Ken Lum, Untitled Sculpture (My Arms are Ready to Embrace the Universe with Love), 1987. Courtesy Nature Morte.
Lithograph, screen print, collage and stencil piece on a folding, five panel screen of a table set for tea, Caribbean Tea Time by David Hockney. This piece appears in the portfolio The Folding Screen, curated by Ursula Helman.
Five standing lacquered wood panels in relief, Remember and Forget by Ed Ruscha. This piece appears in the portfolio The Folding Screen, curated by Ursula Helman.
Oil painting on nine wood panels, La Combe II by Ellsworth Kelly. This piece appears in the portfolio The Folding Screen, curated by Ursula Helman.
Originally published in
Paul Auster by Joseph Mallia, Black-Eyed Susan, Jeanne-Pierre Gorin, April Gornik, Freya Hansell & Susan Rothenberg.
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
