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| Larry Wolf, AIDS Quilt Test Print (1987/2026) cyano on watercolor paper |
Tuesday, March 31, 2026
Monday, March 30, 2026
Studio Day 56
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| Larry Wolf: Today's Stickers (2026) Realm Books photobook pop up at Kimball Arts Sugar Hijinx zine distro pop up at Ridman's Coffee |
Mostly Photo Books Pop Up at Kimball Arts
Sugar Hijinx Pop Up at Ridman's Coffee
Cynthia E Hanifin & Liz Mason / Sugar Hijinx: instagram
Sunday, March 29, 2026
Studio Day 55
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| Larry Wolf, More or Less Transparent (2019/2026) gif created with Philip Bell and Risomoation |
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| Larry Wolf, More or Less Transparent (2019/2026) risomotion version using tools by Philip Bell risograph print at Lot'sa |
Larry Wolf, More or Less Transparent (2019/2026)
flipbook using tools by Philip Bell
risograph print at Lot'sa
Saturday, March 28, 2026
Studio Day 54
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| The Evergreen Chronicles at Gerber/Hart Library and Archives photo: Larry Wolf (2026) |
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| The Evergreen Chronicles Fall 1996 at Gerber/Hart Library and Archives photo: Larry Wolf (2026) |
Looking for the Spring 1996 Pride Issue, XI/1, and the short story that led to the poem, Two Mathematicians.
Friday, March 27, 2026
Thursday, March 26, 2026
Studio Day 52
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| Ten X, Bodhisattva Reimagined - Study B Photo: Larry Wolf (2026) |
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| Ten X, Bodhisattva Reimagined - Study A Photo: Larry Wolf (2026) |
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| Bodhisattva Maitreya, the Buddha of the Future Photo: Larry Wolf (2026) |
Bodhisattva Reimagined: The Buddha of the Future Made Whole
Art Institute of Chicago
Wednesday, March 25, 2026
Tuesday, March 24, 2026
Monday, March 23, 2026
Sunday, March 22, 2026
Studio Day 48
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| Larry Wolf, Top of the Pile (2026) |
"We don't think of Schiele as a realist, but his attention to skin that was inflamed, racy, or visually taboo is more honest than what most realists will show you. His work isn't just uncensored but unflinching, aesthetically and emotionally. He cuts everything close to the bone."
Saturday, March 21, 2026
Studio Day 47
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| Larry Wolf, Magazines etc (2026) |
Homocore Anthology (1988-1991)
"Archiving was never considered. Around 2005, with originals rotting away as newsprint always does, I scanned all seven issues on a cheap flatbed scanner to JPEG files. 150 dots per inch seemed generous at the time. That's mostly what was used in both anthologies [November 2025 and January 2026], with more manual processing for improvements in this one."
Homocore Anthology, Tom Jennings, January 2026
Friday, March 20, 2026
Studio Day 46
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| Felix Gonzalez-Torres: untitled (The End) (1990) at the Museum of Contemporary Art, Chicago "In this version, the paper will not be replenished, allowing its eventual absence to become its own kind of presence." photo: Larry Wolf (2026) |
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| Felix Gonzalez-Torres, untitled (Last Light) (1993) at the Art Institute of Chicago photo: Larry Wolf (2026) |
Thursday, March 19, 2026
Studio Day 45
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| lee rae walsh, tulips on the window sill (2023/2025) |
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| lee rae walsh, tulips on the window sill, reverse (2023/2025) |
Wednesday, March 18, 2026
Tuesday, March 17, 2026
Monday, March 16, 2026
Sunday, March 15, 2026
Saturday, March 14, 2026
Friday, March 13, 2026
Studio Day 39
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| Larry Wolf, Blue Sky with Cloud (2026) |
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| Larry Wolf, Blue Sky with Cloud (2026) cyano on mineral paper |
Thursday, March 12, 2026
Studio Day 38
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| Larry Wolf, Archival Box of Prints and Negatives (2026) |
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| Larry Wolf, Higher Res Scan of Cropped Negative (2026) |
Wednesday, March 11, 2026
Tuesday, March 10, 2026
Studio Day 36
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| Larry Wolf, Remembered (2025) |
Charlie Porter: Nova Scotia House (2025) - Queer Magic
Do you remember that time?, says Gareth. Maybe it didn't strike you because you were so young, you weren't to know. We were all exhausted, all of us who survived, everyone was exhausted. Everyone wanted the nightmare to be over.
Everyone wanted to live normal lives. Everyone wanted to forget about everything. It is understandable, you cannot blame anyone for it. But here is the thing, Johnny. Before the nightmare began, the last thing we wanted was normality. Our lives were dedicated to the pursuit of queer magic,
He stretched out the words. Qu-ee-er mmm-ag-ic.
It was queer magic that reached back through time, reached far into the future, it broke time, it broke the physical realm, it broke the constraints of what is considered normal, that awful world of conformity where really you just become a cog in the machine, where you are milked for profit, where your primary role is to consume and therefore be consumed. AIDS put queer magic in total jeopardy. So much magic wiped out. We have to reconnect with queer magic today or else all is lost.
Gareth sips his tea. Gareth bites his biscuit. Gareth sips his tea. I say nothing, Gareth has not finished, his thoughts are still loose and free, this is intelligence, not academia, not cleverness, this is intelligence, being able to set thoughts loose and free, the bravery, the lack of fear, the nerve and the patience to set thoughts loose and free where they might falter, to let them instead head into full flight, to expand and unravel and reveal themselves and reveal their contradictions and their complexities and their paradoxes and maybe the thoughts become a new plane of realization, maybe that plane is never reached but the attempt is worth it, the attempt takes time, Gareth takes time and so goes beyond time. Gareth sips his tea.
This is how you honour Jerry, says Gareth and he is speaking into new air. Can you see? By connecting with queer magic. By resisting normality. By caring. By coming here, every week, to spend this time with me, by being here, you know how much it means to me, Johnny, that you come here, that you care enough to sit here and be bored rigid by this dried-up old dragon.
Gareth is staring at me as he says this and is smiling.
I am never bored rigid by you Gareth, I say and I mean it, though Gareth is sometimes boring, sometimes says the same thing over and over, often says the same thing over and over, repeats himself, goes over the same stories, treads the same ground, sometimes he is boring and that is OK I am never bored by him, I am never bored rigid.
If we normalize Jerry's death, we eradicate Jerry. We eradicate him. If we normalize the nightmare of HIV, the nightmare of our lives, we eradicate its victims, because so many of its victims lived a life that was anything but normal. It is so normal to say someone is a saint. I hate normality. Anyway dear you know what I think, you've heard me say it so many times, right now it's pretty much only you left that will listen. And Maude.
Maude has not moved.
Keep doing what you are doing, Johnny my dear boy, Jerry would be proud of you, Jerry is proud of you, keep living life as you are living life, keep making mistakes, keep fucking up, keep being glorious. Go and see that awful man again, he sounds so awful. Do make sure you come and tell me all about it, won't you. You know I like to be kept up to speed. All the news that's fit to print.
Charlie Porter, Nova Scotia House (2025), pages 57-59
Monday, March 9, 2026
Studio Day 35
Sunday, March 8, 2026
Studio Day 34
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| Larry Wolf, Night Swimming at The Weather Station, Lafayette Indiana (2026) |
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| Casey Roberts, almost neck deep (wabash river) (2026) cyanotype w/acrylic on paper, 35 x 42 inches |
For years, Indianapolis-based artist Casey Roberts has incorporated the cyanotype process into his works on paper, manipulating a technique traditionally associated with photography to create his distinct collage-paintings. By exposing his prepared drawings to the sun, his marks, washes and stencils bloom into a range of deep, rich blues. His landscapes - often night scenes - are paradoxical: they render moonlight through the use of the sun. For Nightswimming, he returns to a solitary figure bathing in open water - a motif explored by the artist in earlier series.
Saturday, March 7, 2026
Studio Day 33
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| Larry Wolf, Timeline after Felix Gonzalez-Torres Untitled 1989 (2024) from In Conversation #5 Felix (2024) uses B Oakley's font I Am Your Worst Fear I Am Your Best Fantasy |
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| Larry Wolf, from In Conversation #5 Felix (2024) |
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| Larry Wolf, from In Conversation #5 Felix (2024) |
Charlie Porter: Nova Scotia House (2025)
I did not want to be helped I did not want help. But it was this city it was Derek he was impossible so I said, sure.
We finished our coffee we walked some streets so straight so strange. I was in a daze I did not want to go I was going. This is it, he said, we were at a door in a building on a street that was so long it was like it went to a horizon. We went in we went upstairs Derek bought me a ticket we went into the exhibition, up the corner of the first room a pile of sweets. You can take one, said Derek, when you take a sweet from the pile I think it's like watching someone waste away. I took a sweet it was like I was taking from Jerry.
Two clocks were on a wall, touching, almost telling the same time, almost ticking at the same time. Lightbulbs on a string came from the ceiling then pooled on the floor. Words went around the top of a room. It was like Jerry I didn't understand how it was like Jerry it was nothing like Jerry it was like Jerry.
We separated in the space, going at our own pace, I didn't want it explaining I wanted to feel it, that was how I'd always been with Jerry, how he'd been with me, that is how we looked at art. In a room there was just a platform, pale blue almost grey, lightbulbs lining its perimeter on the top, that's all there was in the room that's what it was. I stared at the podium I stared, I was there for an age and I stared.
An impossible guy walked into the room muscled he just wore tiny silver tight shorts, trainers he was impossible, he didn't look at me, he had on headphones he carried a Walkman, he didn't look at me he climbed on the podium he started dancing he didn't look at me. I couldn't hear what music he was dancing to he didn't look at me I stared at him I stared. He danced he danced, his dance like he was somewhere else sometime else and all was OK or maybe all was not OK and all there was for him to do was dance, that nothing was OK really nothing, nothing was OK ever, and all he could do was dance, he was so impossible and he was here and he danced and he danced and he danced.
The room was silent but in his ears was music and it's all he needed, to help him be in this horror to help him. It was adult and I did not understand and I understood. I was crying and I was crying. He danced and he danced and then he stopped and he walked off and no one else saw no one it was just me and him but to him it was just himself he didn't acknowledge me at all. He left and I was left there and I stared at the podium I wiped my face I wiped my tears and I stared at the podium I don't know how long. Derek came into the room and he came close to me and he said, this is a performance work, a dancer dances for a few minutes everyday but they don't announce when, most of the day it's just the podium unless you get lucky.
I asked him, did you ever get lucky, and he smiled at me and winked and said, never.
Charlie Porter: Nova Scotia House [pages 178-179]
Friday, March 6, 2026
Studio Day 32
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| Larry Wolf, March on Washington 1987 - NAMES Project cyano on mineral paper (2026) |
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| Larry Wolf, March on Washington - NAMES Project screenshot of 5x5 gridded image (2026) |
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| Larry Wolf, March on Washington - NAMES Project 1of 5x5 cyano on mineral paper (2026) |
Thursday, March 5, 2026
Wednesday, March 4, 2026
Tuesday, March 3, 2026
Studio Day 29
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| Larry Wolf, March on Washington 1987 with Gravitational Lens (2026) |
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| Larry Wolf, March on Washington 1987 with Gravitational Lens (2026) |
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| Larry Wolf, March on Washington 1987 with Gravitational Lens (2026) |
Star field from image of GAL-CLUS-022058s, Hubble Space Telescope, NASA & ESA.
Monday, March 2, 2026
Studio Day 28
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| Larry Wolf, On a Cold Winter Day (2026) |
...
like the coin Whitman carried in his pocket all the way to that basement
bar on Broadway that isn't there anymore
Oh to be in Whitman's pocket on a cold winter day
to feel his large warm hands slide in and out, and in again
To be taken hold of by Walt Whitman! To be exchanged!
To be spent for something somebody wanted and drank and found delicious.
Marie Howe, One Day
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| Pfaff's, 647 Broadway at Bleecker, run by Charles Ignatius Pfaff |
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