6 10 3176 https://digitalexhibitions.arquives.ca/files/original/161cbc0962ae8f48f9f178db8e3c0e2f.jpg 3d2cbdaed940076c33378de5cb6dcddf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tabloid Newspapers Collection Description An account of the resource A collection of newspaper clippings from 1950 to 1966 on the subject of LGBTQ+ people, issues, and perceptions. Date A point or period of time associated with an event in the lifecycle of the resource 1950-1966 Format The file format, physical medium, or dimensions of the resource newspaper articles Contributor An entity responsible for making contributions to the resource Ryerson University Library and Archives Canadian Lesbian and Gay Archives Rights Information about rights held in and over the resource The CLGA does not hold copyright Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Want something with more meaning" Subject The topic of the resource gay men personals advertisements dating Description An account of the resource A newspaper personal for a man seeking more than casual sex. Publisher An entity responsible for making the resource available TAB Date A point or period of time associated with an event in the lifecycle of the resource 1964-03-21 Rights Information about rights held in and over the resource The CLGA does not hold copyright Format The file format, physical medium, or dimensions of the resource Newspaper clipping (photocopied) Language A language of the resource English 1960s 1964 https://digitalexhibitions.arquives.ca/files/original/0f809e77c03bc9cd70495609e8cd64f6.jpg 8aa29794a9188e53a0892ab5d008e4c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LGBTQ+ Buttons Contributor An entity responsible for making contributions to the resource Ryerson University Library and Archives Canadian Lesbian and Gay Archives Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "We Don't Need Balls to Play" Subject The topic of the resource transgender publishers Description An account of the resource Round button with white text on black background. Creator An entity primarily responsible for making the resource genderpress Mirha-Soleil Ross Xanthra Phillippa MacKay Source A related resource from which the described resource is derived genderpress Publisher An entity responsible for making the resource available CLGA Date A point or period of time associated with an event in the lifecycle of the resource 1990s Rights Information about rights held in and over the resource genderpress Mirha-Soleil Ross Format The file format, physical medium, or dimensions of the resource jpeg Language A language of the resource English Type The nature or genre of the resource Button Identifier An unambiguous reference to the resource within a given context 2008-073 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Toronto genderpress Mirha-Soleil Ross transgender publishers Xanthra Philippa Mackay https://digitalexhibitions.arquives.ca/files/original/787897392b6381f4ec086175003d60b4.jpg 35501f68e33c101393eec43351462330 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "What Were They Feeding Me?" A Self Portrait Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Creator An entity primarily responsible for making the resource Robin Marquis Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-008, The ArQuives Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> Type The nature or genre of the resource Installation Documentation https://digitalexhibitions.arquives.ca/files/original/8565f4da61a7440c4499430c895cd952.JPG 59e571d45067a813b98d7607c236f268 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "What Were They Feeding Me?" fabric detail Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Creator An entity primarily responsible for making the resource Robin Marquis Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-009, The ArQuives Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> Type The nature or genre of the resource Installation Documentation https://digitalexhibitions.arquives.ca/files/original/3915d5bafbb162f17b6207896bdc880a.jpg c91b4277c9db0e2d2e9afbbe096917d4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "What Were They Feeding Me?" front tall view Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Creator An entity primarily responsible for making the resource Robin Marquis Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-001, The ArQuives Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> Type The nature or genre of the resource Installation Documentation https://digitalexhibitions.arquives.ca/files/original/3c9fba888d73036f8f7b7e8a15ac1f8f.JPG 0d5db90ea180df98f9134ead758d66d9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "What Were They Feeding Me?" inside full view Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Creator An entity primarily responsible for making the resource Robin Marquis Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-002, The ArQuives Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive Type The nature or genre of the resource Installation Documentation Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> https://digitalexhibitions.arquives.ca/files/original/cd8cd296566058f730b8d9700609d15e.jpg f112dbb86b4d5280927587bb2223a2e8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Fine art installation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "What Were They Feeding Me?" Wound View of Moore Grandmother Subject The topic of the resource Queerspawn Description An account of the resource Installation view of "What Were They Feeding Me?" CONTENT WARNING: Mention of incest and sexual assault. Artist Statement: "I have inherited legacies of power and violence through my family’s lineage, intentionally crafted stories, and treasured decaying possessions. How can I truly learn my history and not calcify with shame? What did I consume when I was taught to value and devalue in the name of “normativity?” This is the making of generations of monsters. I excavate what was sewn into my skin. Veins of white supremacy. Seams of incest. I honor the entangled stitches, patterns of queer resistance and the balming salve of my mothers’ beeswax. Chords from my throat echo the dissonant sound of oppressor, survivor, perpetrator, interrupter, resistor.” <a href="https://player.vimeo.com/video/296775514">“What Were They Feeding Me?” Video of the creation process, installation, artist talk, and opening cleansing.</a> "Writing and publishing ”My Mom’s Are Getting Gay Married but I won’t be There,” for Spawning Generations, was a catalyst for me in my journey of healing. It led me to pursue a dream of centering art in my life and activism work. In 2018, I graduated from the Maryland Institute College of Art with a Masters in Fine Arts in Community Arts. My thesis, “What Were They Feeding Me” sprung directly from what was missing in my original essay, my family’s legacy of white supremacy. My thesis work investigated the ways in which I have inherited structures and legacies of power and trauma. By focusing on incest and white supremacy, I began to understand how these systems feed off of each other to create deeply rooted social disease and decay. This work was guided by the literature of many Black and anti racist white scholars before me, most prominently, James Baldwin. “This problem, which they invented in order to safeguard their purity, has made of them criminals and monsters, and it is destroying them.” -James Baldwin, I Am Not Your Negro, 1979' By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. By researching and engaging with physical objects and stories from my own heritage, I explored how certain legacies have been passed-down and others have been silenced. I have dug, and will continue to sift, through generations of warped storytelling in an attempt to learn the true evil and destruction of whiteness. The artist statement, images and video of my thesis, show part of that exploration. An attempt to make visible and physical what my family has hidden away inside our bodies. My mothers attended my thesis and we are seen at the end of the video embracing. This painful unearthing has led to a lot of growth, reckoning and healing. There is more to come." -- Robin Marquis "My Moms Are Getting Gay Married, but I Won't Be There" was published under the name Kimmi Lynne Moore in Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 156-164. Creator An entity primarily responsible for making the resource Robin Marquis Source A related resource from which the described resource is derived Queerspawn, F0196-01-001-003, The ArQuives Date A point or period of time associated with an event in the lifecycle of the resource 2018 Format The file format, physical medium, or dimensions of the resource 1 JPEG image, Hard Drive Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/queerspawn-2">Queerspawn Digital Storytelling Project, Robin Marquis</a> https://digitalexhibitions.arquives.ca/files/original/cebf6eec2447c3f9fd0c4671132f00f8.jpg bb39ce61ab3bdaf5dfc78da695f631ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tabloid Newspapers Collection Description An account of the resource A collection of newspaper clippings from 1950 to 1966 on the subject of LGBTQ+ people, issues, and perceptions. Date A point or period of time associated with an event in the lifecycle of the resource 1950-1966 Format The file format, physical medium, or dimensions of the resource newspaper articles Contributor An entity responsible for making contributions to the resource Ryerson University Library and Archives Canadian Lesbian and Gay Archives Rights Information about rights held in and over the resource The CLGA does not hold copyright Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Who are we to say..." Subject The topic of the resource gay men tolerance personals medical personnel persecution of gay men Description An account of the resource A brief letter from a medical professional criticizing homophobic stances and suggesting that Flash post personals for homosexuals. Creator An entity primarily responsible for making the resource A.B.C. Publisher An entity responsible for making the resource available Flash Date A point or period of time associated with an event in the lifecycle of the resource 1950 Format The file format, physical medium, or dimensions of the resource Newspaper clipping Language A language of the resource English Rights Information about rights held in and over the resource The CLGA does not hold copyright 1950 1950s https://digitalexhibitions.arquives.ca/files/original/df12a5b24310e342af656517822fdb31.jpg 898d9cc31890947389ce8fd4cb1dc342 https://digitalexhibitions.arquives.ca/files/original/d7601a0c5d5f85eeaf94fddf13c33dc6.jpg 2e94f7fcd221a6ba153673b38ec22efc https://digitalexhibitions.arquives.ca/files/original/d263b5736ae8bb94dcc3bb0bb159d033.jpg ead2b23386aae3cd4fb75baeed48d5c9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Who We Are," Bisexual Women of Toronto Subject The topic of the resource Information package about Bisexual Women of Toronto, historical timeline of bisexual activism in Toronto Creator An entity primarily responsible for making the resource Bisexual Women of Toronto Date A point or period of time associated with an event in the lifecycle of the resource 2003 Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English Identifier An unambiguous reference to the resource within a given context Bisexual Women of Toronto, Vertical Files https://digitalexhibitions.arquives.ca/files/original/8b3c777773aaced2c2cf3b15585271ba.jpg 21537bf5e9f44adf766c11dbda1d20d6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tabloid Newspapers Collection Description An account of the resource A collection of newspaper clippings from 1950 to 1966 on the subject of LGBTQ+ people, issues, and perceptions. Date A point or period of time associated with an event in the lifecycle of the resource 1950-1966 Format The file format, physical medium, or dimensions of the resource newspaper articles Contributor An entity responsible for making contributions to the resource Ryerson University Library and Archives Canadian Lesbian and Gay Archives Rights Information about rights held in and over the resource The CLGA does not hold copyright Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Willing to pose" Subject The topic of the resource gay men personals advertisements pornography Description An account of the resource A newspaper personal for a man who travels frequently and has an interest in "posing." Publisher An entity responsible for making the resource available TAB Date A point or period of time associated with an event in the lifecycle of the resource 1964-03-21 Rights Information about rights held in and over the resource The CLGA does not hold copyright Format The file format, physical medium, or dimensions of the resource Newspaper clipping (photocopied) Language A language of the resource English 1960s 1964