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Seeking Stories of Queer California: A Hidden Histories Online Exhibit

Laura Aguilar, #20, from the series Plush Pony, 1992

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Contents of this tag:
1. Portrait of Marie Corelli, 1908
2. Aché: A Journal for Black Lesbians, Vol. 1, no. 1, February 1989
3. Marie Corelli and Bertha Vyer, 1921
4. Marie Cartier graduation celebration, 2010 Women applauding Marie Cartier at a party celebrating her graduating from Claremont College with a PhD in theology. Hot Java coffeehouse was transformed into a gay women's bar from the 1950s. The Front row: Marie Cartier in cap and gown and Carolyn Weathers in rhinestone glasses. Middle row: unknown, Jayne Doolittle-Swanson in striped shirt and Jeanne Cordova in hat. Back row, mostly obscured, Pat Lamis in hat, unknown woman with hands in air. May 22, 2010. Women applauding Marie Cartier at a party celebrating her graduating from Claremont College with a PhD in theology. Hot Java coffeehouse was transformed into a gay women's bar from the 1950s. The Front row: Marie Cartier in cap and gown and Carolyn Weathers in rhinestone glasses. Middle row: unknown, Jayne Doolittle-Swanson in striped shirt and Jeanne Cordova in hat. Back row, mostly obscured, Pat Lamis in hat, unknown woman with hands in air. May 22, 2010.
5. Aché: A Journal for Lesbians of African Descent, Vol. 3, no. 1, February/March 1991
6. Robert Arthur, Ivy Bottini, Quentin Crisp, Morris Kight, and Patricia Nell Warren, 1994
7. The Children's Hour, 1961 Photograph of Shirley MacLaine, left, and Audrey Hepburn in a scene from The Children's Hour, and a letter from Arthur B. Krim to Eric Johnston regarding three films with homosexuality as a subject, including The Children's Hour, and requesting that the Code be amended. Photograph: Core Collection. Production files. Letter: Motion Picture Association of America Production Code Administration records.
8. Sheila Kuehl (L) and Judy Abdo (R), December 14, 1997
9. The Killing of Sister George
10. A celebration of adult Bar and Bat Mitvahs at Congregation Kol Ami, 2000
11. Lesbian Visibility Week poster, 1990
12. Lesbian Wedding, 1987
13. Lesbian parents and their children at the March on Washington, 1993
14. 3a Marcha Lésbica, 2006
15. Sheila Kuehl for Supervisor, circa 2014
16. Gold record for "Melissa Etheridge" album by Melissa Etheridge, 1988
18. Poster for Carolyn Weathers : shitkickers & other Texas stories
19. Black Lesbian Newsletter, December 1982
20. Aché: A Journal for Black Lesbians, Vol. 1, no. 2, March 1989
21. Profile of Ellen Ward, 2023
22. Connie Samaras, #11 from the series Edge of Twilight, 2013
23. Pandora's Box, 1929
24. Home, circa 1982
25. Profile of Vanessa Romain, 2023
26. Connie Samaras, #16 from the series Edge of Twilight, 2013
27. Gay & Lesbian L.A. history map, 2000
28. Tribal Connexions: A Celebration of 2 Years of Aché, 1991
29. Laura Aguilar, #19, from the series Plush Pony, 1992
30. Unattributed photograph of Zoe Akins, circa 1930s
31. Lesbian Libertys, 2009
33. Laura Aguilar, #20, from the series Plush Pony, 1992
34. Willa Cather, letter to Zoë Akins, May 4, 1918
35. The Word is Out, 1977
36. Two women embracing and kissing, 1923
37. Laura Aguilar, #6, from the series Plush Pony, 1992
39. Dracula's Daughter, circa 1936
40. Lesbian Dyke March poster, 1996
41. First Ladies Memorial Dance Marathon button, 1978
42. Photograph of Florence Yoch and her partner Lucile Council, circa 1940
43. Cover of manual for "Civil Rights for Lesbians and Gay Men: A Reference Manual for City and County Officials", 1990
44. Thirteen Women, 1932
45. Aché: A Journal for Black Lesbians, Vol. 2, no. 6, November/December 1990
47. Florence Yoch, landscape design, “A Hillside Garden for Mr. George Cukor, West Hollywood,” 1936
48. Hey Young Lesbians, undated All requests to reproduce, publish, quote from or otherwise use collection materials must be submitted in writing to the Director of Library and Archives, North Baker Research Library, California Historical Society, 678 Mission Street, San Francisco, CA 94105. Consent is given on behalf of the California Historical Society as the owner of the physical items and is not intended to include or imply permission from the copyright owner. Such permission must be obtained from the copyright owner. Restrictions also apply to digital representations of the original materials. Use of digital files is restricted to research and educational purposes.
49. Eloise Klein Healy, typescript draft of poem, “There Are No Words for the Sexual Acts of Lesbians,” circa 1984
Visual arts are creative expression in pictorial, graphic, sculptural, and other two-dimensional and three-dimensional form. They include painting, drawing, sculpture, printmaking, photography, and installation art. Different eras in history have had their own standards for defining art and beauty, and queer painters, artists, cartoonists, muralists, and photographers have taken these definitions and remade them in their own image time and time again.
Contents of this tag:
1. Portrait of Dr. Evelyn Hooker by Don Bachardy, 1960
2. Portrait of Morris Kight by Don Bachardy, 1980
3. Tit Print, by Annie Sprinkle, 2004
4. Shroud of Curad, by Jerome Caja, 1993
5. Spider and Office Johnson, 2007 Artist: Alex Donis. Spider and Officer Johnson is a print from the painting series titled WAR, depicting police officers dancing with gang members with humorous yet tension-filled imagery elevating the homophobia and racial intolerance that exists in our social and justice system. Originally scheduled to be exhibited at the Watts Towers Arts Center in 2001, this painting series was threatened with protest and possible violent actions by members of the Watts community, prompting the exhibition's censorship by the Cultural Affairs Department of Los Angeles. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
6. I Lied, 2021 Artist: Alex Donis. I Lied is the culmination of an unfinished work that began in the mid-1990s after completing a single lithography poster of the same image. The edition depicts the Virgin Mary in her iconic contemplative stare and delicate hand gestures but with the words, I Lied subtly placed before the sacred heart. Through these simple words, the artist forces the viewer to see Mary beyond her divinity, but her humanness. A human with faults who perhaps may have lied to protect her loved ones, or to hide a secret or a painful truth. However, the criticism here heavily lies on the religious institutions who through the prevalent imagery, authority, and doctrine, have exploited and harmed many with minimal accountability. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
8. Don Bachardy, portrait of Truman Capote, June 26, 1961
9. Remembrance for Teddy & Arnie, 2008 Artist: Joey Terrill. The image is taken from a 1989 painting created by Terrill titled Remembrance, exhibited at the Santa Monica Museum of Art for an art auction to raise funds for agencies working on the AIDs pandemic in the Latino Community. The serigraph Remembrance (For Teddy and Arnie), printed in 2008, honors the artist's friends, Arnie Araica (who designed the shirt the central figure is wearing) and the artist Teddy Sandoval, who died of Aids. The central figure is a self-portrait standing alongside his past partner, Robert Ward, during a dark period when friends had or were dying of AIDs. The two figures, the younger figure following the steps of his older partner, are in a garden surrounded by plants, white gladiolas, and birds of paradise. The garden, a reflection of life and beauty, can be likened to Terrill's friendships and their loss. The artist reflected on being alive 19 years after creating his original painting, having lived with HIV. Celebrating another 15 years since the creation of this print, the artist continues to champion health rights for the LBGTQ+ community. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
11. Don Bachardy, portrait of Stephen Spender, June 21, 1976
12. Queerios, 2015
13. Kenneth Anger, hand drawn card and envelope, December 23, 1946
14. Connie Samaras, #11 from the series Edge of Twilight, 2013
15. LXS Guia, 2018 Artist: Cynthia Velasquez. Cynthia Velasquez was born to a Chilean mother and a Guatemalan father, but her household was never strictly one culture. Like the city of Los Angeles, her household was diverse, influencing how she views herself and creates art. Her journey to find herself as an artist and a descendant of displaced people began at home, as did her understanding and introspection of her roots and ancestors in Chile and Guatemala. Her work references her search for lost parts of her identity, exploring that loss to understand her grounding as an artist and a queer womxn. Lxs Guía is a portrait of a womxn’s moment connecting with the spirit of the elder and the spirit animals, honoring the direction of the buffalo, the elder, and her ancestors. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
16. Old Love Story, 1986
17. Connie Samaras, #16 from the series Edge of Twilight, 2013
18. Cover of Future Imperfect, 2010
19. Painted Rocks by Ray Lowen, undated
20. Intertwined, 2007 Artist: Luciano Martinez. As real and imagined borders separate same-sex partners, the artist considers a new obstacle Gay Latino men face: gay marriage. Intertwined addresses the forbidden love between two men, sometimes complicated by geographic and cultural differences, trapped by an invisible cell that confines yet separates them. The prison-like bars that separate the lovers in the artwork are not only geographic, racial, and cultural but ominously political, highlighting the cross-national restrictions on gay marriage and the difficulties of recognizing same-sex partners within conservative societies. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
21. Excerpt from Sketchbook 11, Morris Scott Dollens, undated
22. Laura Aguilar, #19, from the series Plush Pony, 1992
23. Clark Library vestibule ceiling, 1925
24. Laura Aguilar, #20, from the series Plush Pony, 1992
25. Butch/Top, 2007 Artrist: Miguel Angel Reyes. Influenced by oddly-toned color ads from 1970's fashion magazines, play with the labels men use to describe themselves for "sex hook-ups" internet personal advertisements. Though proudly gay, the butch-top asserts his sexually dominant role as a man, dispelling the commonly-held notion that homosexual men are feminine and passive. His attitude challenges any question of machismo. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
26. An article on Miguel Criado in the Puerto Rican newspaper El Nuevo Dia, 1993
27. Laura Aguilar, #6, from the series Plush Pony, 1992
28. Y Que, 2007 Artist: Ruben Esparza. A deliberate flat artwork with limited colors boldly represents a shirtless, masculine, queer Chicano in a powerful stance. Y Que (translates to So What). The tattoo utilizes a decorative type treatment used in gang culture; the pearl necklace is a gay code representing a particular body fluid. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
29. Sister Karen Boccalero, circa 1990
Contents of this tag:
1. 3a Marcha Lésbica, 2006
2. I Lied, 2021 Artist: Alex Donis. I Lied is the culmination of an unfinished work that began in the mid-1990s after completing a single lithography poster of the same image. The edition depicts the Virgin Mary in her iconic contemplative stare and delicate hand gestures but with the words, I Lied subtly placed before the sacred heart. Through these simple words, the artist forces the viewer to see Mary beyond her divinity, but her humanness. A human with faults who perhaps may have lied to protect her loved ones, or to hide a secret or a painful truth. However, the criticism here heavily lies on the religious institutions who through the prevalent imagery, authority, and doctrine, have exploited and harmed many with minimal accountability. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
3. De todas partes, de todos colores, somos raza : third anniversary awards ceremony, Gay and Lesbian Latinos Unidos, 1984 Text continues: "September 14, 1984, 8pm, Friendship Auditorium, 3201 Riverside Drive, Los Angeles." Red text and images on gold background. Image depicts eleven people wearing various headdresses and standing on top of a structure resembling a pyramid with the names of North American, South American and Caribbean countries listed.Poster is numbered and signed in pencil on the lower right corner.
4. Five Latinos dressed for the Orange County Gay Pride Festival, 1991
5. Gay and Lesbian Latinos Unidos Office, 1983
6. Queerios, 2015
7. Laura Aguilar, #19, from the series Plush Pony, 1992
8. LXS Guia, 2018 Artist: Cynthia Velasquez. Cynthia Velasquez was born to a Chilean mother and a Guatemalan father, but her household was never strictly one culture. Like the city of Los Angeles, her household was diverse, influencing how she views herself and creates art. Her journey to find herself as an artist and a descendant of displaced people began at home, as did her understanding and introspection of her roots and ancestors in Chile and Guatemala. Her work references her search for lost parts of her identity, exploring that loss to understand her grounding as an artist and a queer womxn. Lxs Guía is a portrait of a womxn’s moment connecting with the spirit of the elder and the spirit animals, honoring the direction of the buffalo, the elder, and her ancestors. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
9. Laura Aguilar, #20, from the series Plush Pony, 1992
10. Laura Aguilar, #6, from the series Plush Pony, 1992
12. Intertwined, 2007 Artist: Luciano Martinez. As real and imagined borders separate same-sex partners, the artist considers a new obstacle Gay Latino men face: gay marriage. Intertwined addresses the forbidden love between two men, sometimes complicated by geographic and cultural differences, trapped by an invisible cell that confines yet separates them. The prison-like bars that separate the lovers in the artwork are not only geographic, racial, and cultural but ominously political, highlighting the cross-national restrictions on gay marriage and the difficulties of recognizing same-sex partners within conservative societies. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
13. Pete Jimenez Memorial, 2012
14. The Gay Latino Alliance, Market St., June 24, 1979
15. Butch/Top, 2007 Artrist: Miguel Angel Reyes. Influenced by oddly-toned color ads from 1970's fashion magazines, play with the labels men use to describe themselves for "sex hook-ups" internet personal advertisements. Though proudly gay, the butch-top asserts his sexually dominant role as a man, dispelling the commonly-held notion that homosexual men are feminine and passive. His attitude challenges any question of machismo. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
16. Every 10th Jesus is a Queer, circa 1990
17. Y Que, 2007 Artist: Ruben Esparza. A deliberate flat artwork with limited colors boldly represents a shirtless, masculine, queer Chicano in a powerful stance. Y Que (translates to So What). The tattoo utilizes a decorative type treatment used in gang culture; the pearl necklace is a gay code representing a particular body fluid. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.
18. Ramon Novarro, circa 1920s
19. Remembrance for Teddy & Arnie, 2008 Artist: Joey Terrill. The image is taken from a 1989 painting created by Terrill titled Remembrance, exhibited at the Santa Monica Museum of Art for an art auction to raise funds for agencies working on the AIDs pandemic in the Latino Community. The serigraph Remembrance (For Teddy and Arnie), printed in 2008, honors the artist's friends, Arnie Araica (who designed the shirt the central figure is wearing) and the artist Teddy Sandoval, who died of Aids. The central figure is a self-portrait standing alongside his past partner, Robert Ward, during a dark period when friends had or were dying of AIDs. The two figures, the younger figure following the steps of his older partner, are in a garden surrounded by plants, white gladiolas, and birds of paradise. The garden, a reflection of life and beauty, can be likened to Terrill's friendships and their loss. The artist reflected on being alive 19 years after creating his original painting, having lived with HIV. Celebrating another 15 years since the creation of this print, the artist continues to champion health rights for the LBGTQ+ community. Part of the exhibit "At the Heart of It: LGBT Representation at Self Help Graphics", curated by Ruben Esparza.