At Hudson River Park, the memorial honors victims of prejudice.
Before President Obama left office, in late 2016, the U.S. National Park Service, under his administrative lead, honored the LGBTQ community by naming the Stonewall Inn a National Monument. This historic designation was a first of its kind. No other LGBTQ identifying space had ever been listed (let alone considered) on the National Monument register. To commemorate the Stonewall Riot’s 50th anniversary, and coming just two years after President Obama’s announcement, New York is unveiling a new LGBTQ monument. Designed by artist Anthony Goicolea, the memorial, located on Hudson River Park and was commissioned by New York State to honor the LGBTQ community — including those lost in the Pulse nightclub shooting in Orlando — as well as all victims of hate, intolerance and violence.
The public monument encourages visitors to look beyond exteriors. Its large granite stones are constructed from bronze, with fragile glass creating strong unifying bonds. An inward-facing Audre Lorde quote is inscribed between the largest split stone, acting as the memorial’s inner voice. The proportion of the rocks and their circular arrangement creates a safe harbor that beckons visitors to rest upon the immovable stones. These markers become pedestals for the true monument: the community of differing people who sit, visit, commune, mourn, love and remember.
To learn more about the monument’s creation, I sent Anthony a few questions to hear more about his process in designing and what the historic-future of the space could look like.
You have cited historic structures such as Stonehenge & Easter Island as points of reference for the new monument — what is your hope for your own design and it’s own potential history? …
GAYLETTER's Bear week in Provincetown included a casting call, a conversation with Max Jenkins from High Maintenance, a fruit bong-making class and a bear hugs benefit — with all proceeds going to the Trevor Project
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. …