Taylor Mead. Photo by Bert Pence. Courtesy of John Leon Gallery
Alf Young makes portraits by suspending, one at a time, several lengths of sheer fabric in front of his subject. Tracing the person’s image onto the fabric. Each of the layers of lines are slightly out of sync. The images seem to stir. He is showing them at the newly established John Leon Gallery this October.
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.
Originally published in
Georgia Marsh, Paul Bowles, Michael McClard, Olivier Mosset & Fred Brathwaite, and Duncan Hannah. Cover by Mary Heilmann.
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
