Vintage Lesbian Couples Photobook: 30+ High-Resolution Photos Of The Lovely Couples For LGBT+

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Whenever Todd Haynes’ unspeakably beautiful Patricia Highsmith adaptation comes to mind, it brings some of the novel’s last words along with it: “It would be Carol, in a thousand cities, a thousand houses, in foreign lands where they would go together, in heaven and hell.” In that light, a spot on a list of the decade’s best films hardly seems like much of a reach. ThisSwedish / Swiss / German horror film was directed by sexploitation pioneer Joseph W. Sarno, who had a fruitful adult film career under various pseudonyms, working with Annie Sprinkle, Ron Jeremy, and Harry Reems (“Deep Throat”). A women’s cult resurrects their vampire queen, using the willing young vessel played by Swedish actress Marie Forså. Frances Benjamin Johnston’s 1896 cigarette-smoking, beer stein–toting, ankle-revealing self-portrait is a strong case in point: Johnston’s playful self-presentation in this photograph defied the more demure, ladylike norms of her time. Offering information about Johnston’s life as a successful photographer— she is described in the 1974 monograph A Talent for Detail as an “eccentric,” “bohemian” woman who never married—JEB hinted during her slide show that Johnston may have been a lesbian. Though not able to offer clear evidence of Johnston’s sexuality, JEB nonetheless felt that assuming Johnston was heterosexual was equally tenuous. Mexican cult horror directorJuan López Moctezuma castCristina Ferrare, later a top TV host, as a bisexual artist who visits Mexico with a bloodthirsty mission. The film stars John Carradine as her estranged vampire father, and features cinematography byMiguel Garzón (“Highway Patrolman,”“Red Dawn”).

Courtesy the artists and Special Collections, E.P. Taylor Library & Archives, Art Gallery of Ontario, Toronto The images capture Victorian and early-twentieth century females in intimate poses and showing a daring level of openness with one another for the era they were living in. From 1979 to 1985, American photographer and activist Joan E. Biren (JEB) traveled across the United States and Canada delivering an ever-evolving slide show, Lesbian Images in Photography: 1850–the present, more affectionately known as the “Dyke Show.” Over the course of two and a half hours, JEB narrated and presented more than three hundred images to women who gathered in church basements, community centers, women’s bookstores, and coffeehouses, eager for, as Carol Seajay, cofounder of San Francisco’s Old Wives Tales feminist bookstore and publisher of Feminist Bookstore News, put it in an early review, “Images I had never seen before, images I had seen and not perceived. Images on which to build a future.” The slide show was designed to grow over the years, as JEB added new pictures by contemporary photographers and participants in the photography workshops that she led wherever she appeared with the show. It eventually included 420 images. What began as a way to distribute and give context to JEB’s self-published monograph, Eye to Eye: Portraits of Lesbians(1979), became a vocation. She ultimately presented the slide show at least eighty times in more than sixty places. Frances Benjamin Johnston, Self Portrait, 1896 Two teenage boys are arrested for alleged misogynistic chanting aimed at referee Rebecca Welch during Birmingham City's match against Sheffield Wednesday JEB structured the Dyke Show in six sections that presented historical photographs by figures such as Lady Clementina Hawarden, Frances Benjamin Johnston, Alice Austen, and Berenice Abbott, alongside a range of contemporary portraits, erotica, and documentary photographs of the early gay liberation movement, her own work, and that of her peers, including Cathy Cade, Tee Corinne, Diana Davies, and Kay Tobin. She laid out for her audiences a new visual history, one with lesbians at its center. In line with lesbian and feminist consciousness-raising sessions of the 1960s and 1970s, JEB used the slide shows as a collective exercise in reading photographs to highlight the paucity of the visual record for lesbians and to impart a new way of looking, a queer way of looking.A vote for Nigel Farage's lot would put Starmer in No 10, warns Rishi Sunak... but he admits he's 'too busy' to watch the former UKIP leader on I'm A Celeb 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. Now over four decades later, the publisher Anthology Editions is issuing a first-ever reprint of Eye to Eye with additional works and writings from artist and writer Tee Corinne, former World Cup soccer player Lori Lindsey, and photographer Lola Flash. Eye to Eye by JEB and Anthology Editions is a poignant reminder of the community's past struggles for acceptance, and how love knows no gender.

Similarly to how we view say two detectives on, Line Of Duty, or superhero characters brushing hands, when you watch pre-Code movies, you have to read between the lines to get some sweet ass LGBT content. For example, in Mille (1931), Joan Blondell and Lilyan Tashman have often been presumed lesbians in their supporting best friend roles to Helen Twelvetree’s titular role. They share a bed, they do everything together, and have a natural ease with one another. However, plenty of women of the time – thanks to the depression – shared flats and mattresses to have somewhere comfy and warm to sleep. But who are we to say that they didn’t fool around or do anything whilst sharing that bed? I had a lot of empathy toward her. She had a rich inner life and she didn't have a lot of outlets," Sevigny told The Advocate about Lizzie, who's depicted as being an avid reader and a patron of the arts. There's a slow and persistent burn in Mona Fastvold's The World to Come. The gorgeously spare period piece stars Katherine Waterston ( Alien: Covenant) as Abigail and Vanessa Kirby ( The Crown) as Tallie, two women battling the harsh elements in 19th-century New York State who find solace and a whole lot more in one another.The Favouriteis a period piece that has it all: and it follows Queen Anne (played by Olivia Colman) and the two women in love with her. One of her lovers is Lady Sarah (played by Rachel Weisz) and the other is a new servant (and Sarah’s cousin) named Abigail (played by Emma Stone), who shakes up the status quo. Though Aletti’s collecting impulse originates from more private, personal interests, as opposed to JEB’s more public, political ones, they nonetheless spring from a common sense that these images stand for more together than alone and that the act of looking shapes us. Perhaps more importantly, they share a sense that this act is one of pleasure. Audio from JEB’s 1982 slide show at the Women’s Building reveals an audience whose reactions ranged from playful raucousness to quiet outrage to knowing laughter, as they responded to the images and the narration. One writer who saw the slide show in Toronto wrote a review for The Body Politic, where she expressed her delight with and her hunger for these images: “It could have continued for hours more and still I would not have been satiated.” Beyond this immediate experience, the reviewer felt her life and desires had been affirmed in a lasting way: “Separately these images are only fragments; put together they form a history that becomes a reality….It has given us a past, shown us a present, and even hinted at a future.”