielmi’s work just before the Second World War were often bleak images of suffering. He spent 1943 through 1945 in the United States Army Corps of Engineers, a time in which he did not produce any paintings. Guglielmi’s existing work, though, was in included in the 1943 “American Realists and Magic Realists” exhibition held at New York’s Museum of Modern Art. After his experiences in the war, Guglielmi’s work changed in style and content; he became more concerned with the formal issues of society: poverty, the living and working conditions of the poor, and the political issues of the time.
Guglielmi became influenced at this time by the work of Fauvist painters Joan Miró and Henri Matisse, and the bold, colorful paintings of his friend Stuart Davis. His paintings lightened in spirit and communicated to the viewer a sense of energy and optimism. Guglielmi’s body of work contains aspects of all the various movements of his time: surrealism, cubism, geometric abstraction, regionalism and social realism. His experiments with form, a major component of his work, set him apart from the prevailing American style of Abstract Expressionism, which in effect marginalized his status as a contemporary painter.
Louis Guglielmi was an instructor of art at Manhattan’s New School of Social Research from 1950 to 1951. Beginning in June of 1950, he taught at Louisiana State University, first as a visiting artist and later in the position of an associate professor which he held until 1953. In 1952, Guglielmi was presented a Temple Gold Medal from the Pennsylvania Academy in recognition of his work.
With the intention of remaining in Europe for the summer, Guglielmitraveled to Italy in the spring of 1956. However, after four days in Italy, he returned back to the United States. That summer, Guglielmi took his wife and ten-year old son to their new home in Amagansett, a small town located on the eastern tip of Long Island, New York. On September 3rd of 1956, Osvaldo Louis Guglielmi died of a sudden heart attack. A retrospective of his work, entitled “O. Louis Guglielmi” The Complete Precisionist”, was held in February of 1961 at New York’s distinguished Nordness Gallery.
Note: In January of 2014, Guglielmi’s works, including his 1946 “Subway Exit”, were presented as part of the Georgia Museum of Art’s exhibition “Art Interrupted: Advancing American Art and the Politics of Cultural Diplomacy”. This show was a historical reproduction of the 1946 traveling exhibition “Advancing American Art” that was sponsored by LeRoy Davidson of the U.S. State Department. The 2014 “Art Interrupted” show reunited all the paintings of the original exhibition and scrutinized the U.S. State Department’s use of fine art as a tool in the Cold War. Works in the exhibition included paintings by such artists as Georgia O’Keefe, Edward Hopper, Marsden Hartley, Ben Shahn, and Stuart Davis.
LeRoy Davidson’s intent for the 1946 traveling collection was to exhibit the diversity of American art, demonstrate the power of democracy, and promote good will among the United States, Europe and Latin America. The exhibition, however, received intense criticism from the press. Provoked by the press, members of the U.S. Congress and President Harry Truman deemed the art in the show un-American. By 1948, all seventy-nine works in the show were auctioned off. Davidson was forced to resign, his position in the State Department was abolished, and the entire project ridiculed in the press.
Second Insert Image: O. Louis Guglielmi, “The Amrican Dream”, 1935, Oil on Masonite, 54.6 x 76.2 cm, Private Collection
Third Insert Image: o. Louis Guglielmi, “One Third of a Nation”, 1939, Oil and Tempera on Wood, 76.2 x 61 cm, Metropolitan Museum of Art, New York
Fifth Insert Image: Osvaldo Louis Guglielmi, “View in Chambers Street”, 1936, Oil on Canvas, Private Collection
Bottom Insert Image: O. Louis Guglielmi, “Relief Blues”, circa 1938, Tempera on Fibreboard, 61.1 x 76.2 cm, Smithsonian American Art Museum, Washington DC
Photographer Unknown, “Nils Asther”, July of 1932, Publicity Shot for Cine-Mundial, A New York-based Spanish Magazine
Born in Copenhagen in January of 1897, Nils Anton Althild Asther was a Swedish gay actor who was active in Hollywood from 1926 until the mid-1950s. He was the son of Anton Andersson Asther and Hildegard Augusta Åkerlund, who had accepted his father’s proposal but was unwed at the time of Nils’s birth. Asther spent his first year as a foster child and rejoined his parents after their marriage on May 29th of 1898 in the city of Malmö. He grew up in a deeply religious Lutheran home, where homosexuality was considered a sin by the church and viewed as a disease by Swedish society.
Nils Asther, still a young man, moved to Stockholm where he studied acting under the tutelage of Swedish silent-film and stage actress Augusta Lindberg. Through the endorsement of his teacher, he received his first theatrical engagement at Lorensbergsteatern, the art performance theater in the city of Gothenburg. Asther performed in several productions in Stockholm which included two plays in 1923, “The Importance of Being Earnest” and “ The Admirable Crichton”, and the 1924 production of “Othello” at the Royal Dramatic Theater.
In 1916 at the age of nineteen, Asther was cast by the pioneer Swedish film director Mauritz Stiller for his silent film “Vingarne (The Wings)”. This production was based the novel “Mikaël” by the internationally recognized Danish author Herman Bang. It starred silent-film actorsEgil Eide, Lars Hanson, and Lill Bech, with Nils Asther in a supporting role. Besides being an early gay-themed film, it is recognized for it innovative use of a framing story, a main narrative which is divided into a set of shorter stories, and for its use of flashbacks as the primary plot source. Although only thirty minutes of its seventy-minute length survived, a 1987 restoration used still photos and title cards to bridge the missing sections.
Now residing in Copenhagen, Nils Asther received support from actor Aage Hertel, a member of the Royal Danish Theater and a leading actor at Nordisk Film. Between 1918 and 1926, Asther appeared in a number of film roles in Denmark, Sweden and Germany. After being approached by a representative from United Artists, he traveled to Hollywoodwhere he was given the role ofGeorge Shelby in director Delmer Lord’s “Topsy and Eva”, a 1927 silent drama produced by Feature Productions. By 1928 Asther’s suave appearance placed him in leading roles; he soon played opposite such stars as Marion Davies and Joan Crawford.
Asther appeared in director Harry Beaumont’s 1928 “Our Dancing Daughters”, a silent drama depicting the dangers of loose morals among the young. The film cast included John Mack Brown and Joan Crawford; it was this film role of Charleston-dancing, Prohibition-era drinking Diana Medford that launched Joan Crawford’s career. Asther was next given the leading role of handsome Prince de Gace, who played opposite Greta Garbo’s role of Lillie Sterling, in director Sidney Franklin’s 1929 drama “Wild Orchids”. Though often listed as a silent film, it was released as a non-talking film with orchestral score, sound effects, and title cards for dialogue. Asther had previously known Garbo in Sweden and would continue to be close friends; they appeared together in a second film of the same year, the MGM romantic drama “The Single Standard”.
With the arrival of sound in film, Nils Asther began voice and diction lessons to minimize his Nordic accent. Due to his accent, many of his early roles in sound films were characters of foreign origins. Asther appeared with Robert Montgomery and, once again, with Joan Crawford in Clarence Brown’s 1932 drama “Letty Lynton”, which recounts the historical murder allegedly committed by nineteenth-century Glasgow socialite madeleine Smith, played by Crawford. In 1933, he was given the role of General Yen in Frank Capra’s drama war film “The Bitter Tea of General Yen”, where heplayed opposite Barbara Stanwyck and, after its premiere, received good reviews for his portrayal.
After an alleged breach of contract led to a studio-based blacklist, Asther was forced to work in England between the years 1935 and 1940. He made six films in England before his return to Hollywood.Upon his return, Asther made nineteen more films before 1949; however, he was mostly given small supporting rolesfrom which his career never returned to its former height. During the early 1950s, Asther attempted to revive his career with appearances on television which was becoming a rapidly growing phenomenon in the United States. Managing only to secure roles in a small number of minor television series, he decided in 1958 to return to Sweden. Asther had four film roles and an engagement with a local theater before 1963, at which time he retired from acting and devoted himself to painting.
Nils Asther passed away on the 13th of October in 1981, at the age of eighty-four, at the Farsta Hospital in Stockholm. He is buried in the village of Hotagen, located in Jämtland, Sweden.Asther was inducted in 1960 into the Hollywood Walk of Fame for his contributions to the film industry; his star is located at 6705 Hollywood Boulevard.
Asther was a gay man in a time when it was both a personal and professional social stigma. Although the film industry in the 1920s accepted gay actors with little reservation, the actors had to remain discreet about their sexual orientation. In August of 1930, Asther entered into a lavender marriage with Vivian Duncan, one of the his costars from the 1927 “Topsy and Eva”. This turbulent marriage produced one daughter and resulted, after much media discussion, in a divorce in 1932.
Nils Asther’s memoir, “The Road of the Jester: Not a God’s Tale: A Memoir”, was published posthumously in 1988 in Stockholm. In this volume, he mentions relationships he had in the 1930s with director Mauritz Stiller and Swedish author Hjalmar Bergman. Asther also had a long-term relationship with actor andstuntman Ken DuMain, whom he met on Hollywood Boulevard in the early 1940s.
Top Insert Image: George Hurrell, “Nils Asther”, circa 1930s, MGM Publicity Still, 25.4 x 33 cm, Private Collection
Second Insert Image: Photographer Unknown, “Nils Asther and Greta Garbo”, 1929, MGM Publicity Shot
Third Insert Image: Photographer Unknown, “Nils Asther”, French Postcard by Europe, No. 909, MGM Studio Publicity Shot, Date Unknown
Fourth Insert Image: Photographer Unknown, “Nils Asther”, Date Unknown, Publicity Shot, John Kobal Foundation, Getty Images
Bottom Insert Image: George Hurrell, “Nils Asther and Joan Crawford”, 1932, MGM Publicity Shot
Their jeans sparkled, cut off
way above the knee, and my
friends and I would watch them
from my porch, books of poems
lost in our laps, eyes wide as
tropical fish behind our glasses.
Their football flashed from hand
to hand, tennis shoes gripped
the asphalt, sweat’s spotlight on
their strong backs. We would
dream of hugging them, and crouch
later in weird rooms, and come.
Once their ball fell our way
so two of them came over, hands
on their hips, asking us to
throw it to them, which Arthur did,
badly, and they chased it back.
One turned to yell, “Thanks”
and we dreamed of his long
teeth in our necks. We
wanted them to wander over,
place deep wet underarms to
our lips, and then their white
asses, then those loud mouths.
One day one guy was very tired,
didn’t move fast enough,
so a car hit him and he sprawled
fifty feet away, sexy, but he was
dead, blood like lipstick, then
those great boys stood together
on the sidewalk and we joined them,
mixing in like one big friendship
to the cops, who asked if we were,
and those boys were too sad to counter.
We’d known his name, Tim, and how
he’d turned to thank us nicely
but now he was under a sheet
anonymous as God, the big boys crying,
spitting words, and we stunned
like intellectuals get, our high
voices soft as the tinkling of a
chandelier on a ceiling too high to see.
Dennis Cooper, “After School, Street Football, Eighth Grade”, The World is Us: Lesbian and Gay Poetry of the Next Wave, 2000
Born in Pasadena, California in January of 1953, Dennis Cooper is a novelist, poet, critic and short story writer. He is best known for his autobiographical novels that feature intense analyses of human obsessions and relationships.
The son of conservative parents, Dennis Cooper was educated at Pasadena City College and Pitzer College, a private liberal arts college in Claremont, California. He was influenced in his early years by French novelists and directors such as Jean Cocteau, Marguerite Duras and Alain Robbe-Grillet. An astute student, Cooper began writing surreal stories at the age of twelve. He was already focused toward a career in writing at the age of fifteen having written storiesin the styles of Arthur Rimbaud and the Marquis de Sade.
Cooper was attracted to the Punk culture in his teenage years. In 1976 at the age of twenty-four, he founded the punk “Little Caesar Magazine”, which ran for four years and featured contributions from Debbie Harry, Andy Warhol, and artist / AIDs activist David Wojnarowicz. In 1978, Cooper founded the Little Caesar Press which published works by such artists as poet Amy Gerstler and critic and poet Peter Schjeldahl. Through his publishing company, he published his first book of poetry “Idols” in 1979. Two years later Cooper published his “Tenderness of the Wolves”, a collection of short stories and poetry which was nominated for the Los Angeles Times Book Prize.
After working for four years as the Director of Programming at the Beyond Baroque Literary Arts Center, Dennis Cooper moved to New York City in 1983. He soon published his first novella, “Safe” and began a series of five books, the “George Miles Cycle”, a collection of work he aspired to write at the age of fifteen. After relocating to Amsterdam with his boyfriend, Cooper in 1985 published “Closer”, the first volume of the “Cycle” series. This book later won the first Ferro-Grumley Award for Gay Literature. During this period, Cooper also contributed articles for magazines such as The Advocate, Art in America, and Artforum.
Returning to America in 1987, Cooper published his 1991 novel “Frisk”. He also worked on several art projects including collagist and sculptor Richard Hawkins’s 1988 “Against Nature: A Group Show of Work by Homosexual Men” held at the Los Angeles Contemporary Exhibition space. From 1990 to 2005, Cooper lived in Los Angeles collaborating with other artists including painter Lari Pittman, composer John Zorn, and sculptor Jason Meadows. He also founded the ‘Little House on the Bowery’ imprint, which issued works of new creative writers through the publishing company Akashic Books.
In 1996, Dennis Cooper published s retrospective of his work from 1969 to 1993 entitled “The Dream Police”. This collection includes the best poems from his last five books, both darkly erotic early works and the more refined post-punk works of the later years. In 2000, Cooper published “Period”, the last volume in his “George Miles Cycle”. This series of work, an examination of Cooper’s fascination with sex and violence as well as his love affair with friend George Miles, has been translated into eighteen foreign languages and has been the subject of academic studies. The cycle, in addition to the five volumes, includes two essay collections by Cooper devoted to the cycle: the 2004 “Enter at Your Own Risk” and the 2008 “Writing at the Edge”.
In 2005, Cooper relocated to Paris where he currently resides. He has collaborated with composers Peter Rehberg and Stephen O’Malley, as well as theater director Gisèle Bienne, on several works for the theater including the 2005 “Un Belle Enfant Blonde” and a stage adaption of his 2003 novella “Jerk”. Cooper has since published several novels, short fiction works, and collections of poetry, including the 2004 “Thee Tight Lung Split Roar Hums”, the 2008 limited edition “The Weaklings”, and the 2013 “The Weaklings (XL)”.
Victor Brauner, “Le Surréaliste”, January 1947, Oil on Canvas, 60 x 45 cm, Peggy Guggenheim Collection, Venice
Victor Brauner was a Romania painter and sculptor. He aided in the growth of Surrealist art by developing its vocabulary and drawing inspiration from new sources, including mythology, alchemy, Hinduism, Judaism, and both Aztec and Native Americanbelief systems. Brauner developed a private and very personal iconography and his pictorial presentations of the etheric body had a direct impact on other Surrealist painters.
Brauner was born in June of 1903 in the city of Piatra Neamț nestled in the Eastern Carpathian mountains, His family lived in Vienna for eleven years until they returned to Romania in 1914. Brauner’s father was involved in spiritualism and, in 1916, sent his son to an evangelical school in the city of Brăila, where Victor developed a strong interest in zoology. In 1921, Brauner briefly attended Bucharest’s National School of Fine Arts. He also studied at the private school of Romania director Horia Igiroşanu.
After his studies, Victor Brauner visited the Moldavian city ofFălticeni and the coastal Bulgarian resort town of Balchik, where he painted landscapes in the manner of Cézanne. In September of 1924, he had his first solo exhibition of expressionist paintings at the Mozart Galleries in Bucharest. Brauner also participated in a November 1924 exhibition sponsored by the avant-garde art and literary magazine, Contimporanul.
In 1925 Brauner travelled to Paris for the first time, where he stayed in the same building as Swiss sculptor and printmaker Alberto Giacometti and the French Surrealist painter Yves Tanguy, who introduced him to many of the Surrealists in Paris. Brauner also befriended Romanian sculptor and painter Constantin Brancusi, who taught him the methods of art photography. His circle of friends at that time included poet Benjamin Fondane and artists such as Marc Chagall, Marcel Duchamp, Man Ray, and Robert and Sonia Duchamp.
As Fascism began to take hold in 1930, Victor Brauner settled in Paris more permanently and married Margit Kosch, whom he would divorce nine years later. In 1931 he painted one his most famous images, “Self-Portrait with Plucked Eye”, a work that was eerily prophetic, as on August 28th in 1938 Brauner lost his left eye when he was hit by a glass during a violent argument between Spanish Surrealist painters Oscar Domínguez and Esteban Francés.
Brauner had his first solo exhibition in Paris at the Galerie Pierre in 1934; the enthusiastic catalogue introduction was written by author and poet André Breton. However, the show was not well received and Brauner, disheartened and low on funds, returnedto Bucharest in the following year. During this period in Bucharest, he stopped painting and instead produced illustrations and caricatures, including his 1935 “Anatomy of Desire”. Financially more secure, Brauner moved back to Paris in 1938.
The German army’s advance into France in the middle of 1940 forced Victor Brauner, a Romanian Jew and former Communist, to flee to southern France. He continually moved throughout France, living for a short time with writer Robert Ruis, before finally settling in Saint Feliu d’Amont, a commune in the very southern tip of France. While living there, Brauner unsuccessfully tried to obtain a visa to travel to the United States, however, he managed to get official permission in 1941 to settle in Marseilles, a haven for many Surrealists. In Marseilles, the surrealists continued their work and created a number of collective projects, that included a deck of Tarot cards to which Brauner contributed two images.
Near the end of the war, Victor Brauner moved to Switzerland to escape the increasing Nazi persecution of foreign Romanian nationals. There he discovered pioneer psychotherapist Marguerite Sèchehaye’s writings on schizophrenia, treatises which influenced his later paintings. In 1945, Brauner returned to Paris and placed his work at the Galerie Maeght for the 1947 International Exhibition of Surrealism. Not long after his return to Paris, Brauner was expelled in 1947 from the Surrealist group by André Breton for refusing to support the ouster of prominent member Roberto Matta. Brauner began to experiment in other genres and completely left Surrealism in 1948.
Brauner returned to more personal and primitive themes in his work, in a more stylized and abstracted form, done in the mediums of paper, encaustic painting, and thin oils on board. He established a studio in 1959 at 72 Rue Lepic in the Montmartre district of Paris. After a trip to Italy in 1961, Brauner settled in Varengeville, a commune on the sea in Normandy. In the same year, his work was presented in a solo exhibition at New York City’s Bodley Gallery, a prominent art gallery that became the venue of choice for the Pop Art movement. In 1966, Brauner was selected to represent France and given an entire hall at the Venice Biennale for his work.
After a period of prolonged illness, Victor Brauner died in Paris on March 12th of 1966. He is buried at the Montmartre Cemetery; the epitaph on his tomb reads: “Painting is Life, the Real Life, My Life”.
Note: In ” The Surréaliste”, Victor Brauner borrows motifs from the tarot to create a portrait of himself as a young man. The tarot was a subject of widespread interest to Brauner and other Surrealists. One tarot card, the Juggler (the first card in the Marseille tarot deck), provided Brauner with a key prototype for his self-portrait. The Surrealist’s large hat, medieval costume, and the position of his arms all derive from this figure who, like Brauner’s subject, stands behind a table displaying a knife, a goblet, and coins. In the Waite tarot deck, the first card is the Magician. A sign of infinity (the symbol of life) that appears above the Magician’s head is also depicted on the hat of Brauner’s Surrealist.
Second Insert Image: Victor Brauner, “Le Codex du Poète, Mythologie du Poète, Première Naissance”, 1947, Oil on Canvas, 91.7 x 72.9 cm, Private Collection
Third Insert Image: Victor brauner, “Prelude to a Civilization”, 1956, encaustic and Ink on Masonite, 129.5 x 202.6 cm, The Metropolitan Museum of Art, New York
Fourth Insert Image: Victor Brauner, “La Couronnée”, May 1945, Oil and Wax with Black Ink on Board, 27 x 22 cm, Private Collection
Bottom Insert Image: Victor Brauner, Title Unknown, circa 1945, Encaustic on Board, Private Collection
Born in Baltimore in 1972, Tim Tadder is an internationally acclaimed photographic artist known for his highly inventive, conceptual advertising photography. The son of a commercial photographer, his interest in photography developed at an early age through watching his father develop images in his Baltimore studio.
Tadder earned his Bachelor of Science in Mathematics from The College of William and Mary in Williamsburg, Virginia. He was a high school educator in Costa Rica for five years and, on summer breaks, would take photographs during his mountaineering adventures. Deciding to concentrate on a career in photography, Tadder returned to Baltimore where he had connections in the photography world and worked from his father’s studio as a photojournalist for the local newspaper.
After working for two years in Baltimore, Tim Tadder studiedat Ohio University’s School of Visual Communication and graduated with his Masters of Fine Art in Photojournalism. He did freelance work as a photojournalist in Baltimore, Colorado and San Diego. In 2005, Tadder began his career in commercial and editorial photography. The prestigious Luezer Archive Magazine has for eight consecutive years ranked Tadder in the top two-hundred photographers worldwide. Epson, the world leader in photographic printing technology, recognized him in 2015 as one of the top influential photographers.
Skilled in both video and still photography, Tadder’s preference is to make communicative images through still photography. He consumes images from multiple medias, including movies and art, in an effort to seek those concepts which have not yet been visualized. Tadder enters his photo shoots with an already conceived mental image of the finished product; he then works with his team through multiple techniques and experiments to bring the concept to fruition.
Tim Tadder’s finished work is mainly untouched images captured by his camera; a smaller section of his work is later enhanced by computer graphic imagery. Tadder’s larger shoots , such as the calendar project for the Tecate brand of Mexico’s Cuauhtémoc brewery , required weeks of production work, both before and after the shoot. Inspiration for a shoot comes from many sources. His Bella Umbrella project was a theatrical photogaphic production inspired by images seen on Instagram. The shoot involved models carrying umbrellas to which active smoke bombs had been attached. Multiple approaches to the concept were required before the final product was acceptable.
Intrigued by the Day of the Dead celebrations that occurred in southern California, Tadder created a set of images that paid homage to this cultural event celebrated in many countries. He shot the images both on location and in the studio. Tadder used four female models to represent each of the seasons and set them in the appropriate seasonal backgrounds. The images set in landscapesrepresent the dead’s return for the day; while the indoor studio shots allow the viewers to examine the skeletal face masks, costumes, and backgrounds.
Tim Tadder currently lives with his family in South California and is the CEO of Tim Tadder Stills + Motion, based in Solana Beach, California. His website is located at: https://www.timtadder.com
Photographers Unknown, The Sea Broke Wild Beneath the Cliff
we sailed into the harbor
all the church bells rang
the main street on the crescent shore
hung iridescent silks from windows
stucco house-fronts gleamed
rose, pistachio, peach
and a procession sang
behind a surpliced priest
carrying a burnished Christ
when I set foot on shore
a youth emerged from the crowd
barefoot and olive-skinned
and we climbed up rocky slopes
till dusk fell and close to the moon
at the mouth of a cave we made love
as the sea broke wild beneath the cliff
Harold Norse, Island of Giglio, In the Hub of the Fiery Force: Collected Poems of Harold Norse (1934-2003)
Born in New York City in July of 1916, Harold Norse, born Harold Rosen, was an American poet and writer who broke new ground beginning in the 1950s by his exploration of gay identity and sexuality through plain language and direct imagery.
The only son of an unmarried Lithuanian Jewish immigrant, Harold Norse earned his Bachelor of Arts degree in English Literature in 1938 from Brooklyn College where he edited its literary magazine and began writing poetry. While at the college, Norse entered into a relationship with fellow student Chester Kallman, who became a poet and opera librettist. He and Kallman became part of poet W. H. Auden’s inner circle of acquaintances after Auden and Christopher Isherwood relocated to New York City in 1939. Chester Kallman later became Auden’s companion until Auden’s death.
By the early 1940s as a member of Auden’s circle, Norse cultivated a number of relationships, both professional and personal. He met Allen Ginsberg on a Manhattan subway and became friends with James Baldwin after meeting him in Greenwich Village. Norse spent a summer with Tennessee Williams while the playwright finished his “The Glass Menagerie”, and in 1950 became friends with Welsh poet Dylan Thomas. After earning his Master’s Degree in English Literature at New York University in 1951, Norse met modernist poet William Carlos William who encouraged him to embrace a more direct, conversational language in his poetry.
After accepting Williams’s mentorship, Harold Norse found a common cause with the Beat Generation poets in their rejection of academic poetry and traditional metric formats. as well as, his peripheral status in society as a gay man. Norse began publishing his work in The Paris Review, The Saturday Review, and Poetry Magazine. In 1953, he published his first collection of poem, “The Undersea Mountain”. Frustrated with New York’s poetry scene, Norse began a fifteen year period of travel in Europe and North Africa. While in Italy, he translated the sonnets of Giuseppe Gioachino Belli from the Romanesco, the dialect of Rome, with the assistance of street hustlers.
Between 1960 and 1963, Norse lived in Paris , along with William Burroughs, Alan Ginsberg and Gregory Corso, at the hotel known as “The Bear” in the city’s Latin Quarter. He briefly collaborated with painter and performance artist Brion Gysin on Gysin’s cut-up Dada work. After traveling to Greece where he met songwriter and author Leonard Cohen, Norse went to North Africa where he became friends with stage actor Paul Bowles. He returned to the United States and settled in the Mission District of San Francisco in 1972, which became his home for the rest of his life.There he became friends with writer Charles Bukowski and met Arnold Schwarzenegger, at that time a beginning bodybuilder.
It was in San Francisco that Harold Norse’s literary career became very productive. In 1974, Lawrence Ferlinghetti’s publishing house, City Lights, released Norse’s “Hotel Nirvana” Selected Poems 1953-1973” to critical acclaim. With the publication of “Carnivorous Saint: Gay Poems 1941-1975″, he was considered one of America’s leading gay poets. Norse followed these successes with two more collections: “The Love Poems 1940-1985” and his final volume, “In the Hub of the Fiery Force: Collected Poems 1934-2003”. In 1989, his autobiography, “Memoirs of a Bastard Angel: A Fifty Year Literary and Erotic Odyssey”, was published.
Norse was an outsider of society, Jewish, homosexual and illegitimate, who produced new and technically accomplished work from the fringes of the literary scene in the United States. With the gay liberation movement gathering momentum, his poetry was given a new sense of direction and meaning. Norse wrote new poems about the idea of masculinity, such as his “I Am Not a Man”, and works about unrequited gay love and loneliness. In his latter years, his work reflected on what it meant to be an aged gay man in San Francisco.
Toward the end of his life, Harold Norse was surrounded by a group of friends who looked after him. He still read his poetry at the age of ninety-one to enthralled audiences. Both a two-time National Endowment of the Arts grant recipient and a National Poetry Association Award winner, Harold Norse died on the 8th of June in 2009.
Note: For those interested, I highly recommend a visit to the Harold Norse Centennial website. Dedicated to preserving the work and legacy of Norse, it was established by his close.decades-long friend Todd Swindell. The site contains interviews, readings of Norse’s work, book reviews, videos, photographs, and other articles. The site is located at: https://haroldnorse.com
Born in September of 1829 in Speyer, one of Germany’s oldest cities, Anselm Feuerbach was a painter and a leading member of the nineteenth-century German classical school. He was the son of archaeologist Joseph Anselm Feuerbach and the grandson of legal scholar Paul Johann Anselm Ritter von Feuerbach, whose reformation of the Bavarian penal code led to the abolition of torture.
Anselm Feuerbach studied between 1845 and 1848 at the Düsseldorf Academy under the tutelage of romantic painter Wilhelm von Schadow, landscape painter Johann Wilhelm Schirmer, and Carl Sohn, whose poetic and mythical subjects were executed in the idealistic manner of the Düsseldorf school of painting. Feuerbach studied for a year at the Munich Academy of Art; he however left Munich in 1850 to attend the Academy at Antwerp. There he studied under Belgian painter Gustaaf Wappers, an early exponent of the Romanic movement in Belgium.
Anselm Feuerbach relocated to Paris in 1851 and became a student at the atelier of history and genre painter Thomas Couture. Conture is best known for his 1847 masterpiece “Romans During the Decadence” which wasexhibited at Paris’s Salon a year before the revolution toppled the monarchy. In 1854, Feuerbach received funding from Grand Duke Friedrich of Baden which enabled him to visit Venice, accompanied by his friend, the writer Victor Scheffel. There he was influenced by the technique of layering and blending colors to achieve a glowing richness, a method deemed fundamental to the Venetian Colorist school.
Feuerbach traveled to Florence and then onto Rome where he would remain until 1873, with only brief trips back to Germany. In 1861, he met Anna Risi who became his mistress and sat as his model for four years, a period during which he painted twenty portraits of her. She was succeeded as a model in 1866 by Lucia Brunacci, an innkeeper’s wife who posed for Feuerbach’s depictions of the Greek sorceress Medea. In 1862, literary and art historian Count Adolf Freidrich von Schack commissioned Feuerbach for several copies of Old Master paintings and introduced him to artists Hans von Marées and Arnold Böcklin.
Interested in the Persian poet Hafia since his youth, Anselm Feuervach in 1866 painted his “Hafia at the Fountain” which was acquired two years later by art collector Joseph Benzino, Upon Benzino’s death, the painting was bequeathed tothe Kaiserslautern Art Museum. In 1873,Feuerbach relocated to Vienna and took the position of professor of history painting at the Academy of Fine Arts.Four years later, he resigned his post and moved back to Venice. where he passed away, at the age of fifty, in January of 1880.
In remembrance of Feuerbach, his friend Johannes Brahms composed “Nänie (A Funeral Song)”,a composition for full chorus and orchestra, of which the first sentence states “Even the beautiful must die”. Feuerbach was close to his step-mother Henriette Feuerbach. Throughout his lifetime of travels, he wrote roughly six-hundred letters to his step-mother describing his everyday life and problems, as well as his thoughts on art and his methods of painting. Following Feuerbach’sdeath, his step-mother wrote a book entitled “Ein Vermächtnis (A Testament)” which included his autobiographical notes and many of his personal letters. Anselm Feuerbach’s works are housed in collections of the leading public German galleries.
Born in Los Angeles, California, Patrick Mizumoto is a figurative painter whose work features male figures and landscapes. Self-taught, he also studied painting at the Los Angeles Academy of Figurative Art under the mentorship of Mexican painter, muralist and printmaker Sergio Sanchez. Mizumoto currently resides and maintains a studio in California.
Mizumoto executes his work in oil paints or charcoal with a primary focus on themes of human nature and queer identity. His work, heightened by an understanding of light and shadow, portray figures in energetic and often suggestive poses which are set in backgrounds of swirling colors. In his work, he attempts to capture those moments of discord and harmony we experience in our daily lives.
Patrick Mizumoto has shown his work in multiple exhibitions in California and Hawaii, including the prestigious annual group exhibition, “Commitment to Excellence”, which is presented by the Japanese Chamber of Commerce through the Honolulu Museum of Art. He also presented several works at the Tom of Finland Foundation’s 2014 Emerging Artist Competition. Among these works were the oil on linen “Acceptance and Renewal” and the acrylic on canvas portrait “Sean”, both painted in 2014.
Mizumoto’s work was presented in a 2011 exhibition at Los Angeles’s The Hive Gallery & Studios and, in 2019, at the “My Youth” exhibition held at the Tag Gallery. In 2021, he exhibited work at the “Pow! Wow!” The First Decade: Hawaii to the World” exhibition held by the Thinkspace Gallery in Culver City, California.
Images of Patrick Mizumoto’s work, purchasable prints, and contact information for inquiries can be found at his site: https://patrickmizumoto.com
Bottom Insert Image: Patrick Mizumoto, Title Unknown, 2020, Oil on Panel, 22.9 x 30.5 cm-3
Photographers Unknown, Clouds and Daemonic Thunder Through the Blue Vault
O APRIL, month of Nymphs and Fauns and Cupids,
Month of the Sungod’s kisses, Earth’s sweet passion,
Of fanciful winds and showers;
Apollo, glorious over hill and dale
Ethereally striding; grasses springing
Rapt to his feet, buds bursting, flowers out-breathing
Their liberated hearts in love to him.
(The little black-cap garrulous on the willow
Perching so prim, the crested chaffinch warbling,
And primrose and celandine, anemone and daisy,
Starring the tender herb which lambs already nibble.)
Month of all-gathering warmth,
Of breathless moments, hotter and hotter growing-
Smiles turned to fire, kisses to fierce earnest-
Of sultry swoons, pauses, and strange suspense
(Clouds and daemonic thunder through the blue vault
Then the delirious up-break- the great fountains of the
deep, in Sex,
Loosened to pouring failing rushing waters;
Shafts of wild light; and Sky and Earth in one another’s
Melted, and all of Heaven spent in streams of love
Towards the Loved one.
George Carpenter, April, Towards Democracy, 1911
Born in August of 1844 in Hove, a seaside city located next to Brighton, Edward Carpenter was an English poet, utopian socialist, philosopher, and an early activist for both prison reform and gay rights. Among his most notable philosophical publications was his 1889 “Civilization: Its Cause and Cure” which contained Carpenter’s famous essays on civilization and his theory that it is a disease of mankind that must be cured. Papers included in this collection discuss the rampant ill-health suffered by society as well as criticisms of modern science to support this theory.
One of four siblings, Edward Carpenter was educated at nearby Brighton College where his father served as governor. A late starter academically in life, he was still able to secure a position at Trinity Hall, Cambridge. While at Cambridge, Carpenter was influenced by the teachings of Christian Socialist theologian Frederick Denison Maurice, who had recently founded London’s Working Men’s College. He also began to explore his sexual identity; the most notable example of which was his close relationship with fellow student Edward Anthony Beck, who eventually ended the relationship.
In 1868, Carpenter graduated from Trinity College as tenthWrangler, having earned first-class honors in mathematics. After graduation, he remained in Cambridge and was ordained, by convention and not conviction, as a curate of the Church of England where he served at St. Edward’s parish under F. D. Maurice. In 1871, at the age of twenty-seven, Carpenter was invited, but declined, to become a tutor to Prince George Frederick, later King George V, and his brother Prince Albert Victor, the Duke of Clarence. This position was accepted by his lifelong friend from college, John Neale Dalton, whom Carpenter continued to visit during Dalton’s fourteen-year tutelage to the princes.
Discouraged with his life in the church and university and weary of the hypocrisy of Victorian society, Edward Carpenter immersed himself in reading, particularly finding solace in the works of Walt Whitman whom he would later meet in 1877. He was released from his duties in the Anglican ministry and left the church in 1874. Moving to Leeds, Carpenter became a lecturer with the University Extension Movement, formed to provide education to deprived communities. His lectures on astronomy and ancient Greek culture and music were, however, not attended by the working classes but by mostly middle-class people who expressed no real interest in the subjects.
Disillusioned, Carpenter moved to Sheffield, a crucial center of England’s Industrial Revolution, where he came in contact with its manual workers and, inspired, began to write poetry. During this time in Sheffield, Carpenter became increasingly radical and joined the Social Democratic Federation, Britain’s first organized socialist political party. Upon his father’s death in 1882, Carpenter inherited a substantial sum of money, in excess of six-hundred thousand pounds in today’s currency. This inheritance allowed him to cease lecturing and start a simpler life on a farm managed by Albert Ferneyhough and his family.
Edward Carpenter and Albert Ferneyhough eventually became lovers and moved in 1883, with Albert’s family, to Millthorpe in Derbyshire. In Millthorpe, Carpenter built a large house with outbuildings constructed of local stone with slate roofs; a small business was started with marketable garden produce and handmade leather sandals. As a member of the Social Democratic Federation, Carpenter worked on a number of projects to improve the living conditions of industrial workers. He left the SDF in 1884 and, along with textile designer and author William Morris, joined the Socialist League.
In 1883, Carpenter published the first part of “Towards Democracy”, a long poem expressing his idea of spiritual democracy and a freer, more just society. This tome, heavily influenced by Walt Whitman’s poetry and passages from the Bhagavad Gita, was later expanded several times with the complete edition published in 1905. In 1887, Carpenter published his “England’s Ideal”, a collection of essays which included his “Simplification of Life”. From 1888 to 1889, he lived with Cecil Reddle, an educational reformer whom he helped found the Abbotsholme School, a progressive alternative to public education.
Drawn increasingly to Hindu philosophy, Edward Carpenter traveled to India and Ceylon where he developed the conviction that socialism would bring about a revolution in both economic conditions and human consciousness. His account of the journey was published as the 1892 “From Adam’s Peak to Elephanta: Sketches in Ceylon and India”. On his return to England in 1891, Carpenter met George Merrill, a Sheffield working-class man twenty-two years his junior. After the Ferneyhough family left Millthorpe in 1893, Merrill became his partner, cohabiting from 1898, and remained with Carpenter for the rest of their lives.
Carpenter and Merrill had many friends among activists and artists, including Henry Stephens Salt, founder of the Humanitarian League; author Aldous Huxley; essayist and sexologist Havelock Ellis; actor and producer Ben Iden Payne; Labor activists Bruce and Katharine Glasier; and feminist writer Olive Shreiner. One of his closest friends was the writer E. M. Forester, who often visited the couple at Millthorpe. Carpenter and Merrill’s relationship would inspire Forester during a 1913 visit to write his gay-themed novel “Maurice”.
In 1902, Edward Carpenter published his anthology of prose and verse “Ioläus: An Anthology of Friendship” and, in 1915, published “The Healing of Nations and the Hidden Sources of Their Strife”, a tome against class-monopoly and social inequality. His 1921 book, “Pagan and Christian Creeds” espoused the story of Christ as mythology. In 1922 after the death of Carpenter’s former lover George Hukin, Carpenter and Merrill relocated to Guildford in Surrey. On Carpenter’s eightieth birthday, he was presented with an album, signed by every member of the Labor Party Government, in recognition of his support for the working classes.
In January of 1928, George Merrill, who had grown dependent on alcohol since moving to Surrey, died suddenly. Carpenter was devastated and sold their house and lodged for a short time with his care giver Ted Inigran. They took a small bungalow in Surrey where, in May of 1928, Carpenter had a stroke. He lived for another thirteen months and died on the 28th of June in 1929, at the age of eighty-four. He was interred in the same grave as Merrill at the Mount Cemetery in Guildford, England.
Note: A collection of Edward Carpenter’s works and papers are housed at the Harry Ransom Center of the University of Texas at Austin. This collection includes letters and the hand-written manuscripts of “Toward Industrial Freedom” and “The Trojan War & Constantinople”, among other items.
Born in Osaka in 1961, Keisuke Yamamoto is a Japanese lithographer and painter known for his still lifes and landscape images. He graduated in 1986 from historical Kanazawa’s College of Art and Design with a Master of Fine Arts in Oil Painting and then studied lithographic techniques at a printing studio. Since his graduation, Yamamoto has been an independent painter and lithography artist. He currently lives and works in Kyoto where he maintains his atelier.
Lithography, in essence, requires clear systematic planning in its execution; errors can not be corrected. Yamamoto’s hand-drawn stone lithographs, although appearing simplistic, required great forethought and skill in carving. His work does not contain any narrative but instead focuses on the incredible stillness of a moment in time. The beauty of Yamamoto’s work is created by the interactions between time, silence, light and shadow, the composition of which places the viewer as an observing visitor.
In his “Light, Time, Silence” begun in 1992, Keisuke Yamamoto created a series of lithographs which reconstructed three recurring elements, chairs, stairs and windows, which were arranged in multiple settings with different lighting conditions. The main theme for this series was the conception of the natural flow of time. To achieve this, Yamamoto had to depict the surrounding spaces as well as the gradation of light with great accuracy. He was aware that our ability to see and understand the world visually was based on the light that reflected off various objects. Upon light entering our eyes, our brains process the information and present it to us as a particular object with a particular color and shape. Yamamoto understood the illustration of the visual world depends actually on the depiction of light; and the flow of time must be illustrated through changes in that light.
Born in January of 1904 in the Hampstead area of London, Sir Cecil Walter Hardy Beaton was a British portrait, fashion and war photographer. He was also a painter, an interior designer and a designer of stage set and costumes, for which he received two Academy Awards.
Cecil Beaton was the eldest of four children born to Ernest Beaton, a prosperous timber merchant and amateur actor, and Esther Sisson, the daughter of a Cumbrian blacksmith. His primary education was at Heath Mount School in rural Hertfordshire, where he was recognized for both his singing and artistic talent. Beaton received his initial instruction in photography and film development from his governess. When he considered his work acceptable, he sent photos to London society magazines under a pseudonym.
Beaton attended the prestigious Harrow School in Greater London and then entered St. John’s College at Cambridge, where he studied history, art and architecture. He continued his photographic work during his college years. Beaton, never having a strong interest in academia, left Cambridge without a degree in 1925. After a short period in the family’s timber business, he left and concentrated on a career in his main interest, photography. After a period of study under one of London’s youngest photographers Paul Tanqueray, Beaton set up his own studio in London.
Through the patronage of English author and poet Osbert Sitwell, Cecil Beaton had his first photography exhibition at London’s Cooling Gallery at Southampton Row. This successful show in 1927 established him as one of the leading fashion and portrait photographers of his generation. Beaton was soon hired as a staff photographer for Vanity Fair magazine and both the American and British editions of Vogue magazine. He developed a style of portraiture where the sitter was merely one element of an overall decorative pattern, dominated by backgrounds of unusual materials. In addition to his fashionand society work, Beaton traveledd to the United States and began to photograph many celebrities in Hollywood.
Beaton’s celebrity portraits had a sparse composition and a sensual directness that in essence freed his subjects from their respective eras. Devoted to the social scenes he lived in and passionate for his individual subjects, Beaton was committed to capturing their charisma on film. Among the celebrities he photographed were the solemn looking, plain dressed Gary Cooper in 1931, Greta Garbo at the Plaza Hotel in 1946, and the boyish-looking Truman Capote in 1948. Beaton also took many portraits of the English and foreign elite, including Lady Diane Cooper, Winston Churchill, Caroline of Monaco, and Charles de Gaulle. He also shot a portrait of the young Queen Elizabeth in 1939 and in 1953, photographed her daughter Elizabeth II on her Coronation Day.
During World War II, Cecil Beaton served in the British Ministry of Information, as a leading war photographer covering the fighting in Africa and East Asia. During this period his style sharpened and the compositional range of his photographs widened. Beaton’s photographs taken during the the siege of Britain were published in 1942 in a collection entitled “Winged Squadrons”. After the war, he continued his portrait photography; his style however had mellowed due to his war experience and became less flamboyant. Beaton broadened his work at this time and began to design costumes and sets for both film and theater productions.
One of Beaton’s first designs for the Broadway stage was a 1946 revival of Oscar Wilde’scomedy “Lady Windermere’s Fan” for which he designed costumes, sets, and lighting. In 1956, he designed costumes for the stage production of Lerner and Loewe’s “My Fair Lady”. The success of Beaton’s work led to designs for two of Lerner and Loewe film musicals, the 1958 “Gigi” and the 1964 “My Fair Lady”, each of which earned Beaton an Academy Award for Best Costume Design. For his many Broadway design works, he was the recipient of four Tony Awards. Beaton also designed sets and costumes for the New York’s 1961 Metropolitan Opera and London’s 1963 Covent Garden productions of Puccini’s “Turandot”.
In 1947, Cecil Beaton leased the historic Georgian manor Ashcombe House in Wiltshire after a visit accompanied by sculptor Stephen Tomlin and writer Edith Olivier. He employed architect Michael Rosenauer to make substantial renovations and alterations to the manor. At Ashcombe House, Beaton lavishly entertained such guests as Welsh painter and etcher Augustus John, English aristocrat Lady Diane Cooper, actress Tallulah Bankhead, artist Salvador Dali, and fashion illustrator Christian Bérard. In 1948, Beaton designed a fabric, still used among designers today, which he named “Ashcombe Stripe” after the manor. In 1947, Beaton bought Reddish House in Broad Chalke where he remained until his death.
In his personal life, Beaton had relationships with various men, including his two great loves, British arts patron Peter Watson and American art historian Kin Hoitsma, who was also a former Olympic fencer. He also had relationships with women, including Greta Garbo, the dancer Adel Astaire, and socialite Doris Castlerosse. In 1972, Beaton received the state honor of being knighted at the New Years Honors. Two years later, he suffered a stroke that paralyzed his right side. Although he adapted to the condition and continued his photographic work, Beaton became anxious about his financial security. Philippe Garner of Sotheby’s acquired Beaton’s archive, excluding work of the Royal Family and that held by Vogue, and oversaw its preservation and partial dispersal, which allowed Beaton an annual income.
Cecil Beaton’s health faded by the end of the 1970s. He died in January of 1980, four days after his seventy-sixth birthday, at his home in Broad Chalke; he is buriedin the nearby churchyard. Beaton’s work has been shown in many exhibitions and retrospectives over the years, including at the National Portrait Gallery in Washington DC and the Imperial War Museum in London, among others.
Born in 1859 to German parents in Zurich, Ottilie WilhelmineRoederstein was a painter who gained attention mostly in herhomeland of Switzerland, but also in France and Germany. Her interest in painting began with the visit to her family home by Swiss painter Eduard Pfyffer who had been commissioned to do the family’s portraits. Beginning in 1876, Roederstein was allowed by her father, against her mother’s wishes and the prevailing social customs, to study painting under the tutelage of Eduard Pfyffer, so she would remain close to home
Three years later, Roederstein moved to the Berlin residence of her married sister Johanna and found a positionin a special women’s class at the Grand-Ducal Saxon Art School under the tutelage of portrait painter Carl Gussow. Her first exhibition of paintings at a Zurich gallery in 1882 was well received. That same year, Roederstein followed her colleagues to Paris where she joined the women’s studio of portrait painters Charles Auguste Émile Durand and Jean-Jacques Henner. In addition to these classes, Roederstein also worked with academic painter Luc-Olivier Merson and painted nudes in special private evening classes.
In order to sustain herself as an artist, Ottilie Roederstein had chosen the genres of portraiture and still life, for which she used a dark-toned color palette. She soon departed from that traditional canon and began to paint religious imagery and nudes. By the very end of the 1890s, Roederstein had embraced the tempera medium which was in vogue among both traditional and avant-garde artists. She experimented with Symbolism and Impressionism in the latter part of her career before returning to her signature style in the 1920s.
Initially dependent on financial support from her family, Roederstein was able by 1887 to support herself with sales and commissions for her work. She returned to Zurich but continued to maintain her Paris studio on the Seine where she would work and exhibit several months of the year. Roederstein moved to Frankfurt, Germany, in 1891 to be with her partner, Elizabeth Winterhalter, a physician and one of the first female surgeons in Germany.
In 1891, Elisabeth Winterhalter had justtaken over a practice in Frankfurt am Main’s newly founded hospital, the Vaterländischer Frauenverein. She also set up the first gynecological polyclinic through a branch of the Red Cross organization. Although unable to obtain a German medical license despite her internships and Doctorate, she established a reputation as an obstetrician and gynecologist. In 1895, Winterhalter became the first female surgeon in Germany to perform a surgical procedure involving an incision through the abdominal wall. She also conducted research that led to the discovery of the ganglion cell of the ovary and published a major paper on the subject in 1896.
Soon after her 1891 move to Berlin, Ottilie Roederstein quickly gained a wide circle of clients and, in 1892, began givingwomen artists painting lessons at herstudio in the Städel Art School. She exhibited her paintings in Paris’s Salon and won a Silver Medal at the city’s 1889 Exposition Universelle.Her work was also shown at the Woman’s Building of the 1893 World’s Columbian Exposition held in Chicago, Illinois. In 1902, Ottilie Roederstein’s application for Swiss citizenship was granted; however, Frankfurt remained at the center of her life. Five years later, she and Elisabeth settled in Hofheim am Taurus, a western Frankfurt suburb surrounded by forest.
Roederstein was a member of the Frankfurt-Cronberg Artists’ Association, a group which was attempting to establish the Impressionist technique of open air painting in Germany. She was also the only female artist to exhibit at Cologne’s 1912 International Art Exhibition. In 1913,Roederstein became a member of Frankfurt’s Women’s Art Association which campaigned for women artists’ rights to equal training and admission to art academies. During the first World War as exhibition opportunities shrank, she gave up her Paris studio and withdrew into the privacy of her Hofheim estate. Beginning in 1920, Roederstein bequeathed her own collection of important French and Swiss paintings to Kunsthaus Zürich, one of the most important art collections in Switzerland.
In 1929 on the occasion of Ottilie Roederstein’s seventieth birthday, a large anniversary exhibition of her work was held at Frankfurt’s Art Museum and the city declared both Roederstein and Winte halter as honorary citizens. The rise of the National Socialist Party to power in Germany and the persecution of her Jewish friends and colleagues deeply affected Roederstein. She herself, as an artist, became subject to the state and had to contend with the government’s increasing control over the arts. After the war, Roederstein continued her painting and dida number of portraits of women widowed by the war.
Ottilie Roederstein continued to exhibit regularly until 1931. She produced a large body of work, of which more than eighty were self-portraits. She usually staged herself in a self-confident pose with a stern gaze, a posture that signified her emancipation. On the 26th of November in 1937, Ottilie W. Roederstein died of a heart condition in Hofheim am Taunus. The first posthumous exhibitions of Roederstein’s work were presented in 1938 in Frankfurt, Zurich and Bern in recognition of her artistic legacy and tireless work as a mediator between Switzerland and Germany. After a long period of obscurity, a retrospective of seventy works by Roederstein was held at Kunsthaus Zürich in December of 2020.
After her partner’sdeath, Elisabeth Winterhalter created a joint legacy, the Roederstein-Winterhalter-Stiftung. She died in February of 1952 in Hofheim am Taunus. Winterhalter was buried alongside Roederstein in an honorary grave cared for by the community. For her efforts in opening the medical profession to women, a street in the Niederursel district of Frankfurt is named after her.
Top Insert Image: Photographer Unknown, Ottilie Roederstein in Her Atelier, Date Unknown
Second Insert Image: Ottilie Foederstein, “Self Portrait with Keys”, 1936, 105.3 x 74.6 cm, Städel Museum
Third Insert Image: Photographer Unknown, ” Ottilie roederstein and Elisabeth Winterhalter, Date Unknown
Fourth Insert Image: Ottilie W. Roederstein, “Self Portrait with Hat”, 1904, Oil on Canvas, 55.3 x 46.1 cm, Stäadel Museum
Bottom Insert Image: Photogapher Unknown, Ottilie Roederstein and Elisabeth Winterhalter, Date Unknown, Studio Portrait Print
Born in Staunton, Virginia in January of 1900, Charles William Haines was an American actor and interior designer. He was the third child of seven siblings, two of which died in infancy, born to George Adam Haines, a cigar maker, and Laura Virginia (Matthews) Haines. He became fascinated at an early age with motion pictures and stage performances.
At the age of fourteen, William Haines ran away from home accompanied by an unidentified young man. They both gained employment at the DuPont factory in Hopewell, Virginia, where they earned fifty dollars a week producing nitrocellulose which in its finished form is used for photography. Tracked by the police, Haines made an arrangement with his parents where he could remain in Hopewell and, with his earnings, send support to his family. The two boys remained in Hopewell until the 1915 fire which destroyed most of the city.
Haines relocated to New York City until 1917, when a family crisis caused him to move to his family’s new home in Richmond, Virginia, to lend financial and emotional support. With the family’s recovery in 1919, Haines returned to New York City and settled in the growing gay community of Greenwich Village. He worked at various odd jobs and eventually gained employment as a model. Haines entered the Goldwyn Pictures’s contest, “New Faces of 1922”, and was discovered by Bijou Fernandez, a silent film actress and theatrical agent. Signed to a forty dollar per week contract with Goldwyn Pictures, he traveled to Hollywood in March of 1922 along with fellow contestant Eleanor Boardman.
William Haines initially played uncredited roles; his first significant casting was a high-profile role in director King Vidor’s 1923 silent drama “Three Wise Fools”, for which he received positive notices in reviews. This was followed in the same year by another significant role in Fox Studios’s silent western “The Desert Outlaw”. In 1924, MGM lent Haines to Columbia Pictures for a five-picture deal. The first of these films, the 1924 crime film “The Midnight Express” received excellent reviews.
Haines had his first major personal success with the starring role in MGM’s 1926 silent drama “Brown of Harvard”. The character he played, a young arrogant man later humbled, was a role he would repeat for the next several years. On a publicity trip to New York City in 1926, Haines met James Shields. He convinced Shields to move to Los Angeles and promised to secure him work as an extra in films. Haines and Shields began living together and saw themselves as a committed couple. Although many actors in the film industry knew of their commitment, Haines never publicly affirmed his sexuality and there was no mention of their relationship in the press.
William Haines next appeared in two successful films, the 1925 comedy-drama “Little Annie Rooney”, co-starring with Mary Pickford, and the 1926 comedy “Show People”, co-starring with Marion Davies. He was one of the top five box-office stars from 1928 to 1932. With the advent of sound in film, Haines was able, with elocution lessons, to make the transition and maintain his star status. His first starring role in a full-sound film was the 1929 romance“Navy Blues” for MGM; this was followed by the 1930 western parody “Way Out West”. At this point in his career, Haines was listed as the top box-office attraction in the country.
Haines’s films began to drop at the box-office by the late 1930s. MGM canceled his contract in 1931 and, later, brought him back to the studio as a featured player with a reduced salary. Haines next starred in the film, “Just a Gigolo”; but that production failed to turn his slipping ratings. The MGM Studio finally terminated Haines’s contract with the studio in early 1933.
The termination of Haines was the result of multiple factors.With the depression, studios were very concerned about their films’ profit margins; Haines was aging and had not successfully completed his transition from his early “Brown of Harvard” persona; and Haines, despite not affirming his sexuality publicly, did not agree to a studio-supported lavender marriage as other gay actors had done. The impending Hays Production Code and the decreasing profits from Haines’s films put pressure on the studio and made it difficult for MGM to continue placing him in starring roles.
William Haines’s final two films were produced in 1934 by Mascot Pictures, a studio known for producing serials and B-movies. The first was the romantic comedy “Young and Beautiful”, which starred Haines opposite actress Judith Allen, and the second was a war-romance film “The Marines Are Coming”, in which Haines played opposite Conrad Nagel and Esther Ralston. Although Haines still received offers from minor studios, he made the decision to retire from acting and commit himself to his and Shield’s interior design business. Over his acting career, Haines had appeared appeared in fifty-four films, the majority of which were in starring roles.
In 1930, William Haines and James Shield had begun a successful dual career as interior designers and antique dealers. Hand-painted wallpaper, ottoman tables, and low to the ground sitting rooms became signature pieces of their work. Their antiques and artwork were loaned for film stage sets, including Haines’s personal paintings for Tara’s interior walls in “Gone With the Wind”. Among their clients were friends such as Gloria Swanson, George Cukor, Carole Lombard, and Joan Crawford.In 1937, Haines was hired to decorate the estate of studio executive Jack L. Warner.In the late 1930s through an introduction made by Joan Crawford, Haines and Shield decorated Villa Valentino, a secluded estate owned by Tom Lyle Williams, the founder of Maybelline Cosmetics, and his life-long partner Emery Shaver.
Haines and Shield settled in the Hollywood community of Brentwood and, except for a brief period of Haines’s service during World War II, they remained together and ran their prosperous business. By the time of their retirement in the early 1970s, their clients included socialite and philanthropist Betsy Bloomingdale and Governor Ronald Reagan and Nancy Reagan. Haines was also hired to redecorate London’s Winfield House, the official United States embassy residence, by the U.S. Ambassador Walter Annenberg.
William Haines and James Shield remained together in a relationship for forty-seven years. They enjoyed a high position in Hollywood for decades, supported by many loyal friends. On December 26th of 1973, William Haines died, at the age of seventy-three, from lung cancer in Santa Monica, California. Shortly afterward on March 6th of 1974, James Shield, who was suffering from Alzheimer’s disease, dressed in Haines’s pajamas, wrote a note about his loneliness, andtook an overdose of sleeping pills. They are interred side by side in Santa Monica’s Woodlawn Memorial Cemetery. For his contribution to the motion-picture industry, William Haines has a star on the Hollywood Walk of Fame located at number 7012.
Third Insert Image: Photographer Unknown, Louis B Mayer, William Haines, Marion Davis, and James Shields at the Premiere of “A Tailor Made Man”, March 1931