Thanks to all the wonderful hosts: Sateen & Exquisite, Devin Kelly, Linux, CT Hedden, Marzia Aloisi, Brandon Olson and Aquaria for making us feel right at home!
Siren at the breathtaking Watermark Bar was amazing thanks to Henrietta Hudson!!
While bands with queer singers like Grizzly Bear and Deerhunter helped define indie as a genre in the mid-to-late-noughties, their lyrics rarely delved explicitly into the specifics of gay relationships or queer experience – listeners seeking that kind of reflection would have to work to put the pieces together themselves.
But at the end of the decade, something broke open.
Perfume Genius’s 2010 debut album ), have all enjoyed acclaim, as has the work of Sufjan Stevens, who, while staying quiet on his sexuality in public, has penned some of the prettiest gay love songs of the past decade.
Straight critics have gradually embraced the music of queer men, but until recently, it’s been harder for queer women to break through to the same kind of encomia.
This artwork merges aesthetic sensibilities, approaches and working processes through combined palettes and textures–from film-grained gradients to painted brushstrokes and frayed canvas threads.
In Main Gallery II JD Samson will present The exhibition consists of a video, sculpture and unique artist book featuring documentation of some of the 400 stones the artist drilled through.
The installation work by these artists are linked by the ways in which they are activated by the viewer.
will link text generated by the artists to sounds recorded at the MMRC.
Maura Brewer Maya Gurantz will explore the question of “defense” in the current political landscape through historical examples.
had been released earlier that year to wide acclaim from the largely heterosexual male indie rock press, and while Jamie Stewart only sang the word “penis” once across its ten tracks, aesthetes of the time latched onto it as a provocative, if vaguely comical, rupture in a largely sexless genre.
’ review of the album noted Stewart’s “incredibly perverted and decadent lyrics”, presumably referring to both the aforementioned dick and the singer’s apparently unspeakable request for his lover to “come on my lips, honey boy.” To be fair, it was rare back then for a gay man to express desire so explicitly in indie rock, whose most championed artists tended to be so hetero that some were even straight-up married to each other.