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Current viewing_room
  • Queer/Dialogue

    September 7 – December 12, 2021 

     

     

     

  • Fratino ▿ King ▿ Laing ▿ Langberg ▿ Opie ▿ Quarles ▿ Sepuya ▿ Shimoyama ▿

  • This exhibition presents eight artists — Louis Fratino, Jordan King, Jeremy Laing, Doron Langberg, Catherine Opie, Christina Quarles, Paul Mpagi Sepuya, and Devan Shimoyama — whose works enable dialogue at the intersections of identity expression: race, gender, individuality and otherness, equity within differences, with a focus on the body as expressive terrain.

     

    The artists represent distinct voices across a spectrum of media, reflecting diversity in identity expressions where they intersect with contemporary political, social, and economic issues, always relevant but particularly charged at this moment.

     

    Click Here for installation views

    click here for exhibition events and programs

     

     

  •  

    Scroll down to experience both the works and the words of the artists in the exhibition.

     

    Navigate the page by using the buttons that appear between each section. The arrow (▵ or ▿) indicates whether that artist's section is above or below your present location.

     

    Home ▵ 

    Fratino ▿ King ▿ Laing ▿ Langberg ▿ Opie ▿ Quarles ▿ Sepuya ▿ Shimoyama ▿

  • Devan Shimoyama, Potted, 2018
    Artworks

    Devan Shimoyama

    Potted, 2018

     At the heart of this project is the celebration of each artist as an individual. Rather than gather a broad survey with one or two pieces by many artists, we present these artists in solo presentations side-by-side, creating a multidimensional dialogue, using the term queer as a catalyst.

    Queer is not a term restricted to the definition of a particular sexuality, but rather fractured and constantly shifting. To identify as queer means to be consistently and very consciously working from a place of anti-oppression and therefore to be listening, hearing, and making room for the voices of others around us and to be challenging the assumptions of the status quo.

  • View from slightly above of a man sleeping in a bed with an assortment of blankets strewn around him.
    Artworks

    Doron Langberg

    Sleeping 2, 2020

    There is not, and never will be, complete alignment among queers, but there is room for dialogue in places of intersection that can help with learning and teaching — the core of Grinnell College’s mission — especially beyond queer-identifying communities. Ultimately, ‘queer’ is never comfortable with limitations in its definition.

  • Installation Views

    Queer/Dialogue

    Click arrows at extreme left and right to scroll

  • Catherine Opie and Paul Mpagi Sepuya (Larger version of this image opens in a popup).
    Paul Mpagi Sepuya, Christina Quarles, and Doron Langberg (Larger version of this image opens in a popup).
    Christina Quarles and Doron Langberg (Larger version of this image opens in a popup).
    Doron Langberg, Jeremy Laing, and Paul Mpagi Sepuya (Larger version of this image opens in a popup).
    Doron Langberg and Jeremy Laing (Larger version of this image opens in a popup).
    Jeremy Laing (Larger version of this image opens in a popup).
    Jeremy Laing and Louis Fratino (Larger version of this image opens in a popup).
    Jeremy Laing, Louis Fratino, and Devan Shimoyama (Larger version of this image opens in a popup).
    Louis Fratino, Devan Shimoyama, Paul Mpagi Sepuya, Jeremy Laing, and Christina Quarles (Larger version of this image opens in a popup).
    Louis Fratino (Larger version of this image opens in a popup).
    Louis Fratino (Larger version of this image opens in a popup).
    Louis Fratino in Queer/Dialogue, Grinnell College Museum of Art, 2021 (Larger version of this image opens in a popup).
    Paul Mpagi Sepuya, Jeremy Laing, Devan Shimoyama, and Catherine Opie (Larger version of this image opens in a popup).
    Devan Shimoyama in Queer/Dialogue, Grinnell College Museum of Art, 2021 (Larger version of this image opens in a popup).
    Devan Shimoyama and Jeremy Laing (Larger version of this image opens in a popup).
    Devan Shimoyama in Queer/Dialogue, Grinnell College Museum of Art, 2021 (Larger version of this image opens in a popup).
    Paul Mpagi Sepuya, Devan Shimoyama, Christina Quarles, and Doron Langberg (Larger version of this image opens in a popup).
    Doron Langberg, Jeremy Laing, and Paul Mpagi Sepuya (Larger version of this image opens in a popup).
    Catherine Opie and Paul Mpagi Sepuya
  • Louis Fratino

    he/him/his
  • Detail of Louis Fratino's "Long Morning", showing two heads intertwined sideways, as if hugging in bed.
    Artworks

    Louis Fratino

    Long Morning (detail), 2019

    Louis Fratino’s inspiration comes from ancient art via the modern.

    He rejuvenates the Cubist revision of Classical and Academic ideals by Pablo Picasso.

    Picasso prioritized the female body in his work, the complexity of which he compounded (and problematized) by his relationships with the women — his successive “muses” — who populate his art. Fratino gives us, also in the form of friends and lovers, the male body, the natural state of which was commonly depicted in ancient art, and remains a fundamental of life-drawing classes to this day. Male genitalia, however — euphemistically (en)titled “manhood” — is typically shrouded in today’s popular culture, as if in modesty, and left to the imagination.

     

  • Nude man lying on his back, left arm over his head, his body from head to thigh facing the viewer.
    Artworks

    Louis Fratino

    Jamie, 2019

    Queer-identifying artists are exploding "modern" customs;

    interrogating the misogynist conventions in which the female body is rendered available and commodifiable but the male’s is reserved, as if sacrosanct. Rejecting the oppressive circumscription of human sexuality and sexual practices more generally, Louis Fratino celebrates the unbound male body and consensual sex itself as natural states of human affairs, the repression of which, and stigma attached to which, are far greater causes of social, mental, and spiritual disorder.

     

    Sensibilities abound regarding nudity, sexuality, and propriety. 

    The truth is, we are all made this way. Everything else is imposed.

  • Listen to a Queer Reading by Kit Perry '22 of "Andrea in his hammock" by Louis Fratino

  • Grinnell College Museum of Art · A QUEER READING by Kit Perry '22 of "Andrea In His hammock" by Louis Fratino
  • Listen to a Description of Works in the Exhibition by Louis Fratino

  • Grinnell College Museum of Art · Louis Fratino Audio Descriptions
  • Featured works by Louis Fratino

    • Louis Fratino's painting, "The Manhattan Bridge," showing a man walking at night in a park, staring at his glowing cellphone, along the East River in Manhattan, with the arches of the bridge overhead in the background.

      Louis Fratino

      The Manhattan Bridge, 2019

    • Louis Fratino Andrea and Tommi in Pieve, 2019

      Louis Fratino

      Andrea and Tommi in Pieve, 2019

    • A nude man in glasses with his legs crossed lying in a hammock flipping through a magazine.

      Louis Fratino

      Andrea in his hammock, 2018 

    • Louis Fratino Chinatown, 2019

      Louis Fratino

      Chinatown, 2019

    • A black and white frontal half-length portrait of a man, his forearms propped up on his elbows before him.

      Louis Fratino 

      Untitled, 2018

    • Nude man lying on his back, left arm over his head, his body from head to thigh facing the viewer.

      Louis Fratino

      Jamie, 2019

    • Framed painting showing two heads on their sides in a hugging position, one facing us and the other away from us.

      Louis Fratino

      Long Morning, 2019

  • Home ▵ Fratino △ King ▿ Laing ▿ Langberg ▿ Opie ▿ Quarles ▿ Sepuya ▿ Shimoyama ▿

     

     

  • Jordan King

    she/her/hers
  • Photo taken from a low angle looking up at the subject, Jordan King, who is wearing a black bustier and is lit with a red tinted light.
    Artworks

    Jordan King

    NYC 3, 2020

    I am simultaneously an artist, archivist, and historian. My practice is rooted in archival research and intergenerational connectivity among trans femme performers and queer elders.

     

    I stand joyously at the confluence of drag culture and trans identity, historically a liminal, transitional space, but one which holds incredible beauty and promise for a trans celebratory future.

  • PERFORMANCE

    I look at the history and traditions of trans female-identifying performers going back to the 1950s and 60s. In this world (which was then a very niche world) of trans performance there were commonalities, decade after decade, in trans females' individual realizations. This became my driving force to think of myself as an artist. I realized that I am part of a legacy of many trans women who had come before me, performers and artists who were unrepresented and not celebrated as they could or should have been.

  • It started out as something that I was doing for myself, just to help me gain a bit of power.

    And when I think back to it, there was immense power. It was a moment that I will remember for the rest of my life, gaining strength and feeling totally powerful in peeling off those layers. I thought, "Wow, I can actually be in my body and hug my body and show off my body.... Yeah, this feels like how I want to share who I am." There was — and is — self exploration, self understanding and self actualization in the act. When I think back to that initial period of performance for myself ... I never set out to try to recreate exactly how things were done at that different point in time or in that prior decade, it is about moving the history forward and taking inspiration from that and taking some of the ideas from that, but then also delivering it to a new audience, which then allows it to evolve and to continue to grow.

  • TRANSITION

    The photos below were taken over two years in the course of my medical transition. Using this term presumes the reader understands the ways in which trans people in the 20th century transition, or begin expressing, living, and perhaps modifying physical characteristics to inhabit a gender identity other than the one assigned at birth.

     

    In viewing these photos as a series, the viewer may scrutinize my appearance for these changes. Some are evident, some are not. Part of stage performance is an awareness of this scrutiny. I lived my medical transition publicly, in front of audiences, and as a result I acknowledge and anticipate the scrutiny. I also seek to challenge presumptions that trans identity is based solely on physical presentation and visible gender-defining characteristics.

  • Jordan King, Portrait 1 (Larger version of this image opens in a popup).
    Jordan King, Portrait 2 (Larger version of this image opens in a popup).
    Jordan King, Portrait 5 (Kylie) (Larger version of this image opens in a popup).
    Jordan King, Portrait 7 (Larger version of this image opens in a popup).
    Jordan King, Portrait 6 (Larger version of this image opens in a popup).
    Jordan King, Portrait 8 (Larger version of this image opens in a popup).
    Jordan King  Milk (Larger version of this image opens in a popup).
    Jordan King
    Portrait 1
  • Listen to an Interview with Jordan King

    Download transcript

  • Grinnell College Museum of Art · Curators Daniel Strong and Greg Manuel interview Jordan King
  • Home ▵ Fratino △ King ▵ Laing ▿ Langberg▿ Opie ▿ Quarles ▿ Sepuya ▿ Shimoyama ▿

     

  • JEREMY LAING

    he/she/they
  • Laings’s practice pulls from many overlapping areas but at its center is always an intentional questioning and a very palpable dissonance or friction. His work creates and holds space for the idea of Queer bodies without specifically identifying who they are. There is an invitation extended to the viewer to engage but also enough nuance and subtlety that only those who seek shall find. The ideas around Queerness that these physical works and created spaces explore always seem to be just ahead of us. To come to rest on any one specific reading or arrangement seems unlikely.

    This refusal to reveal everything may sound at first like a refusal to commit, but it is this very refusal to commit that actually gives each of these works their power and renders them Queer. There is an intentional refusal to limit what they are and therefore to limit what they can become.

    Laing moves easily between media, made easier by his greater interest in the concept than the object, or perhaps in the tension and friction between the two. There are often holes in Laing’s work. Literal holes, waiting to be filled; holes recently mended or embellished and existing only to act as a pass through; holes as exit or entry to another side or another idea. His work creates and holds space for other ways of thinking and other ways of being, even those of the viewer. His works are connected to his community-building and people-focused projects, different but linked in their exploration of spaces and the questioning of who and what gets to hold value within them. There is a conscious interrogation of intent behind all he produces and an intentional examination of both wanting to be seen and holding onto the power that comes from being invisible and/or not answering every question.

     

     

  • A large sheet of hand died monks cloth hangs from a wooden painting stretcher. The cloth hangs down below the bottom of the stretcher and over both sides. The cloth is sinched at the mid point of the bottom by a nylon rope that wraps around the frame, ove
    Artworks

    Jeremy Laing

    “Baby’s First Mood Bod” – my poetry dealer, 2019

    The tent wall is a tapestry, is a blanket, is a carpet, is folded up under your bed, is draped over your couch, is hung on the wall; I’m fascinated by all the ways a textile transforms as an object while remaining itself through all of its iterations.It is always either in transition or laying in wait for its next one. It has different appearances and different performances based on context, on audience and place. It is most itself when it is allowed its many forms.

  • Jeremy Laing, Artwork-Life Balance (Ongoing Relation, Wear and Repair, 2010-21), 2021 (detail)
    Artworks

    Jeremy Laing

    Artwork-Life Balance (Ongoing Relation, Wear and Repair, 2010-21), 2021 (detail)

    We treat objects, in a sense, the same way we treat subjects. Some are deemed important, and some are not. Some do all the work and get no credit. Some rest mainly on the fact that they are historically of a certain shape and scale and position on a wall and therefore have inherited a supremacy. These things require interrogation and an opposition, and I am interested in doing that in a way that is representational in some way, but also not, in the sense that while my objects are also about subjects and people and bodies, I'm not... I'm not presenting that with any specificity…because of the exclusion inherent in any representation.

  • Listen to a Queer Reading by Zamashenge Buthelezi '22 of "Artwork-Life Balance" by Jeremy Laing

  • Grinnell College Museum of Art · A QUEER READING by Zamashenge Buthelezi '22 of "Artwork-Life Balance" by Jeremy Laing
  • Listen to a Queer Reading by Bailey VandeKamp '22 of "Captive Vessel" by Jeremy Laing

  • Grinnell College Museum of Art · A QUEER READING by Bailey VandeKamp '22 of "Captive Vessel" by Jeremy Laing
  • Listen to a QUEER READING by Phillip Tyne '24 of "Leavings" by Jeremy Laing

  • Grinnell College Museum of Art · A QUEER READING by Phillip Tyne '24 of "Leavings" by Jeremy Laing
  • Listen to a Description of Works in the Exhibition by Jeremy Laing

  • Grinnell College Museum of Art · Jeremy Laing Audio Descriptions
  • Featured works by Jeremy Laing

    • Hand formed ceramic vessel with a bamboo stick protruding from the opening. Attached to the bamboo is a hand knit swatch of rust coloured wool with many strands of wool hanging from it.

      Jeremy Laing

      Swatched Pot/Potted Swatch #13, 2019

    • A hand build ceramic vessel with a bamboo stick protruding from the top opening. Attached to the stick is a hand knit wool swatch with many long loose threads hanging from it. Some of these long threads hangs down and flow back through the top opening and

      Jeremy Laing

      Swatched Pot/Potted Swatch #5, 2019

    • A hand made ceramic vessel with two bamboo sticks coming out of the opening at the top. The sticks have a hand knit textile zigzagging between them

      Jeremy Laing

      Swatched Pot/Potted Swatch #11, 2019

    • A hand made ceramic vessel with three bamboo sticks coming out of the three openings at the top. The sticks have a hand knit textile zigzagging between them. From the top of one bamboo stick hangs a key ring with plastic beads on it. From near the bottom

      Jeremy Laing

      Swatched Pot/Potted Swatch #2, 2019

    • Hand built ceramic vessel with three bamboo sticks protruding from the opening. One stick has a nail polish sampler hanging from it. The other two sticks have a hand knit swatch running between them. The swatch has many loose threads hanging from it.

      Jeremy Laing

      Swatched Pot/Potted Swatch #27, 2019

    • A hand made ceramic vessel with three bamboo sticks protruding from the top opening. A fourth bamboo stick is protruding from an opening on the side of the vessel. The two outer sticks have hand knit wool swatches hanging from them which contain many loos

      Jeremy Laing

      Swatched Pot/Potted Swatch #31, 2019

    • Textile work with an abstract pattern. The textile is stretched and hanging on a handmade ceramic hook.

      Jeremy Laing

      Pattern Painting Sculpture, 2020

    • a ball of thick red yarn sits on the floor but has been pulled up over a handmade ceramic hook which hangs about 5 feet from the floor, then back down and into one opening of a hand made ceramic vessel that sits on the floor. The yarn then loops out the s

      Jeremy Laing 

      Captive Vessel, 2019

    • A large sheet of hand died monks cloth hangs from a wooden painting stretcher. The cloth hangs down below the bottom of the stretcher and over both sides. The cloth is sinched at the mid point of the bottom by a nylon rope that wraps around the frame, ove

      Jeremy Laing

      “Baby’s First Mood Bod” – my poetry dealer, 2019

    • An ornate ceramic hook hangs from the wall. Attached to the end of the hook is a multicoloured sampler of different shades of synthetic hair.

      Jeremy Laing

      “Global Best Beauty” – as branded, with thanks to Margot, 2019

    • Stack of hand dyed sheets of cotton which have been folded and stacked on to of one another. two thirds of the way up the stack, a handmade ceramic vessel has been placed between the layers so that the edge and opening are visible on one side of the stack

      Jeremy Laing

      “Hollow Habits, for Liz” – the first gay I ever knew, 2020

    • Jeremy Laing Artwork-Life Balance (Ongoing Relation, Wear and Repair, 2010-2021), 2021

      Jeremy Laing

      Artwork-Life Balance (Ongoing Relation, Wear and Repair, 2010-2021), 2021

  •  

    There is a cost to visibility which is sort of falling into line. I mean, back in the early 2000s, nobody was taking photos of people bobbing for butt plugs on stage at a party. If they were, maybe people would not have felt quite as free. Part of every gesture being a record, as in our contemporary moment, is the coterminous anxiety about how you are looking in that record at all times. There is no space that is off record ... which is also partly why, for instance, the parties I do ... well not now and not in the last year because of COVID, but the parties I'm doing most recently, and will do soon … are parties without a social media presence, just very word of mouth, no cameras on the dance floor. This is about wanting to prioritize a space that is still somewhat invisible .... And this is a kind of non inclusiveness, but in a way that I hope fosters a more dynamic shared experience in the moment. It's also why I don't want to port over this gesture into an institutional art context which rewards certain types of performances of visibility, instrumentalizes them in certain ways, extracts from them. 

    Art doesn't get to have everything. It doesn't get to colonize and extract from everything and everyone.

    Sometimes the art is only for the people making it together, in the moment.

  • Home ▵ Fratino △ King ▵ Laing ▵ Langberg ▿ Opie ▿ Quarles ▿ Sepuya ▿ Shimoyama ▿

  • Doron Langberg

    he/him/his
  • Doron Langberg, Devan, 2019
    Artworks

    Doron Langberg

    Devan, 2019

    I really believe that we work from our experience...

    ...and that's kind of our default mode. I think that the responsibility, or burden, or however you want to ... or privilege, is to be true to that and reflect that in the most honest and direct way. And I think that the times where I feel like people are betraying their responsibility is when they don't work from their experience or they assume that their experience is universal. Or when they are evasive about who they are and what they are. I think that, to me, is an important point. When queer artists make bro abstract paintings it upsets me because it's like, why are you claiming neutrality when neutrality just means straightness or heteronormativity?  I think this kind of acknowledgment that we all have a position, and that position is colored by our experience, to me, is where the responsibility lies. More so then this affiliation or that affiliation.

  • Listen to an Interview with Doron Langberg

    Download Transcript

  • GCMoA · Doron Langberg Speaks to Curators Daniel Strong and Greg Manuel
  • Listen to a Description of Works in the Exhibition by Doron Langberg

  • Grinnell College Museum of Art · Doran Langberg Audio Descriptions
  • Featured works by Doron Langberg

    • Doron Langberg Devan, 2019

      Doron Langberg

      Devan, 2019

    • Half-length three-quarter view portrait of a woman with black hair and a black top looking to the left.

      Doron Langberg

      Erika, 2019

    • Doron Langberg Jason, 2019

      Doron Langberg

      Jason, 2019

    • Doron Langberg John, 2019

      Doron Langberg

      John, 2019

    • Doron Langberg Striped Blanket, 2019

      Doron Langberg

      Striped Blanket, 2019

    • Doron Langberg Tommy, 2019

      Doron Langberg

      Tommy, 2019

    • Doron Langberg Lovers, 2019

      Doron Langberg

      Lovers, 2019

    • View from slightly above of a man sleeping in a bed with an assortment of blankets strewn around him.

      Doron Langberg

      Sleeping 2, 2020

  • Home ▵ Fratino △ King ▵ Laing ▵ Langberg ▵ Opie ▿ Quarles ▿ Sepuya ▿ Shimoyama ▿

  • CATHERINE OPIE

    she/her/hers
  • Close up of the artist Pig Pen prone on the ground lighting a small fire with matches in front of him
    Artworks

    Catherine Opie

    Model Fire #1 (The Modernist), 2016

    I'm not interested in a singular identity.

    I'm a human being with a lot of ideas in my mind.... I'm looking at the world and trying to answer these various questions that come into my mind about how we function as human beings and society and I'm beginning to craft work and relationship to those internal questions. They certainly come from a question of a Queer body in terms of my own identity, but that doesn't mean that that's the only identity that I operate from.... I am still a daughter from the Midwest, from a conservative Republican family, and you can't erase all of that. I think that the way I'm most interested in ideas about identity is the acknowledgment of, and creating visibility for, an identity that I am quite proud of. It's about being out, and how hard it was to come out, but also to make sure that that's not the only entry point in relationship with the things that I think about or care about in terms of mapping out communities and society.

  • The Modernist, I feel is all of my ideas that have encompassed my work in the last 30 years. Catherine...

    The Modernist, I feel is all of my ideas that have encompassed my work in the last 30 years.

    Catherine Opie: You have architecture, you have income disparity, you have Pig Pen's body — I have been making images of Pig Pen's body since 1980, the late 1980s, and he's a dear, dear friend. I wanted to show a piece that was of the moment, of what people are thinking about now. And I wanted the Queer body to exist in a space without saying "this is a Queer body." I felt that The Modernist was the newest work that I had made that felt like it encompassed all of these ideas in relationship to other bodies of my work. 

     

    Daniel Strong: It's almost like a premonition. When you made this work, you had no idea that this was the world we were going to be living in.

     

    Catherine Opie: Well, yeah. And the film Parasite came out and then won an Oscar. The Modernist was grappling with the exact same things that were laid out in that film. Except this is about artists, and it's also in conversation with Chris Marker's La Jetée, which was about fear of the future. This is about the longing of the past, but the recent past. And now we're even at a deeper longing of the past with this weird nostalgia. It's what the current body of work is trying to do, which I call Rhetorical Landscapes. You hope, as an artist, that you engage in a long conversation with your own ideas, as you traverse through multiple bodies of work.

  • Listen to an Interview with Catherine Opie

    Download Transcript

  • GCMoA · Catherine Opie Speaks to Curators Daniel Strong and Greg Manuel
  • Watch a documentary film by Sini Anderson

  • Watch an excerpt from The Modernist by Catherine Opie

  • LISTEN TO A QUEER READING by Annalise Rummelhart '24 of "Bo" by Catherine Opie

  • Grinnell College Museum of Art · A QUEER READING by Annalise Rummelhart '24 of "Bo" by Catherine Opie
  • Listen to a Queer Reading by Dean Oppenheim '23 of "Model Fire #1" by Catherine Opie

  • Grinnell College Museum of Art · A QUEER READING by Dean Oppenheim '23 of "Model Fire #1" by Catherine Opie
  • Listen to a Description of Catherine Opie's Works in the Exhibition

  • Grinnell College Museum of Art · Catherine Opie Audio Descriptions
  • Featured works by Catherine Opie

    • Full-length self-portrait of Catherine Opie, wearing jeans, a sleeveless flannel shirt, and a fake black mustache.

      Catherine Opie

      Bo, 1994

    • View through a highly reflective window into a room where the artist Pig Pen sleeps on a sofa.

      Catherine Opie

      Sleep (The Modernist), 2016

    • Catherine Opie Mirror #3 (The Modernist), 2016

      Catherine Opie

      Mirror #3 (The Modernist), 2016

    • The artist Pig Pen on a step ladder attaching photographs to a wall collage.

      Catherine Opie

      Artist #2 (The Modernist), 2016

    • Close up of the artist Pig Pen's right hand striking a match.

      Catherine Opie

      Match Smoke (The Modernist), 2016

    • Close up of a lit match.

      Catherine Opie

      Match Fire #4 (The Modernist), 2016

    • Close up of the artist Pig Pen prone on the ground lighting a small fire with matches in front of him

      Catherine Opie

      Model fire #1 (The Modernist), 2016

    • The artist Pig Pen entering through a glass door, the front half of them obscured by reflections in the window.

      Catherine Opie

      Chemosphere #2 (The Modernist), 2016

    • The artist Pig Pen stooped by an outdoor pool with a lit match in their hand.

      Catherine Opie

      Sheats-Goldstein #3 (The Modernist), 2016

  • Home ▵ Fratino △ King ▵ Laing ▵ Langberg ▵ Opie ▵ Quarles ▿ Sepuya ▿ Shimoyama ▿

  • Christina Quarles

    she/her/hers
  • Screen shot of Zoom interview between Christina Quarles, Greg Manuel, and Daniel Strong, showing their faces.

    ... what freed up my practice was taking away the idea of trying to make work about something, because as soon as you try to make work about race, or about Queerness, it isn't that. It's just didactic and it's explaining something, but doesn't embody that thing. And as soon as I allowed myself to make work that's when it suddenly could encompass these issues that were important to me rather than just being illustrations of an idea that was important to me.

  • Listen to a Queer Reading by Elena Friedman '24 of "A Head of Ourselves (Lez We Get)" by Christina Quarles

  • Grinnell College Museum of Art · A QUEER READING by Elena Friedman '24 of "A Head of Ourselves (Lez We Get)" by Christina Quarles
  • Listen to an Interview with Christina Quarles

    Download Transcript

  • Grinnell College Museum of Art · Curators Daniel Strong and Greg Manuel interview Christina Quarles
  • Listen to a Description of Works in the Exhibition by Christina Quarles

  • Grinnell College Museum of Art · Christina Quarles Audio Descriptions
  • Featured works by Christina Quarles

    • Abstracted view of two figures appearing to be dancing and kissing in a daytime landscape.

      Christina Quarles

      A Head of Ourselves (Lez We Get), 2019

    • Black ink drawing on white paper showing two abstracted figures gesturing as if in argument, one of them with tears falling on the other.

      Christina Quarles

      Tell Me Tell Me, 2019

    • Black ink drawing on white paper showing two figures in a landscape looking toward a settlement in the distance

      Christina Quarles

      For Whom Tha Son Sets Free, 2019

  • Home ▵ Fratino △ King ▵ Laing ▵ Langberg ▵ Opie ▵ Quarles ▵ Sepuya ▿ Shimoyama ▿

  • Paul Mpagi Sepuya

    he/him/his
  • A nude photographer stands in profile in a studio, his back half visible, as is one leg of his tripod. His front half is concealed behind a large piece of shiny black material.
    Artworks

    Paul Mpagi Sepuya

    Figure (_2100934)

    I will never forget that feeling of being young and looking out and identifying particular artists and finding a sense of recognition, but people can easily shut the book on that.

    So you have to say, okay, that's where queerness is in my work, the apparatus and how it is used is the thing. Maybe we might be queer people using it or whatever but I want that to be there when the conversation has turned to something else and our pictures to still be in the room because you can't talk about photography without them.

  • Seated shirtless figure holding a camera to his eye aimed at us, the viewer, while two nude figures stand on either side of him, their heads out of view, each with a hand at his neck or his face.
    Artworks

    Paul Mpagi Sepuya

    Darkroom Mirror (_2070527)

    For me, the work is about asserting Queerness.

    The thing that I'm interested in is asserting Queerness as fundamental to the formation of photography, and looking at the things that the medium can attempt to hold on to; what it reveals as constructions of a set of desires that have been put together through technology, looking more closely at what we choose to look at, how we look at it, and how we find ourselves in relationship to it.

     

    All the other stuff, I don't care about, because there's all these waves of exhibitions around identity. When I talk to friends or mentors who are older and have gone through the clusters of the late 80s, the early 90s, or the early 2000s. The backlash was late 90s or early 2000s. When I was in school, identity politics work was so out, and then came this moment that we're in where it's like everyone wants QTPOC artists. We just keep adding new acronyms or ... what do you call them? Is acronym the word? I don't know.

  • Listen to an Interview with Paul Mpagi Sepuya

    Download Transcript

  • GCMoA · Paul Mpagi Sepuya Speaks to Curators Daniel Strong and Greg Manuel
  • Listen to a Queer Reading by Jenny Rodrigues Santos of "Mirror Study (0X5A6571)" by Paul Mpagi Sepuya

  • Grinnell College Museum of Art · A QUEER READING by Jenny Rodrigues Santos '23 of "Mirror Study (0X5A6571)" by Paul Mpagi Sepuya
  • Listen to a Description of Works in the Exhibition by Paul Mpagi Sepuya

  • Grinnell College Museum of Art · Paul Sepuya Audio Descriptions
  • Featured works by Paul Mpagi Sepuya

    • Seated shirtless figure holding a camera to his eye aimed at us, the viewer, while two nude figures stand on either side of him, their heads out of view, each with a hand at his neck or his face.

      Paul Mpagi Sepuya

      Darkroom Mirror (_2070527), 2017

    • View of a shirtless Black photographer seen from behind, his right arm holding a camera at his shoulder aimed at us, the viewer.

      Paul Mpagi Sepuya

      Darkroom Mirror Study, or Aperture, 2017

    • Black drapery is parted to reveal a camera on a tripod aimed at us, the viewer. The camera is being held by a black arm and a white arm that emerge from the drapery, the rest of the two bodies concealed behind the black drapery.

      Paul Mpagi Sepuya

      Drop Scene (_1030373), 2018

    • Seated Black man in a photography studio, holding a large shard-like black shape that obscures most of his nude body.

      Paul Mpagi Sepuya

      Figure (_2010015), 2017

    • A nude photographer stands in profile in a studio, his back half visible, as is one leg of his tripod. His front half is concealed behind a large piece of shiny black material.

      Paul Mpagi Sepuya

      Figure (_2100934), 2017

    • A large roughly triangular collaged view of body parts being held by one visible hand in a photography studio.

      Paul Mpagi Sepuya

      Mirror Study (0X5A6571), 2018

    • View of a photographer seated in a studio aiming a camera out at us, mostly obscured by a cut-out of a photograph of another photographer also aiming at us.

      Paul Mpagi Sepuya

      Mirror Study (_Q5A3497), 2015

  • Home ▵ Fratino △ King ▵ Laing ▵ Langberg ▵ Opie ▵ Quarles ▵ Sepuya ▵ Shimoyama ▿

  • Devan Shimoyama

    he/him/his
  • Close-up of one of Devan Shimyama's swings covering in rhinestones and artificial blue flowers.
    Artworks

    Devan Shimoyama

    Untitled (For Tamir), detail, 2019

    Not all artists who are in some kind of capital O "othered" community have to make everything through that lens to service or educate everybody else on something....

    People who are in communities that are subjugated or are highly politicized in a multitude of ways and under oppression can make work about a multitude of things.... We’re multifaceted, and it doesn't have to come out of a place of trauma. I think that is also really important to see.

  • Installation view of Devan Shimoyama's "Potted", showing him gardening in his backyard.
    Artworks

    Devan Shimoyama

    Potted, 2018

    I don't depict black figures in pain.

    I'm not interested in seeing more of those images circulate throughout the world. I think they bring a lot of trauma and they circulate enough through social media. In works like Untitled (For Tamir), it's a way for me to celebrate their life, and bring attention to the tragedy that was their death, without disrespecting their family and loved ones by pumping more of these images out and hurting other Black people by reiterating it. 

     

    I think it's important to try to have these dialogues about this but not have the majority of images you see of Black people, or Black trans women, or any of these people, being dead or memorialized. I don't think that's something I'm interested in. So I'm thinking more about representing people's bodies; how I want to celebrate and put out more images that are positive of those people that we so often think of as just automatically dead in our minds.

    I want to see more living happening.

  • Listen to an Interview with Devan Shimoyama

    Download Transcript

  • GCMoA · Devan Shimoyama Speaks with Curators Daniel Strong and Greg Manuel
  • Listen to a Description of Works in the Exhibition by Devan Shimoyama

  • Grinnell College Museum of Art · Devan Shimoyama Audio Descriptions
  • Featured works by Devan Shimoyama

    • Devan Shimoyama Untitled (For Tamir), 2019

      Devan Shimoyama

      Untitled (For Tamir), 2019

    • Devan Shimoyama Potted, 2018

      Devan Shimoyama

      Potted, 2018

    • Devan Shimoyama Untitled (For Trayvon), 2020

      Devan Shimoyama

      Untitled (For Trayvon), 2020

  • Home ▵ Fratino △ King ▵ Laing ▵ Langberg ▵ Opie ▵ Quarles ▵ Sepuya ▵ Shimoyama ▵

     

     

     

     

  • About the Curators

    • DANIEL STRONG He/him/his Daniel Strong has been Associate Director and Curator of Exhibitions at the Grinnell College Museum of Art since 1999. He holds master’s degrees in art history from Williams College/Clark Art Institute and Princeton University.

      DANIEL STRONG

      He/him/his

      Daniel Strong has been Associate Director and Curator of Exhibitions at the Grinnell College Museum of Art since 1999. He holds master’s degrees in art history from Williams College/Clark Art Institute and Princeton University.

       

    • Greg Manuel He/him/his Greg is an independent curator with over 20 years experience in the art world including 12 years working at one of the most successful contemporary galleries in Canada. He is Co-Director of CArt Caribbean Art Fair and is currently a member of the Curatorial Advisory Committee for BAND Gallery (Toronto CA).

      Greg Manuel

      He/him/his

      Greg is an independent curator with over 20 years experience in the art world including 12 years working at one of the most successful contemporary galleries in Canada. He is Co-Director of CArt Caribbean Art Fair and is currently a member of the Curatorial Advisory Committee for BAND Gallery (Toronto CA).

  • Queer/Dialogue

    Acknowledgements

    The concept of this exhibition was initially presented to GCMoA staff by a student, Tucker Haddock ’21. We expected to present the exhibition in the spring of 2021, at the culmination of their final semester at Grinnell, but the pandemic compelled its delay until fall 2021. We present it in recognition of Tucker’s original inspiration and their desire to energize this space with open and provocative exchange. Milton Severe, Director of Exhibition Design, deftly installed the exhibition to highlight the artists’ achievements as individuals while honoring their commitment to community. Works by two of the artists, Catherine Opie and Paul Mpagi Sepuya, are drawn from the permanent collection of the Grinnell College Museum of Art, itself dedicated to the preservation and celebration of diverse voices and the life enrichment that diversity generates. These works in our collection serve as anchors of this and future explorations of LGBTQ+ expression at GCMoA, expanding the dialogue and engaging communities that Grinnell College students will occupy and activate far beyond this time and place.

    — Daniel Strong and Greg Manuel, Curators

Grinnell College Museum of Art

1108 Park Street

Grinnell, Iowa 50112

www.grinnell.edu/museum

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