Leslie Lohman Museum


 

Queer Threads
Crafting Identity and Community

Curated by John Chaich
January 17 – March 16, 2014

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This exhibition presents twenty-four artists from around the world who use thread-based craft materials and techniques to examine the diversity of gay, lesbian, bisexual, transgender, and queer experiences. Is this work “gay?” You bet.

Loaded with gender connotations and power hierarchies, fiber traditions such as crochet, embroidery, macramé, and quilting provide a fitting platform for examining iconography, tastes, roles, and relationships socialized within and around gay and lesbian culture.

And thread—be it yarn or embroidery floss—parallels the potential for connectivity. Our commonalities may be as thick as a knot or thin as a string. As individuals we are strands; as communities we are interwoven. Both can be broken or braided.

Many of the artists featured fully employ craft processes to execute their vision. Others mix yarn, string, and fabric with fine art mediums. But all of the artists embrace the power of thread-based crafts to examine stories and ideas unique to our lives as queer peoples.

 

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MITCHELL-WHITBREAD

Allyson Mitchell with Jessica Whitbread
Fuck Positive Women, 2012

Yarn on plastic
10.5 x 16.5 in.
Courtesy of the artists

Reproduced as a widely distributed wheat paste poster, Fuck Positive Women was commissioned by Toronto’s AIDS Action Now to challenge the perception of (particularly queer) HIV-positive women as sexless or passive. Read both as a slur and a plea, the forcefulness of the text contrasts with feminine and craft stereotypes. Mitchell and Whitbread intentionally leave the cross stitch unfinished to draw attention to the absence of the penetrating needle through the exposed plastic and hanging yarn.

In Then and Now (Rainbow Order), Larry Krone forms an irregular rainbow from crochet pieces found in thrift stores across New York and the Midwest. The artist attempts to create the ROYGBIV order but ultimately embraces irregularity and imperfection. Treating the afghan as a symbol of Americana as much as the rainbow flag is a symbol of gay pride, the piece layers regional identity and sexual identity. By hand stitching discarded crafts, Krone uses the individual’s mark to question the meaning embedded in existing forms.


KRONE

Larry Krone
Then and Now (Rainbow Order), 2008

Yarn, wood, and hanging hardware
44 x 39 in.
Courtesy of the artist and Pierogi Gallery, New York


LEVI

Rebecca Levi
Two Ladies, 2007

Cotton floss and cotton fabric
19.75 x 19.75 x .25 in.
Courtesy of the artist

In Two Ladies, Rebecca Levi takes from the visual language of quilting to create a fabric frame around graphic content that she has lovingly hand embroidered: a pair of bare-chested, short-haired, minimally adorned pin-ups from a vintage photograph found at a flea market. In doing so, the artist celebrates non-traditional female—even “soft butch”—beauty through traditionally feminine craft while conjuring hidden queer histories.

Accumulated Pride builds on previous installations using textiles created in the artist’s KNITTING NATION series of actions. This site-specific installation uses scale and shape to comment on the ubiquitous if not over- whelming presence of the rainbow flag as a symbol of gay pride. By returning two stripes—pink for sex and turquoise for art and magic—that have since been edited from Gilbert Baker’s 1978 original design, Collins asks whether mainstream LGBT culture has devalued the powerful role of sexuality and creativity in our lives as queer peoples.


COLLINS

Liz Collins
Accumulated Pride, 2014

Cotton and other yarns loomed during KNITTING NATION performance installations, 2005-2012
114 in. high, depth and width varriable
Courtesy of the artist


SCHNEIDER

Sonny Schneider
Cum On Every Body, 2012

Wool yarn on terrycloth towel
21 x 14in.
Leslie-Lohman Collection, Gift of the artist

Sonny Schneider uses bold humor and vibrant color to address the urgency of the gay male sex drive and the absurdity of gay pride slogans. The organic nature of his hand-embroidered letter forms imply bodily fluids while the text recalls both a rally for unity and a sex-positive manifesto.

In Bona Fide! (In Good Faith!), a selection from her recent Playland series, Maria E. Piñeres employs a range of traditional and idiosyncratic needlepoint techniques to celebrate the gay hustlers of pre-gentrified Times Square sex culture, juxtaposing the visual language of pinball machines with nude pinups in classical poses and evoking nostalgia, risk, losses, and gains. Although she identifies herself as a lesbian, Piñeres often explores erotic power in her work through gay male imagery, countered by the association of needlepoint as women’s handiwork.


PINERES

Maria E. Piñeres
Bona Fide! (In Good Faith!), 2013

Cotton floss on plastic mounted on wood panel
24 x 23 in.
Courtesy of the artist and DCKT Contemporary, New York


MITCHELL

Allyson Mitchell
Queer UnNation, 2011

Yarn and felt
36 x 48 in.
Courtesy of the artist and Katharine Mulherin Contemporary Art Projects, Toronto

Allyson Mitchell and friends carried this banner in a 2011 grassroots march in Toronto called Stonewall TO, originally organized in response to mainstream Toronto Pride’s censorship of the group Queers Against Israeli Apartheid. In this piece and in her practice, Mitchell uses thread-based craft—made by both her own hand and others—to explore the diversity of experiences and politics that fall under the umbrella of the term “queer.”

As a young, gender-creative, queer artist in San Francisco, Carrillo has felt displaced if not attacked by the masculinity and monotony of the mainstream gay community’s aesthetic ideals, like Saint Sebastian being persecuted for his faith. In this self-portrait, gender is ambiguous as a bare male chest is paired with fishnet stockings. The arrows that punctured the saint are replaced with embroidery needles, implying that even the tools that weave and strengthen can be used to pierce and tear us apart.


CARRILLO

Jose "Jai" Andrew Carrillo
Queer Martyred By A Gay Culture: A Self Portrait as Saint Sebastian, 2008

Denim, cotton thread, needles, and lace
36 x 26 in.
Courtesy of the artist


PEPE

Sheila Pepe
Your Granny's Not Square, 2008

Shoelaces, yarn, and hanging hardware
84 x 144 x 48 in.
Courtesy of the artist

As an out lesbian feminist artist, Sheila Pepe explores personal and cultural lineage in Your Granny’s Not Square. By crocheting with shoelaces, the artist honors her grandfather’s profession as a shoemaker and her mother and grandmother’s craft talents. The piece also speaks to both Eve Hesse’s 1969 Right After and Faith Wilding’s Womb Room/Crocheted Environment from the 1972 Womanhouse. By expanding the traditional granny square into a looping wall work, Pepe transforms the intimate act of crocheting into a mysterious, multilayered, amorphous form through which scale, light, and material evoke ideas of the natured and nurtured, the physical and spiritual, and the personal and communal.

John Thomas Paradiso has delicately hand-stitched a trio of multi-colored pansies onto black leather in a circular hoop traditionally used when embroidering. By replacing cotton canvas with sumptuous leather, Paradiso pushes the contrast of butch/femme, top/bottom, vanilla/kink dichotomies and uses craft to link natural materials and forms with the sexual cultures and desires we construct.


PARADISO

John Thomas Paradiso
Leather Pansy II, 2010

Leather, thread, and plastic hoop on basswood panel
10 x 10 x 1.5 in.
Collection of Horst Boelendorf


VINCENT

Nathan Vincent
Locker Room, 2011

Lion Brand yarn over Styrofoam and wood substructure
144 x 228 in. (variable)
Courtesy of the artist

In Locker Room, Nathan Vincent uses the stereotypically feminine mediums of knitting and crochet to explore ideas of gender permissions and socialized roles. Empty and removed from its original context, the life-sized locker room serves as a site of isolation and intimidation as much as it can be a site of connection and attraction. The intricacy of the medium contrasts with the enormity of the scale, inviting both intimate and social interaction with the installation.

This animation is based on cross-stitched frames created by 35 community members participating in workshops led by Longley-Cook in Atlanta to recreate an excerpt from RuPaul’s groundbreaking music video, “Supermodel.” By transforming handmade craft into high-tech video, the resulting piece and related process explore the power of the image, collaboration, and communication. By revealing both the perfect front and rougher back sides of the cross-stitched designs, Longley-Cook draws a parallel between the painstaking medium of cross-stitch and the careful processes of beautification that drag queens and supermodels alike use to construct their own images.


LONGLEY

Aubrey Longley-Cook
RuPaul Cross Stitch Animation Workshop Front View, 2013

Video animation
2.5 seconds
Courtesy of the artist


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