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Another side of John Waters

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

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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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Visit Cambridge, a ‘beautiful secret’ on Maryland’s Eastern Shore

New organization promotes town’s welcoming vibe, LGBTQ inclusion

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Cambridge, Md., is home to quaint shops, restaurants, and Victorian homes on Maryland’s Eastern Shore. (Photo courtesy James Lumalcuri)

CAMBRIDGE, Md. — Driving through this scenic, historic town on Maryland’s Eastern Shore, you’ll be charmed by streets lined with unique shops, restaurants, and beautifully restored Victorian homes. You’ll also be struck by the number of LGBTQ Pride flags flying throughout the town.

The flags are a reassuring signal that everyone is welcome here, despite the town’s location in ruby red Dorchester County, which voted for Donald Trump over Kamala Harris by a lopsided margin. But don’t let that deter you from visiting. A new organization, Proudly Cambridge, is holding its debut Pride event this weekend, touting the town’s welcoming, inclusive culture.

“We stumbled on a beautiful secret and we wanted to help get the word out,” said James Lumalcuri of the effort to create Proudly Cambridge.

The organization celebrates diversity, enhances public spaces, and seeks to uplift all that Cambridge has to share, according to its mission statement, under the tagline “You Belong Here.”

The group has so far held informal movie nights and a picnic and garden party; the launch party is June 28 at the Cambridge Yacht Club, which will feature a Pride celebration and tea dance. The event’s 75 tickets sold out quickly and proceeds benefit DoCo Pride.

“Tickets went faster than we imagined and we’re bummed we can’t welcome everyone who wanted to come,” Lumalcuri said, adding that organizers plan to make “Cheers on the Choptank” an annual event with added capacity next year.

One of the group’s first projects was to distribute free Pride flags to anyone who requested one and the result is a visually striking display of a large number of flags flying all over town. Up next: Proudly Cambridge plans to roll out a program offering affirming businesses rainbow crab stickers to show their inclusiveness and LGBTQ support. The group also wants to engage with potential visitors and homebuyers.

“We want to spread the word outside of Cambridge — in D.C. and Baltimore — who don’t know about Cambridge,” Lumalcuri said. “We want them to come and know we are a safe haven. You can exist here and feel comfortable and supported by neighbors in a way that we didn’t anticipate when we moved here.”

James Lumalcuri and Lou Cardenas sailing in Cambridge, Md. The couple bought a second home there and are spreading the word about the town’s pro-LGBTQ culture. (Photo courtesy the couple)

Lumalcuri, 53, a federal government employee, and his husband, Lou Cardenas, 62, a Realtor, purchased a Victorian house in Cambridge in 2021 and embarked on an extensive renovation. The couple also owns a home in Adams Morgan in D.C.

“We saw the opportunity here and wanted to share it with others,” Cardenas said. “There’s lots of housing inventory in the $300-400,000 range … we’re not here to gentrify people out of town because a lot of these homes are just empty and need to be fixed up and we’re happy to be a part of that.”

Lumalcuri was talking with friends one Sunday last year at the gazebo (affectionately known as the “gayzebo” by locals) at the Yacht Club and the idea for Proudly Cambridge was born. The founding board members are Lumalcuri, Corey van Vlymen, Brian Orjuela, Lauren Mross, and Caleb Holland. The group is currently working toward forming a 501(c)3.

“We need visibility and support for those who need it,” Mross said. “We started making lists of what we wanted to do and the five of us ran with it. We started meeting weekly and solidified what we wanted to do.”

Mross, 50, a brand strategist and web designer, moved to Cambridge from Atlanta with her wife three years ago. They knew they wanted to be near the water and farther north and began researching their options when they discovered Cambridge.

“I had not heard of Cambridge but the location seemed perfect,” she said. “I pointed on a map and said this is where we’re going to move.”

The couple packed up, bought a camper trailer and parked it in different campsites but kept coming back to Cambridge. 

“I didn’t know how right it was until we moved here,” she said. “It’s the most welcoming place … there’s an energy vortex here – how did so many cool, progressive people end up in one place?” 

Corey van Vlymen and his husband live in D.C. and were looking for a second home. They considered Lost River, W.Va., but decided they preferred to be on the water.

“We looked at a map on both sides of the bay and came to Cambridge on a Saturday and bought a house that day,” said van Vlymen, 39, a senior scientist at Booz Allen Hamilton. They’ve owned in Cambridge for two years.

They were drawn to Cambridge due to its location on the water, the affordable housing inventory, and its proximity to D.C.; it’s about an hour and 20 minutes away.

Now, through the work of Proudly Cambridge, they hope to highlight the town’s many attributes to residents and visitors alike.

“Something we all agree on is there’s a perception problem for Cambridge and a lack of awareness,” van Vlymen said. “If you tell someone you’re going to Cambridge, chances are they think, ‘England or Massachusetts?’”

He cited the affordability and the opportunity to save older, historic homes as a big draw for buyers.

“It’s all about celebrating all the things that make Cambridge great,” Mross added. “Our monthly social events are joyful and celebratory.” A recent game night drew about 70 people.

She noted that the goal is not to gentrify the town and push longtime residents out, but to uplift all the people who are already there while welcoming new visitors and future residents. 

They also noted that Proudly Cambridge does not seek to supplant existing Pride-focused organizations. Dorchester County Pride organizes countywide Pride events and Delmarva Pride was held in nearby Easton two weeks ago.

“We celebrate all diversity but are gay powered and gay led,” Mross noted.  

To learn more about Proudly Cambridge, visit the group on Facebook and Instagram.

What to see and do

Cambridge, located 13 miles up the Choptank River from the Chesapeake Bay, has a population of roughly 15,000. It was settled in 1684 and named for the English university town in 1686. It is home to the Harriet Tubman Museum, mural, and monument. Its proximity to the Blackwater National Wildlife Refuge makes it a popular stop for birders, drawn to more than 27,000 acres of marshland dubbed “the Everglades of the north.”

The refuge is walkable, bikeable, and driveable, making it an accessible attraction for all. There are kayaking and biking tours through Blackwater Adventures (blackwateradventuresmd.com).

Back in town, take a stroll along the water and through historic downtown and admire the architecture. Take in the striking Harriet Tubman mural (424 Race St.). Shop in the many local boutiques, and don’t miss the gay-owned Shorelife Home and Gifts (421 Race St.), filled with stylish coastal décor items. 

Stop for breakfast or lunch at Black Water Bakery (429 Race St.), which offers a full compliment of coffee drinks along with a build-your-own mimosa bar and a full menu of creative cocktails.

The Cambridge Yacht Club (1 Mill St.) is always bustling but you need to be a member to get in. Snapper’s on the water is temporarily closed for renovations. RaR Brewing (rarbrewing.com) is popular for craft beers served in an 80-year-old former pool hall and bowling alley. The menu offers burgers, wings, and other bar fare.

For dinner or wine, don’t miss the fantastic Vintage 414 (414 Race St.), which offers lunch, dinner, wine tasting events, specialty foods, and a large selection of wines. The homemade cheddar crackers, inventive flatbreads, and creative desserts (citrus olive oil cake, carrot cake trifle) were a hit on a recent visit.

Also nearby is Ava’s (305 High St.), a regional chain offering outstanding Italian dishes, pizzas, and more.  

For something off the beaten path, visit Emily’s Produce (22143 Church Creek Rd.) for its nursery, produce, and prepared meals.

“Ten minutes into the sticks there’s a place called Emily’s Produce, where you can pay $5 and walk through a field and pick sunflowers, blueberries, you can feed the goats … and they have great food,” van Vlymen said.

As for accommodations, there’s the Hyatt Regency Chesapeake Bay (100 Heron Blvd. at Route 50), a resort complex with golf course, spa, and marina. Otherwise, check out Airbnb and VRBO for short-term rentals closer to downtown.

Its proximity to D.C. and Baltimore makes Cambridge an ideal weekend getaway. The large LGBTQ population is welcoming and they are happy to talk up their town and show you around. 

“There’s a closeness among the neighbors that I wasn’t feeling in D.C.,” Lumalcuri said. “We look after each other.”

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James Baldwin bio shows how much of his life is revealed in his work

‘A Love Story’ is first major book on acclaimed author’s life in 30 years

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(Book cover image courtesy of FSG)

‘Baldwin: A Love Story’
By Nicholas Boggs
c.2025, FSG
$35/704 pages

“Baldwin: A Love Story” is a sympathetic biography, the first major one in 30 years, of acclaimed Black gay writer James Baldwin. Drawing on Baldwin’s fiction, essays, and letters, Nicolas Boggs, a white writer who rediscovered and co-edited a new edition of a long-lost Baldwin book, explores Baldwin’s life and work through focusing on his lovers, mentors, and inspirations.

The book begins with a quick look at Baldwin’s childhood in Harlem, and his difficult relationship with his religious, angry stepfather. Baldwin’s experience with Orilla Miller, a white teacher who encouraged the boy’s writing and took him to plays and movies, even against his father’s wishes, helped shape his life and tempered his feelings toward white people. When Baldwin later joined a church and became a child preacher, though, he felt conflicted between academic success and religious demands, even denouncing Miller at one point. In a fascinating late essay, Baldwin also described his teenage sexual relationship with a mobster, who showed him off in public.

Baldwin’s romantic life was complicated, as he preferred men who were not outwardly gay. Indeed, many would marry women and have children while also involved with Baldwin. Still, they would often remain friends and enabled Baldwin’s work. Lucien Happersberger, who met Baldwin while both were living in Paris, sent him to a Swiss village, where he wrote his first novel, “Go Tell It on the Mountain,” as well as an essay, “Stranger in the Village,” about the oddness of being the first Black person many villagers had ever seen. Baldwin met Turkish actor Engin Cezzar in New York at the Actors’ Studio; Baldwin later spent time in Istanbul with Cezzar and his wife, finishing “Another Country” and directing a controversial play about Turkish prisoners that depicted sexuality and gender. 

Baldwin collaborated with French artist Yoran Cazac on a children’s book, which later vanished. Boggs writes of his excitement about coming across this book while a student at Yale and how he later interviewed Cazac and his wife while also republishing the book. Baldwin also had many tumultuous sexual relationships with young men whom he tried to mentor and shape, most of which led to drama and despair.

The book carefully examines Baldwin’s development as a writer. “Go Tell It on the Mountain” draws heavily on his early life, giving subtle signs of the main character John’s sexuality, while “Giovanni’s Room” bravely and openly shows a homosexual relationship, highly controversial at the time. “If Beale Street Could Talk” features a woman as its main character and narrator, the first time Baldwin wrote fully through a woman’s perspective. His essays feel deeply personal, even if they do not reveal everything; Lucian is the unnamed visiting friend in one who the police briefly detained along with Baldwin. He found New York too distracting to write, spending his time there with friends and family or on business. He was close friends with modernist painter Beauford Delaney, also gay, who helped Baldwin see that a Black man could thrive as an artist. Delaney would later move to France, staying near Baldwin’s home.

An epilogue has Boggs writing about encountering Baldwin’s work as one of the few white students in a majority-Black school. It helpfully reminds us that Baldwin connects to all who feel different, no matter their race, sexuality, gender, or class. A well-written, easy-flowing biography, with many excerpts from Baldwin’s writing, it shows how much of his life is revealed in his work. Let’s hope it encourages reading the work, either again or for the first time.

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Looking back at 50 years of Pride in D.C

Washington Blade’s unique archives chronicle highs, lows of our movement

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Gay Pride Day 1976 (Washington Blade archive photo)

To celebrate the 50th anniversary of LGBTQ Pride in Washington, D.C., the Washington Blade team combed our archives and put together a glossy magazine showcasing five decades of celebrations in the city. Below is a sampling of images from the magazine but be sure to find a print copy starting this week.

D.C.’s Different Drummers march in the 2006 Capital Pride Parade. (Washington Blade archive photo by Adam Cuthbert)

The magazine is being distributed now and is complimentary. You can find copies at LGBTQ bars and restaurants across the city. Or visit the Blade booth at the Pride festival on June 7 and 8 where we will distribute copies. 

Thank you to our advertisers and sponsors, whose support has enabled us to distribute the magazine free of charge. And thanks to our dedicated team at the Blade, especially Photo Editor Michael Key, who spent many hours searching the archives for the best images, many of which are unique to the Blade and cannot be found elsewhere. And thanks to our dynamic production team of Meaghan Juba, who designed the magazine, and Phil Rockstroh who managed the process. Stephen Rutgers and Brian Pitts handled sales and marketing and staff writers Lou Chibbaro Jr., Christopher Kane, Michael K. Lavers, Joe Reberkenny along with freelancer and former Blade staffer Joey DiGuglielmo wrote the essays. 

The 1995 Lesbian and Gay Freedom Festival was held on Freedom Plaza on June 18. (Washington Blade archive photo by Clint Steib)

The magazine represents more than 50 years of hard work by countless reporters, editors, advertising sales reps, photographers, and other media professionals who have brought you the Washington Blade since 1969.

We hope you enjoy the magazine and keep it as a reminder of all the many ups and downs our local LGBTQ community has experienced over the past 50 years.

I hope you will consider supporting our vital mission by becoming a Blade member today. At a time when reliable, accurate LGBTQ news is more essential than ever, your contribution helps make it possible. With a monthly gift starting at just $7, you’ll ensure that the Blade remains a trusted, free resource for the community — now and for years to come. Click here to help fund LGBTQ journalism.

The D.C. Black Gay Men & Women’s Community Conference table at Gay Pride Day in 1978. (Washington Blade archive photo by Jim Marks)
A scene from 1985 Gay and Lesbian Pride Day. (Washington Blade archive photo by Doug Hinckle)
A scene from the 1988 Gay and Lesbian Pride Day. (Washington Blade archive photo by Doug Hinckle)
A scene from the Capital Pride Block Party in 2018. (Washington Blade photo by Daniel Truitt)
Keke Palmer performs at the 2024 Capital Pride Festival. (Washington Blade photo by Michael Key)
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