About Here, There, Now, Then
an afvs senior thesis by natalie joy gale
In this three-part studio thesis, I consider the relationships among queerness, ruralness, settler colonialism, and visuality.
The Studio traces visual lineages of queerness and settler colonialism.
The Gallery offers a vision of my own queer community and our presence in rural space at the height of the COVID-19 pandemic.
Circulation re-engages the images that I and my community made with the occupied land of the United States.
The Studio traces visual lineages of queerness and settler colonialism.
The Gallery offers a vision of my own queer community and our presence in rural space at the height of the COVID-19 pandemic.
Circulation re-engages the images that I and my community made with the occupied land of the United States.
Archival images in the Studio are sourced from:
- Lesbian Intentional Community: Ruth Mountaingrove (b. 1923) Photographs, Oregon Digital Libraries, University of Oregon
- Amos Voorhies Photographs, Lloyd Smith Historical Photograph Collection
- Keene Public Library and Historical Society of Cheshire County
- Lesbian Intentional Community: Ruth Mountaingrove (b. 1923) Photographs, Oregon Digital Libraries, University of Oregon
- Amos Voorhies Photographs, Lloyd Smith Historical Photograph Collection
- Keene Public Library and Historical Society of Cheshire County
To read the full artist statement for Here, There, Now, Then, please click here.
To read the accompanying History and Literature thesis, which examines photographic lineages of the queer, the settler colonial, and the Native in lesbian and Native self-determination movements in 1970s Oregon, please click here.
The images on this website were produced on occupied Western Abenaki, Siletz, Cow Creek Umpqua, and Tolowa Dee-ni’ land.