Beige

Located in Memphis TN, Beige is a peripheral space for otherwise art, performance, and hospitality. We resist the urge to professionalize. We traffic in rumor and desire, and relationships. We're very exclusive. We also run the Sugarbaker-Milk Fund, a microgrant for emerging queer artists in the Mid-South. The grant is funded by in part by the Vending Mattachine Society, a vending machine stocked with editions by local artists.

[joeltparsons]

still from Beholding and Being Held

2016; hour-long performance with roses and latex curtain

[beigememphis]

lots of new (and old) work on the new site ~ follow me at http://joeltparsons.work/ for all the holes, roses, and pinks

[genitalholocaust]

[dadoodoflow]

Steve Reinke

[loverofbeauty]

Jasper Johns:    Skin with [Frank] O'Hara Poem (1963)

[loverofbeauty]

Portrait of Larry Rivers by Fairfield Porter  (c.1951)

[loverofbeauty]

Frank O’Hara by Larry Rivers (left) and by Fairfield Porter (1950s)

[paultoes]

David Haughton as Jokanaan in Lindsay Kemp’s all-male production of Oscar Wilde’s Salomé, 1975

[ruhlingwoven]

Ellsworth Kelly // #abstract #art #painting #inspo

[thepolishstufflove]

[monsieurlabette]

Jacek Malczewski  (Polish, 1854 -1929)

[desimonewayland]

[loverofbeauty]

David Hockney: Water pouring into swimming pool (1964)

[neoncart]

[pppots]

ROGER BROWN @ Maccarone Virtual Still Life

[unbuiltroads]

Roger Brown, ‘Virtual Still Life’

[melissem]

Apples 1949

Ellsworth Kelly

[havesexwithghosts]

Elijah Burgher, BotD4, acrylic on canvas drop cloth, 104x69″, 2015

[lesbianartandartists]

Millie Wilson, Fauve Semblant: Peter (A Young English Girl), 1989

“Wilson has written that ‘any woman who undertakes the historically male act of painting is forced to engage in "aesthetic cross dressing”’. This statement, made in connection with her 1989 installation Fauve Semblant, a museum retrospective for a fictional lesbian painter, a young English girl named Peter who worked in Paris at the turn of the century, reminds us of the noticeable absence of women from museum spaces and histories of art.

Specifically, Wilson’s installation refers to the artist Romaine Brooks and her portrait of the British artist Gluck, titled Peter (A Young English Girl). Both painters were wealthy, had the privilege to live and paint openly as lesbians, and were respected artists in their day. However, their work, like that of many women and lesbian artists, is largely forgotten. […] Wilson gives her fictional artist Peter the retrospective that neither Gluck nor Brooks had in her lifetime, and in doing, honors a tradition of lesbian creativity that has gone unnamed and unacknowledged.“

Harmony Hammond, Lesbian Art in America, 106 

[grainofhisskin]

Ephemera: announcement poster for Tony Greene, Doug Ischar and Millie Wilson exhibit “The Body You Want”, Southern Exposure - Project Artaud, San Francisco, 1989.

Inside cover features descriptions of two events:

“Opening lecture: Seductive Strategies & Virtual Revisions I. Presented in conjunction with ‘The Body You Want’, visual artists and theorists Nayland Blake, Margaret Crane, Doug Ischar and Sigi Torinus will examine the psychological, historical and social operations of sexual difference. In the process, the panelists will propose radical aesthetic and critical strategies for representing human sexuality and for revising the arbitrary political boundaries of physical and perceptual desire. Areas under inspection will include the gay male gaze, women’s trash autobiography, fetishism and pornography”.

“Lesbian and Gay Writers: Closing Night Reading. Also in conjunction with 'The Body You Want’, four noted San Francisco lesbian & gay writers read from their recently published and unpublished work. Dorothy Allison (Trash), Robert Gluck (Jack the Modernist), Kevin Killian (Shy), and Camille Roy (… Deep Down: New Sensual Writings by Women) present an evening of readings from works which explore lesbian/gay desire in a variety of cultural and social contexts.

[lesbianartandartists]

Millie Wilson, Dressed as a Girl, 1992-93