The works on adobe evolved quite slowly from color field studies based on the adobe vernacular of my parents’ hometown in Durango, Mexico, to something suggestive of portraiture, and finally, they’ve arrived at a place that feels very exciting to me. Can you tell us a bit about the work you created with Beatriz Cortez for Commonwealth & Council at Frieze Los Angeles? All three of these things may be featured if the tree setting is in fact, near a river. This illustration also brings forward an allusion to the Qur’an’s view of paradise with all the blisses of life from the poem in tact. Resource(s) Queer British Art 1861–1967 explores connections between art and a wide range of sexualities and gender identities in a period of dynamic change. The exhibition begins in 1861 when the death penalty for sodomy was abolished and ends in 1967 with the partial decriminalisation of sex between men. Legal persecution affected many, yet for some, this was a time of liberation – of people finding themselves, identifying each other and building communities. Control. Acting as subject and muse, I work to convey my own fluid identity—an identity that bridges the binaries of gender and ethnicity. Can you tell us a bit about how your publication Indigenous Woman (2018) evolved? Homer, the poet writes the pair as two friends with a tender relationship later deemed as pederastic by the Greeks, where in which an older male figure mentors and cares for the younger as a “rite of passage” that could include sexual relations. After the death Patroclus, Achilles’ aim for fighting in the war became Patroclus. Achilles’ grief causes him insomnia and a great drive to fight and avenge Patroclus’ death at the hands of Hector, a Trojan prince and fighter for Troy. After Homer’s Iliad, the two can be found in art and literature demonstrating their bond and companionship.

Penczak, Christopher. “Before the Pen and the Plow.” In Gay Witchcraft: Empowering the Tribe , 10-12. Weiser Books, 2003. Where can I find this artwork?: The Louvre in Paris France in Islamic Art: The Modern Empires (1500–1800) Your work often references music videos, magazine spreads, and advertisements. When and why did you begin working this way?Cleaning Teeth, Early Evening (10pm) W11, 1962, Oil on canvas, 71 15/16 × 48 1/16 in. (182.7 × 122 cm), Astrup Fearnley Collection, Oslo, Norway, SL.16.2017.44.1 It is very important for artists to portray LGBTQ+ love as there is still so little of it visible, even though it may seem that in some small urban bubbles that everything is “cool.” Everything is not cool, as we are emerging from centuries of being defined as unnatural and unclean and we spent most of the last 150 years fighting repressive anti-sodomy laws. A fight that necessarily drew its inspiration from getting sex itself legalized between consenting adults in private, at, I believe, the expense of a more nuanced focus on some notion of love. In poetry, plays, and even common parlance, Ganymede came to stand for both paedophilic and homosexual tastes. Male prostitutes were commonly referred to as 'Ganymedes' in the eighteenth century.

Tom of Finland: Love and Liberation at House of Illustration is currently closed but will reopen as soon as it is safe to do so (www.houseofillustration.org.uk) Statues at this time were no longer static and archaic. Instead, they showed idealized realism and movement in posture as the figures place their feet forward and stand in contraposto (meaning, that weight is shifted to one side of the figure.) Love and sexuality in all its forms have been central themes in art from its earliest days. The way we experience the world is mediated by our desires, so I think that no matter what an artist is portraying, they are always also representing who and what they love. So many masters used their desire to convey ideas far beyond love, but because queer love stands out as the exception, whenever it is present in a piece, it’s assumed to only be able to speak about queerness. For that reason, I feel it’s important to represent how my queerness is embedded in my life as directly and honestly as I can, to celebrate all the ways in which we are different and all the ways in which we are the same, and to give queer desire equal gravity and meaning. The combination of what the uniform represents and the male beauty here is palpable. Contrived to be as appealing as possible, Maurice is transformed from the civilian life he formerly occupied as a railway bookings clerk from Oxfordshire into a man of action stationed in Naples. The first official Leslie-Lohman Gallery opened on Broome Street in 1972. “Finally, this art could come out of the closet,” Leslie said. “We also showed lesbian imagery, which was somewhat less contentious,” he observed, “because straight men love lesbians.” Still, many challenges remained. That year, an elderly Italian neighbor called the police from the rectory of a local Catholic Church, disturbed by an exhibition of Marion Pinto nudes.In spite of the Victorian era’s prudish reputation, there are many possible traces of transgressive desire in its art – in Frederic Leighton’s sensuous male nudes, for instance, or Evelyn De Morgan’s depictions of Jane Hales. Simeon Solomon attracted sustained criticisms of ‘unwholesomeness’ or ‘effeminacy’ – terms which suggest disapproval of alternative forms of masculinity as much as same sex desire. Yet other works which might look queer to us passed without comment. Previously part of Hide/Seek: Differences in American Portraiture in association with the Smithsonian Portrait Gallery