![]() The long, frieze-like arrangement forces the viewer to shuttle back and forth along the wall. In reducing individual men to types, Fischer pokes fun not only at the pseudo-scientific urge to pathologize them, but also the way gay men used fashion as “signifiers” for one another.įischer is well-represented with other works, as is Thomas, whose difficult installation “Deposition” pushes the limits of text and image storytelling. ![]() A “Jock” is identified by his sleeveless undershirt and satin gym shorts, while the “Hippie” can be spotted by his long hair, sash and bells. A series from 1977 overlays full-length portraits of various gay male “types” with tongue-in-cheek annotations. Striking work by Hal Fischer applies typologies to gay male street fashion. ![]() SIGN UP for the free Essential Arts & Culture newsletter » Hal Fischer's "Jock” is part of his "Street Fashion” series from “Gay Semiotics,” 1977, printed in 2014. Now, in “Photography and Language: Lew Thomas, Donna-Lee Phillips, Peter d’Agostino, Hal Fischer,” the gallery widens the lens to encompass more of Thomas’ San Francisco milieu in the 1970s. Cherry & Martin has admirably brought underappreciated artists like Lew Thomas to light in recent years.
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