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Another side of John Waters

BMA’s ‘Indecent Exposure’ exhibit showcases photos, sculpture and more

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8 years ago

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John Waters, gay news, Washington Blade

‘Bill’s Stroller’ depicts a baby stroller for gay parents into the leather scene. (Courtesy of the artist and Marianne Boesky Gallery, New York, © John Waters)

So you think you know everything there is to know about Baltimore-based writer and filmmaker John Waters?

You’ve seen every version of “Hairspray” and read every Waters book since “Shock Value.” You’ve sipped cocktails at Club Charles. You’ve visited Edith Massey’s old shop in Fells Point and checked out the spot where Divine ate dog poop in “Pink Flamingos.”

But there’s another side of John Waters that even many of his fans don’t know much about, and it’s on display in a comprehensive exhibit that opened last week at the Baltimore Museum of Art.

“Indecent Exposure,” which runs through Jan. 6, provides a look at John Waters the visual artist, creator of photos, sculptures, graphic art and videos separate from his books and movies. Waters, 72, has been creating visual art since the 1990s. This is the first retrospective of his work in his hometown and his first exhibit at the BMA (besides a 2016 showing of “Kiddie Flamingos”) in decades.

“I haven’t seen a lot of this work in 20 years,” Waters said during a press preview for the exhibit. “To see it all together is kind of amazing…I’m really, really thrilled to be back.”

“Waters is highly admired for his career as a filmmaker, but is less known for his work as an artist,” said Kristen Hileman, the museum’s Senior Curator of Contemporary Art, in a statement.

“It has been incredibly rewarding to develop an exhibition that highlights his influence as an artist, and participant in and critic of contemporary culture. His work has had a huge impact on an evolving and more encompassing idea of American identity and provides an important perspective on how we assert ourselves as individuals contributing to a community that embraces difference.”

The show includes more than 160 works that together add up to a sort of parallel universe to the worlds that viewers see in Waters’ movies. While they may take different forms than books and films, they also contain his renegade sense of humor and demonstrate his ability to see life as an outsider. Many touch on gay themes.

There is “Hetero Flower Shop,” 10 photos of floral arrangements created by straight florists, all mediocre or worse. “Loser Gift Basket” shows all the items that might be given to people at the Academy Awards who don’t win an Oscar (think Preparation H and a can of pork and beans.)

“Bill’s Stroller” is a baby stroller for gay parents into the leather scene, with a harness to strap the baby in and logos of sex clubs on the seat. It’s a nod both to S&M culture and the fact that gay couples are raising children very much like straight couples these days.

The common theme to the works, Waters said, is that they have “some sensibility about being an outsider, being the ‘other’ and everything, no matter …if it’s gay or straight or minority or anything that’s not fitting in. “

As an artist, he said, “you learn how to do that. And this show, the whole art world, is about that. The whole art world is a secret club that learns how to see something that regular people can’t see. That’s my perspective, totally.”

Waters notes that the fact he is gay doesn’t mean he lets the LGBTQ community off easily.

“I make just as much fun of gay people, in a way, because they’re now stricter with their rules than my parents — what you’re allowed to do and what you can make jokes about and everything. So I try to make fun of them too.”

Occupying most of the museum’s Thalheimer Galleries, the retrospective is divided thematically into pop culture, the movie industry, the contemporary art world, an autobiographical section, and a gallery that contains “mature content” parents might not want their children to see.

Waters serves as writer and editor, often manipulating or juxtaposing images created by others, or working with collaborators to fabricate three-dimensional objects.

“It’s like conceptual art,” he says. “I’m telling stories…I’m going into other people’s movies, taking images and putting them in a new narrative…I want it to be off kilter, hopefully like my sense of humor is… I only make fun of things I really like.”

The exhibit includes highlights from earlier shows that were mounted outside Baltimore.

“Beverly Hills John” depicts what Waters would look like if he had a facelift. In “No Smoking and Children Who Smoke,” Waters takes images of World War II-era movie stars while they are smoking and puts their cigarettes in the mouths of child actors.

“Rush” depicts a big yellow bottle of poppers, with some of the liquid spilled on the floor. When it was first shown in 2009, he said, the company “liked it so much they sent me a lifetime supply.” “Slimy JW” looks at first glance like a slithering snake. But one end is shaped like a penis, turning the snake into a giant dildo.

In the autobiographical gallery, a series of prints reveals the contents of the artist’s dishwasher and freezer, and shows what’s under his bed. “308 Days” replicates his ‘to do’ list over the course of a year, with tasks crossed off after he completes them. Viewers may be reminded of Judge Brett Kavanaugh’s 1982 calendars, without Kavanaugh’s references to beer drinking.

Three prints in the exhibit pay homage to Mr. Ray, the hair weave king whose commercials ran on local TV when Waters was growing up. Side by side photos compare the Versailles apartments in Towson to Versailles in France. Waters even includes a portrait of himself that his parents commissioned when he was a boy.

“I wasn’t unhappy, especially,” he said of his childhood. “I had lots of friends…in my mind really.“

Waters makes fun of the art world, with faux-amateurish images entitled “Badly Framed” and “Congratulations,” which features uneven lettering that spells out “DID NOT SELL” (made from the red dots gallery owners use to mark works that did sell.)

He takes a jab at the museum world’s penchant for showing works a certain way in “Hardy Har,” a framed flower photo that comes with a mark on the floor that seems to warn visitors not to get too close. If they cross the line, the flower squirts them with water.

Waters also capitalizes on his fascination with celebrities and other public figures, from Elizabeth Taylor to Justin Bieber to Divine. There is “Sneaky JFK,” showing the former president in drag; “Playdate,” a sculpture showing Charles Manson and Michael Jackson as adult babies, and two works devoted to Don Knotts, who played deputy sheriff Barney Fife on “The Andy Griffith Show.” Waters has said he wants to film a movie called “The Don Knotts Story,” if he ever had the money. “Sometimes on a bad day I feel like Don Knotts,” he confessed during the press preview.

The exhibit includes “Kiddie Flamingos,” a video in which children in wigs read a G-rated version of Pink Flamingos, and some of Waters’ earliest and grainiest films, presented in a peep show format. It’s supplemented by a coffee table catalogue featuring essays about Waters’ work as a visual artist.

The museum has scheduled a number of tie-in events, including a conversation between Waters and Hileman on Nov. 1 at 6 p.m. and a “Waters Film Marathon” on Nov. 9 and 10. After it closes in Baltimore, “Indecent Exposure” will be on exhibit at the Wexner Center for the Arts in Columbus, Ohio, from Feb. 2 to April 28, 2019.

An art collector as well as an artist, Waters often says that he doesn’t trust people when they call themselves artists.

“I’ll be the judge of that,” is his standard response.

With “Indecent Exposure,” Waters is literally exposing museum-goers to his body of visual work and inviting them to decide for themselves.

‘Rush’ depicts a big yellow bottle of poppers, with some of the liquid spilled on the floor. Courtesy of the artist and Marianne Boesky Gallery, New York, © John Waters)

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Memorial for groundbreaking bisexual activist set for May 2

Loraine Hutchins remembered as a ‘force of nature’

Published

2 weeks ago

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April 23, 2026

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Loraine Hutchins died last year. (File photo courtesy of Hutchins)

The Montgomery County Pride Center will host a celebration honoring the life and legacy of Loraine Hutchins, Ph.D., on May 2. People are invited to attend the onsite memorial or a livestream event. The on-site event will begin at 10 a.m. with a meet-and-greet mixer before moving into a memorial service around the theme “Loraine a Force of Nature!” at 11 a.m., a panel talk at 12 p.m., break out sessions for artists, academics, and activists to build on her legacy at 1 p.m. and a closing reception at 2 p.m. 

Attendees are encouraged to register for the on-site memorial gathering or the livestreamed memorial. The goal of this event is also to collect stories and memories of Loraine. Attendees and others can share their stories at padlet.com. 

An obituary for Hutchins was published in the Bladelast Nov. 24, where people can learn more about her activism in the bisexual community. A private service for friends and family was held in December but this memorial service is open to all. 

Alongside her groundbreaking work organizing for U.S. bisexual rights and liberation including co-editing “Bi Any Other Name: BIsexual People Speak Out” (1991), she also integrated faith into her sexual education and advocacy work. Her 2001 doctoral dissertation, “Erotic Rites: A Cultural Analysis of Contemporary U.S. Sacred Sexuality Traditions and Trends,” offered a pointed queer and feminist analysis to sex-neutral and sex-positive spiritual traditions in the United States. Her thesis was also groundbreaking in exploring the intersections between sex workers and those in caregiving professionals, including spiritual ones.

In an oral history interview conducted by Michelle Mueller back in August 2023, Hutchins described herself as a “priestess without a congregation.” While she has occasionally had a sense of community and feels part of a group of loving people, she admitted that “I don’t feel like we have the shape or the purpose that we need.”

“I’ve often experienced being the Cassandra in the room, the Cassandra in the community. Somebody who’s kind of way out there ahead, thinking through the strategic action points that my community hasn’t gotten to yet, and getting a lot of resistance and hostile responses from people who are frightened by dissent and conflict and not ready for the changes we have to make to survive,” she said.

“For somebody who’s bisexual in an out political way and who’s been a spokesperson for the polyamory movement in an out political way, it’s very exposing. And it’s very important to me to be able to try to explain and help other people understand the connection between spirituality and sexuality,” she explained citing how even as a graduate student she was “exploring how to feel erotic and spiritual, and not feel them in conflict with each other in my own spiritual contemplative life and my own sensual body awareness of being alive in the world.”

“Every religion has a sense of sacred sexuality. It’s just they put a lot of boundaries and regulations on it, and if we have a spiritual practice that is totally affirming of women’s priesthood and of gay people, queer people’s ability to minister to everyone and to be ministered to be everyone, what does that do to the gender of God, or our understanding of how we practice our spirituality and our sexuality in community and privately?”

“There’s no easy answer,” she concludes, and she continued to grapple with these questions throughout her life, co-editing another seminal text, “Sexuality, Religion and the Sacred: Bisexual, Pansexual, and Polysexual Perspectives,” published in 2012. Her work blending spiritual and queer liberation remains groundbreaking to this day. 

Rev. Eric Eldritch, a local community organizer and ordained Pagan minister with Circle Sanctuary who has worked for decades with the DC Center’s Center Faith to organize the Pride Interfaith Service, is eager to highlight this element of her legacy at the memorial service next month.  

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Queery: Meet artist, performer John Levengood

Modern creative talks nightlife, coming out, and his personal queer heroes

Published

3 weeks ago

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April 16, 2026

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John Levengood (Blade photo by Michael Key)

John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.

Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.

“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.

He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”

He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.

How long have you been out and who was the hardest person to tell?

I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.

Who’s your LGBTQ hero?

My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.

What’s Washington’s best nightspot, past or present?

Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.

We live in challenging times. How do you cope?

I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.

What streaming show are you binging?

After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.

What do you wish you’d known at 18?

At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.

What are your friends messaging about in your most recent group chat?

We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.

Why Washington?

It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.

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Project GLOW celebrates LGBTQ acts

D.C.’s electronic music festival set for May 30-31

Published

3 weeks ago

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April 16, 2026

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A scene from last year’s Project GLOW. (Photo courtesy organizers)

Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.

Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.

President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.

As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.

“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”

The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”

K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.

Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.

K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.

Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.

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