AMBER BYRNE MAHONEY, FIRST HAIRCUT, 2023
The day we first cut his hair — I write “we" because it does feel something collaborative, doesn’t it? Something done together. There is the one with the hair, the one with scissors, the one saying: yes, please, go and cut his hair (and what right do I have?…
LORNA SIMPSON, CALL WAITING, 1997
In works such as Call Waiting (1997), she depicts people of color engaging in intimate yet incomplete conversations that elude easy interpretation but seem to plumb the mysteries of identity and desire…
MARIETTE PATHY ALLEN, TRANSFORMATIONS: CROSSDRESSERS AND THOSE WHO LOVE THEM, 1978-89
This series actually started in New Orleans on the last day of Mardi Gras, 1978, when by fluke, I stayed at the same hotel as a group of crossdressers, one of whom became a friend…
RYUDAI TAKANO, SELECTED WORKS
Takano Ryudai is widely recognized as a photographer who deals with the themes of gender and sexuality…
TOM BIANCHI, FIRE ISLAND PINES POLAROIDS, 1975 - 1983
Growing up in the 1950s, Tom Bianchi would head into downtown Chicago and pick up 25-cent “physique” magazines at newsstands. In one such magazine, he found a photograph of bodybuilder Glenn Bishop on Fire Island…
VIVIENNE MARICEVIC, SHE SHOOTS MEN
Vivienne Maricevic's desire to reveal, challenge, and transform the imbalance between the frequent representation of the naked female form and the rarity of male nudity is led to more than three decades spent devoted to the unadorned male form…
PAUL MPAGI SEPUYA, SELECTED WORKS
Sepuya’s work highlights the constructed nature of the photographic document and the performative space of the photographic studio, embracing the medium’s potentials for fragmentation and connection…
PATTY CHANG, MELONS (AT A LOSS), 1998
A performance juggling a narrative of an imaginary cultural ritual of receiving a plate at a relatives death with the act of cutting and eating a melon while balancing a plate on the head…
STEPHANIE DEUMER, SPOOKY ACTION AT A DISTANCE
Spooky Action at a Distance is a digital film exploring the objectification of women by means of their disembodiment. The video links AI assistants that personify female identities…
SONDRA PERRY, WET AND WAVY LOOKS – TYPHOON COMING ON, 2016
Using a water-resistant rowing machine filled with hair gel connected to three screen monitors, Sondra Perry’s 2016 Wet and Wavy – Typhoon coming on for a Three-Monitor Workstation engages the viewer’s body as a component of her piece…
HANNAH WILKE, S.O.S. STARIFICATION OBJECT SERIES, 1974
In 1974, Wilke began experimenting with performance art. One of her first forays into this genre was S.O.S. Starification Object Series…
NAN GOLDIN, THE BALLAD OF SEXUAL DEPENDENCY
These photographs described a lifestyle that was visceral, charged and seething with a raw appetite for living, and the book soon became the swan song for an era that reached its peak in the early 1980s…
ANA MENDIETA, FUEGO DE TIERRA, 1987
Released two years after the artist’s death, this compelling documentary tracks Mendieta’s life from her childhood in Cuba and tumultuous early years in the United States through her later success in New York and abroad…
VITO ACCONCI, UNDERTONE 1972
One of Acconci's most compelling works, Undertone is a confrontational attempt to engage the viewer in an intimate, ultimately perverse relation with the artist…
SUSAN MOGUL, TAKE OFF, 1974
In one sense Take Off is like a public service announcement or a TV commercial about vibrators and masturbation. My persona is a salesperson demonstrating a product…
ANNE NOGGLE, SELECTED SELF IMAGES
Noggles’s artwork presents to viewers new concepts of self-identity in portraiture. Her artwork explores human connection and challenges the intersecting constructs of gender, aging, and femininity…
RENEE COX, YO MAMA’S LAST SUPPER, 1996
Deeply concerned with the racial discrepancies in society, artist Renee Cox explores black identity through photography, collage, video, and other media, using the body to displace religious symbols from the white-centric paradigm…
GARY HILL, BATHING, 1977
A woman is lying in a bathtub with her eyes closed. In the background the splashing from a running tap can be heard. The camera pans across the woman’s body to dwell on her face, which just protrudes above the surface of the water…
GRACIELA ITURBIDE, JUCHITÁN
In 1979, Graciela Iturbide traveled to Juchitán, a small town in the southern Mexican state of Oaxaca, to photograph the Zapotec indigenous group. For nearly a decade, she immersed herself in the community during a series of visits, spending long periods with Zapotec women and cultivating friendships…
CARRIE MAE WEEMS, THE KITCHEN TABLE SERIES, 1990
For this series, Carrie Mae Weems staged and photographed a fictional drama in which she plays the lead. The setting is always the same: a small room with a table and a single overhead light..