Lynn Umlauf, Marsyas and Apollo A. 2/6/94, pastel, ink, acrylic, vellum, 37 × 32 inches. Courtesy Penine Hart.
Lynn Umlauf, April 18, 1994, ink, acrylic, vellum, 38 × 32 inches. Courtesy Penine Hart.
“I’m fighting between control and letting nature take its course.”
“My work was just like art history; it was all Velázquez, Goya, Cézanne, and Soutine. But when I saw Morris Louis I saw a way into the present.”
Originally published in
Featuring interviews with Kiki Smith, Arthur Miller, Steve Malkmus, Jayne Anne Phillips, Tom Noonan, Fiona Rae, John Edgar Wideman, Frank Pugliese, Diamanda Galas & John Paul Jones, and David Bowes.
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
