Like an angel of bygone-history, scarlet Love Bailey asserts the past is old news
It’s time to demand better, newer, next. Most of us are sick of normalities that only appease the hetero-typical American psycho. Here enters Love Bailey; bedecked in scarlet, her flesh and bones made a sanctuary for all us lost and wayward children. Like an angel of bygone-history, Love asserts that the past is old news. Filmed in the California desert at her very own Savage Ranch, Love’s “Hollywood Hooker” is a reminder you can easily be redeemed, just choose a night to slather it all the way up!
We got in touch with Love to hear straight from the Hollywood Hooker’s mouth what this moment in her career means to her, and the queer community more widely.
So, who is the Hollywood Hooker? Whether you’re selling couture or selling your ass, we are all hookers in this together!
Where does she come from? Tinseltown
Now that there’s nothing left for her to prove, what does she want? To Trojan Horse Hollywood giving more opportunities to woman & minorities and less power to greedy men in suits like Harvey Weinstein.
Over at Bullett, you discussed the role that Heidi Fless played in the foundation of the Savage Ranch. If she is the Hollywood Madame, is the Hollywood Hooker her heiress? Is this moment a way for her to stake a claim to her inheritance? The last thing I remember Heidi saying to me before she got evicted from the ranch was, “You can’t even suck dick for $5 dollars.” As she chucked my beaded gowns out the second story window. …
Scenes of the sexual, the social and the historic at this intimate exhibit.
As a newcomer to New York City I made my first trip to the Leslie-Lohman Museum of Gay and Lesbian Art in Soho a couple of weeks ago. I arrived dazed and sticky, not yet used to the stifling midsummer heat or the Canal St. crowds. The museum, on the comparatively quiet corner of Wooster and Grand, felt like a place of refuge. I felt weary and immediately grateful as I walked in. Inside the museum is both stark and warm. With its soft lights and wood floors the gallery space cultivates a comfortable intimacy in its visitors. The same intimacy naturally carries through to the relationship between the visitors and the exhibitions, between the visitor and the art. As I explored OUT FOR THE CAMERA: The Self-Portraits of Leonard Fink, one of the two exhibits currently on view at the museum, the exchange between the space, the visitor and the artwork itself made itself clear.
During the seventies and early eighties Leonard Fink, a gay man, photographed New York City, paying particular attention the social and sexual lives of his fellow LGBTQ people. He captured the bar scene of the West Village and the annual Pride marches and the men cruising for sex on abandoned piers, documenting LGBTQ culture from the interior. During his lifetime Fink’s work was never recognized and today it remains mostly in obscurity despite its contemporary relevance. He, like other LGBTQ photographers such as Alvin Baltrop, Peter Hujar or Diana Davies have long been role models for aspiring photographers. …
Presented at Housing Works Bookstore, the non-profit battling the dual crisis of homelessness and AIDS.