James M Behan ART

As gay communities began to develop thru the 1970’s and 80’s, a Sunday afternoon tradition emerged of the Tea Dance, with gay and bisexual men meeting and dancing together to songs such as “It’s Raining Men” by the Weather Girls. The Tea Dance was a light, casual, fun time with friends and new acquaintances. As being gay was illegal in many states thru 2003, the Tea Dance was just one tradition of inclusion that stitched together a community where many would have none. The digital pictorial collages featured with this series mirrors the gay community’s method of positive image making as they were nonexistent in the dominant culture. Homemade collages from magazines featuring the male physique were often installed in gay bars to communicate the nature of being gay as something to cherish and embrace. The purpose of this series is to celebrate this folk art expression of queer identity and the traditions that were a large part of gay life in the late 20th and early 21st centuries.

These digital artworks focus on the gay male navigating the political, social, religious, and familial landscapes within American culture. Searching for safe passage, he forges anhead, enduring conflict and rejection, success and failure, all to find a place of freedom to call home with those they love.

The digital pictorial collages featured with this series mirrors one method of the gay community’s method of positive image making during that latter half of the 20th century. Homemade collages from magazines featuring the male physique were created to communicate the nature of being gay as something to cherish and embrace. These collages were often placed in queer safe spaces. An important part of my digital work is to celebrate this folk art expression of queer identity and the traditions that were a large part of gay life in the late 20th and early 21st centuries.

This series focuses on the Fairy Lilly, a flower symbolizing new beginnings. The term “fairy” was often used pejoratively against gay men to suggest weakness or superficiality. In fact the strength and depth of emotion needed to live authentically in a hostile culture is the hallmark of LGBTQI+ persons. This work celebrates those who shine in the light and live their truth.

The digital pictorial collages featured with this series mirrors one method of the gay community’s method of positive image making during that latter half of the 20th century. Homemade collages from magazines featuring the male physique were created to communicate the nature of being gay as something to cherish and embrace. These collages were often placed in queer safe spaces.The purpose of my digital work is to celebrate this folk art expression of queer identity and the traditions that were a large part of gay life in the late 20th and early 21st centuries.

The pansy is a delicate seeming flower which in truth is quite hardy. The term pansy was used as a slur against gay men to suggest weakness, when in fact the truth is opposite. Pansy means strong. These digital artworks seeks to convey the strength of the gay man.

The digital pictorial collages featured with this series mirrors one method of the gay community’s method of positive image making during that latter half of the 20th century. Homemade collages from magazines featuring the male physique were created to communicate the nature of being gay as something to cherish and embrace. These collages were often placed in queer safe spaces.The purpose of my digital work is to celebrate this folk art expression of queer identity and the traditions that were a large part of gay life in the late 20th and early 21st centuries.

Prior to the 21st century, with homosexuality illegal and the idea of gay marriage inconceivable, many gay men married into heterosexual relationships for reasons of safety. Relationships with men were secret and often anonymous. This series documents the chilling effect of cultural discouragement towards meaningful gay relationships.

The digital pictorial collages featured with this series mirrors one method of the gay community’s method of positive image making during that latter half of the 20th century. Homemade collages from magazines featuring the male physique were created to communicate the nature of being gay as something to cherish and embrace. These collages were often placed in queer safe spaces. An important part of my digital work is to celebrate this folk art expression of queer identity and the traditions that were a large part of gay life in the late 20th and early 21st centuries.

The bluebonnet is known as a hardy annual plant flourishing in the harsh Texas environment. The bluebonnet brings joy to those who encounter it. This same flourishing, hardiness and joy is found within gay culture in Texas and beyond, setting seeds against adversity for the sake of freedom and love.

In this work the bluebonnet stands testament to nature with the male figures as metaphor for self determination. This work asserts the natural right of all persons to choose their life, and love who they love, and how they love.

The digital pictorial collages featured with this series mirrors one method of the gay community’s method of positive image making during that latter half of the 20th century. Homemade collages from magazines featuring the male physique were created to communicate the nature of being gay as something to cherish and embrace. These collages were often placed in queer safe spaces.The purpose of my digital work is to celebrate this folk art expression of queer identity and the traditions that were a large part of gay life in the late 20th and early 21st centuries.

Soulful Strut reflects on the male image, and male presence in culture, with emphasis and reference to iconographic compositions, along with flowers and fabrics associated with the male figure. Soulful Strut explores the notion of masculinity, including attributes, assumptions, and realities. At front is the question: what is a real man?