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	<title>David Evans Frantz</title>
	<link>https://davidevansfrantz.com</link>
	<description>David Evans Frantz</description>
	<pubDate>Mon, 13 Jul 2026 20:56:58 +0000</pubDate>
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		<title>Homepage</title>
				
		<link>https://davidevansfrantz.com/Homepage</link>

		<pubDate>Mon, 27 Apr 2020 19:32:00 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

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		<description>A Queer Arcana: Art, Magic, and Spirit continues at the Palm Springs Art Museum through October 18, 2026 🔮️&#38;nbsp;🧙🏻‍♀️&#38;nbsp;🔥️&#38;nbsp;</description>
		
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	<item>
		<title>A Queer Arcana: Art, Magic, and Spirit</title>
				
		<link>https://davidevansfrantz.com/A-Queer-Arcana-Art-Magic-and-Spirit</link>

		<pubDate>Wed, 31 Dec 2025 02:24:10 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

		<guid isPermaLink="true">https://davidevansfrantz.com/A-Queer-Arcana-Art-Magic-and-Spirit</guid>

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	A Queer Arcana: Art, Magic, and SpiritPalm Springs Art Museum
March 28 – October 18, 2026

	A Queer Arcana: Art, Magic, and Spirit brings together an intergenerational group of artists who explore how magic, spirituality, and esoteric knowledge have shaped queer art and culture in the twentieth and twenty-first centuries.

Drawing on the meaning of arcana—hidden and mystical knowledge—the exhibition considers how queer artists have turned to obscure spiritual practices as sources of connection and transformation. These artists engage magic as a way to envision worlds beyond repressive systems, reclaim sexuality as a sacred power, and build community.

The works on view reflect a wide range of spiritual traditions and practices, including Western occultism, witchcraft and goddess worship, Christian mysticism, New Age beliefs influenced by Eastern philosophies, and shamanic traditions rooted in Indigenous knowledge. Many artists explore and combine diverse traditions, constructing through their work idiosyncratic and intricate worlds.

As articulated by the queer Chicana poet and theorist Gloria Anzaldúa, “spirituality is a source of sustenance, a way of knowing, a path of survival.” A Queer Arcana highlights how magical and alternative spiritual practices have been ever-present within queer culture and LGBTQ+ struggles for liberation, even when their significance has been obscured from dominant historical accounts.Artists in A Queer Arcana include: Carlos Alfonzo, Steven Arnold, Nancy Azara, Judy Baca, Elijah Burgher, Nao Bustamante, Cameron, Jayne County, Tee A. Corrine, Frances Salomé España, Russell FitzGerald, Edgar Fabián Frías, Tamara Gonzales, Marsden Hartley, Sadao Hasegawa, Richard Hawkins, Clarity Haynes, Sergio Hernández Francés, Hilma’s Ghost (Dannielle Tegeder and Sharmistha Ray), Joseph Liatela, Candice Lin, Fred Lonidier, Mundo Meza, Daniel Correa Mejía, Naudline Pierre, Agnes Pelton, Rachel Pollack, Genesis Breyer P-Orridge, Billie Luisi-Potts, Eric-Paul Riege, Lezley Saar, Devan Shimoyama, Austin Osman Spare, Ingo Swann, and Faith Wilding.Find more information about this exhibition here.

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	Devan Shimoyama, Le
Monde, 2024. Oil, colored pencil, glitter, Flashe, collage, sequins, and
Swarovski crystals on canvas stretched over panel, 84 × 68 in. (213.4 × 172.7
cm). Courtesy of the artist and De Buck GalleryInstallation views of A Queer Arcana: Art, Magic, and Spirit at Palm Springs Art Museum, March 28, 2026 – October 18, 2026. Photos by Lance Gerber. Courtesy of Palm Springs Art Museum


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		<title>Press for A Queer Arcana</title>
				
		<link>https://davidevansfrantz.com/Press-for-A-Queer-Arcana</link>

		<pubDate>Mon, 13 Jul 2026 20:56:58 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

		<guid isPermaLink="true">https://davidevansfrantz.com/Press-for-A-Queer-Arcana</guid>

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	Press for A Queer Arcana: Art, Magic, and Spirit
	Find below an archive of press for A Queer Arcana: Art, Magic, and Spirit, organized by the Palm Springs Art Museum:&#38;nbsp;

Artnet News: Vittoria Benzine, “A Downtown Gallery Disappears, Another Draws Controversy—and More Juicy Art World Gossip,” February 18, 2026
KGAY: “A Queer Arcana: Exploring LGBTQ+ Art, Magic, Spirituality, and Esoteric Histories,” March 19, 2026Cochella Magazine: “A Queer Arcana,” March 25, 2026
Desert Sun: Brian Bluesky, “LGBTQ folks have always engaged with magic, spirituality. Here's why,” March 25, 2026Observer:&#38;nbsp;Elisa Carollo, “An Anti-Art Fair Is Taking Root in the Mojave Desert,” March 26, 2026

Los Angeles Times: Jessica Gelt, “L.A. arts and culture this weekend,” March 27, 2026&#38;nbsp;Hyperallergic: Matt Stromberg, “10 Art Shows to See in Los Angeles This April,” April 2, 2026
Surface: David Graver, “A Century of Esoteric and Occult Artistry in “A Queer Arcana” at Palm Springs Art Museum,” April 8, 2026

New York Times:&#38;nbsp;Morgan Malget, “What to See This Spring at Museums Across the Country,” April 15, 2026
NBC Palm Springs: “Palm Springs Art Museum Celebrates Diversity with Vibrant LGBTQ+ Pride Night,” June 12, 2026

Wallpaper:&#38;nbsp;Carole Dixon, “Los Angeles art exhibitions: the best shows to see in July 2026,” July 2026NoHoArtsDistrict.com: Raleigh Barrett Gallina, “A Queer Arcana: Art, Magic, and Spirit &#124; Ingo Swann,” July 6, 2026
KCRW: Carolina Miranda, Art Insider, July 29, 2026
Artforum: Bradford Nordeen, “Witch World: Queer Occultism Blooms in the Desert,” August 6, 2026
Southwest Contemporary:&#38;nbsp;Caitlin Chávez, “Witchcraft, Esoterica, and the Queer Resistance—A Queer Arcana Uncovers the Links,” August 20, 2026

Installation views of A Queer Arcana: Art, Magic, and Spirit at Palm Springs Art Museum, March 28, 2026 – October 18, 2026. Photos by Lance Gerber. Courtesy of Palm Springs Art Museum
 
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		<title>American Bohemia: The Photographic Legacy of the Village Voice</title>
				
		<link>https://davidevansfrantz.com/American-Bohemia-The-Photographic-Legacy-of-the-Village-Voice</link>

		<pubDate>Fri, 15 Aug 2025 01:43:46 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

		<guid isPermaLink="true">https://davidevansfrantz.com/American-Bohemia-The-Photographic-Legacy-of-the-Village-Voice</guid>

		<description>&#60;img width="2519" height="2560" width_o="2519" height_o="2560" data-src="https://freight.cargo.site/t/original/i/0e615a840c1b6e21323686670e826b99563809703520b2163cd0dea20c49bb48/Carmen-Xtravaganza-1988-Sylvia-Plachy-scaled.jpeg" data-mid="237053413" border="0"  src="https://freight.cargo.site/w/1000/i/0e615a840c1b6e21323686670e826b99563809703520b2163cd0dea20c49bb48/Carmen-Xtravaganza-1988-Sylvia-Plachy-scaled.jpeg" /&#62;

	American Bohemia: The Photographic Legacy of the Village VoiceUCR ARTSCalifornia Museum of Photography

February 20 – August 1, 2027

Co-curated with Thomas McGovern
	American Bohemia: The Photographic Legacy of the Village Voice celebrates the boundary-pushing photography that appeared in the country’s first alternative newspaper and preeminent countercultural forum, the Village Voice. Founded in 1955 in New York City’s Greenwich Village, the Voice reported on daily life and urban strife in the US’s largest city, investigated the rich and the powerful, and covered vibrant alternative theater, music, and art scenes. Contributors to the Voice often eschewed formal journalism for more radical and personal forms of expression, whether in writing, illustration, or photography.

The exhibition assembles works by 48 photographers who contributed to the Voice. The exhibition highlights the paper’s first staff photographer, Fred W. McDarrah, who covered the American counterculture of the 1950s and 60s. Photographers who came to the Voice in the 1970s, 80s, and 90s, including Amy Arbus, James Hamilton, Hiroyuki Ito, and Sylvia Plachy, developed their work through their association with the paper, propelling their careers and distinct artistic visions. The exhibition reveals how photography was an integral part of the paper’s spirited outlook on New York and American culture.Find more information about this exhibition here.
American Bohemia: The Photographic Legacy of the Village Voice is guest curated by Thomas McGovern, photographer and contributor to the Village Voice, and David Evans Frantz, independent curator. The exhibition was made possible with support from an anonymous donor, Canon USA, and Freestyle Photo Supply. Programs at UCR ARTS are supported by the College of Humanities, Arts, and Social Sciences at UCR and by the City of Riverside.
Sylvia Plachy, Carmen Xtravaganza, 1988. © Sylvia Plachy

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		<title>Teddy Sandoval and the Butch Garden School of Art</title>
				
		<link>https://davidevansfrantz.com/Teddy-Sandoval-and-the-Butch-Garden-School-of-Art</link>

		<pubDate>Wed, 22 Feb 2023 22:45:46 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

		<guid isPermaLink="true">https://davidevansfrantz.com/Teddy-Sandoval-and-the-Butch-Garden-School-of-Art</guid>

		<description>&#60;img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/cb0623d232624cd71a48bb8fa774989655e9f50c992fdecc72a326debe120782/_RVD5409_WEB-copy.jpg" data-mid="206361491" border="0"  src="https://freight.cargo.site/w/1000/i/cb0623d232624cd71a48bb8fa774989655e9f50c992fdecc72a326debe120782/_RVD5409_WEB-copy.jpg" /&#62;

	Teddy Sandoval and the Butch Garden School of ArtExhibition organized by Independent Curators International, the Vincent Price Art Museum at East Los Angeles College, and the Williams College Museum of Art, 2023–2027Co-curated with C. Ondine Chavoya

Vincent Price Art MuseumOctober 21, 2023 – February 17, 2024
Williams College Museum of ArtAugust 23 – December 22, 2024
The Contemporary AustinSeptember 12, 2025 – January 11, 2026El Museo del Barrio 
September 10, 2026 – January 10, 2027


	Teddy Sandoval and the Butch Gardens School of Art is the first museum retrospective dedicated to the inventive though overlooked artist Teddy Sandoval (1949–1995). A central figure in Los Angeles’s queer and Chicanx artistic circles, Sandoval was an active participant in both U.S. and international avant-garde movements. For twenty-five years, he produced subversive, yet playful artworks that explored the codes of gender and sexuality and continuously mined archetypes of masculinity in his work through his signature icon of a faceless man, often sporting a mustache.

This expansive survey assembles works by the artist across many media, with particular attention on his printmaking, drawings, mail art, and xerography. The exhibition's title highlights the faux institution and artistic persona that Sandoval named after Butch Gardens, a gay bar in Los Angeles during the early 1970s that was frequented by the artist and other Chicanx clientele. He utilized this imprint to distribute his artworks and organize exhibitions with friends and collaborators. While the “school” designation invokes a group, the Butch Gardens School of Art only had one member: Sandoval.

In the spirit of collectivity suggested by the "school of art," this exhibition includes works by other queer, Latinx, and Latin American artists who share similar graphic sensibilities, approaches to media, or thematic interests. The exhibition proposes an alternative model for the solo survey that incorporates unanticipated affinities and parallel histories across the Americas.
Artists in the exhibition include: Teddy Sandoval, Yolanda Andrade, Félix Ángel, Ever Astudillo, Myrna Báez, Felipe Baeza, Álvaro Barrios, Sérgio Valle Duarte, Gronk, Ester Hernández, Hudinilson, Jr., Antonio Lopez and Juan Ramos, Marcos López and RES (with Liliana Maresca and Adriana Miranda), Marisol, María Martínez-Cañas, Agustín Martínez Castro, Marta Minujín, Troy Montes Michie, Adolfo Patiño, Claudio Perna, Moises Salazar Tlatenchi, Ana Segovia, Ginger Brooks Takahashi, Joey Terrill, Alex Vallauri, and Martin Wong.

Teddy Sandoval and the Butch Gardens School of Art is accompanied by a scholarly catalogue co-published by Independent Curators International (ICI), Inventory Press, the Vincent Price Art Museum at East Los Angeles College, and the Williams College Museum of Art.Find more information about this exhibition here.

Teddy Sandoval and the Butch Gardens School of Art is a traveling exhibition curated by C. Ondine Chavoya and David Evans Frantz. It is produced by Independent Curators International (ICI), New York, in collaboration with the Vincent Price Art Museum at East Los Angeles College and the Williams College Museum of Art. The exhibition is made possible with support from the Getty Foundation through The Paper Project initiative and the Terra Foundation for American Art. Additional support has been provided in part by the Mellon Foundation, The Andy Warhol Foundation for the Visual Arts Curatorial Research Fellowship program, the AltaMed Art Collection, the National Endowment for the Arts, and Estrellita B. Brodsky. It is made possible with the generous support of ICI’s Board of Trustees and International Forum. Crozier Fine Arts is the Preferred Art Logistics Partner.


 
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	Installation views of Teddy Sandoval and the Butch Gardens School of Art at the Vincent Price Art Museum at East Los Angeles College.&#38;nbsp;Photos by Ruben Diaz. Courtesy of Independent Curators International (ICI), the Vincent Price Art Museum, and the Williams College Museum of Art&#38;nbsp;
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	<item>
		<title>Millie Wilson Catalogue </title>
				
		<link>https://davidevansfrantz.com/Millie-Wilson-Catalogue</link>

		<pubDate>Mon, 18 Nov 2024 18:29:25 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

		<guid isPermaLink="true">https://davidevansfrantz.com/Millie-Wilson-Catalogue</guid>

		<description>&#60;img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/bfb1177a91055f8e415ff3274b7a3a7dd5072ede7b2be9659714cb0456f456c6/25-IBG-MW-Cover-03.jpg" data-mid="247554002" border="0"  src="https://freight.cargo.site/w/1000/i/bfb1177a91055f8e415ff3274b7a3a7dd5072ede7b2be9659714cb0456f456c6/25-IBG-MW-Cover-03.jpg" /&#62;

	Millie Wilson: The Museum of Lesbian Dreams&#38;nbsp;
Edited by David Evans Frantz and Amy PowellWith contributions by&#38;nbsp;Jill H. Casid, Beatriz Cortez, David Evans Frantz, Richard Hawkins, Kang Seung Lee, and Jess Rath
 Designed by Content Object, Kimberly VarellaSoftcover, 192 pages, 8.25 × 11.75 in. &#38;nbsp;Publisher: Krannert Art Museum and Inventory Press, 2025ISBN: 978-1-941753-75-0Separations: Echelon Color, Los Angeles

Printer: Ofset Yapımevi, Istabul, Turkey  





Purchase here&#38;nbsp;
	Accompanying the first retrospective exhibition showcasing three decades of Millie Wilson’s work, this publication delves into the influential, yet underrecognized, artist and pedagogue who taught generations of artists at the California Institute of the Arts and whose work has deftly examined feminism, queerness, and the historical erasure of such positions from institutions of art.Uniting major loans from museums, private collections, and the artist, the project contextualizes Wilson’s substantial work, influential pedagogy, and legacy. Alongside her peers such as Lutz Bacher, Nayland Blake, Felix Gonzalez-Torres, and Lorna Simpson, Wilson joined 1980s postmodernism with the personally and politically charged conceptualism of the 1990s. Her work reflects a particularly unruly conception of queerness that emerged in California during these decades. Featuring newly commissioned scholarly essays by curator David Evans Frantz and scholar Jill H. Casid; a conversation among artists who studied with Wilson; and extensive new photographic documentation of Wilson’s work, the catalogue explores Wilson’s consistent appropriation of museum display practices and institutional authority, her art historical references to dada and surrealism, her sharp attention to gendered portrayals of sexual deviance in early twentieth-century psychoanalysis and sexology, and her longstanding interest in bodies as contested sites.Awards
Independent Publisher Book Awards:&#38;nbsp;Fine Art – Bronze (2026)&#38;nbsp;



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	Photos by Chris Gardner. Courtesy of Content Object

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	<item>
		<title>Trans Hirstory in 99 Objects</title>
				
		<link>https://davidevansfrantz.com/Trans-Hirstory-in-99-Objects</link>

		<pubDate>Sun, 19 Mar 2023 17:27:46 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

		<guid isPermaLink="true">https://davidevansfrantz.com/Trans-Hirstory-in-99-Objects</guid>

		<description>&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e8cc65b081a2a56d6dec08b46adc2ed80fa509c7a80c18261c62e20d7d7a45d6/MOTHA_1.jpg" data-mid="247781582" border="0"  src="https://freight.cargo.site/w/1000/i/e8cc65b081a2a56d6dec08b46adc2ed80fa509c7a80c18261c62e20d7d7a45d6/MOTHA_1.jpg" /&#62;

	Trans Hirstory in 99 Objects
A publication of the Museum of Trans Hirstory &#38;amp; Art (MOTHA)
Edited by David Evans Frantz, Christina Linden, and Chris E. Vargas&#38;nbsp;Designed by EllaCasebound hardcover, 304 pages, 7.5 × 10 in.&#38;nbsp;Publisher: Museum of Trans Hirstory &#38;amp; Art (MOTHA) and Hirmer Publishers, 2023ISBN: 978-3-7774-4108-5
Printer:&#38;nbsp;Printer Trento, Trento, Italy&#38;nbsp;
Purchase here






	Spanning over four centuries, this volume brings together a wide-ranging selection of artworks and artifacts that highlight the under-recognized histories of trans and gender-nonconforming communities. Through the contributions of artists, writers, poets, activists, and scholars, this title reflects on historical erasure and imagines trans futures.An expansive array of objects chart not a patriarchal history but a gender-neutral, trans-centric hirstory. The first publication of its kind, this survey celebrates trans forebearers, highlights struggles and triumphs, and reflects on the legacies of trans creative expression. Contributions by Kate Bornstein, Ria Brodell, Vaginal Davis, Leah DeVun, Mo B. Dick, Zackary Drucker, David Getsy, Martine Gutierrez, Andrea Jenkins, Jade Guarano Kuriki-Olivo (Puppies Puppies), Thomas (T.) Jean Lax, Abram J. Lewis, Miguel A. López, Amos Mac, Cyle Metzger, Deborah A. Miranda, Morgan M Page, SA Smythe, C. Riley Snorton, Dean Spade, Sandy Stone, Jeannine Tang, Michelle Tea, McKenzie Wark, and many others probe new horizons where institutional critique and trans culture meet. This book is copublished by the Museum of Trans Hirstory &#38;amp; Art (MOTHA), a conceptual art project of artist Chris E. Vargas that is forever “under construction” by design to allow continual transformation.

 




&#60;img width="5893" height="3928" width_o="5893" height_o="3928" data-src="https://freight.cargo.site/t/original/i/a057599ed68342aaaa0485e70e91844fccbe04f4f54d6e9c8c980a934cf31df1/MOTHA_2.jpg" data-mid="206508351" border="0"  src="https://freight.cargo.site/w/1000/i/a057599ed68342aaaa0485e70e91844fccbe04f4f54d6e9c8c980a934cf31df1/MOTHA_2.jpg" /&#62;&#60;img width="5893" height="3928" width_o="5893" height_o="3928" data-src="https://freight.cargo.site/t/original/i/e5265871a5d61e0fd5bc173845a0cba3e436dc601b465e9f6932c84c85f5713c/MOTHA_5.jpg" data-mid="206508387" border="0"  src="https://freight.cargo.site/w/1000/i/e5265871a5d61e0fd5bc173845a0cba3e436dc601b465e9f6932c84c85f5713c/MOTHA_5.jpg" /&#62;&#60;img width="5893" height="3928" width_o="5893" height_o="3928" data-src="https://freight.cargo.site/t/original/i/5a5ed7f0c577b23b999bd07bae80e321d8b75d49dc3173d258ef7dfe3a315bdc/MOTHA_3.jpg" data-mid="206508384" border="0"  src="https://freight.cargo.site/w/1000/i/5a5ed7f0c577b23b999bd07bae80e321d8b75d49dc3173d258ef7dfe3a315bdc/MOTHA_3.jpg" /&#62;&#60;img width="5893" height="3928" width_o="5893" height_o="3928" data-src="https://freight.cargo.site/t/original/i/94f91b3016700e31343cc1cddeaabc5f64a7da9dd400d562b1da98f8797c30c8/MOTHA_4.jpg" data-mid="206508386" border="0"  src="https://freight.cargo.site/w/1000/i/94f91b3016700e31343cc1cddeaabc5f64a7da9dd400d562b1da98f8797c30c8/MOTHA_4.jpg" /&#62;&#60;img width="5893" height="3928" width_o="5893" height_o="3928" data-src="https://freight.cargo.site/t/original/i/24b1ee1186d33554e3cd8d9b86d968e4694c98b2b9fa7f876193e08522615ac5/MOTHA_6.jpg" data-mid="206508405" border="0"  src="https://freight.cargo.site/w/1000/i/24b1ee1186d33554e3cd8d9b86d968e4694c98b2b9fa7f876193e08522615ac5/MOTHA_6.jpg" /&#62;
	
	Photos by Gene Aguilar Magaña. Courtesy of the Museum of Trans Hirstory &#38;amp; Art (MOTHA)&#38;nbsp;

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	</item>
		
		
	<item>
		<title>Tender Swagger: Works by LGBTQ+ Artists from the Collection</title>
				
		<link>https://davidevansfrantz.com/Tender-Swagger-Works-by-LGBTQ-Artists-from-the-Collection</link>

		<pubDate>Sun, 28 Sep 2025 18:40:19 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

		<guid isPermaLink="true">https://davidevansfrantz.com/Tender-Swagger-Works-by-LGBTQ-Artists-from-the-Collection</guid>

		<description>&#60;img width="1500" height="2168" width_o="1500" height_o="2168" data-src="https://freight.cargo.site/t/original/i/5592568361d0ad8e7fb44b789fc1ec5eab6a8903ff9a8d21e49d6f760a55a7cd/Vaginal-Davis--Jane-Cantillon.jpg" data-mid="238769866" border="0"  src="https://freight.cargo.site/w/1000/i/5592568361d0ad8e7fb44b789fc1ec5eab6a8903ff9a8d21e49d6f760a55a7cd/Vaginal-Davis--Jane-Cantillon.jpg" /&#62;


	Tender Swagger: Works by LGBTQ+ Artists from the CollectionPalm Springs Art Museum
October 4, 2025–ongoing


	Tender Swagger examines the diverse artistic strategies LGBTQ-identified artists employ to explore identity, community, and connection. Featuring works from the permanent collection alongside select loans, the exhibition is part of the museum’s ongoing initiative Q+ Art, dedicated to elevating the contributions of queer artists.

Portraiture plays a central role in many of the works on view, ranging from highly representational to more ambiguous and playful depictions. Other artists turn to abstraction, using form, material, and gesture to challenge fixed notions of queerness and express the fluid, often unruly nature of desire, gender, and sexuality. The selected works foreground networks of care, intimacy, and kinship that shape and sustain queer community.

The exhibition presents numerous recent additions to the museum’s permanent collection, including works by Vaginal Davis, Elliott Hundley, Jackie Kirk, Gabriela Ruiz, and John Sonsini.Find more information about this exhibition here.

&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/2cc9bb1ff308cdf5ceaa5a71cf444ddc994ce6b61120a053a505f08aee25d17a/01-TenderSwager-1321-PSAM-WebRes_edit.jpg" data-mid="242296077" border="0"  src="https://freight.cargo.site/w/1000/i/2cc9bb1ff308cdf5ceaa5a71cf444ddc994ce6b61120a053a505f08aee25d17a/01-TenderSwager-1321-PSAM-WebRes_edit.jpg" /&#62;&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/e389233f3ee1642c5475c84037702b408676e796def382f1e698a17a111256a8/07-TenderSwager-1322-PSAM-WebRes_edit.jpg" data-mid="242296105" border="0"  src="https://freight.cargo.site/w/1000/i/e389233f3ee1642c5475c84037702b408676e796def382f1e698a17a111256a8/07-TenderSwager-1322-PSAM-WebRes_edit.jpg" /&#62;&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/604987ca3c076f0268919c64ca111c1b061b4fd1e2189b63e1f1181c3d12c6f6/09-TenderSwager-1329-PSAM-WebRes_edit.jpg" data-mid="242296107" border="0"  src="https://freight.cargo.site/w/1000/i/604987ca3c076f0268919c64ca111c1b061b4fd1e2189b63e1f1181c3d12c6f6/09-TenderSwager-1329-PSAM-WebRes_edit.jpg" /&#62;&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/07fac4db1ded9224b90db6fc2d114e0d58b809c68a0865de7f93f1c29bc8822c/10-TenderSwager-1324-PSAM-WebRes.jpg" data-mid="242296108" border="0"  src="https://freight.cargo.site/w/1000/i/07fac4db1ded9224b90db6fc2d114e0d58b809c68a0865de7f93f1c29bc8822c/10-TenderSwager-1324-PSAM-WebRes.jpg" /&#62;&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/fa7795c5dbf69cc800f0e745c4adc63797f41e6bdae5b426d10ee145da004de3/12-TenderSwager-1326-PSAM-WebRes_edit.jpg" data-mid="242296109" border="0"  src="https://freight.cargo.site/w/1000/i/fa7795c5dbf69cc800f0e745c4adc63797f41e6bdae5b426d10ee145da004de3/12-TenderSwager-1326-PSAM-WebRes_edit.jpg" /&#62;&#60;img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/08ecc50d75b19bbbe3dc13efa7d1f61a625f18aa52042488bd31cf4b0bbee473/13-TenderSwager-1327-PSAM-WebRes_edit.jpg" data-mid="242296115" border="0"  src="https://freight.cargo.site/w/1000/i/08ecc50d75b19bbbe3dc13efa7d1f61a625f18aa52042488bd31cf4b0bbee473/13-TenderSwager-1327-PSAM-WebRes_edit.jpg" /&#62;


	
	Vaginal Davis, Jane Cantillon, Punk Rock "It Girl", 2021. Part of Unsung Super Heroines, 2021. Nagellack, glycerin, hydrogen peroxide, coconut oil, lip stain, mascara, blush, nail varnish, eyeshadow, Schminkstifte mit Spitzer, Aqua Net, Extra Super Hold hair spray, perfume, and Tempera on found papers, postcards, business cards, and photographs, dimensions variable. Palm Springs Art Museum, Gift of Nicole Panter DaileyInstallation views of Tender Swagger: Works by LGBTQ+ Artists from the Collection at the Palm Springs Art Museum. Photos by RJ Sanchez. Courtesy of Palm Springs Art Museum

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	<item>
		<title>Millie Wilson: The Museum of Lesbian Dreams</title>
				
		<link>https://davidevansfrantz.com/Millie-Wilson-The-Museum-of-Lesbian-Dreams</link>

		<pubDate>Wed, 30 Aug 2023 07:19:04 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

		<guid isPermaLink="true">https://davidevansfrantz.com/Millie-Wilson-The-Museum-of-Lesbian-Dreams</guid>

		<description>&#60;img width="1500" height="842" width_o="1500" height_o="842" data-src="https://freight.cargo.site/t/original/i/d3ce342f35de9a8e792ec1d09688f4597f8795c8511560e88469aa36429b2954/Wilson_Red-Top.jpg" data-mid="213084221" border="0"  src="https://freight.cargo.site/w/1000/i/d3ce342f35de9a8e792ec1d09688f4597f8795c8511560e88469aa36429b2954/Wilson_Red-Top.jpg" /&#62;

	Millie Wilson: The Museum of Lesbian Dreams&#38;nbsp;Curated by David Evans Frantz and organized for KAM by Amy L. Powell
Krannert Art Museum (KAM) at the University of Illinois Urbana-Champaign
August 29, 2024 – March 1, 2025

The Luckman Fine Arts Complex at Cal State LAOctober 24, 2026 – April 10, 2027


	KAM is enthusiastic to organize the first retrospective exhibition and publication showcasing three decades of Millie Wilson’s work (United States, b. 1948). An influential, yet underrecognized, artist and pedagogue who taught generations of artists at the California Institute of the Arts (following a brief stint teaching at the University of Illinois School of Art &#38;amp; Design), Wilson has deftly examined feminism, queerness, and the historical erasure of such positions from institutions of art.Uniting major loans from museums, private collections, and the artist, the project contextualizes Wilson’s substantial work, influential pedagogy, and legacy. Alongside her peers such as Lutz Bacher, Nayland Blake, Felix Gonzalez-Torres, and Lorna Simpson, Wilson joined 1980s postmodernism with the personally and politically charged conceptualism of the 1990s. Her work reflects a particularly unruly conception of queerness that emerged in California during these decades. For example, Wilson’s 1989 installation at LACE titled Fauve Semblant: Peter (A Young English Girl) purported to rediscover a lesbian artist named Peter, who took her name from Romaine Brooks’s 1923–24 portrait of the artist Gluck. Wilson’s faux-retrospective highlighted objects attesting to Peter’s fictionalized life and work: a photograph (taken by Catherine Opie) of Wilson dressed dapperly as Peter; life-sized images of Peter’s smoking jacket, shoes, cane, bow tie, and eyeglasses; and a singular “surviving” painting. Wilson’s installation anticipates many artistic projects utilizing speculation and fabulation to examine queer and trans history, including Zoe Leonard and Cheryl Dunye’s The Fae Richards Photo Archive (1993–96), Ulrike Müller’s Herstory Inventory (2009–12), and Chris E. Vargas’s Museum of Trans Hirstory &#38;amp; Art (MOTHA; 2013–present). &#38;nbsp;
In the 1990s, Wilson began mounting her works that appropriated museum practices and authority under an expansive project titled “The Museum of Lesbian Dreams,” an assertion of queer world-making as well as a mockery of the Freudian obsession with the unconscious and midcentury sexology research. Duchampian trickery and surrealist tributes abound in Wilson’s invented collection. Trophy (1990) is a bronze chalice lined with rabbit fur that features a diagram from a 1948 study of homosexuality etched into the base. The illustration charts the pathologies of a distinct individual, “Nora M.,” who refused to disavow her sexuality or agency; the work is thus a tribute to Nora’s resilience expressed through the aesthetic legacy of surrealist Meret Oppenheim. Held within a finely crafted vitrine, Trophy also reflects Wilson’s appropriation of museum display techniques. The two bronze plates that comprise another work, Trousers (for Tony) (1992), memorializes the losses of the AIDS crisis, and specifically the artist Tony Greene (1955–1990), who was Wilson’s student and close friend.

Wilson produced fantastical wig sculptures throughout the 1990s—including a monumental, abstract embodiment of accused serial killer and tabloid sensation Aileen Wuornos, who became the focus of numerous other works. More recently, Wilson has turned her investigations to an archive of midcentury vernacular photographs she culled from eBay and thrift stores, enlarged and presented as lightboxes.

This thematic exhibition will emphasize Wilson’s consistent appropriation of museum display practices and institutional authority, her art historical references to dada and surrealism, her sharp attention to gendered portrayals of sexual deviance in early twentieth-century psychoanalysis and sexology, and her longstanding interest in bodies as unruly and contested sites. Ephemera will demonstrate how Wilson’s work enfolds LGBTQ+ cultures, art histories, and activism in the United States, along with a section on her early work and process.

The exhibition will be accompanied by a full-color comprehensive publication with newly commissioned scholarly essays and extensive photographic documentation of Wilson’s work.Find more information about this exhibition here.
Major support for Millie Wilson: The Museum of Lesbian Dreams is provided by The Henry Luce Foundation, The Terra Foundation for American Art, and The Andy Warhol Foundation for the Visual Arts. Additional support comes from the Michael Asher Foundation, the Eileen Harris Norton Foundation, the Richard M. and Rosann Gelvin Noel Krannert Art Museum Fund, the KAM Exhibition Fund, the Art and Design Visitors Series, and the Francis P. Rohlen Fund. Supported by a grant from the Illinois Arts Council Agency.



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	Millie Wilson, Red Top, 1992. Velveteen profile, enameled wood shelf. Photo: Taryn Mills Photography. Courtesy of the artist. © Millie WilsonInstallation views of Millie Wilson: The Museum of Lesbian Dreams at Krannert Art Museum at the University of Illinois Urbana-Champaign.&#38;nbsp;Photos by Mikey Mosher. Courtesy of Krannert Art Museum&#38;nbsp;


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	<item>
		<title>Teddy Sandoval Catalogue</title>
				
		<link>https://davidevansfrantz.com/Teddy-Sandoval-Catalogue</link>

		<pubDate>Tue, 13 Jun 2023 02:20:04 +0000</pubDate>

		<dc:creator>David Evans Frantz</dc:creator>

		<guid isPermaLink="true">https://davidevansfrantz.com/Teddy-Sandoval-Catalogue</guid>

		<description>&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/157b5777b3e5b15291f7210e982886b27f4eac90bfc1676b2de3f869d01e6e50/24-060_TS002.jpg" data-mid="236946398" border="0"  src="https://freight.cargo.site/w/1000/i/157b5777b3e5b15291f7210e982886b27f4eac90bfc1676b2de3f869d01e6e50/24-060_TS002.jpg" /&#62;

	Teddy Sandoval and the Butch Gardens School of Art

Edited by C. Ondine Chavoya and David Evans FrantzWith contributions by&#38;nbsp;C. Ondine Chavoya, David Evans Frantz, Raquel Gutiérrez, and Mari Rodriguez Binnie
&#38;nbsp;Designed by Content Object, Kimberly VarellaSoftcover with flaps and eight postcards randomly inserted throughout, 304 pages 8.25 × 11 in.&#38;nbsp;Publisher: Independent Curators International, Inventory Press, Vincent Price Art Museum, Williams College Museum of Art, 2024
ISBN: 978-1-941753-59-0Separations: Echelon Color, Los Angeles

Printer: Ofset Yapımevi, Istabul, Turkey&#38;nbsp;
Purchase here
	Accompanying the artist’s first retrospective exhibition, Teddy Sandoval and the Butch Gardens School of Art examines the work of the inventive yet overlooked artist Teddy Sandoval. A central figure in Los Angeles’s queer and Chicanx artistic circles, Sandoval produced subversive and playful artworks in a range of media that explored the codes of gender and sexuality—particularly transforming conceptions of masculinity.

This expansive publication surveys Sandoval’s work alongside other queer, Latinx, and Latin American artists whose practices profoundly resonate. The expansive catalogue features essays by C. Ondine Chavoya, David Evans Frantz, Raquel Gutiérrez, and Mari Rodriguez Binnie, as well as biographical entries on additional artists featured in the exhibition, among them Félix Ángel, Myrna Báez, Álvaro Barrios, Ester Hernández, Hudinilson Jr., Antonio Lopez, María Martínez-Cañas, Marisol, and Joey Terrill.
Awards
Independent Publisher Book Awards: West-Pacific—Best Regional Non-Fiction, Gold (2025)Independent Publisher Book Awards: Cover Design—Non-Fiction Oversize, Bronze (2025)Southwest Book Design and Production Awards (SWBDA): Winner—LGBTQ+ (2025)Southwest Book Design and Production Awards (SWBDA): Finalist—Art (2025)
New England Museum Association (NEMA) Publication Awards: Exhibition Catalogue, Second Place (2025)&#38;nbsp;


 



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	Photos by Chris Gardner. Courtesy of Content Object
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