BGSQDBureau of General Services—Queer Division
BGSQD
Join Male Bodies Unmade author Jongwoo Jeremy Kim and his colleague Sharmistha Ray for a conversation about representations of GWM (gay white male) beefcakes in art—and their significance for polyglot, POC queers. Critics are calling Male Bodies Unmade “witty and wise,” celebrating the book as “a gleaming example of queer critique.” Horny self-extinction and decolonial disidentification will be explored in relation to artists such as David Hockney and Robert Gober.
To reserve a copy of Male Bodies Unmade: Picturing Queer Selfhood (University of California Press, 2023, hardcover, $50), please write to us at contact@bgsqd.com with “please reserve Male Bodies Unmade for March 9th” in the subject line.
Thank you for supporting the Bureau by purchasing books from us!
This event will take place in person at the Bureau of General Services—Queer Division, on the second floor (room 210) of The LGBT Community Center, 208 W. 13th St., NYC, 10011.
Registration is not required. Seating is first come, first served.
Suggested donation $10 to benefit the Bureau’s work.
All are welcome to attend, with or without donation.
We will pass a bag for donations at the start of the event, but we can also take credit card donations at the register or on Venmo @bgsqd
Also live-streaming on the Bureau’s YouTube channel:
Jongwoo Jeremy Kim, Ph.D. is Associate Professor of Critical Studies in Art History and Theory at Carnegie Mellon University. He is the author of Painted Men in Britain, 1868-1918: Royal Academicians and Masculinities, as well as Male Bodies Unmade: Picturing Queer Selfhood. Kim’s approach is informed by his own status as an immigrant—a polyglot queen drawn to extravagant fantasies of misbehaving bodies that are in truth foreign territories, colonies of misbeliefs.
Sharmistha Ray (they/them) is a visual artist, art critic, curator, and professor at Carnegie Mellon School of Art. Their artistic practice delves into the complex inheritance of multiple cultures through their queer identity and modes of abstraction. Reviews of their work have appeared in The New York Times, The Brooklyn Rail, Artnet, Hyperallergic, and many others.