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Photography Trip

Whitney Museum

Marlon Mullen, Untitled, 2018
Georgia O’Keeffe, Summer Days, 1936
Todd Gray, Euclidean Gris Gris 2, 2018
Eddie Arroyo, 5825 NE 2nd Ave., Miami, FL 33137, 2018
Martha Holmes, Mr. B, 1950
Curran Hatleberg, Untitled (Afternoon), 2018
Brendan Fernandes, The Master and Form, 2018
Janiva Ellis, Uh Oh, Look Who Got Wet, 2019
From left to right: Elle Pérez, Gabriel, 2019; Elle Pérez, Mae (three days after), 2019; Elle Pérez, Wilding and Charles, 2019; Elle Pérez, Dahlia and David (fag with a scar that says dyke), 2019

Reflections

  • Tomashi Jackson, Third Party Transfer and the Making of Central Park, 2019

Art is what we make it. Sometimes we have to stand underneath or behind the view in order to create a view of our own, as in the second photograph. While in the Whitney Biennial, I took this photograph from behind and underneath an art installation (see first photograph). To keep things interesting, the subject and I switched places to take another photograph, but a museum guard promptly yelled at her for standing underneath the installation. It was pure luck that I was able to take the photograph I did without getting in trouble! It was interesting to make art from another piece of art, and it really brought up questions as to what art is in the mind of the artist and the minds of the viewers. Click here to visit the Whitney Biennial online.

  • Robert Mapplethorpe, Poster for Rites Parts I and II, 1981.

The piece I found most compelling from the Stonewall 50 exhibit at the NY Historical Society was Poster for Rites Parts I and II, 1981. Learning about The Saint and seeing how it was portrayed to the world was very interesting to me. The Saint provided a home for many gay men to be free.

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