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Kali Malone

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Honcho Magazine October 1980 - Photographed by Eric Perkins

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Emily Jacir, Memorial to 418 Palestinian Villages Which Were Destroyed, Depopulated and Occupied by Israel in 1948, Refugee tent and embroidery thread, 138" x 115" x 96", 2001

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Toronto, Fourth National Gay Conference, 1976

Charlie Dobie

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there is a connection between Morrison’s quote about racism (”It keeps you explaining, over and over again, your reason for being.“), Sartre on antisemitism (”[antisemites] even like to play with discourse for, by giving ridiculous reasons, they discredit the seriousness of their interlocutors.“), and Sedgewick on discursive structuring (”...it is the interlocutor who has or pretends to have the less broadly knowledgeable understanding ... who will define the terms of the exchange.”)

this appears, to me, to be a kind of lineage of intentional unknowing. which serves a clear purpose within discursive frames. often though, there is a secondary feature to this unknowing which is to connect it to legitimated categories of being. to paraphrase Taiwo, it isn’t about who is in the room, but how the room is constructed and who the walls protect. so to extend it, who does this unknowing benefit; and how then can we understand the presentation of constant newness as a feature of a repressive apparatus which exists to reinforce the walls, which are “challenged” by the presence of the new.

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”My Overdose From Heroin Will Not Be Tragic”

Promotional Poster Greg Ellis, 2022

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Nancy Callan

Selections from The Clown in Me Loves You, 2023

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vintage lgbt pins from the arquives: canada's lgbtq2+ archives

(part one) (part two)

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MIRROR/SENTENCE LUIS CAMNITZER // 1966-68 [vacuum-formed polystyrene mounted on– synthetic board | 18 4/5 x 24 3/5 x 1/2”]

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Felix Gonzales-Torres, Untitled (Lover Boys), 1991

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the cornell university library has digitized its really incredible 2022 exhibition “radical desire: making on our backs magazine”––cannot recommend strongly enough taking a look at the fascinating and funny and sexy and bittersweet collection of materials curated here 

On Our Backs magazine launched in San Francisco in 1984 promising, per the tagline on the cover, “entertainment for the adventurous lesbian.” The photographic images on the cover and throughout were central to its mandate to deliver sexual content for lesbians. The photography also created the greatest difficulties for the magazine’s circulation at a moment when many feminist leaders decried pornographic photographs and film as a form of violence against women. This exhibition presents original photographs created for On Our Backs during its first decade. Made by staffers and freelancers, professionals and amateurs, members of the magazine’s inner circle and its far-flung readership, they convey the fantasies, imagination, humor, rigor, radicalism, political engagement, and ethos of community-building and inclusion that defined On Our Backs and made it a touchstone in the queer press. Additional photographs and documents elucidate the political and erotic contexts into which the magazine emerged, the women behind it, and their business practices and strategies. All materials are drawn from Cornell Library’s Human Sexuality Collection.

Exhibition curators: Kate Addleman-Frankel, Gary and Ellen Davis Curator of Photography, Johnson Museum of Art, and Brenda Marston, Curator of the Human Sexuality Collection, Division of Rare and Manuscript Collections.

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Félix González-Torres, Untitled (A Portrait), 1991

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Art is Not Enough

Gran Fury, 1988

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ACT-UP New York, 1989

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All People with AIDS are Innocent

Gran Fury, 1989