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Wonner and Brown frequented the Yuba River, indulging in naked swims. Wonner’s paintings of nude bathers went unquestioned because they aligned with the established tradition of men bathing together. Drawing inspiration from Paul Cézanne, Wonner portrays the bathers as a dynamic mass of interwoven, predominantly male figures. Wonner sent a touching Christmas card to Brown in which he referred to himself as “Paul Cézanne,” an acknowledgment of the influence of the French artist on their work. In contrast to Wonner’s approach, Brown’s bathers, such as Standing Bathers (1993), which is the official image of the exhibition, …

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At fewer than ninety pages, Rowe’s Liberated merely scratches the surface of Cahun’s life and art. But perhaps that’s appropriate as Cahun’s art often dealt with surfaces: poses, masks, assumed or discarded identities. The book pays tribute to Cahun’s Surrealistic photography and æsthetics, her aggressive anti-fascism, and her enduring, indestructible love for Marcel Moore.

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PHOTOGRAPHER Amos Badert-scher (1936–2023) captured the queer landscape of Baltimore from Eastern Avenue near Patterson Park, along Wilkens Avenue, and the Meat Rack on Park Avenue in the 1970s, ’80s, and ’90s. His monograph Baltimore Portraits came out in 1999, and the recent exhibition Lost Boys: Amos Badertscher’s Baltimore in the Albin O. Kuhn Library Gallery at the University of Maryland, Baltimore, was the artist’s posthumous, first career retrospective.

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WHILE the 1969 Stonewall Rebellion in New York’s Greenwich Village is generally considered the spark that ignited the gay liberation movement in the U.S., San Francisco was the true epicenter of gay life for much of the previous century, as demonstrated by the following chronology of quick takes that briefly highlight some of the pioneering individuals, organizations, publications, and events that took place in San Francisco.

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The project, “Living Histories: Queer Views and Old Masters,” is now recapped in a book by the same name, which includes essays about the works on display and interviews with the living artists. Much of it wrestles with questions of inclusion: Whose pictures deserve to hang on a museum’s walls? Is there an institutional responsibility to represent different kinds of art and artists outside its established purview? What types of people are encouraged to walk through a museum’s front door?

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CATHERINE LACEY’S new book, Biography of X, is an innovative novel chronicling the life of an influential, outré, fictional performance artist named X, narrated by her grief-stricken widow, an investigative reporter, CM Lucca, who is contemplating suicide. Angered by a recent unauthorized biography of X written by a man who never even met her, CM decides to write her own “corrective” biography of X.

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By Mike Dressel: The fullest expression of Dazzle’s work comes in his partnership with MacArthur Genius grantee Taylor Mac, with the entire fifth floor of the museum devoted to the stage costumes he made for A 24-Decade History of Popular Music. This was Mac’s queer retelling of U.S. history through the American songbook, a lesson in the past reframed through the lens of marginalized people.

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We tend to assume that positive gay-themed imagery is a phenomenon of the post-Stonewall world. But to look at these illustrations by Leyendecker and his contemporaries is to see overt depictions of sensual male beauty.

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The exhibition Coyote Park: I Love You Like Mirrors Do, curated by Stamatina Gregory, is the inaugural project for an initiative called “Interventions,” which “engages queer artists and cultural producers to dive into the museum’s extensive collection and creatively present their research, building new narratives and interpretations from diverse subjectivities.”

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“I PAINT PICTURES which don’t exist and which I would like to see” (“Je peins des tableaux qui n’existent pas et que je voudrais voir”). That is how Léonor…More

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