JUNE 2 – JULY 3, 2023
ALL STREET NYC
77 EAST THIRD STREET
NEW YORK, NY, 10003
NEW YORK, NY – Queer Knowing, a group exhibition, is a tribute to felt moments of
belonging within the queer experience. In the works on view, these moments are often marked by sentimental collections of found, then aggregated objects and imagery, creating personal museums about identity and community. The exhibition of thirty-two art ists will be on view from June 2 – July 3, 2023, at All Street NYC. The opening reception will take place on June 3 from 7 – 9 pm.
Queering is an act of warping, breaking, and pressing up against boundaries and
restrictions, forging a desired path that did not previously exist; ‘knowing’ encapsulates
Corrine Yonce, Stuck Like an Old Band-Aid, 2022 Acrylic, mop strings, IUD in biohazard bag on hospital gown Kota Khan, Where did my childhood go, 2022 Jacquard cotton weave moments when that desired path is acknowledged and embodied. While each path takes its own winding, endless shape, the points of intersection are where we find community. These instances of interaction and recognition, no matter how fleeting or long lasting, are the additive elements of queer knowing. The exhibition seeks to articulate the tensions between the aloneness of solitary queer journeys and the community that comes from that exploration.
The exhibition spans found objects, soft sculpture, textiles, ceramics, photography, video,
and painting, and explores themes of friendship, community, sexuality, joy and pain.
Through their works, the artists create new worlds within the material constraints at their
disposal, expressing the necessary and radical inventiveness of queer lives.
Exploring both placelessness and active placemaking, artists simultaneously illustrate a senseof loss and self arrival. For example, in Kota Khan’s jacquard woven tapestry Where did my childhood go, the artist depicts a teary-eyed central figure shrouded in Hello Kitty plushies, taking elements of the artist’s life and transforming them to communicate the multifaceted experience of self exploration, using bright colors, abstract patterns, and child-like whimsy.
Sabrina Ring’s My Beautiful BFF and Femme Fantasy reference what they call “early 2000s little girl’s media” to challenge the genre’s embedded cis-hetero-normativity and eurocentricity by blending it with queer and trans aesthetics.
Tom Hill’s mixed media sculptural collages Ruff Glam, Rugged Code, and Camp
Hintertouch metamorphosize found objects, images, and keepsakes into expressions and
expansions of queer masculinity. His pieces take on elements of de- and re-construction,
subversion, promiscuous flamboyance and innuendo, and ironic humor. In this work, the
queer spirit of the shapeshifter is omnipresent, involving the repurposing of found and
chosen materials whose original forms and functions are coaxed into transformational
statuses that suggest, disguise, and occasionally confound. Paradoxes are highlighted to
transcend culturally reinforced binaries: elements are turned inside out and upside down,
creating gender whirls and skewing centers of gravity and balance.
Natalie Raskin’s painting waiting room for real life depicts a poetically disorienting,
dystopian scene in which figures occupy a liminal space of placelessness, and a sense of the seemingly unending ye† suspended passage of time is marked by a clock. Despite this suspension, the painting is anything but stagnant; instead, it points to a larger imagined narrative of the possibilities that lay beyond the waiting room – what came before and whatcomes after. The work’s title points to simultaneously childlike and existential wondering of what “real life” might look like in the future, even though we are always already there.
Queer Knowing recognizes art as a means of social resistance through creating worlds in
which we aspire to live. Rooted in today’s political climate in which legislatures attack queer culture and seek to suppress LGBTQIA2S+ voices, creative expression, community, and celebration of queer life is as radical as it is necessary for survival.
All Street NYC is located at 77 East Third Street, New York, NY, 10003. For updates on
community programming throughout the exhibition, please visit @all.st.nyc on Instagram.
About All Street NYC:
Founded in 2018, All Street NYC presents works by emerging and underrepresented artists whose works demonstrate social engagement and community empowerment. First established as an artist collective and grassroots protest organization by born and raised New Yorkers, All Street NYC is a space that is both created by and for artists. Having deep roots in New York City, the gallery and collective share a background in public art and activations as a means of creative protest and resistance. Such socially engaged work has carried into their gallery space as they opened their doors on 77 East Third Street, and as they now open their second location at 119 Hester Street.
For press and sales inquiries, please contact:
646 335 3717
Blair Simmons (@blairsimmons)
Eden Chinn (@all.st.nyc)
Shuang Cai (@fkialmostforgot)
Julia Mandel (@juliamandelart)
Kota Khan (@plantainchipss)
Madeleine Sinnock (@maddysinnock)
Max Chen (@hausofmax)
Natalie Raskin (@hotsinglesnearyou)
Oli Andersson (@olileeand)
Pedro Sodre (@bglups)
Perri Hofmann (@pshof)
Renee Silva (@spongeboob2084)
Roberto Balderas (@bnmonkeys)
Ryan Swedenborg (@rswedenborg)
Sabrina Ring (@dykey_drip, @stoner_dyke)
Tom Hill (@tomhill1954)
Becca Panos (@becca.panos, @rebeccapanosart)
Brooke Johannesen (@brookej_art)
Corrine Yonce (@corrine_yonce)
Chaski No (@chhaski)
Dana Suleymanova (@danasuleymanovaart)
Daniel Johnston (@danielryanjohnston)
Douglas Rogerson (@pseudoug)
Eliza Lu Doyle (@elizaludoyle)
Fox Smoulder (AKA Tony White)
Frankie Tejada Lizardo (@necrotic_stab)
Gal Cohen (@galshugon)
Giani Jones (@giudiebrown)
Iz Nettere (@ocean_ofmilk)
Jamie Wild (@jamwildd)