I paint people I love, and I paint using the vocabulary of paintings I love. So the influence is very straightforward; if I see a painting that sets me on fire, I want to try and make something that feels like that. I make drawings in my sketchbooks, which I use like journals. I also reinterpret paintings directly with my own characters, or work from photographs I have found or taken. The most important and frequent source of inspiration is drawing from memory. How does memory impact your compositions? 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? Unfortunately, that's about it as far as positives go. Bland by-the-numbers direction, shallowly-written characters, emotionally disconnected performances, and very little actual conflict make Paint an exceptionally boring film for the most part.

There is, unfortunately, no way for contemporary audiences to confirm Sappho's sexuality or the details of her love life. Regardless of this, LGBTQ+readers still feel a strong identification with her work, fuelled by a desire to find a common experience in a long history of oppression and erasure. The search for queer female representation is ongoing in the history of art as well. The way they pair off for private chats mirrors how they interact onstage, teeming with aggression, but also goofing off at the least likely moments. It’s usually Jenny’s fault. “There’s comedy in her eyes, lips and nostrils,” says Stella. “We do a serious and powerful thing, but then you need to sprinkle lightness on it for a second, too.”Shame is a really big problem for human beings,” she sighs. “Where I’ve found that, generally, men are under pressure to be ‘enough’ – big enough, getting laid enough, rich enough, man enough – women feel like they’re ‘too much’ – too fat, too hairy, too saggy, too female. Frankly, we just need to be as we are. Yes, you can look at the photos and go ‘Wow, we all look really different’, but it’s also about connecting with the honesty of these stories. Because if you find yourself feeling admiration, pride and inspiration for another person, it becomes easier to apply that to yourself, too.” It’s still as abstract as it has always been, but through this process, it allowed me to see them as pharmaceutical readymades. They contribute to a larger idea that the distinction between “natural” and “artificial” is rarely as binary as we’d like to think it is. Do you find empowerment in absurdity? Carl Nargle has hosted Vermont's number one painting show for nearly three decades. His status as a superstar of public broadcasting is challenged when the struggling TV station hires Ambrosia, a younger painter who has more skill and versatility than Carl. Principal photography took place from April 2021 to June 2021 in Albany, New York. [7] [8] Release [ edit ] If you offend Beyoncé, people call you a racist, an anti-feminist, all these slanderous, hurtful things that aren’t accurate,” says Stella. She cites Pussy Riot. “People were afraid to speak out because of what it meant for their career. It’s like people in the entertainment industry have the power to influence young people, but we’re also the most terrorised. I think because we’re producing and writing our own music, playing our own instruments, being self-sufficient, that in itself is a tiny protest.”

Over a few weeks, I bled a lot between periods, and also after sex with my boyfriend at the time. I googled bleeding and it came up with lots of different things: an STI, hormonal imbalance, cervical cancer.One Emerging is a hybrid fictional documentary. It’s a collaborative portrait of two women whose paths crossed in Lesvos a couple years ago. One is a photojournalist who was documenting the refugee crisis on the island and the other is a young transgender refugee from Morocco who was in a camp there. Together we created parallel fantasy worlds that overlap through the narrative and projected image. You were previously involved in community organizing. How has that affected your artistic process? My vulva is happy and majestic. It’s heart-shaped and it isn’t one colour, there are different shades of brown. It’s kind of tidy, but it’s also an organised mess. I think there’s something really powerful about having the opportunity to look at yourself in more detail. It gives you a different appreciation for your body. Representation of non-normative bodies and identities within artworks and institutions is incredibly important, but I think that’s just the beginning of what we need to be thinking about. As a transgender artist, I am thinking more about the ways that we can refuse these forms of naming, taxonomizing, and classifying bodies. I look to art—both making it and viewing it—as a method for relearning how to perceive bodies in ways that are more expansive, unstable, and consensual.

It's a well-intentioned movie that does have some interesting ways that it goes about delivering its messages about valuing what's important in life (especially towards the film's ending). And there were a handful of jokes that did get a good laugh out of me. To whatever degree I make sculpture that is formally restrained, quiet, precise, slow, I think it is for two reasons: I think that these can be used as strategies of refusal of representation and auto-biographical narrative (as many of these artists I just mentioned used them). And second, I yearn for focused spaces of co-presence with objects and bodies in which I am not as overwhelmed as I am in the regular world, so that I can look and feel my way around. Can you speak about how your work critiques, or responds to representation?I first met Laura, a photographer from Surrey, in 2015 following her exploration of 100 women’s relationships with their breasts. Unlike Héloïse, Marianne has total control over how she is represented and seen by others. The film opens with Marianne being painted by her students, and although she is the one sitting and posing, she is issuing instructions on how she should be portrayed. Her status as an artist enables her to have a freedom that Héloïse will never have.

I was invited to bring an iteration of MOTHA to the New Museum. I began to think what a regional trans history could focus on. When I realized the 50th anniversary of the Stonewall Riots was approaching, I knew it would be a good time to think critically about how this history is remembered. I invited almost a dozen artists to reconceptualize monuments to commemorate this hirstory, knowing full well that monuments themselves are a fraught way to point to history. Can you tell us about your work in the current exhibition “Queer California: Untold Stories” at the Oakland Museum of California? I have seen, touched, indeed worshipped many vulvas. And yet I have never had the courage to look at my own. I have identified as a lesbian most of my life. I desperately wanted to be a boy as a child. I hated my body, my gender, for many years. Since then I have come full circle to a place of love and reverence for who I am – and what I am made of. I approach queerness as a process, one through which the choreographic framework fluctuates between structure and contingency. In Untitled (Holding Horizon) the sound and lighting are mixed live, as well as the structures that the performers move through. In this process the performers have the agency to use the qualities that we work with to loosen, expand, and contract the structure. This means that both the choreographic vocabularies and the performers’ subjectivity are both very present in the work. This unpredictability allows for intimacy in the way that the work unfolds; their relations and affects leak out into the room and have the potential to become palpable by an audience. How has LGBTQ nightlife in Warsaw impacted your performances? As early as middle school. My father got me a video camera and I started making videos with friends––with cameos from babysitters, teachers, pets. By the time I was in high school, I was editing commercially, running programming for a public television station. It was far from glamorous, but it was like reaching into the world. Do you believe your work responds to—or critiques—ideas of representation and legibility?A number of his works in painting, sculpture, and architecture rank among the most famous in existence. His output in every field during his long life was prodigious; when the sheer volume of correspondence, sketches, and reminiscences that survive is also taken into account, he is the best-documented artist of the 16th century. Even though she refers to it as the hardest part of the project, Laura believes including so many of these harrowing experiences adds to the impact of her message – because there is no singular female experience.