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Marcus Bunyan | ArtBlart

Zanele Muholi (South African, b. 1972)

TommyBoys

2004

From the series Being (2006 - ongoing)

Courtesy of the Artist and Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York

In "TommyBoys," a colour photograph, two muscular figures in tracksuit pants sit on a tarmac. One, in a red T-shirt, sits with her hands folded against her chest, while next to her, the second uses her white vest to wipe something from her eyes. ("Tommy Boy" is a word used in South Africa, like "butch," to refer to a masculine-presenting lesbian.)

Text from the New York Times website

#zanele muholi #artblart #lesbian

I really like this piece, I wish I could draw more like that😪

#couple #my ocs #artists on tumblr #pencil art #artblart #artblur #traditional media #traditional art #hot pink #bizarre art #egon schiele #geometric #pink

Photographs by Greg Day (American, b. 1944)

Stephen Varble in the Suit of Armor, Stephen

Varble in the Elizabethan Farthingale

Stephen Varble at the 12th Annual Avant-Garde Festival

And Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest)

via: Art Blart - In costumes made from street trash, food waste, and stolen objects, Stephen Varble (1946-1984) took to the streets of 1970s New York City to perform his “Gutter Art.” With disruption as his aim, he led uninvited costumed tours through the galleries of SoHo, occupied Fifth Avenue gutters, and burst into banks and boutiques in his gender-confounding ensembles. Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances. While maintaining he/him as his pronouns, Varble performed gender as an open question in both his life and his work, sometimes identifying as a female persona, Marie Debris, and sometimes playing up his appearance as a gay man. Only later would the term “genderqueer” emerge to describe the kind of self-made, non-binary gender options that Varble adopted throughout his life and in his disruptions of the 1970s art world.

At the pinnacle moment of Varble’s public performances, the photographer Greg Day (b. 1944) captured the inventiveness and energy of his genderqueer costume confrontations. Trained as an artist and anthropologist and with a keen eye for documenting ephemeral culture as it flourished, Day took hundreds of photographs of Varble’s trash couture, public performances, and events in 1975 and 1976.

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