This First Proof contains an untitled ink and watercolor drawing, from Pierced Hearts and True Love: A Century of Drawings for Tattoos At the Drawing Center. For copyright reasons this content is available in print only. To check on availability and buy this issue, click here.
Painted on Yupo paper with water-soluble crayon, watercolor pencil, water brush, paper towel, and Q-tip.
The filmmaker and photographer discusses the return to her work on Russia’s inmates.
“A lot of times I end up turning on the camera on my computer and playing something out, and pausing it and seeing what tonal or emotional nuances are there that I can work with.”
Originally published in
Featuring interviews with Jo Baer, June Jordan, Kelly Reichardt, Abel Ferrara, Catherine Murphy, Mac Wellman, Lucie Brock-Broido, Wayne Wang, and Roy Hargrove.
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
