Someone was taking a dump in The John Waters Restrooms at the Baltimore Museum of Art. Was it an art-inspired intestinal emergency or a dedicated tribute to the filmmaker whose major public stink involved Divine sampling some doggy-doo in the filthy finale of Pink Flamingos? Or perhaps, this intrepid museum-goer previously devoured John’s chapter “Act … Continue reading
“Maybe I can’t find you, Peter,” darkly exclaims David Wojnarowicz, walking through a cemetery in his essay “Living Close To The Knives” (100). While detailing his harrowing and nerve-wracking attempt to find the grave of photographer Peter Hujar, who Wojnarowicz later describes as “my friend…my brother my father my emotional link to the world,” Wojnarowicz’s … Continue reading
“Over the past year four more of my most beloved friends have died of AIDS. Two were artists I had selected for this exhibit. One of the writers for this catalogue has become too sick to write. And so the tone of the exhibition has become less theoretical and more personal, from a show about … Continue reading
“My silences had not protected me. Your silence will not protect you,” warns Audre Lorde in her paper The Transformation of Silence Into Language And Action. In this essay, Lorde argues for speaking–the voice–as an essential, if not the most essential, activist tool. She concludes, “The fact that we are here and that I speak these words is an attempt to break the silence and bridge some of those differences between us, for it is not difference which immobilizes us, but silence. And there are so many silences to be broken” (44). Continue reading
Are all major institutional exhibitions on queer culture doomed to fail? That’s what it unfortunately seems like, especially in the wake of self-asserted “groundbreaking” exhibitions like Art AIDS America (though not identity-based per se, obviously touched on queer culture and activism) and more recently, the Museum of the City of New York’s Gay Gotham. Curated … Continue reading
Finishing his manifesto with a rallying battle cry for the absurd or, as he describes, “instructions for use,” Theatre of the Ridiculous auteur Charles Ludlam writes, “This is farce not Sunday school. Illustrate hedonistic calculus. Test out a dangerous idea, a theme that threatens to destroy one’s whole value system. Treat the material in a … Continue reading
Is it possible to look back to that gold lamé-draped, handlebar moustache-wearing, disco-dancing, cruising post-Stonewall era of the 1970s without the lens of the HIV/AIDS pandemic, which would irrevocably alter the course of LGBTQ life? Can you look at artwork, photographs and other documentation from that decade without searching for the images and names of those who would disappear in the decades to come? Or of the others who would become continual caregivers to friends and lovers? Or the clubs, bathhouses, piers and others spaces that would be shuttered for fear of transmission? Continue reading
“To take a photograph is to participate in another person’s mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt,” says Susan Sontag in On Photography, who was one of many Downtown fixtures captured by photographer Peter Hujar. Present in Lost Downtown, an exhibition commemorating the devastatingly impressive … Continue reading
Why hello there, dearest Filthy Dreams readers and fellow filth fanatics! It’s about the right time to announce what your co-founder Emily Colucci and intrepid contributor Osman Yerebakan have been working hard on since December 2013. As you know, Filthy Dreams was originally conceptualized as a sleazy bar before we lowered our expectations and started … Continue reading
I’m about ready for another dose of maniacal queer nightlife obsessing so grab yourself a hot drink and enter….The Ethyl Eichelberger Video Lounge! Continue reading