COLORS play tricks on us. What we see is not always what we get. And what we think is not always what we see. Is seeing the same as perception? Is white the binary opposite of black? Can one exist without the other? As a queer, white, male artist, I’m closely following the political […]
Article Categories Archives: Art Memo
That Little Caesar served as the model for the American gangster film is made all the more noteworthy by the way in which Rico is depicted, to the extent possible in this era, as ambiguously gay. Unlike his cohorts, he shows little interest in the opposite sex. When women are mentioned, he snarls contemptuously, “Women! Where do they get ya?”
AS LGBT people, we all have our origin stories—that moment when we knew we were attracted to people of our own sex. For me, the realization began, as most things did, with a book: The City and the Pillar, by Gore Vidal.
A COMPLICATED & somewhat mysterious figure in early 20th-century art, the Baroness Elsa von Freytag-Loringhoven is often referred to as the “Mama of Dada.”
IN LATE SPRING OF 2015, I received a flyer from Bard College advertising their SummerScape opera production of The Wreckers (1904), by the British composer Ethel Smyth, with a libretto by Harry Brewster. It took a moment for me to notice that the opera had been composed by a woman. Two thoughts occurred to […]
AS the crisp white pages of the newest Bloodbound draft cascade from the printer into a scattered pile on my desk, I engage in the familiar refrain of questions that propel a writer to follow the path to his script’s elusive finish line. A sensible self-critique is always upset by a gnawing neurosis that […]
Sins of the Cities presents the first history of a male prostitute as told from his own viewpoint—and without apology. Its main character is Jack Saul, whose life is written up from “his rough notes” commissioned by a certain “Mr Cambon.” The two men first meet in November 1880, when Cambon cruises Saul in Leicester Square, being attracted by the “extraordinary” size of the “lump in his trousers.” He is equally struck by Saul’s expertise at oral sex and asks for an account of how he arrived at such proficiency. Saul agrees to provide a narration of his life, with the understanding that he will be paid for his efforts. Saul is thus frequently cited as the “author” of the resulting book. If so, he must share the title with Cambon. The latter’s introduction takes up seven-and-a-half pages in the Valancourt edition. His voice returns for eight pages at the end of the book in three essays apparently designed as filler to reach the requisite length.
FORDHAM UNIVERSITY PRESS deserves our gratitude for making available the original 1932 version of A Scarlet Pansy, a minor classic of Modernism attributed to “Robert Scully.”
The son of Russian Jewish immigrants, Bernard Perlin was born in 1918 in Richmond, Virginia. He was sent to art school in New York at age fifteen and had early success as a muralist for Depression-era public works projects.
If Schubert was the musical center of this mostly male cultural group, the literary center was his best friend Franz Schooner, …