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Presse Masculine

OUT May 2019

Sexy, smart, and sophisticated, it inspires readers with captivating feature stories, striking fashion layouts, and lively entertainment reviews. Get OUT digital magazine subscription today to discover what's in. Each issue is filled with interviews, fashion, travel, celebrities and more for gay life today.

United States
Here Media
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5,73 €(TVA Incluse)
14,32 €(TVA Incluse)
6 Numéros

Dans ce numéro

1 min.

Phillip Picardi Editor in Chief Sean Santiago Art Director Raquel Willis Executive Editor Yashua Simmons Fashion Director EDITORIAL Michelle Garcia Managing Editor Tre’vell Anderson Entertainment and Culture Director Fran Tirado Deputy Editor Maxwell Losgar Casting Director Mikelle Street Senior Editor Nicolas Bloise Visuals Editor Coco Romack Associate Managing Editor Harron Walker, Rose Dommu, Mathew Rodriguez Staff Writers Ian Martella Social Editor Esther Gim, Jamie Staples Copy Editors Devin-Norelle Assistant Editor Allie Herring Fashion Assistant CONTRIBUTORS A.K. Burns, Diamond Stingily, Jeremy O. Harris, John Paul Brammer, Kristiina Wilson, Mars Hobrecker, Micaiah Carter, Nick Remsen, Tom Capelonga EASTERN EDITORIAL Email letters@out.com Joe Valentino Executive Vice President, Publisher Stuart Brockington Assistant Vice President, Associate Publisher ADVERTISING Adam Goldberg Executive Director, Integrated Sales Ezra Alvarez Executive Director, Integrated Sales Paige Popdan Executive Director, Integrated Sales Stewart Nacht Senior Director, Ad Operations Tiffany Kesden Manager, Ad Operations Michael Tighe Senior Coordinator BRANDED PARTNERSHIPS Greg Brossia Executive Vice President, Branded Partnerships Michael Lombardo Design Director, Branded Partnerships Jamie Tredwell…

3 min.
artist statement

Dear Reader, THE TASK OF BEING AN ARTIST IS UNDOUBTEDLY A DAUNTING ONE. In moments of political instability and extreme violence, we have historically turned to artists to help us make some sense of the world around us. (Think of: Gran Fury, Emory Douglas, Jenny Holzer, Zoe Leonard, Fred Wilson, or Ai Weiwei.) With this in mind, I was disenchanted (but not surprised) when, after our country’s most recent presidential election, I saw friends jubilantly forecasting “art in the age of Trump.” While it is true that art made in eras of civic unrest often resonates, it is equally true that artworks should never be divorced from the stories of their authors and co-conspirators. I am always curious about the labor that goes into making art. How does the social history of a…

3 min.

Dear Papi, I’m a lesbian college student studying dance, and in a few months I have to perform a solo I’m choreographing about my experience with internalized homophobia. The piece deals with some really personal and painful material, and I don’t quite know how I’ll get the courage to perform it in front of an audience of clueless straight people. I’ve performed little parts of it for close friends, and I still felt so scared and vulnerable. My question is, how does any gay ever get the courage and the willpower to reveal their most difficult experiences with homophobia to a bunch of heteros? Love, Scared Gay Dancer™ “Art is powerful because it makes us vulnerable. It’s putting your thoughts and feelings out into the world. That’s an inherently scary thing, especially if most…

5 min.
genre binary

OVER THE PAST FEW MONTHS, as my work in the world of theatre has started to make its rounds, I’ve found myself in dialogue with cultural critics, peers, and audiences about how I define queer art and whether I deem the art I make to be “queer.” This has been both exhilarating and vexatious; in the most generous light, the impulse to label my work “queer art” comes from an excitement to introduce my thought and works into a canon that is predominantly white, cisgender, and male. Yet in a darker reality, identity politics work in tandem with capitalism, situating work into an identity group that flattens it into a more consumable and possibly profitable object for the populace. This is a curious position to put queer art and artists in.…

1 min.
thirst trap

African art was the first thing we learned about in art school, but they used “primitivism” to describe it—the work coming from people who looked like me was “primitive.” This idea comes from a rich American history of colonization where Black people were enslaved and called “animals.” This canon of Eurocentricity made its way into our curriculums, where it’s disseminated everywhere. An estimated 85 percent of artists in American museums are white. And the nude figures—the skinny white women that appear in art—influence our beauty standards. When Black artists set out to create, we get comments saying art doesn’t look like us. I manage a gallery, and just the other day, a white woman handed me her keys to park her car as she was heading in! Putting myself in…

4 min.
positive figures

IN 2010, ACTIVIST GROUP ART+POSITIVE stood on the steps of New York’s Cooper-Hewitt National Design Museum, a Manhattan-based Smithsonian institution, to demand that the Smithsonian return the film A Fire in My Belly, by HIV-positive artist David Wojnarowicz, to the National Portrait Gallery’s exhibition “Hide/Seek: Difference and Desire in American Portraiture.” Its eventual expulsion from the show underlined not only the queerphobia of American institutions, but also how they actively erase HIV-positive artists from the national conversation. Art has always played an integral part in the AIDS epidemic. Gran Fury, the ACT UP-affiliated collective, created the Silence = Death poster. Visual imagery in pamphlets fought miseducation about the virus and spread safe-sex messaging throughout queer communities. And while some art was meant for the street, just as much art around AIDS…