{"id":236,"date":"2023-04-18T11:17:10","date_gmt":"2023-04-18T15:17:10","guid":{"rendered":"https:\/\/sites.smith.edu\/depictingdesire\/?p=236"},"modified":"2023-04-25T21:07:09","modified_gmt":"2023-04-26T01:07:09","slug":"photographs-1975-1995","status":"publish","type":"post","link":"https:\/\/sites.smith.edu\/depictingdesire\/photographs-1975-1995\/","title":{"rendered":"Selected Photographs, 1975-2000"},"content":{"rendered":"\n

The following images represent what many consider to be markers of masculinity and femininity as they are translated and refracted by lesbian individuals. Wearable articles such as leather, lace, jewelry, suits, or shoes allowed people to explore and play with expression, and feel that their sexuality was adequately represented. Photographers active during this time such as JEB (Joan Biren) and Morgan Gwenwald were able to capture these dynamics. While their work documented the lesbian community at large, butch\/femme individuals were hard to miss during this period of intense cultural production. <\/em><\/p>\n\n\n\n

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“Butch\/fem Picnic,”<\/strong>
Morgan Gwenwald, 1984<\/figcaption><\/figure>\n\n\n\n
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Morgan Gwenwald was a photographer who worked closely with the lesbian community to capture both individual and community dynamics. Much of her work was sexual, and she was published several times in On Our Backs, an erotic lesbian magazine first published in 1984.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Polly Thistlethwaite, NYC, 1995<\/strong><\/p>\n\n\n\n

Morgan Gwenwald, 1995<\/p>\n<\/div>\n\n\n\n

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“Butch\/fem Picnic,”<\/strong>
Morgan Gwenwald, 1984<\/figcaption><\/figure>\n\n\n\n

This editorial subverts an essential component of the butch\/femme community’s connection to labor and work, as it began in working-class settings, turning this lesbian picnic into a sexual and secretive escape from workday expectations.<\/em><\/p>\n\n\n\n

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“Butch-femme comparison,”<\/strong>
Vivienne Maricevic, 1990<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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“Femme,”<\/strong>
Morgan Gwenwald, 1989<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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“Lori and Valerie,”<\/strong>
Joan E. Biren, 1978<\/figcaption><\/figure>\n\n\n\n

Joan E. Biren spent much of her career documenting the lives of everyday lesbians through photography, capturing them at home and in their daily routines. Here, two women work at a mechanic shop, taking on a traditionally masculine role. Biren’s work was paramount to removing dangerous stereotypes about lesbians, especially those who present as masculine, and she provided a more tender representation than had been previously shown. <\/em><\/p>\n\n\n\n

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“Karen and Diane, Chicago”<\/strong>
Diana Sol\u00eds, 1980<\/figcaption><\/figure>\n\n\n\n

Here, two women recline on a bed. One is dressed in a suit, while the other lies beneath her and supports her, suggesting intimacy and connection.<\/em><\/p>\n\n\n\n

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“Allamby, 1984”<\/strong>
Bar Card, Cinnamon Productions, 1984<\/figcaption><\/figure>\n\n\n\n

This bar card presents a black butch dressed in a suit, looking confidently at the viewer. Masculinity as expressed by lesbians of color is often far more villianized by members of the community and those outside of it, as racism and expectations of femininity intensify repercussions.<\/em><\/p>\n\n\n\n

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Photograph by Meryl Meisler. Courtesy of the artist’s personal collection. <\/figcaption><\/figure>\n\n\n\n

Three black lesbians are captured at the 1977 NYC Pride March. Two wear t-shirts with the label “butch” and their “fem” companion appears between them. Pride marches were a way to express and build solidarity among LGBT groups<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

The following images represent what many consider to be markers of masculinity and femininity as they are translated and refracted by lesbian individuals. Wearable articles such as leather, lace, jewelry, suits, or shoes allowed people to explore and play with expression, and feel that their sexuality was adequately represented. Photographers active during this time such…<\/p>\n","protected":false},"author":4845,"featured_media":0,"comment_status":"closed","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-236","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/posts\/236","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/users\/4845"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/comments?post=236"}],"version-history":[{"count":23,"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/posts\/236\/revisions"}],"predecessor-version":[{"id":409,"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/posts\/236\/revisions\/409"}],"wp:attachment":[{"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/media?parent=236"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/categories?post=236"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.smith.edu\/depictingdesire\/wp-json\/wp\/v2\/tags?post=236"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}