WE STAND IN SOLIDARITY WITH THOSE CALLING FOR RACIAL JUSTICE AND AN END TO ALL FORMS OF OPPRESSION. READ OUR STATEMENT
OCT 18, 2020 - OCT 2021
DEC 1, 2020 - FEB 1, 2021
OCT 7, 2020 - MAY, 2021
![Leslie-Lohman Museum condemns the displays of white supremacy, fascism, hatred, and privilege that the Trump administration incited with an attempt to storm the Capitol on Wednesday, January 6, 2021. The United States has a long, deep history of white supremacy and privilege—under the guise of democracy—that those who believe in civil rights, equity, and horizontal structures must continue to fight and dismantle by prioritizing and listening to marginalized voices in our government and at all levels of society. The injustices directed at the Black Lives Matter movement protesters over the summer remain indelible, and in stark contrast to treatment and rhetoric perpetuated by law enforcement at the Capitol. What occurred last Wednesday was not a protest, but a planned insurrection by rioters seeking to keep their privilege and power intact. As a queer art museum, Leslie-Lohman is committed to fighting (and supporting artists who fight) the dismantling of unjust and lethal power structures including homophobia, transphobia, racism, classism, and systemic privilege.
#LeslieLohmanMuseum
[Image: Jan Lynch, “Gay Pride March” (1993). Silver gelatin print. © Jan Lynch #LeslieLohmanCollection]](https://scontent-lga3-1.cdninstagram.com/v/t51.29350-15/137565631_1122541688187556_1041226294610779952_n.jpg?_nc_cat=100&ccb=2&_nc_sid=8ae9d6&_nc_ohc=bFVCrywGIr4AX9z1Kzc&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=1cec9371232bbd17b6551fdaee03c88e&oe=602B89F2)
![Recognize this image? In addition to drawing from significant historic figures and sights, Chitra Ganesh (@chitraganeshbkny), in her #QueerPower installation, “A city will share her secrets if you know how to ask” includes references to other queer artists, collectives, and political actions. The duet pictured here, in profile, kissing as they float on a small white cloud references the iconic Gran Fury image from 1989 tilted, “Kissing Doesn’t Kill: Greed and Indifference Do” which featured artists Lola Flash (@flash9) and Julie Tolentino (@thejulietolentino). The original postcard was one of many political art actions that manipulated advertising and media strategies to reach a broad audience with information about the AIDS Crisis. The back of the postcard read “Corporate greed, government inaction and public indifference make AIDS a political crisis.”
Visit Ganesh’s installation anytime day or night, the work is illuminated 24/7 through October 2021.
[Image: Chitra Ganesh, "A city will share her secrets if you know how to ask" (detail), 2020, site-specific #QUEERPOWER public art installation. Courtesy the artist.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/136751508_1097183567372177_6637035313075017000_n.jpg?_nc_cat=100&ccb=2&_nc_sid=8ae9d6&_nc_ohc=UJNcso2C-hgAX-BKVuf&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=429e145afb40f67998116bd3b68051c3&oe=602C375A)
![Exhibition alert! We’re excited to share that a selection of Patrick Angus' work from the #LeslieLohmanCollection will be featured in a solo exhibition of the artist's paintings and drawings at Bortolami Gallery (@bortolamigallery)! The exhibition “Patrick Angus (1953 – 1992)” opens Friday, January 15, and is on view through February 20, 2021. Head to Bortolami to learn more.
Need an introduction to Angus’ work before seeing the show #IRL? Read this essay by Dr. Ulrike Groos featured in "The Archive" journal (Dec. 2018). The excerpt is from the catalogue published by the Kunstmuseum Stuttgart (@kunstmuseumstuttgart) as a companion to Angus’s 2018 retrospective, “PATRICK ANGUS: Under the Surface". 🔗in our profile!
#LeslieLohmanMuseum
[image: Patrick Angus, “Hanky Panky”, 1990, Acrylic on canvas, 40.5 x 54.25 in. Founders’ gift Collection of Leslie-Lohman Museum.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/135704732_438288120535484_9000585637060955080_n.jpg?_nc_cat=105&ccb=2&_nc_sid=8ae9d6&_nc_ohc=jDbfaVb5dvoAX_Qgy7Q&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=77756307752d85574255d8fb7b78be5d&oe=602ABA3D)
![Happy first week of 2021! We are excited to begin the new year by announcing our new fellowship cohort. The #LeslieLohmanMuseum Artist Fellowship, now in its fourth year has expanded on centering queer artists of color to include international artists with a focus on artists working in, or hailing from the Caribbean, along side artists from #NYC and the US. Working remotely, this international cohort has already begun to initiate new ways of thinking around their art practice, and currently exploring an art practice operating in different cities, with different cultures.
The fourth Cohort includes Anna Parisi (@aluparisi), Bassem Saad (@bascheme), Eva Wo (@yoevawo), Felicita Felli Maynard (@photofelli), Kearra Amaya Gopee (@kearramaya), Leasho Johnson (@leasho_johnson), Maksaens Denis (@maksaens), Maria Jose Maldonado (@saymariajose), Patricia Cruz (@pecacruz), Po Rodil (@po.rodil), Shikeith (@shikeith), Sinan Tuncay (@sinantuncay), and Vick Quezada (@vickquezada). Stay tuned for more to come.
#LeslieLohmanFellowhsip #LeslieLohmanMuseum
[Image: Leslie-Lohman Museum Artist Fellowship cohort 4, (L-R): Maria Jose Maldonado, Eva Wo, Ana Parisi, Bassem Saad, Kearra Amaya Gopee, Felicita Felli Maynard, Maksaens Denis, Vick Quezada, Po Rodil, Sinan Tuncay, Shikeith, Leasho Johnson, Patricia Cruz.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/135800345_827835688065446_7017551056634582696_n.jpg?_nc_cat=109&ccb=2&_nc_sid=8ae9d6&_nc_ohc=3w-rTwTTeTAAX8JgDHI&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=10de93cc71f7a273033065a82b0c7e40&oe=6029837B)
![Happy New Year from the Leslie-Lohman Museum of Art. We would like to close this brutal year by recognizing the continued hardships that our communities have experienced, especially our Black, trans-femme, and gender non-conforming communities. The twin pandemics of 2020 have magnified long-seated racial and economic inequalities that will continue to have a significant impact on those most vulnerable and marginalized for years to come. Through it all, we are so grateful for your unwavering support. Your generosity came in numerous forms; notes of encouragement and appreciation, participation in our virtual programs, fiscal support and partnerships, holding us accountable in the work we do, and, most significantly, continuing to believe in the necessity of a multifaceted queer perspective in art. The virtual gathering spaces we have made since March would not have been possible without the hard work of our dedicated staff and the support of our community.
Your generosity and your participation have kept us motivated. We cannot wait to welcome you back into the Museum’s physical space on February 6, 2021, with the opening of our new exhibitions, “Laura Aguilar: Show and Tell”, the first comprehensive retrospective of photographer Laura Aguilar, and “Dissolution”, which features works of art created by the first two cohorts of the annual Leslie-Lohman Museum Artist Fellowship. Until then we hope you enjoy this festive image by Thomas McGovern to welcome in 2021. Wishing you a happy and healthy, safe, and brighter New Year!
#LeslieLohmanMusuem
[Image: Thomas McGovern, “Drag at Night of 1,000 Gowns, 1991, Silver gelatin print. Gift of the artist, #LeselieLohmanCollection]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/134164618_2802624540057502_8616315963776253533_n.jpg?_nc_cat=101&ccb=2&_nc_sid=8ae9d6&_nc_ohc=ty4sauD2DJ0AX-wRVFf&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=497fad0a439acaae16d035b91ea7a237&oe=602AD468)
![“It was crucial for me to develop a queer utopia imaginary that was capacious enough to hold the complexity of [our] experiences—as New Yorkers and as citizens of the world— the breadth of joy and suffering at once, to recognize that the ground we stand on is built in equal parts of abundance and violence, of celebration and dissent,” says artist Chitra Ganesh (@chitraganeshbkny) reflecting on her new #QUEERPOWER commission, “A city will share her secrets if you know how to ask”. The site-specific work (on view through October 2021), is composed of 10 window panels that wrap the exterior facade of the Museum with imagery of queer knowledge, protest, survival, and joy. The installation incorporates both historical and speculative imagery to illuminate the queer and transgender histories of downtown #NYC as well as sites drawn from the architecture of Seneca Village, 17th-century Lenape settlements, and structures that have since been violently erased. The installation continues the artist’s commitment to honor femininity and social formations that are overlooked or excluded from mainstream discourses of queerness and race, and queer Asian & South Asian communities.
Ganesh’s installation is one of the few exhibitions we have been able to share this year that can be viewed and experienced safely in physical public space. Please visit the exterior of the Museum anytime day or night, the exhibition is illuminated 24/7, to enjoy Ganesh’s powerful work. AND while you’re here don’t miss Rashaad Newsome’s (@rashaadnewsome) BLACK MAGIC vinyl in the adjacent windows of our Living Room Gallery.
#LeslieLohmanMuseum
[Image: Chitra Ganesh, "A city will share her secrets if you know how to ask", 2020, site-specific #QUEERPOWER public art installation. Courtesy Leslie-Lohman Museum of Art. Photo: (c) Kristine Eudey.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/134395569_252406242941471_5238645911818371563_n.jpg?_nc_cat=109&ccb=2&_nc_sid=8ae9d6&_nc_ohc=diifYcumZzEAX9xHr6u&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=0528b789441d16e7b91ec8dee6fca946&oe=60299739)
![Have you seen the new work in our windows by artist Rashaad Newsome (@rashaadnewsome)? BLACK MAGIC is Newsome’s tripartite project, which launched on #WorldAIDSDay with a multi-channel work and live performance in Time Square co-commissioned with Times Square Arts (@tsqarts) (on view through Dec. 31) and a parallel installation of vinyl wallpaper in the Museum’s Living Room Gallery windows. The work draws from traditions of performance and improvisation born out of Black liberation movements. The pattern, "King of Arms Tincture," on view through February 1, 2021, is conceptualized by the artist as "a kind of armor creating a more liberatory space for the Queer Black bodies performing within the installation," with a design that references the parades and balls drawn from Newsome’s experiences growing up in New Orleans, as well as the design of domestic lounges and gathering spaces for relaxation and joy. The project continues in 2021 with the debut of a new film by the artist on leslielohman.org and a virtual event presented in partnership with Eyebeam (@eyebeamnyc). Stay tuned for more information!
Head to Wooster St. between Gand St. and Canal St. to enjoy Newsome’s wallpaper as well as artist Chitra Ganesh’s (@chitraganeshbkny) street facing installation “A city will share her secrets if you know how to ask”. Both works illuminate the exterior windows of the Museum day and night.
#LeslieLohmanMunsem
[Image: Rashaad Newsome, "Black Magic", 2020. Photo: © Kristine Eudey]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/132051219_250658406487018_1637199972596784302_n.jpg?_nc_cat=103&ccb=2&_nc_sid=8ae9d6&_nc_ohc=CMsAnhRHgs0AX8hNXTE&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=ca608896301f338e52df771265bfd9d1&oe=602BF4F3)
![Happy Monday! We're heading into the week with an exciting exhibition alert🚨! On February 6, 2021, the Museum reopens, #IRL with part one of the two part exhibition, “Dissolution”. The exhibition features works created by the first two cohorts of the annual Leslie-Lohman Museum Artist Fellowship (2017-18 and 2018-19). The Fellows exhibited come from disparate backgrounds and engage in equally divergent art practices, and their artwork presents a multitude of positions within contemporary queer identity. Dissolution refers to artistic strategies of negation and undoing, in which representations of hierarchical and normative structures are fragmented, dissolved, or upended, in an act of resistance to the structures of oppression they uphold. Works in the exhibition subvert and reimagine signifiers of masculinity, imagine new forms of childhood, or resist linear narratives of progress.
Part 1 (Feb 6 -Mar 13, 2021) includes artists Buzz Slutzky, Catalina Schliebener, Eric Rhein, Gwen Shockey, Kiyan Williams, Kristine Eudey, Max Colby, Michael Childress, Rodrigo Moreira, Vanessa Rondon.
Part 2 (April 11-May 25, 2021), includes artists Boris Torres, Caitlin Rose Sweet, Carrie Hawks, Christopher Nuñez, Desiree Almoradie, Eduardo Shlomo Velazquez, Frederick Weston, Jason Villegas, Lola Flash, Nash Glynn, Sal Muñoz, Seyi Odebanjo.
#LeslieLohmanMuseum #LeslieLohmanArtistFellowship
[Image: Catalina Schliebener (@catalina_schliebener), "Satanic Panic series, Monster Inc.(Sulley)", 2019, Porcelain figurine, articulated plastic figures, paper, light box, Variable sizes. Courtesy the artist.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/132014772_454160798912769_2456065705611067990_n.jpg?_nc_cat=103&ccb=2&_nc_sid=8ae9d6&_nc_ohc=RfLCTjVo_GMAX_OyQ6_&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=8fc40426fbe092bb74a26ce1f1ada4b0&oe=60299F72)
![Through the simplest of lines and shapes, Jennifer Bartlett (b. 1941) gives us a quietly vibrating landscape, evoking the starkness and hush of winter. Bartlett's titular house is nestled among grids: a row of thicket-like black lines, vertical, horizontal, and diagonal--and a square field below. Each line brims with individuality--some are straight, some gently waver, some meet and then diverge again.
The house itself--a box and a triangle--is a rudimentary icon, a motif that has appeared in Bartlett's work since the late 1970s. Subjecting it to endless analysis, repetition, and refiguring, Bartlett (like many others working in the context of second-wave feminism) deconstructs any fixed notions of domesticity and the meaning of "home." Even the painting's ground and support--yet another grid, made of steel plates--was inspired by road and subway signs, pointing to this symbol's endless deferment and lack of fixity. For many, queerness comes with a complicated relationship to the idea of home, especially at this time of year. This piece came into LLM's holdings through the collection of the late artist Tony Feher (1956-2016) whose predilection for repetition and what Wayne Kostenbaum (@wayne.koestenbaum) called "kinky rigor" found an affinity with Bartlett's compositions—and perhaps, with her subtle troubling of "home."
#LeslieLohmanMuseum
[Image: Jennifer Bartlett, "House (Christmas)", 2002, Heated enamel on steel plate. Gift of the Estate of Tony Feher.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/131912514_306279174036512_454976872561639164_n.jpg?_nc_cat=100&ccb=2&_nc_sid=8ae9d6&_nc_ohc=CcxICGkL6twAX-f4_kx&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=dc0ca95836c16738de510e0c99f1102d&oe=602A864C)
![#ComingSoon “LAURA AGUILAR: Show and Tell” on view #IRL, beginning February 6th, 2021. We are thrilled to reopen the Museum's doors with the first comprehensive retrospective of photographer Laura Aguilar (1959-2018), assembling over 70 works produced over three decades. Through photographs and videos that are frequently political as well as personal, and which traverse performative, feminist, and queer art genres, Aguilar offers candid portrayals of herself, her friends and family, and LGBT and Latinx communities. Aguilar’s now iconic triptych, “Three Eagles Flying” (1990), set the stage for her future work by using her nude body as an overt and courageous rebellion against the colonization of Latinx identities — racial, gendered, cultural, and sexual. Her practice intuitively evolved over time as she struggled to negotiate and navigate her ethnicity and sexuality, her challenges with depression and auditory dyslexia, and the acceptance of her large body. This exhibition tells the story of the artist who for most of her life struggled to communicate with words, yet ironically emerged as a powerful voice for numerous and diverse marginalized groups.
The exhibition is organized by @vpam_arts in collaboration with the @ucla_csrc, and is guest curated by Sybil Venegas, Independent Art Historian and Curator and Professor Emerita of Chicana/o Studies at @elachuskies.
[Image: Laura Aguilar, "Grounded #111", 2006. Inkjet print, 14.5 x 15 in. Gift of the Laura Aguilar Trust of 2016, jointly acquired by the Vincent Price Art Museum Foundation and the Los Angeles County Museum of Art.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/131600687_1806128369539933_6671302736867030617_n.jpg?_nc_cat=108&ccb=2&_nc_sid=8ae9d6&_nc_ohc=FtO_eZ4c9pQAX_tY9bQ&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=8060856eba3ea7bba7a295eb59e8ce68&oe=602B12B9)
![Exciting announcement! After a long search, we are thrilled to announce that Alyssa Nitchun (@alyssanitchun)who has worked for several years at the intersection of art, culture, and social justice, has been named Executive Director of the Leslie-Lohman Museum of Art 🎉 ! Nitchun most recently served as Acting Executive Director at @creativetime, where she helped realize an ambitious program of socially concerned art projects and convenings. She previously served as Deputy Director and Director of External Affairs, among other roles spanning a seven year tenure at the vanguard public art organization, enhancing its audiences and presence in the Middle East, Mexico, Canada, and Europe. Nitchun will succeed our dedicated Interim Director Laura Raicovich (@lauraraicovich), who has led the Museum during the pandemic and our temporary closure to help stop the spread of COVID-19. “The Museum possesses a reputation and gravitas that deserves to be extended nationally and internationally. I will be passionately focused on expanding and deepening its ability to serve as an LGBTQI+ sanctuary, catalyst, and provocateur,” Nitchun said. She will begin her directorship in a moment when the institution strives to hold space for multiple subjectivities, be an intersectional platform, and bridge the gap between the physical and virtual with a rich, diverse, and inclusive array of programs and special events. “I have long championed the role and voice of the artist in society and culture. I look forward to ensuring Leslie-Lohman is a living, adaptive Museum, responsive to the times in which we live and above all to the intersectional evolution of LGBTQI+ communities. Join us in welcoming Alyssa Nitchun to the #LeslieLohmanMuseum.
Head to the link in our profile to read the @nytimes exclusive announcement!
[image: Alyssa Nitchun, 2020. Courtesy The Leslie-Lohman Museum of Art. Photo: (c) Khaled Jarrar]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/130832411_302640594607091_8537391682831265695_n.jpg?_nc_cat=107&ccb=2&_nc_sid=8ae9d6&_nc_ohc=H-x_9wFk-JMAX_jDGik&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=ecb9c7609f99b30951c7e25e7844f88b&oe=602CE47C)
![T-2 days until the next Remote Intimacies featuring artist Mikki Yamashiro—better known as Professional Wrestler, Candy Pain (@candy_pain_official_fan_club)—Wednesday, Dec. 16, 8-9:30 PM (EST). 💪💪 RSVP via the 🔗 in our profile 💪💪
According to her, there are only 2 things you need to know about Candy Pain; "she loves to wrestle and she hates men." After a tragic tag team match in the ring, Ms. Pain retires from the mayhem of Professional Wrestling, only to find herself in the chaos and dirty fighting of Washington, DC. Tune into Remote Intimacies for a live reading of, “Candy Pain goes to Washington”. An angry, Lesbian, Professional Wrestling -centric reinterpretation of “Mr. Smith Goes to Washington”. Will Candy Pain crush the corrupt corporate careerists on the Senate floor, or will this bruiser end up a loser?
Click 🔗 in our profile to secure your spot in the ring!
Remote Intimacies is a series of new and experimental performances created specifically for online viewing and commissioned and co-organized by @onearchives at USC Libraries and the Museum. Participants include Brontez Purnell (@brontezpurnell); Joseph Liatela (@josephliatela); and Mikki Yamashiro (face_of_a_farter). Additional artists for the spring Remote Intimacies program will include Lukaza Branfman-Verissimo (@bluekaza) and Young Joon Kwak (@youngjoonkwak).
[Image: Candy Pain by Amy Von Harrington.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/131210636_3604819276231094_989324201264872201_n.jpg?_nc_cat=109&ccb=2&_nc_sid=8ae9d6&_nc_ohc=9d5bYtClvHgAX9_nHPJ&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=624f1ccf3d0b4bea55b2ac0356c8ac37&oe=602C75FF)
![“I’ve long been aware that feminism’s focus on process (consciousness-raising, the idea that the ends do not justify the means, etc.) is compatible with post-Minimal concerns with material and process in my work, and vice versa." —Harmony Hammond, (2016, @brooklynrail interview)
We’re bringing the week to a close with Harmony Hammond’s “Tiny Aperture #3”, 2013. The near-monochrome print punctuated with a grid of grommeted holes is a part of the #LeslieLohmanMuseum permanent collection. Hammond (b.1944) is an artist, activist, writer, and curator who was a leading figure in the development of the feminist art movement in New York City in the 1970s. Spanning painting, sculpture, textile, collage, and installation, Hammond’s work continues to evoke feminist ideologies and concerns of craft and material process through modes of post-minimalism and queer abstraction. Her work has been described by @white_columns as “frequently occupying a unique space between painting and sculpture”. Hammond was a co-founder of A.I.R. (@airgallery), the first women’s cooperative art gallery in New York founded in 1972, and of the quarterly publication “Heresies: A Feminist Publication on Art & Politics”(1976). She is also the author of the essential “Lesbian Art in America: A Contemporary History", the first history of lesbian art in the United States, documenting works since 1970.
[Harmony Hammond, “Tiny Aperture #3”, 2013, Monotype on paper with grommets, 8.375 x 6.375 in. Collection of Leslie-Lohman Museum.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/130893345_222284515929199_7334845918050232620_n.jpg?_nc_cat=108&ccb=2&_nc_sid=8ae9d6&_nc_ohc=vTwOqGvueRUAX9ebD4g&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=a5622bfb9c83f2147e720878b8852fc5&oe=602C4197)
![It’s with a heavy heart that Leslie-Lohman Museum shares the news of the passing of Wayne Snellen (1942-2020), last Friday evening, December 4th. Snellen served as the Registrar for the Museum before retiring to focus on his painting practice, in 2017. Prior to becoming our Registrar, he held several roles including dedicated volunteer and for a short period of time, the interim director of Leslie-Lohman Gay Art Foundation. Snellen was a deeply cherished member of the LLM community and we will miss his quiet warmth. We send our condolences to those closest to him. The following is a tribute from our co-founder Charles Leslie:
“A memory of Wayne... Sitting in our basement gallery many years ago a young man walked in and said he had heard that I had been looking for an assistant to help run our fledgeling Gay Art Foundation. After a bit of back-and-forth, Wayne came on board ultimately becoming a later director and most importantly, a treasured friend. His contributions to the foundation's success cannot be overestimated. It eventually was proclaimed the Leslie-Lohman Museum of Gay and Lesbian Art and Wayne will forever be remembered as one of its founding fathers.” —In fond remembrance, Charles W. Leslie
#WayneSnellen #LeslielohmanMuseum
[Image: Wayne Snellen, Deputy Director for Collections, in the museum’s collection storage area, 2014. Photo: (c) Johnathan M. Lewis]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/130879615_1257691674631467_1026066570533570580_n.jpg?_nc_cat=104&ccb=2&_nc_sid=8ae9d6&_nc_ohc=ifS3LzRnpe0AX9hm48U&_nc_oc=AQmAjbDlNAiYUH8vJQH5khZBNnVPKfaJgk-uiKCq9KRU76vQybgfhz91buWlTZBiIns&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=b297fb3d37f96976d0632bb02f48acad&oe=602AA806)
![“I see this dance form [vogueing] as an open-source code. The language or binary code is based on five elements: hands performance, catwalk, floor performance, spin dips, and duck-walking. I'm fascinated by how different performers continue to add to the code.” writes Rashaad Newsome (@rashaadnewsome).
TOMORROW DEC.10 from 11:30 PM (est) to midnight, Newsome invites the public to a special, socially distanced, live performance with several dancers from the New York Ballroom community at Broadway plaza between 46th and 47th street in celebration of his tripartite project, BLACK MAGIC. Newsome’s new site-specific work which combines improvisational performance, animations, and intricately designed graphics is part of @tsqarts, “Midnight Moment”.
*VIEWERS ARE REQUIRED TO WEAR MASKS AND STAY SOCIALLY DISTANCED.
[Image: (c) Rashaad Newsome, "Black Magic" (detail), 2020]
#LeslieLohmanMuseum](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/130242709_135143111701528_1675892024528458659_n.jpg?_nc_cat=109&ccb=2&_nc_sid=8ae9d6&_nc_ohc=Uigx-HkFtcMAX-fHqnt&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=c012c10cf9ccade75b621aeb3c106084&oe=602CB7CB)
![Tune in next Wednesday, December 16, 8 PM (EST) for a live reading by Mikki Yamashiro, aka, Professional Wrestler, Candy Pain (@candy_pain_official_fan_club), for the next installment of our ongoing series Remote Intimacies. RSVP via the 🔗 in our profile. The reading will be followed by a conversation between the artist and #LeslieLohmanMuseum Chief Curator and Director of Programs, Stamatina Gregory (@insta_matina).
In her words, there are only 2 things you need to know about Candy Pain; “she loves to wrestle and she hates men.” After a tragic tag team match in the ring, Ms. Pain retires from the mayhem of Professional Wrestling, only to find herself in the chaos and dirty fighting of Washington, DC. Tune into Remote Intimacies for a live reading of, Candy Pain goes to Washington. An angry, Lesbian, Professional Wrestling-centric reinterpretation of "Mr. Smith Goes to Washington". Will Candy Pain crush the corrupt corporate careerists on the Senate floor, or will this bruiser end up a loser? Click the 🔗 in our profile to RSVP to the main event NOW! NOW! NOW!
Remote Intimacies is a series of experimental performances created specifically for online viewing and commissioned and co-organized by the ONE Archives at USC Libraries (@onearchives) and the Museum.
[Image: Candy Pain, painting by Takako Olson (Mikki Yamashiro’s mother). Courtesy Mikki Yamashiro.]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/130246358_417996042718203_2325961047069151654_n.jpg?_nc_cat=105&ccb=2&_nc_sid=8ae9d6&_nc_ohc=kigMOp6GGf4AX-cpPBp&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=5d9fe8c9cbe3a2b9170c3237a55e2403&oe=602D0780)
![SAVE THE DATE! Tuesday, December 15, 6-7:30 PM EST, join us for “Searching for missing narratives” a conversation presented by Residency Unlimited (RU) (@residencyunlimited) with artist Carlos Motta (@carlosalejandromotta), Karol Radziszewski (@karolradziszewski), and our own Interim Director Laura Raicovich (@lauraraicovich). The panel discussion will reflect on how the past can be used for shaping a better future and how to think about history whilst actively re-writing it.
“In the light of the recent protests and mass demonstrations led by repressed groups throughout Poland and the USA, the artists Karol Radziszewski (RU Alum 2011) and Carlos Motta will share how their respective and extensive archival based practices focus on queering and decolonizing histories to challenge dominant and normative discourses through artistic strategies and institutional critique. They will be joined by Laura Raicovich who provides a unique perspective as curator, writer and Interim Director of Leslie-Lohman Museum of Art.”
More information and RSVP via 🔗 in our profile!
Karol Radziszewski is an artist and founder of The Queer Archives Institute (@QueerArchivesInstitute), a non-profit artist-run organization dedicated to research, collection, digitalization, presentation, exhibition, analysis and artistic interpretation of queer archives, with special focus on Central and Eastern Europe.
Carlos Motta is an artist and historian of untold narratives and an archivist of repressed histories, committed to in-depth research on the struggles of post-colonial subjects and societies.
This program is initiated and funded by the Polish Cultural Institute New York (@polishculturalinstituteny).
[Image: Queer Archives Institute, installation detail, 2016, Videobrasil, São Paulo]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/129751443_892747808197010_4344062795499069985_n.jpg?_nc_cat=101&ccb=2&_nc_sid=8ae9d6&_nc_ohc=SebzMfHAjK8AX8mgk8f&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=26402a467f5d0e6940ef34b37f15284b&oe=60298944)
![Today, December 1 is World AIDS Day. In partnership with @visual_aids, an arts-based organization that uses art to fight AIDS, #LeslieLohmanMuseum is proud to support Day With(out) Art 2020.
This year Visual AIDS presents a program of six new videos about the ongoing HIV and AIDS crisis, from artists around the world: Jorge Bordello (@jorgebordello), Mexico; Gevi Dimitrakopoulou (@gevidimi), Greece; Las Indetectables (@shalistika), Chile; George Stanley Nsamba (@theghettofilmmaker), Uganda; Lucía Egaña Rojas (@luciaegana), Chile/Spain; and Charan Singh (@random_access01), India/UK.
As the world continues to adapt to living with a new virus, COVID-19, these videos offer an opportunity to reflect on the resonances and differences between the two epidemics and their uneven distribution across geography, race, and gender.
Starting today, TRANSMISSIONS is available to view online for free. Watch the full video program at visualaids.org/transmissions or follow the 🔗 in our profile.
#daywithoutart
[Image: Gevi Dimitrakopoulou, “This is Right: Zak, Life and After”, 2020. Commissioned by Visual AIDS for Day With(out) Art 2020. Still courtesy of Visual AIDS]](https://scontent-lga3-1.cdninstagram.com/v/t51.29350-15/128892243_827363464720461_4314693455412937781_n.jpg?_nc_cat=100&ccb=2&_nc_sid=8ae9d6&_nc_ohc=OlgQf10H33MAX8ovCRV&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=3e9278191367260df04ba7b0dffc5612&oe=602939DE)
![“I feel that the power of Black creative and resistance modalities are akin to Quantum Physics”, remarks Rashaad Newsome (@rashaadnewsome) whose tripartite project, BLACK MAGIC (2020) launches with two simultaneous events on December 1, World AIDS Day. The premiere of “Black Magic”, a multi-channel work and live performance co-commissioned with Times Square Arts (@tsqarts) that combines improvisational performance, animations, and intricately designed graphics, opens with a parallel installation of vinyl wallpaper in the Museum’s Living Room Gallery windows. That pattern, the "King of Arms Tincture," is conceptualized by the artist as "a kind of armor creating a more liberatory space for the Queer Black bodies performing within the installation," with a design that references the parades and balls drawn from Newsome’s experiences growing up in New Orleans, as well as the design of lounges--gathering spaces for relaxation and joy. The project continues in 2021 with the debut of the full film by the artist on leslielohman.org and a virtual event presented in partnership with Eyebeam (@eyebeamnyc).
Bringing together the visual, musical, and performative expressions of marginalized communities through boundary-defying cross-cultural aesthetics is at the heart of Newsome’s practice. Through this installation, Newsome hopes to encourage an interrogation of family dynamics and community constructions in a celebration of difference and togetherness.
Learn more about Newsome's project via the @nytimes exclusive out today! 🔗 in our profile.
[Image: (c) Rashaad Newsome, "Black Magic", 2020]](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/128201405_385503822561426_6981010735072711242_n.jpg?_nc_cat=110&ccb=2&_nc_sid=8ae9d6&_nc_ohc=ngQcXnG4P10AX8E3uAy&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=adef666a251c1ee3ca269d9d426b4e70&oe=602C7E05)
![Mark your calendars! This MONDAY, November 30, 6 PM (EST) we are excited to partner with Visual AIDS (@visual_aids) for Day With(out) Art 2020 by screening TRANSMISSIONS! The program features six new videos about the ongoing HIV and AIDS crisis, from artists around the world including Jorge Bordello (@jorgebordello), Mexico; Gevi Dimitrakopoulou (@gevidimi), Greece; Las Indetectables (@shalistika), Chile; George Stanley Nsamba (@theghettofilmmaker), Uganda; Lucía Egaña Rojas (@luciaegana), Chile/Spain; and Charan Singh (@random_access01), India/UK.
Tune in for the online premiere, November 30 at 6 PM (EST), the night before #WorldAIDSDay, followed by a live Q&A with the artists and Jih-Fei Cheng.
RSVP at visualaids.org/transmissions or follow the 🔗 in our profile.
#DayWithoutArt
[Video: ©Visual AIDS for Day With(out) Art, 2020.]](https://scontent-lga3-1.cdninstagram.com/v/t51.29350-15/127329281_227436208725326_7919469692923193270_n.jpg?_nc_cat=105&ccb=2&_nc_sid=8ae9d6&_nc_ohc=EpDXFAPAtbgAX8Pp4GT&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=9142de75c86100aa2e78997896b4c4e2&oe=602C23E5)
![Less than a week left to see Jordan Eagles’ (@jordaneagles) online exhibition, CAN YOU SAVE SUPERMAN? curated by Eric Shiner (@ericshiner). On December 1 the exhibition will travel to Birmingham, Alabama where it will be presented as a hybrid, digital and #IRL exhibition by AEIVA (@aeivauab). The exhibition will be on view Jan 18, 2021 - June 14, 2021 #WorldBloodDonorDay.
Eagles’ current iteration, co-presented by the Museum is centered on gay health and blood equality. The work appropriates a vintage #Superman comic book (Action Comics, 1971) in which the superhero needs a blood transfusion from the citizens of Metropolis. The images in the exhibition are marked by the blood of gay man on PrEP and speak to the connection between blood shortages in the U.S. and the FDA’s recent decision to reduce the restrictions on gay and bisexual men’s blood donations. Visit the 🔗 in our profile to learn more and view the exhibition before it closes on December 1! #LeslieLohmanMuseum
[Image: Jordan Eagles, “American Carnage 6/14 (detail),” 2018.]](https://scontent-lga3-1.cdninstagram.com/v/t51.29350-15/126229902_405521833904698_7795646177827238803_n.jpg?_nc_cat=103&ccb=2&_nc_sid=8ae9d6&_nc_ohc=nSt1BtAvNXIAX8OeqI7&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=1cbab0c7a2bac3909dcfb4b97a494944&oe=602B3E4A)
![#HotOffThePress #LLMArtistFellow (2017-2018) Eric Rhein (@ericrheinart) just released his first monograph! Published by @institute193 “Eric Rhein-Lifelines" is a unique monograph-memoir spanning three decades of the artist’s life and work. The book features intimate black and white self-portraits and images of friends and lovers taken between 1989 and 2012 alongside watercolors, delicate assemblages, wire drawings, and essays. Poet Mark Doty notes “These images affirm the desiring self at a moment when desire had become dangerous…”
Of Rhein’s work Charles Leslie, Co-Founder of Leslie-Lohman Museum writes, “Beautiful’ – that’s the term which so fits the work of Eric Rhein—it’s luminous, intimate, erotic, touching: literally, and to the soul. His art shows that the freedom to be outwardly expressive is the same as the freedom to show one’s innermost self [which are the very types of freedom we sought to show and foster by founding the Leslie-Lohman Museum of Gay and Lesbian Art.] Images are powerful—and Eric’s have the power to open us not only to the forces of a joyous sexuality, but also to the desire for connection to each other and to our deepest spirit.”
Get your copy today via the link in our profile. Also available at your favorite booksellers and @Institute193.
#LeslieLohmanMuseum #EricRhein
Images:
1. “Veil II” (self-portraits with Russell Sharon, Hudson Valley), 1994
2. “Kissing Ken” (self-portrait with Ken Davis), 1996
3. Charles Leslie’s hand with Loving from “Eric Rhein: Lifelines”, 2020
4. “Eric Rhein: Lifelines”, 2020](https://scontent-lga3-1.cdninstagram.com/v/t51.2885-15/127091510_2500498326926565_9036499214142951465_n.jpg?_nc_cat=109&ccb=2&_nc_sid=8ae9d6&_nc_ohc=MBDSrIgUnQYAX9qrW2i&_nc_ht=scontent-lga3-1.cdninstagram.com&oh=0efda62c04989e7e15c322fcb635fcc7&oe=602AF011)