V10-36 09-09-26
FRANK: Taking Space
Taylor Stewart Goes Dark
Scott King: Are you Mask?
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Taking Space
An Artful Claim to Visibility By Mikkel Hyldebrandt
For queer artists, simply being seen can be an act of resistance. With TAKING SPACE, FRANK brings that idea out into the open – literally. The outdoor exhibition brings together 13 LGBTQIA+ artists whose work will transform the exterior of LOOP into a temporary public gallery, drawing on FRANK’s long-standing relationship with wheat pasting and art as a tool for visibility, dialogue, and disruption.
We spoke with FRANK founder and participating artist Clint Zeagler about his own creative journey, the artists coming together for TAKING SPACE, the power of putting queer art in public view, and why sometimes the most important thing an artist can do is simply take up a little more room.
agree with the majority. How did you select the artists for the exhibition, and what were you hoping would happen when all of these voices came together?
This installation was just a project the current members of FRANK put together, but we have Before we talk about TAKING SPACE, an upcoming exhibition to be announced soon tell us a little about your own artistic that will be an open call. We see in this show a background. What first drew you to art, and diversity of artistic expression, and the pieces how has your work evolved over the years? themselves are very different in style and materiality. As a kid I think I gravitated towards art as a way to express and explore my emotions. I tap back What does putting this work out in the into that feeling with my current body of work. It open—and into the everyday Atlanta builds on skills that I learned in fashion school, landscape—add to the conversation? and textile manufacturing, but also is expressed through ‘spells’. I was always building forts and We feel lucky that LOOP has offered us the making ‘potions’ in the woods behind my house space to show our work. We are excited in rural south Georgia and there’s some of that about the many people who will see it going in the art I’ve made over the last couple years. to upcoming events at the new venue over My current body of work is called sea change. the course of the next couple months. If you Working with centuries old root dye formulations can’t make it to the opening, you can see the and fixation methods I color fabrics. Folding, installation at any other upcoming loop event. pressing, knitting, deconstructing, aging, and We will continue to paste posters in Krog street embellishing with luxuries, I create compositions tunnel. We started creating posters and pasting to evoke moods, to calm or energize. These them there as an act of community building and compositions carry the story of the materials getting our name out. This installation came from and textures creating intentions. These textile that experience and our love of how the posters incantations manifest and react to my experience aged and changed in the weather. living as a gay man in the American south. They are the salves and protections I search for; they There’s something especially powerful are my spells and wards against a society that about the fact that these works are seeks to minimize my experience and harm my designed to weather naturally over time, LGBTQ+ community. rather than remain pristine. What does that impermanence say about queer visibility What does “taking space” mean to you and the ongoing need to claim space? personally, and why did this feel like the right moment for this exhibition? I think it’s important to recognize that when your community doesn’t conform to societal standards I feel like as queer people (inclusive) sometimes and norms, it takes constant work to claim and have to claim our space. The world right now is validate your rights and share your importances. difficult for artists in general. Funding for the arts The impermanence of these pieces echoes that is being cut, and especially for art that comes need. We have to keep creating and keep loving. from communities whose voices don’t always
As one of the core artists of FRANK, how does it feel to be on both sides of the exhibition? Is there a different kind of vulnerability that comes with putting your own work into a project you helped create? Actually I’m not really on both sides of the exhibition. We make all choices as a group. I am putting a lot of effort into this one, but others are working hard on upcoming engagements. It’s nice to be part of a group so dedicated to each other’s success and to have a group of artists cheering each other on. There’s always a sense of vulnerability when showing work, especially next to other well-established artists, but I’m also very excited. What are some of the different perspectives or surprises you think audiences will discover in the show? Wheat paste and the size of the works is a theme that runs through, but the works differ greatly in materiality and content. Also, I think coming to see the work when it is first up and then stopping back by in a month or two to see how the different pieces age will be very interesting.
For readers who want to experience TAKING SPACE, when and where can they see it? Please come to the opening party on September 24 – RSVP for free at frankatl.org/events/ For the opening party we have DJ Brian Rojas which I’m excited about, and aside from the installation you’ll be able to see LOOP, a very cool new venue on the west side owned by Georgia Tech and operated by the Goat Farm. The installation will stay up for a couple months, it will be on view outside of Loop for all events in the near future – THERE WILL BE CUTE MERCH!
Works Included in FRANK: Taking Space
Urine-reduced indigo vat dyed organic cotton muslin, wheat paste, georgiasourced kaolin clay artist-made paint, silver leaf, organic cotton yarn artist knit, silk and stainless thread artist knit, 18 copper tacks with patina, 8 white pearls, 4 black pearls, applied to primed plywood. Clint Zeagler, Communal Hope Spills in to Fill the Void Spell
Royce Soble, SINCE 1973 Since 1973 is a collage of two selfportraits—two versions of myself existing within the same body, the same history, the same life. The duality of the two faces speaks to the fluidity of identity and the continual transformation of the physical self. Neither image exists without the other. One does not erase the other. Together, they form a more complete picture of who I have been and who I am still becoming. (abbreviated)
Billy Clifton-Strawn, The Ones Who Watch Over Us I did not set out to make these figures, they just showed up while I was working, wings open, flying straight at the viewer through the clouds over Midtown. Watchers. The kind of presence that shows up looking out for you, whatever form that takes. The photograph underneath is the view I see every day from home, IBM Plaza looming over the rest of the Midtown Atlanta skyline. (abbreviated)
Stewart Taylor
Goes to the Dark Side Edited by Mikkel Hyldebrandt Photos: Stewart Taylor Music
“Dark Summer” reflects the emotional highs and lows of Taylor’s decade in Los Angeles, where sunshine and shadows often coexist. “I’m a pretty upbeat and happy person, and I had to fight very hard for the light in my life,” he says. “This song and album were my way of exercising my demons and bringing them out of the darkness.”
Los Angeles has always had a complicated relationship with romance. It sells the fantasy of love, then has a habit of pulling the plug when the credits roll. For Stewart Taylor, that contradiction inspired “Dark Summer,” a brooding new single about heartbreak, Hollywood mythology, and the darker side of love.
Sonically, Taylor describes the track as “industrial-pop” and “a lot darker than anything I’ve done in the past.” Its influences include Lady Gaga’s Mayhem, Nine Inch Nails, David Bowie’s “Ashes to Ashes,” and Lana Del Rey’s “Summertime Sadness.” Taylor even envisioned a particular alter ego while writing it: “a male Lana Del Rey.”
Originally a piano ballad, the song was transformed by Beerkens into its synthdriven final form. An unexpected twist came when Taylor’s baritone backing vocals The LA-based singer, songwriter, dancer, sounded distinctly Billy Idol, prompting the and model trades some of his earlier pop pair to bring them forward in the chorus. brightness for industrial textures, heavy synths, and a distinctly haunted atmosphere. “I hope listeners tap into their own inner Billy Idol when they hear ‘Dark Summer’,” Taylor “I wrote ‘Dark Summer’ about all of the men says. who have let me down in my life, specifically the ones I’ve dated in LA,” Taylor reveals. “Dating in Los Angeles has been Hell. It’s definitely not an easy city to find a long-term relationship in; lots of broken promises and lies and heartbreak resulted in the song.” The track was sparked by a casual conversation about summer, men, and a bartender wearing dark nail polish. Taylor and longtime collaborator and producer Stevie Beerkens, of Australian rock band The Faim, began writing the song the following day.
The accompanying video takes Taylor’s darkness into a distinctly Hollywood setting. Co-directed by Taylor and longtime collaborator Benjamin Farren, it transforms him into what Taylor calls a “walking-dead James Dean.” Wearing a red jacket and animatronic angel wings, Taylor falls from Heaven and spends a single day haunting Hollywood, revisiting old vices, movie sets, and the Roosevelt Hotel.
Taylor says. “I’m not just the fun, twentysomething pop singer who released ‘Mess Your Hair Up’ in 2019. I have so many layers as a person and as an artist, and ‘Dark Summer’ really explores and embraces my dark side.”
“I wrote the song about feeling beat up and scarred by love, or lack thereof, and the music video was a way of exploring my connection to him,” Taylor says.
It may be called “Dark Summer,” but Taylor seems to have found something liberating in the shadows.
That may be what makes “Dark Summer” more than a straightforward breakup song. Taylor takes failed relationships, haunted hotels, dead Hollywood icons, angel wings, Inspired by classic horror cinema and Rebel synths, blood, and inner demons and turns Without a Cause, the video also explores them into something theatrical, stylish, and Taylor’s personal connection to James unmistakably his own. Dean and the mythology surrounding his life and career.
Choreographer Julie Vegliante Knight developed the dance sequences with inspiration from Lady Gaga’s Tim Burtondirected “Dead Dance” video, giving Taylor’s character an intentionally undead physicality. Makeup by Emmy-nominated artist Kályd Odeh completes the horror aesthetic. Taylor’s embrace of blood and theatrical darkness also connects to his previous work, including dancing covered in fake blood for Justin Timberlake’s “No Angels” video. But “Dark Summer” is more than a oneoff experiment. It is part of Taylor’s longawaited debut album, a completed 12-track project spanning pop, rock, and R&B. After years of development and multiple rounds of changes, Taylor describes the finished record as his “magnum opus.” For Taylor, “Dark Summer” also marks a significant evolution. “Evolving as an artist has always been very important to me, and ‘Dark Summer’ is definitely a new chapter for me musically,”
Listen, Watch & Follow Stewart Taylor “Dark Summer” is available to stream wherever you listen to music, while the cinematic music video brings Taylor’s haunted Hollywood vision to life on YouTube. For more from Stewart Taylor, visit stewarttaylorofficial.com, and follow him on Instagram and TikTok at @ imstewarttaylor.
Are You Mask?
Navigating Gay Stereotypes in 2026 By Scott King HANNAH: Are you a ... a homosexual? PRIOR: Oh, is it that obvious? Yes. I am. What’s it to you? HANNAH: Would you say you are a typical... homosexual? PRIOR: Me? Oh, I’m stereotypical. What, you mean like am I a hairdresser or...
blurring gender. Literally werk. I don’t know that guy, but I know that’s not who he is when he’s at home eating breakfast. But none of us are who we are at home eating breakfast when we’re walking down the promenade, are we? We all put on some sort of mask/masc when we walk out the door. We all decide, consciously or otherwise, which version of ourselves we’re going to give the world.
I have a friend from college. Let’s call him Jason. Jason still lives in East Tennessee, where he grew up. He hangs out PRIOR: Well, it would be your lucky day if I was because with a lot of different people, but he often winds up drinking beers with straight guys. Country bros. Who knows who they frankly... voted for, but they’re cool with the gays and other newly — Angels in America, Part II: Perestroika mainstream aspects of modern life. HANNAH: Are you a hairdresser?
So are you? A typical homosexual? Are you... stereotypical? Hello, my name is Scott, and I could not give less of a fuck about a pop star. Or a Housewife. Or a Kardashian. Or the latest trends in fashion. I’m a jeans and a T-shirt gay, although in Atlanta, eight months out of the year, it’s basketball shorts and a T-shirt when I’m not at work. A rock-and-roll T-shirt. I had fun challenging my gender in my 20s, mostly because I’m a ‘90s kid and my fashion icons were Courtney Love, Kurt Cobain, and Michael Stipe—all three heroes of the subversive sartorial school of the underground. I also love Madonna. And RuPaul. And opera. I enjoy speaking in extended and sometimes esoteric metaphor. I will occasionally snap to accentuate my verbal acumen. But what does this all mean? And if we figure out what it means, do we know whether it matters? What gay stereotypes do I fit into? What stereotypes don’t I fit into? Are there even uniform gay stereotypes anymore? I have no idea. It’s not really in my algorithm, so how the hell would I find out? I like rock music. I like stand-up comedy. And I like Madonna. So I do get a lot of straight male comedians in my Facebook and TikTok feeds. And a lot of vintage Madonna interviews. They are both equally entertaining. So I know a little bit about what my algorithm wants me to know about what straight guys think about gay guys. The stereotype—maybe an overused word now—is that the zeitgeist or archetype for gay guys is worldly. Bold. Sexpositive. Culturally literate. Hip to whatever the newest thing is. And buffered by trauma, either from parents or culture or simply from the thrill and burden of being different. Most of the comics in my algorithm, of course, admire that. Although some of them seem a little wary of the gay man’s strength of will. A friend was driving me back to my place in Midtown at dusk after dinner and a movie last Sunday. We saw this queen slithering down Piedmont on his way somewhere fun, I’m sure. He seemed very happy to be performing several different ideas of what a gay person should be: very short shorts, swaggering hips, performative flamboyance without actually
Jason isn’t someone who wears his personal life or his sex life on his sleeve, so two or three times a year, one of his beer bros will figure out that he’s gay without him having told them. And they’ll be surprised. They’ll tell him they had no idea he was gay because he doesn’t seem to be or act gay. Jason told me that gives him a little shiver of excitement. And then he feels guilty about feeling good about being mistaken for straight. I told Jason not to judge himself. There is a whole lot of cultural baggage packed into that little moment. Homophobia. Sexism. Heteronormativity. The thousand tiny hegemonic messages we absorb about what men are supposed to be and what gay men are supposed to be. But Jason doesn’t owe anybody a performance of gayness any more than that kween on Piedmont owes anybody an explanation for his short shorts. Maybe that’s the thing about stereotypes: they can tell us something about cultural expectations without telling us anything about the person standing in front of us. I don’t know exactly what kind of homosexual I am. I’m a jeans-and-T-shirt homosexual. A Madonna (but not Gaga) homosexual. A rock-and-roll homosexual. An opera homosexual. A basketball-shorts-in-August homosexual. An occasionally snappy and flamboyantly and fabulously bitchy and opinionated homosexual. A showtunes as long as they’re subversive homosexual. A homosexual who’s comfortable with both his masculine and feminine, and gay and straight, sides. Whatever that means. And sometimes, apparently, a stereotypical homosexual. Which is fine. Occasionally fabulous. But usually just fine. Or at least closer to fine.
Scott King lives, writes, werques, and reads in Midtown Atlanta.
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A fter a 3-day weekend I realize I really don’t want to work full weeks anymore.
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