February 13
GRANT WOOD was an American painter, born on this date (d: 1942) best known for his paintings depicting the rural American Midwest, particularly American Gothic, which has become an iconic example of 20th-century American art. As a gay man in Iowa, he was forced to hide or disguise his same-sex references and representations, but they are there, hiding in plain sight.
Wood was married to Sara Sherman Maxon from 1935–38. Seven years older than Grant, she was born in Iowa in 1884. Even his own friends considered the marriage a mistake for Wood.
Wood taught painting at the University of Iowa's School of Art from 1934 to 1941. During that time, he supervised mural painting projects, mentored students, produced a variety of his own works, and became a key part of the University's cultural community.
He was a closeted gay man. There was an attempt on the part of a senior colleague, Lester Longman, to get him fired both on moral grounds and for his advocacy of regionalism. Critic Janet Maslin states that his friends knew him to be "homosexual and a bit facetious in his masquerade as an overall-clad farm boy." University administration dismissed the allegations and Wood would have returned as professor if not for his growing health problems.
In 1939, the U.S. Post Office Department refused to distribute a lithograph by Grant Wood, declaring its depiction of a nude man bathing by a horse trough “pornographic.” Wood, ever the closeted artist described the work euphemistically as a “shy bachelor,” and was surprised and affronted, and cropped the nude figure out of a painting based on the same image, leaving a vision of a dark tree against a rolling green landscape.
One doesn’t need a contemporary sense of gay identity to see that there is something wonderfully queer in Wood’s world. Lay aside the many images with overtly homoerotic subject matter and you still have a large body of work in which lines are being crossed, categories jumbled and expectations confounded.
The idiosyncrasies of his works seem to flow not simply from the fact that Wood was gay, but from a deeper, transformative sense of gender. His America can never be neatly sorted into traditional ideas about masculine and feminine, and that, even more than the nudity of the man depicted in the problematic 1939 lithograph, may have been what unsettled the U.S. Post Office prudes.
In 1930, the same year American Gothic debuted at the Art Institute of Chicago and made Wood an overnight sensation, he painted Arnold Comes of Age, a portrait of his former high school student and assistant Arnold Pyle. In the painting, Wood depicts the 21-year-old Pyle as spindly and dark, mournful against the riparian countryside during the last warm days of autumn, as two small skinny-dippers exhaust themselves at the water’s edge. At Pyle’s elbow is a brown butterfly — a gay symbol at the time — and yet, like Wood himself, it nearly disappears into its environment.
The day before his 51st birthday, Wood died at the university hospital of pancreatic cancer. He is buried at Riverside Cemetery, Anamosa, Iowa. His estate went to his sister, Nan Wood Graham, the woman portrayed in American Gothic. When she died in 1990, her estate, along with Wood's personal effects and various works of art, became the property of the Figge Art Museum in Davenport, Iowa. In 2009, Grant was awarded the Iowa Prize, the state's highest citizen honor.
MONROE WHEELER, American curator, born (d: 1988); Poet and author Glenway Wescott and Monroe Wheeler were an extraordinary couple. The two met for the first time in 1919, and it was, it seems, a classic case of love at first sight. At the time, Wescott was still in his teens and Wheeler just 20. Seemingly inured to the social mores of the time and inconstancies of youth, the two embarked on a relationship that can be called nothing short of a marriage, for the next 68 years, until Wescott's death in 1987.
The young couple traveled the world, stopping in on Gertrude Stein's Paris Salon and crossing paths with Jean Cocteau on the Riviera, while Wescott developed his poetry and later fiction (he authored The Grandmothers and The Pilgrim Hawk, among other bestsellers of his day) and Wheeler found his path. Eventually he would become the director of exhibitions and publications at the Museum of Modern Art.
The two moved with equal ease through the literary and artistic circles of London and the continent as well as their families' Midwestern homes. That their relationship thrived is notable enough. But 1927 brought a new challenge to their pairing. High-school student George Platt Lynes fell passionately in love with the strikingly good-looking Wheeler. And Wheeler, for his part, was entranced by Lyne’s 'full, luscious mouth and his wasp-like waist'. Instead of driving a wedge between Wescott and Wheeler, as might be expected, Lynes soon became part of their shared life. When, after some casting about, he hit upon photography, the two nurtured his career and used their considerable connections to get him both work and gallery shows.
In 1930, while still in France, Wheeler entered into a partnership with Barbara Harrison to establish the Harrison of Paris press, the goal of which was to publish fine editions of new and neglected classics. Over 5 years, they produced 13 titles, including works by Thomas Mann, Katherine Anne Porter, and Glenway Wescott's A Calendar of Saints for Unbelievers, with illustrations by Pavel Tchelitchev.
In 1935, following the marriage of Barbara Harrison to Glenway's younger brother, Lloyd, Wheeler and Wescott moved back to the United States. They soon set up households both on the farm in New Jersey bought by Barbara Harrison and Lloyd Wescott and in New York City, where they shared a series of apartments with George Platt Lynes.
It was at this time that Wheeler began an association with the Museum of Modern Art when, in 1935, he guest-curated an exhibit. His position at MOMA became permanent in 1938 when he was hired as Membership Director, then moved quickly into the position of Director of Exhibitions and Publications. Wheeler's innovations in publication and exhibit design soon became well-known. In 1951, in recognition of his work in bringing French artists to the attention of American viewers, he was made a Chevalier of the French Legion of Honor by the government of France.
In 1967, in preparation for his retirement, Wheeler shifted his duties at the museum. Having long been a trustee of the museum, he was appointed counselor and joined the International Council in its biannual meetings. After his official retirement in 1967, he continued to advise the museum on exhibitions and serve with a number of civic and arts organizations.
In 1969, Wheeler traveled as a cultural advisor with Nelson Rockefeller on a presidential mission to Latin America. In the 1970s, Wheeler travelled extensively and worked on projects documenting the history of MOMA and the collections of the Rockefeller family.
Monroe Wheeler died in Manhattan on August 14th 1988 at the age of 89, 18 months after the death of Glenway Wescott.
HENRY ROLLINS, American musician, born; After joining the short-lived Washington D.C. band State of Alert in 1980, Rollins fronted the California hardcore punk band, Black Flag from 1981 until 1986. Following the band's breakup, Rollins soon established the record label and publishing company 2.13.61 to release his spoken word albums, as well as forming the Rollins Band, which toured with a number of lineups until 2003 and during 2006.
Since Black Flag, Rollins has embarked on projects covering a variety of media. He has hosted numerous radio shows, such as The Henry Rollins Show and Harmony in My Head, and television shows, such as MTV’s 120 Minutes and Jackass, along with roles in several films. Rollins has also campaigned for human rights in the United States, promoting Gay rights in particular, and tours overseas with the United Service Organizations (USO) to entertain American troops, despite his opposition to the Bush administration and the Iraq war.
Rollins has become an outspoken human rights activist, most vocally for Gay rights, while deriding any suggestion that he himself was Gay. In 1998, he declared: "If I was Gay, there would be no closet. You would never see the closet I came out of. Why? Because I'd have burned it for kindling by the time I was twelve ... If I was Gay, at this stage of the game — age 37, aging alternative icon — I'd be taking out ads." Rollins frequently speaks out on social justice on his spoken word tours and promotes equality, regardless of sexuality. He was the host of the WedRock benefit concert, which raised money for a pro-marriage equality organization.

TODAY'S GAY WISDOM
Harry Hay…The Mattachine Society
In 1948, as Senator Joseph McCarthy railed against homosexuals in the State Department, Harry Hay, working on the Henry Wallace presidential campaign, wrote a startling document, declaring homosexuals an oppressed minority. While the idea is widely accepted today, at the time the notion of homosexuals as a minority was considered absurd. But it was this key concept that would eventually bring the Gay and Lesbian rights movement together.
Harry's platform for the Wallace campaign was never voted on, but he remained determined to organize homosexuals to fight for their equal rights. Two years later, he met Rudi Gernreich (who would later go on to become a noted fashion designer, most famously of the “topless” bathing suit for women) and together they canvassed beaches in the Los Angeles area known as homosexual gathering places, inviting people to a discussion group about the just released Kinsey Report. In November 1950, Harry showed the plank written for the Wallace campaign to Bob Hull, a student in his Southern California Labor School class. Bob shared the document with two of his friends, Chuck Rowland and Dale Jennings, and on November 11, 1950, the five met for the first time to discuss forming a political group that would later become the Mattachine Society. All of the founding members identified themselves as leftist.
Given the fearful political climate, Mattachine Society meetings often took place in secret with members using aliases. Like the Communist Party, the organization was organized in a cell structure that was non-centralized so that should a confiscation of records occur only limited information would be available to the authorities. In 1951 the group of five was joined by two other members, Konrad Stevens and James Gruber, and together they created the Mattachine Society Missions and Purposes statement and held their first conference. Given the risk that homosexuals presented to the Communist Party, Hay resigned from the Party in that same year.
Over the course of the next two years, the Mattachine Society worked to organize and increase regional chapters throughout most of Southern California, but it was not until the arrest of member Dale Jennings on police entrapment charges that the Mattachine Society took on its first political battle. Police entrapment was a common form of harassment against homosexuals during that period. Suspects' names were printed in the newspapers, which caused many to lose their jobs and become estranged from their families. By standing up to defend Jennings, the Mattachine Society not only rose to the defense of one of their members, but also took on the notorious Los Angeles Police Department for its pattern and practice of homosexual harassment.
Jennings charges were dismissed due to the judge catching the arresting officers in a lie. This victory was not reported in the papers, but the Mattachine Society took it upon themselves to publicize the event through flyers distributed throughout Los Angeles to areas where homosexuals met.
The result was a swelling of attendance at Mattachine Society meetings. But the newcomers, nervous about the founders ties to leftist political causes, called for a statewide convention. On the last day of the conference the original Mattachine founders (Hay, Rowland, Hull, Jennings, Stevens, Gruber) resigned due to political differences with the new membership.
The Mattachine Society grew into a national movement, and in conjunction with a Lesbian organization, the Daughters of Bilitis, became the above ground civil rights organizations for Gays and Lesbians until the Stonewall riot in 1969. The final Mattachine Society office closed in the 1980s.
White Crane gratefully acknowledges the assistance of historian and Hay biographer, Stuart Timmons.
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