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OUTOUT

OUT May 2019

3 issues FREE with your subscription (extra issues already included in the subscription) 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.

Country:
United States
Language:
English
Publisher:
Here Media
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10 Issues

IN THIS ISSUE

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out

Phillip Picardi Editor in ChiefSean Santiago Art DirectorRaquel Willis Executive EditorYashua Simmons Fashion DirectorEDITORIALMichelle Garcia Managing EditorTre’vell Anderson Entertainment and Culture DirectorFran Tirado Deputy EditorMaxwell Losgar Casting DirectorMikelle Street Senior EditorNicolas Bloise Visuals EditorCoco Romack Associate Managing EditorHarron Walker, Rose Dommu, Mathew Rodriguez Staff WritersIan Martella Social EditorEsther Gim, Jamie Staples Copy EditorsDevin-Norelle Assistant EditorAllie Herring Fashion AssistantCONTRIBUTORSA.K. Burns, Diamond Stingily, Jeremy O. Harris, John Paul Brammer, Kristiina Wilson, Mars Hobrecker, Micaiah Carter, Nick Remsen, Tom CapelongaEASTERN EDITORIALEmail letters@out.comJoe Valentino Executive Vice President, PublisherStuart Brockington Assistant Vice President, Associate PublisherADVERTISINGAdam Goldberg Executive Director, Integrated SalesEzra Alvarez Executive Director, Integrated SalesPaige Popdan Executive Director, Integrated SalesStewart Nacht Senior Director, Ad OperationsTiffany Kesden Manager, Ad OperationsMichael Tighe Senior CoordinatorBRANDED PARTNERSHIPSGreg Brossia Executive Vice President, Branded PartnershipsMichael Lombardo Design Director, Branded PartnershipsJamie Tredwell…

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artist statement

GUEST EDITOR KIMBERLY DREW (COURTESY OF MYLES LOFTIN)RUTH BELL POSES FOR MARILYN MINTER (P. 42) (PHOTOGRAPHED BY MARILYN MINTER)COVER STAR ZANELE MUHOLI IN A STRIKING SELF-PORTRAIT (P. 52) (PHOTOGRAPHED BY ZANELE MUHOLI)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…

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¡holapapi!

(ILLUSTRATED BY JOHN PAUL BRAMMER)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…

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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.…

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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…

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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…

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