Luc Tuymans, Der Diagnostische Blick IV, 1992, oil on canvas, 22¾ x 15¼ inches inches.
MOLLY, MERCY, MADELINE,
MYRA, MAGGIE, MEREDITH,
MARLEY, MAGDA, MARGARET,
MINDY, MILLIE, MAGDALA,
MYRNA, MOIRA, MARIANNE,
MARLA, MAURA, MARIGOLD,
MEGHAN, MARY, MILLICENT,
MAITE, MAPLE, MITZI.
Oil painting on linen of a woman in a dress; The Web by Catherine Howe.
Inner Hoodlum and Bad Day by Rebecca Howland.
Originally published in
Featuring interviews Edward Dimendberg and Allan Sekula, Luc Tuymans and Kerry James Marshall, Nell McClister and Paul Chan, Sue de Beer and Nancy A. Barton, Heather McHugh, Susan Wheeler, Miranda July and Rachel Kushner, William Wegman and George Steel, Tony Conrad and Jay Sanders, and Carolyn Cantor.
Let me tell you first about what it was like being a Black woman poet in the ‘60s, from jump. It meant being invisible. It meant being really invisible. It meant being doubly invisible as a Black feminist woman and it meant being triply indivisible as a Black lesbian and feminist.
Audre Lorde
