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WHEN Abstract Expressionism exploded in the 1950s, Edward Melcarth was painting and sculpting construction workers, junkies, and hustlers in an epic style, highly influenced by Renaissance painters like Paolo Veronese and Tintoretto. This link between the past and present was a significant feature of his artistic vision, one that still has a striking effect on the viewer to this day.

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McLane was born in 1944 in Macon, Georgia, but grew up in Wagener, South Carolina, a small town in horsey Aiken County. He was an English major and a member of the Furman Theater Guild. In the decade after he left the college, he forged a minor but significant career for himself in the theater—no small accomplishment, as any number of former stars of the university stage can attest.

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THIS IS the unspoken story of the extraordinary relationship between John Singer Sargent (1856–1925), the preeminent portrait artist of high society of his era, and his African-American muse, Thomas McKeller.

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SINCE THE TIME of Stonewall, the LGBT+ community has changed in ways that our queer antecedents could not have imagined. We now have multiple resources at our fingertips for figuring out our queer identities and for connecting with a network of people, or even a community, with whom we share a sexual identity. One group that has come out and come together in the age of the Internet is the asexual community.

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“BLACK LIVES MATTER” started as a slogan, a response to a spate of police killings of unarmed black men in 2014, a rebuttal to the message that Black lives were expendable. The slogan turned into a movement, re-awakened last year by the murder of George Floyd, and the phrase “BLM” came to mean more than “Please don’t kill us.” It’s a reminder of the vast contributions that African-Americans have made to every field of endeavor.

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ALTHOUGH David Wojnarowicz has been the subject of many essays, studies, and an excellent biography by Cynthia Carr, Chris McKim’s film is the first feature-length documentary to examine his life and work. The film does not have a narrator but makes extensive and effective use of the many tape journals that the artist recorded starting in 1976. The result is an audio collage that tells his story along with images of his work, and of the artist himself, that fade in and out in kaleidoscopic fashion.

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TWO ARTIFACTS of LGBT popular culture in 2021 feel like déjà vu all over again, particularly evoking the zeitgeist of the 1980s. Each in its way has been a stake through the hypocritical heart of America’s religious Right. …

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