Petworth (and a very queer statue)

I was lucky enough to visit Petworth this week on a training day. The West Sussex country house contains one of the most iconic art collections in the care of National Trust, and a Capability Brown landscaped deer park in the 700 odd acre grounds are home to the country’s largest herd of fallow deer. We only had time for a brief whistlestop tour, but I will definitely make time to go back to have a closer look, and also to explore the grounds more.

There was one particular statue in the collection that stood out for me. The Petworth twitter feed helpfully pointed me towards this record on the collections website.

This is Pan and Apollo (or Marsyas and Olympos or Pan and Daphnis). In other words, it’s potentially any of three combinations of mythical figures. I was struck by the tenderness, and lets face it, queerness of the statue. Let’s consider for a moment that the sculpture depicts Pan and Daphnis, Daphnis was a Sicilian shepherd whose mother was a nymph, and is often depicted as an eromenos, which means the younger man in a pederastic relationship- a convention which was both socially accepted, and recognised in Ancient Greece. Pan fell in love with Daphnis, and taught him to play the panpipes. These models of relationships can be problematic to use as parallels with contemporary understandings of sexual identities. There were no rules or laws about age when it came to sex in Ancient Greece, but there were about consent. Either way, it’s certainly one aspect of Greek/Roman culture that hasn’t directly informed our own ‘civilisation’. The curators of the British Museum’s Warren Cup exhibition in 2006 no doubt had to think very carefully about how the object, which more blatantly depicts sex between erastês and erômenos, was framed in contemporary conversations around sexuality.

Apart from being a really striking statue, it serves to remind us that you never have to look too hard for queer histories and narratives in historic houses, or at least for artworks, furniture and objects that lend themselves well to queer readings and interpretation.

I was also compelled to do a little sharpie doodle of the statue:

‘Without Borders’ LGBTQ Archives, Libraries, Museums and Special Collections conference

Hello all, just a reminder that the deadline for proposals for the LGBTQ Archives, Libraries, Museums and Special Collections conference 2016 is looming ever closer, they are due by Friday 8th January 2016, details below, including how to submit. I’m also delighted to share the official logo for the conference, designed by the fabulously talented Alex Creep, who you might remember designed the beautiful poster for my ‘126’ exhibition!

WITHOUT BORDERS…

Archives, Libraries, Museums and Special Collections (ALMS) 2016, an International LGBTQ+ Conference hosted by the City of London through London Metropolitan Archives in partnership with Bishopsgate Institute and University of Westminster. 

Dates: 22 – 24 June 2016 Location: London

Background 

ALMS is an international conference focussed on the work by public, private, academic, and grassroots organisations which are collecting, capture and preserving archives of LGBTQ+ experiences, to ensure our histories continue to be documented and shared. The conference began in Minnesota in 2006 when the Tretter Collection and Quatrefoil Library co-hosted the first LGBT ALMS Conference. The last conference took place in Amsterdam in 2012 and saw archivists, activists, librarians, museums professionals and academics from around the world coming together to share success stories and discuss challenges involved in recording LGBTQ+ lives.

CALL FOR PAPERS 2016 

To reflect our emerging global community, the 2016 conference is titled ‘Without Borders’. Papers are invited from across the heritage, cultural, academic and grassroots communities. Our aim is to generate a dialogue within the co-dependent fields of LGBTQ+ historical research and collecting, and share experiences, ideas and best practice through a programme of presentations and short talks that explore margins, borders, barriers and intersections, past and present. Topics may include, but are not limited to:

Barriers –in accessing LGBTQ+ content within existing collections, and in collecting material from LGBTQ+ communities
Intersections – collecting, cataloguing or researching subjects which share multiple / contrasting identities
Margins – researching elusive or liminal subjects; learning, research or projects taking place outside formal institutions
Connections – uniting individuals or communities across boundaries through heritage or research
Border police – navigating the formal standards of the heritage sector, including official terms and language or constructions of identity

We invite 200 word abstracts offering informal 10-minute presentations that share work-in-progress or provide an introduction to new projects or research that address these themes.

We also invite 300 word abstracts for 20-minute papers or presentations exploring the themes in more detail.

We particularly welcome contributions from BME / QPOC (Black Minority Ethnic / Queer People of Colour) and Transgender communities, as well as from those living outside the UK and USA.

The ALMS conference 2016 is being delivered on a not-for-profit basis by London Metropolitan Archives and Bishopsgate Institute in order to encourage dialogue and share knowledge in LGBTQ+ histories and cultures. The conference is not being funded as part of a wider project and the organisers are unable to cover speakers’ costs except in cases where keynote or invited speakers are prevented from attendance for financial reasons. A limited number of bursaries for attendees will be made available at the beginning of 2016. 

Abstract deadline: Friday 8 January 2016
Abstracts to: jan.pimblett@cityoflondon.gov.uk
Facebook: https://www.facebook.com/LGBTQALMS Twitter: @LGBTQALMS #alms2016

LGBTQ Archives, Libraries, Museums and Special Collections 2016: Without Borders

Sorry for the long gap in blog posts, I’ve been very busy working on my thesis, and much more exciting things, including this!

You might remember a much earlier post on this blog from just before I started my PhD, when I mentioned the LGBTI ALMS (Archives, Libraries, Museums and Special Collections) conference in Amsterdam. It was an incredible conference, and I’m so pleased to be a small part of its follow up in summer 2016. I am part of the steering committee, and the conference is hosted by London Metropolitan Archives and the Bishopsgate Institute, and a third institution which is to be announced shortly!

The call for papers is as follows:

Deadline for proposals is 8 January 2016:

WITHOUT BORDERS…
Archives, Libraries, Museums and Special Collections (ALMS) 2016
an International LGBTQ+ Conference hosted by the City of London through London Metropolitan Archives in partnership with Bishopsgate Institute.

Dates: 22 – 24 June 2016
Location: London

Background

ALMS is an international conference focussed on the work by public, private, academic, and grassroots organisations which are collecting, capture and preserving archives of LGBTQ+ experiences, to ensure our histories continue to be documented and shared. The conference began in Minnesota in 2006 when the Tretter Collection and Quatrefoil Library co-hosted the first LGBT ALMS Conference. The last conference took place in Amsterdam in 2012 and saw archivists, activists, librarians, museums professionals and academics from around the world coming together to share success stories and discuss challenges involved in recording LGBTQ+ lives.

CALL FOR PAPERS 2016

To reflect our emerging global community, the 2016 conference is titled ‘Without Borders’. Papers are invited from across the heritage, cultural, academic and grassroots communities. Our aim is to generate a dialogue within the co-dependent fields of LGBTQ+ historical research and collecting, and share experiences, ideas and best practice through a programme of presentations and short talks that explore margins, borders, barriers and intersections, past and present. Topics may include, but are not limited to:

• Barriers –in accessing LGBTQ+ content within existing collections, and in collecting material from LGBTQ+ communities
• Intersections – collecting, cataloguing or researching subjects which share multiple / contrasting identities
• Margins – researching elusive or liminal subjects; learning, research or projects taking place outside formal institutions
• Connections – uniting individuals or communities across boundaries through heritage or research
• Border police – navigating the formal standards of the heritage sector, including official terms and language or constructions of identity

We invite 200 word abstracts offering informal 10-minute presentations that share work-in-progress or provide an introduction to new projects or research that address these themes.

We also invite 300 word abstracts for 20-minute papers or presentations exploring the themes in more detail.

We particularly welcome contributions from BME / QPOC (Black Minority Ethnic / Queer People of Colour) and Transgender communities, as well as from those living outside the UK and USA.

The ALMS conference 2016 is being delivered on a not-for-profit basis by London Metropolitan Archives and Bishopsgate Institute in order to encourage dialogue and share knowledge in LGBTQ+ histories and cultures. The conference is not being funded as part of a wider project and the organisers are unable to cover speakers’ costs except in cases where keynote or invited speakers are prevented from attendance for financial reasons. A limited number of bursaries for attendees will be made available at the beginning of 2016.

Abstract deadline: Friday 8 January 2016
Abstracts to: jan.pimblett@cityoflondon.gov.uk

A website will shortly be launched, but in the mean time you can keep an eye out for announcements at the Facebook page and on twitter @LGBTQALMS

Mapping London’s LGBTQ heritage

I’m really excited to be involved with this project here.

The pilot phase, which initially just focuses on London, is currently under way, and it involves a map of London with user-generated pins highlighting spaces of LGBTQ heritage. The project will be rolled out to cover the whole of the UK, and anyone can take part!

I thought I’d talk you through the (very simple) process with one of my own contributions.

First of all, go to this page here and scroll down to the map at the bottom.

Click on the ‘+’ sign at the top right hand corner to add a new pin.

A new text box will pop up, and will ask you to choose a place name and a location. The place name will appear on the list to the right hand side of the map, so make sure it also includes a little taste of what the post is about if you want more people to look at it! You can either search for a location or choose it by clicking on the map.

As this is a crowd-sourced project, you’re not expected to be a historian to take part, so if you don’t know the exact place, put it as close as possible to where you think the spot is (obviously, I don’t know where in Green Park Bankes was caught with his trousers down, so I think in this case, anywhere in the park will do). Likewise, if you’re not entirely sure about exact dates, just make this clear in the text, and try and give an estimation if you can.

Also, your entries don’t need to be historical, they can be more contemporary, and can be your own interpretation of a site. If there’s already a pin on the place you wanted to mention, don’t worry, put another one there!

You then get to choose from a category. Unfortunately at this stage you can only choose one, so use your discretion about which one suits the most. I chose ‘Crime and the Law’ for this entry because I thought it was the most appropriate for the story I’m telling. Think about who might be searching for this story, and which elements will appeal the most.

You can also upload a photograph, which I’ve chosen not to do here.

When you click ‘Submit’ this screen appears:

It is important to copy or make a note of the URL, since the site does not require users to log in or make an account, this is the only way you can edit your entry. Once you’ve done that, click close and then close the text box, or reset if you wish to add another entry.

The moderator will then be informed about your contribution, they do not fact check or alter your text unless there is something offensive in there.

Once it is approved, it will appear on the list alongside the map:

and here is my entry!

So go here to drop a pin: http://lgbtlondon.wix.com/lgbtlondon and share the link with anyone who might be interested in taking part in this ground breaking Historic England project!

New York

Hello all, sorry for the radio silence, been a bit busy. I thought I’d share some brief thoughts about my visit to New York, which was amazing (but feels like a million years ago now…)

A few bits of news before I do:

  • I did an interview for the Queer East London Project, which you can read here.
  • ‘Twilight People: stories of faith and gender beyond the binary’ is looking for trans and gender variant people of faith to share their stories, see here for more details of how to get involved, it’s a groundbreaking project that I feel really privileged to be a part of.
  • An updated version of my book chapter about LGBTQ oral histories (including PICTURES!) appears in the new MuseumsEtc book ‘On Sexuality‘, it’s a really great book that collects together essays about making LGBTQ narratives visible in museums, it’s also more reasonably priced than the last one!
  • I’m part of a really great steering committee for the next LGBTQ+ Archives, Libraries, Museums and Special Collections conference. The last took place in 2012 in Amsterdam, and was incredible, I wrote about it at the time here. The committee includes archive professionals, artists, academics and activists from Bishopsgate Institute, London Metropolitan Archives, Kingston University, the Institute of Education (that’s me), Tower Hamlets Local History Library, rukus! Federation, the Parliamentary Archives, Tate Britain and University College London. I’ll keep you posted once the official blog is up and running, but in the meantime, like the Facebook page here.
  • I’ve been recruited as an ‘expert advisor’ for a new project by Leeds Beckett University and Historic England, which is crowdsourcing pins on a map highlighting LGBTQ history. The trial version is available here. Feel free to add your own pins, although for the trail the map includes only London.

That’s enough of that. On to New York.

Museum Association of New York: Museums in Action Conference “Museums Mean Business”
April 12th , Corning Museum of Glass

Myself and Lauren Windham presented a workshop together on the first day of this conference. Initially, it was to be a three person panel, but Ellie Lewis-Nunes was unfortunately unable to make it (I’m hiking with her to raise money for Macmillan Cancer Support, you can donate here!), so while it was bitter sweet, the talk was still a great success. Our workshop was called ‘Addressing the balance’ and we spoke about challenges arising when addressing specific community groups in historic buildings in London, and how this can extend to the regular visitor. I spoke about my work with Sutton House, and Lauren spoke about her time at Bruce Castle, and a project she ran with children and their non-English speaking parents. We had some really great questions, and people seemed really engaged with the subject.

We had a quick chance to poke around the new wing of the museum, and we were blown away. I must admit my expectations of glass museums are based on the one in my hometown of Sunderland, which may be great now, but when I visited it a very long time ago, it was a little dry. This new wing was spectacular, a huge array of really challenging contemporary glasswork in a beautiful naturally lit space, it really was breathtaking.

Bjork at MOMA

I am a huge Bjork fan, like worryingly huge. I have her words tattooed on my flesh (as well as the swan from Vespertine) and I’ve seen her live 6 times now (7 in July!), she truly is my idol and this exhibition felt like a pilgrimage for me. Four of her instruments, which I’d previously seen live on her Biophilia tour, were dotted around the museum atrium and removed from their natural context, it became even more clear what beautiful works of art they are, especially the pendulum harp.

The first part of the exhibition was an immersive screening of the MOMA commissioned video for Black Lake, which is the centrepiece of her new album Vulnicura. At ten minutes long, Black Lake is sparse and heartbreaking, probably Bjork’s most personal and vulnerable song to date. The video is understated, it features her walking around barefoot in the inside of a volcano, and only in the final minute or so does she surface to the moonlike mossy Iceland surface. The video is projected on two walls that are often in sync, but often show different things, and the small space they were played in was made to recreate the inside of a volcano, with crater-like protrusions lining the wall. The room had nearly 50 speakers, and we saw the film twice (I cried both times haha), the first time, everyone was sitting on the floor, which I thought was weird, and the second time, people stood and moved around the space. There’s a particular moment in the film during a long 30 second drawn out note from the strings, where Bjork, on her knees, pounds violently at her chest as if she is trying to restart her heart. I glanced around and it was really moving to see so many glistening eyes reflected from the glow of the screen. For me, if you can’t see an artist live, surely this is the ideal way to experience music, it was a staggering achievement.

The next part was the Bjork cinema, a room filled with red velvet cushions to lay on where they play all of Bjork’s music videos in chronological order. We spent about 40 minutes in there, I have seen all of those videos countless times, but it was a whole new experience to see them in this setting.

The final part was the timed-ticket section called ‘Songlines’, in which a fictional story about a woman moving through the albums of Bjork is whispered in your ears alongside snippets of her songs. It was a really creative and unusual way of telling the story of Bjork’s music, and of the strongly defined characters she creates for each of her albums. In each room, which corresponded to an album, were costumes and props from videos and live performances and Bjork’s notebooks.

The exhibition completely lived up to my expectations, and the Black Lake screening in particular completely surpassed it. I’m not sure I’ll ever love an exhibition as much as I loved this one, it truly felt like a religious experience.


(here’s me gazing lovingly at the bell dress from the Who Is It? video)

9/11 Memorial Museum

Lauren left to go back to Washington, it was really great to catch up with her after so long (she and I studied on our MA together), she is one of my heritage idols and a continued source of inspiration to me. I had a day on my own before my housemate arrived to stay for a week, so I went to see the 9/11 Memorial Museum. I was expecting it to be problematic to be honest, I imagined it would be extremely patriotic and Islamophobic, but I was very pleasantly surprised at how tasteful and moving it was, it was purely a commemoration of those lost in the attacks, and the interpretation combined stark monuments, rich and compassionate storytelling, and some really visually powerful moments (especially the missing posters that were projected onto one of the walls and gradually faded in and out). The fountains themselves were really beautiful too.

Two really interesting points (from a museum studies student perspective…); firstly, there was a recording studio for visitors to record their memories and thoughts about the day, these were then projected onto a long screen and was really beautifully done. Secondly, I’ve never experienced such a raw and solemn audience before, I’m a terrible eavesdropper in museums, as I think it’s a good lazy research tool, but in this museum the conversations were much more personal than usual, everyone remembers where they were that day, and everyone was very visibly moved and at times uncomfortable. The museum even had tissue dispensers at parts of the main exhibition, it was quite unlike anything I’d seen before.

Leslie Lohman Museum of Gay and Lesbian Art

One of the smaller treats we had was the Leslie Lohman, which is a really nice space devoted to LGBTQ art and artists. The mission statement reads: ‘The Leslie Lohman Museum of Gay and Lesbian Art is the first dedicated LGBTQ art museum in the world with a mission to exhibit and preserve LGBTQ art, and foster the artists who create it The Leslie-Lohman Museum embraces the rich creative history of the LGBTQ art community by educating, informing, inspiring, entertaining, and challenging all who enter its doors. The Museum is operated by the Leslie Lohman Gay Art Foundation, Inc., a non-profit founded in 1987 by Charles W. Leslie and Fritz Lohman who have supported LGBTQ artists for over 30 years.’

 

The exhibition we saw was called ‘Irreverent: a celebration of censorship’. The museum hosts up to 8 exhibitions a year, which is pretty remarkable for a non-profit venture, it was also one of the very few free museums we visited, which seems like a rare treat in New York, where entry to most museums is in excess of $15. I really wish there was an equivalent to this in London.

Brooklyn Museum

I think my favourite museum overall was the Brooklyn Museum. Lauren had recommended I go and see the Kehinde Wiley exhibition there, and the museum was already on my housemate’s to do list. It is one of the best art exhibitions I have seen in ages. Wiley paints huge portraits of people of colour in classic heroic poses, with rich and florid patterned backgrounds. They really are incredible, and the exhibition also featured work on stained glass and sculpture. We also saw the Jean-Michel Basquiat ‘Unknown Notebooks exhibition’ and looked around the permanent collections. It was great to see a museum genuinely privileging its local artists, and especially exciting to see people of colour represented on such a scale in such a huge museum.

These are just a few of the things we saw, we also saw a small exhibition of Keith Haring’s work, the American Folk Art Museum, the Museum of Morbid Curiosity (which was a HUGE disappointment), the Museum of Sex, the Brooklyn Botanic Gardens (which a lovely couple kindly gave us their tickets for so we didn’t have to pay!), a super cute little museum at Coney Island, and Lauren and I had a little tour of the Metropolitan Museum of Art.

If you get the chance to go to New York, definitely do! It was incredible and I hope I get the opportunity to go back one day, I feel like we only scratched the surface!

Here’s a little bonus picture of me admiring some of the art at the American Folk Art Museum:

all 126 LGBTQ sonnet videos now online

I have finally put all of the contributions to the 126 LGBTQ sonnet project online. You can view them all in this album here. I’m looking into potential ways of displaying them, perhaps with a dedicated website, but for now they are all there for your viewing pleasure.

The exhibition at Sutton House has finished and it was a great success. I was sad to see it go, but looking forward to writing about it for my thesis, and I don’t think this is the end of the project, I am hoping to edit them in to a second version of the film and to continue to look for opportunities to screen it to make sure it can be seen by as many people as possible.

I want to extend my thanks again to the staff at Sutton House, but especially to the 125 (I was the 126th!) volunteers who gave up their time to contribute so creatively and generously to this project. I am overwhelmed and moved by the contributions, which range from funny to really moving. All of them are brilliant. Visibility is still really political for queer people, so we have all done something towards ensuring that we are seen and heard, and I think that’s a beautiful thing. I’m also delighted to have met so many of the contributors since, at Sutton House, the V&A and various other queer events. I never imagined this project would help me feel so much more a part of the queer community, and that I would make so many friends through it.

I’m really excited that the exhibition had a brief mention in an article in the Independent. Unfortunately it was only two days before the exhibition ended, meaning that it wasn’t an effective marketing device, but still great to have been noticed, and I hope the higher ups in the National Trust are paying attention to our success.

Special thanks to Alex Creep, who has put up with me being quite insufferably stressy during the build up to the exhibition! and who also made the beautiful poster for the exhibition.

BFI Flare: LGBT Film Festival 2015

The BFI Flare festival is over, and I just thought I’d plug a few of my favourite films that I saw.


Something Must Break

I saw this film at the BFI London Film Festival in Late 2014, and I’m pleased I got to see it again, it stars Saga Becker (who won best actress at the Guldbaggegalan 2015 awards ceremony, becoming the first trans woman to do so) as a non-binary trans person. It’s empowering and beautiful, and along with other lead Iggy Malmborg, the acting is phenomenal. Becker’s portrayal of Sebastian/Ellie is one of the most relatable characters I’ve ever seen in a film. It’s a triumph and is hitting UK cinemas in April, so make sure you check it out.

Also, I’m absolutely delighted that the incredible Saga Becker agreed to be part of my exhibition 126 at Sutton House. You can see her contribution here:

My other favourites included:

We came to sweat

This was a particularly topical documentary given how gentrification in East London and beyond are seeing the closure of many queer venues, including the Joiners Arms. This film looks at the Starlite, the oldest gay bar in Brooklyn that was particularly important as it offered a safe space and community for LGBTQ people of colour. The building that housed the Starlite was bought without them knowing, and the film deals with the campaign to save it, as well as documenting the community that has been built there, and the legacy of the venue. It’s a very moving film with an excellent soundtrack and documents a really important part of black LGBTQ culture.

In the turn

This was the huge surprise of the festival for me. I knew nothing about Roller Derby, and frankly wasn’t that interested, but the film is about more than sport, it’s about the power of a community that values respect, kindness and warmth. The film is framed around the story of a ten year old trans girl called Crystal, whose mother reaches out to Roller Derby collective Vagine Regime, after Crystal is no longer allowed to participate in team sports at her school, because of the staff’s discomfort and inability to deal with a trans student. The Vagine Regime, who are a queer international community, raise money to help Crystal attend a Roller Derby camp, where she can play with girls her own age for the first time. I balled happy tears for so much of the film, it’s so positive to see what a beautiful thing the queer community is when you see it depicted so carefully on a big screen.

The trailer is perhaps a bit deceptively bleak, but alongside the sad stories of suffering, is an overwhelming sense of hope and positivity. We were lucky enough to meet the director Erica Tremblay, who is a complete babe and super humble, and seems genuinely overwhelmed with how well the film is being received. It’s a definite must see.

And here are a couple of my favourite shorts:

Sticks and Stones: Bambi Lake

A documentary about Bambi Lake, I can’t find a trailer for this, but it was the first film in the Transcenders shorts, and the series ended with the incredible Justin Vivian Bond covering one of Bambi’s songs, there’s a bit of footage from the documentary in the music video:

Last time I saw Richard

Creepy queer horror- my favourite genre



The Last Time I Saw Richard – Trailer from Nicholas Verso on Vimeo.

Some honourable mentions: Hidden Away, Drunktown’s Finest, and Stories of our lives

My favourite thing about BFI Flare is what a lovely space the BFI becomes for a fortnight. It’s like a glimpse of what a lovely, safe and respectful queer utopia looks like.

Roll on next year!

‘126’ exhibition poster!

I’m delighted to unveil the official poster for the ‘126‘ exhibition at Sutton House.

The poster was made by the super talented Alex Creep.

 

 

The event on Facebook is active, please click ‘attending’ and invite everyone you think might be interested!

The event is also on the LGBT History Month calendar. Which is a great source for keeping an eye out on the various events taking place in February and beyond.

Hope to see you all there!

‘126’ and ‘Queer Season’ at Sutton House

We’re less than a month away from the exhibition that I (and 125 volunteers) have been working on. I’m delighted to unveil the trailer here:


‘126’ LGBTQ exhibition trailer from Sean Curran on Vimeo.

I’m also delighted to announce that owing to the success of last February’s exhibition Master Mistress, the staff at Sutton House have decided to eschew the confines of LGBT History Month by hosting a two month long Queer Season throughout February and March. Below is the exhibition blurb and more information about the other events taking place throughout Queer Season:

Queer Season at Sutton House

Starting in LGBT History Month, Sutton House is hosting its first Queer Season, a series of exhibitions and events celebrating the lesbian, gay, bisexual, trans and queer communities.

National Trust’s Sutton House presents:

126 
5th February to 29th March,
Weds to Sun 12pm to 5pm

Building on February 2014’s exhibition ‘Master-Mistress’, the first LGBT History Month event to be held in a National Trust property we think, ‘126’ is a crowd-sourced audiovisual experience featuring all 126 of Shakespeare’s Fair Youth sonnets as read by members of the LGBTQ community. Each sonnet is self-recorded and is accompanied by video portraits of the contributors.

Admission: Adult £3.50, Child £1, Family £6.90, National Trust Members FREE.

The Amy Grimehouse and National Trust’s Sutton House present:

The Craft Valentine’s Massacre 
14 February 7pm to late

 Join The Amy Grimehouse for their special presentation of that 90s classic, The Craft. Explore Sutton House and participate in some anti-Valentine’s spells, Hex-Your-Ex, the Nancy Booth, The Craft Craft Room with binding and poison pen Valentine’s cards and more. All before the pre-screening show with the Bitches of Eastwick. The screening will make way for the ‘Invoking the Spirit of Manon Ball’ with Connie Francis on the jukebox and more til late. “Now is the time. This is the hour. Ours is the magic. Ours is the power.” 

Nick Fox and National Trust’s Sutton House Present:

Bad Seed 
5th February to 29th March,
Weds to Sun 12pm to 5pm

 This will include the first comprehensive survey of work by South African-born artist Nick Fox. Arranged over seven rooms, the exhibition brings together artworks created over the last ten years, principally painting but also films, installations, cyanotype prints and intricately laboured object d’art from his celebrated Nightsong and Phantasieblume series. Fox has also chosen Sutton House to launch a new artistic project called Seedbank, which invites members of the public to select seeds linked to a veiled dictionary of floral meanings to give as long term and living tokens of love and loves loss. Bad Seed will be shown simultaneously with Fox’s International touring exhibition Nightsong, at Angus-Hughes Gallery (7th February – 7 March 2015), which is also located in Hackney.

Admission: Adult £3.50, Child £1, Family £6.90, National Trust Members FREE.

2nd call for volunteers for ‘126’ LGBTQ exhibition at Sutton House

[EDIT: thanks for the overwhelming response to this second call out- all sonnets have now been assigned!]

Hello all!

I am currently working on an exhibition for LGBT History Month (and beyond- it will be running until the end of March!) at Sutton House, a National Trust house in Hackney.


(the dates on the poster are wrong- they will be amended when the proper posters are made! It actually ends on the 29th March!)

I can now announce that the exhibition will be called ‘126’. It will be an audio visual exhibition featuring crowd sourced recordings of LGBTQ people reading one of Shakespeare’s 126 Fair Youth sonnets, and short video portraits of the contributors.

I have been overwhelmed by the quality of the submissions so far, but alas- there are still between 20-30 sonnets to be assigned to volunteers!

If you wish to get involved, it only takes 5-10 minutes to record, and you can do it in the comfort of your own home, and it’s a great chance to be involved in a huge community effort to raise the visibility of LGBTQ identities in historic houses, and in the National Trust, you will also receive an invite to the private view!

You can see some examples of the contributions so far here. And read the original call for volunteers here.

To get involved or for more information, contact SuttonHouseLGBTQ@gmail.com and I will assign you with a sonnet!

I need all of the sonnets and videos to be recorded by the end of December, so please share widely with your networks!