Oh man thats Queer

Shut the fuck up about Ariana and Taylor Swift being gay icons.

Keith Haring in 1989: “Unfinished Painting”. Haring died few months after and this is his last painting. This is supposed to be a self-portrait. Haring knew he wouldn’t have enough time to finish it. This is one of the saddest but certainly the most powerful thing I’ve ever seen.

i feel like this distinction is important? there are many artists who died due to hiv/aids and left unfinished work, but haring made this specifically to comment on his impending death. i feel like stating that it’s actually unfinished takes away some of his agency as an artist/activist/pwa and the political power of the work. 

“In a hundred years of movies, homosexuality has only rarely been depicted on the screen. When it did appear, it was there as something to laugh at, or something to pity, or even something to fear. These were fleeting images, but they were unforgettable, and they left a lasting legacy. Hollywood, that great maker of myths, taught straight people what to think about gay people… and gay people what to think about themselves.” (The Celluloid Closet, 1996)

i’m fucking crying

my Patreonis: patreon.com/kyliesummerwu

These people are your family, they are your history, and they built a world so that you could live in it. You may not be related by blood but you are related by history, their lives are irreversibly connected to ours and I encourage you all to take time to hold that in your minds as you move forward today.

A little personal piece about scars.

Short one page comic to help remind you to breathe even when you feel like you’re suffocating.

A piece of the abundance of graffiti on the walls of my favourite place.

If you can’t see me as your equal while also recognizing that I’m a lesbian, you are not an ally.

Love, Simon (2018) dir. Greg Berlanti

A good thread on whether “queer” is a slur and if it should be used or not.

Holy motherfucking shit. Don’t fucking come at me about Queer is a slur. I FUCKING KNOW IT IS. It was hurled at me like a fucking spear all through my youth. I know it’s a god damn slur. And it’s mine. You don’t get to take it away from me because you can’t take also away the scars it gave me while I was standing in front of my younger queer siblings in this community. 

September 13, 1987

Keep reading

In total darkness, Cassils perform his attack upon a 2,000 pound block of clay. In the beginning his hands and breasts are each bound in preparation for battle, an epic reshaping a transformation mirroring his own. Over time and with much effort, the artist has transformed, sculpted and changed his own  female form, reshaping it, dissolving binary gender boundaries understood through the exterior forms and contours of a body. The wet punches and short breaths are being captured via an audio recording, flashes of light punctuate the assault upon the clay block— images captured via a camera and the live witnesses to this performance see the action before them the way the camera sees, fractured, disassociated from its linear narrative and bathed in the harsh, cold light of the flash. The viewers gaze akin to the media’s gaze, but also to the photographer’s/artist’s gaze. What they see (and we see after the fact in the still images) is a violent scene, a beating, the physical imposition of will acted out as a force. If as Cassils suggests that “our bodies are sculptures formed by societies expectations” then this sculptural performance reclaims the act of shaping. In this instance the one doing the shaping is the one previously shaped. It too reclaims the acts of violence committed against the trans community. Force met with force, strength met with strength, action captured in an image and an object— and so the work not only reclaims the act of shaping but also the act of image making, wresting a degree of power away from the media…