Kristen Stewart In Love Lies Bleeding (2024) Dir. Rose Glass

Justin Liam O'Brien, Snare, 2023

Oil on linen, 72 x 60 in

Steve Dain (1940 – 2007) was an FTM who transitioned in the late 70's and lost his teaching job, he was a gym teacher in Union City. Although the court would eventually decide in his favor, and allow him to go back to teaching, he was not able to find a school that would hire him.

"Later, I would meet Steve Dain. Steve had been Lou Sullivan's hero. In those days, most trans men in the Bay Area went off on a pilgrimage to meet him as we entered medical transition. Lou had met with Steve years before when he began his transition, and Jamison Green would meet him a short time before I did. It was nearly a ritual, a rite of passage to meet with Steve. There were no trans men that we knew of who had come before him. Steve was nearby and our most visible example, and someone who each one of us hoped would confer wisdom, and a kind of blessing or validation. I think we all were a bit awestruck. And, Steve didn't let us down. I know he didn't let me down. I still remember meeting him in Union City, he picked me up and I was taken with his easy and total masculinity. He was hirsute, and handsome, confident and kind. He was sensitive to each question I asked and his answers would influence me for the entirety of my transition." -Max Wolf Valerio (quote from his blog) (photos by Mariette Pathy Allen 1980s)

Shani Pantal, The Book of Revelation, 2024

Watercolor, 77 x 58 cm

in the woods somewhere

st. joan of arc, giovanni gasparro, oil on canvas, 2018

hey new t-shirt dropped (:

as always i make the designs, construct the screens, and handprint all of these shirts. while this particular design isn't explicitly queer, it is inspired by butch dykes. There were some misprints, so if you don't see your size but would still love a tshirt, message me and i can get you a misprint at a discounted rate. i would love your support, and need it to keep making more designs. you can find the listing here.

A good novel is elusive; as a film-maker you don’t ever really possess it, you only get an idea of it and you work on that idea. . . . What, then, is a good film taken from a good book? It’s a film that picks up every impulse of the writing and finds a way of changing it into an image. The effort requires not faithfulness but invention and often betrayal. The goal is to get to the heart of the book, or at least the idea that the screenwriters and the directors have formed of it. If that is achieved, the most unfaithful film can turn out to be mysteriously close to the text. It’s what happened with Gyllenhaal. Her film seems scrupulously close to the book precisely because it has the faithfulness of betrayal: the most productive, amazing and difficult type of faithfulness, in life as well.

Elena Ferrante, on the Lost Daughter (2021) in an interview with the New Statesman