MARIANA @explosao - Tumblr Blog

untitled butch shot by Michele Serchuk, On Our Backs December-January 1999 Edition

Chloe Atkins’ portraits of lesbians at San Francisco’s Club Q featured in her published collection Girls Night Out (1998)

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(1) Margaret & Jill with Martini, 1998; (2) Opening Night Lexington Club, 1997; (3) Lila Lexington & Radha with Polaroids, 1998; (4) D.J. Campbell at Club Junk, 1997; (5) Steak House Bartends, “By Hook or by Crook,” 1999; (6) Wedding Dance, 1999; (7) Love/Hate, Rest in Power Christopher Lee, 1999; (8) Red Umbrella, 1998 from Chloe Sherman’s Renegades: San Francisco: The 1990s

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(1) The Mission, 1996; (2) Summer in the City, mid-90s; (3) Dusty & Mary, 1998; (4) In My Chevy Nova, Ace Driving, 1997 from Chloe Sherman’s Renegades: San Francisco: The 90s

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Dykes on b/w by Chloe Sherman

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1990. Female Corrective Labour Colony No. 12

Kungur, Perm Region

Women’s tattoos are distinguished by their sentimental nature. Lesbian relationships are common in female prisons; acronyms and phrases declaring undying love are popular. The text at the top reads: ‘If you want to grab grief - fall in love with me!’ and below ‘Let my love lie on your life like a tombstone’.

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Deborah Remington (American, 1930-2010), Untitled, 1954. Oil on canvas, 48 x 70 in.

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hustler july 1984

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Marée

21 x 29,7cm, ink on paper, Kevin Lucbert, 2023

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“dyke” photographed by catherine opie, 1993

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Catherine Opie, from “Domestic" series, 1995-1998.

In 1998 Catherine Opie embarked (along with her dog) on a “great American road trip.” Over three months she completed a 9,000-mile journey across the United States photographing lesbian families and couples in their home environments. The resulting series of photographs titled Domestic (1995–98) presents these families involved in everyday household activities: relaxing in their backyard, hanging out in their kitchen, or playing with their children. There is no sensationalism here. These intimate photographs speak both to Opie’s identification with her subjects and to the overwhelming absence of such images in mainstream representations.