Heide Fasnacht, Scientific American, (work in progress) 43 × 140 × 140 inches. Photograph by Lisa Kahane. Inset: Heide Fasnacht, Two Views, Reel, 1988, wood, paint 31 × 45 × 37 inches. Courtesy of Germans Van Eck.
MOLLY, MERCY, MADELINE,
MYRA, MAGGIE, MEREDITH,
MARLEY, MAGDA, MARGARET,
MINDY, MILLIE, MAGDALA,
MYRNA, MOIRA, MARIANNE,
MARLA, MAURA, MARIGOLD,
MEGHAN, MARY, MILLICENT,
MAITE, MAPLE, MITZI.
Pacale Marthine Tayou is a Cameroonian artist based in Belgium. His work has appeared in documenta11 (2002) in Kassel, two Venice Biennales (2005 and 2009), and numerous international exhibitions. Recent solo exhibitions took place at the Serpentine Galleries, London, and Fowler Museum, Los Angeles, both in 2015.
Gabriele Beveridge has quite the eye for sad-looking models in posters—the kind of women who hawk things like hair dye and shampoo.
Originally published in
Featuring interviews with Patrick McGrath, Craig Lucas, Mary Ellen Mark, Isabel Toledo, Guy Gallo, Gary Indiana, David Kapp, Bobbie Ann Mason, Roland Legiardi-Laura, John Ford Noonan, Roni Horn, and Richard Edson.
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
