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Coral Hairstreak, 2020. (Courtesy of Chapter NY) Nearly two centuries ago, as cholera made its way from Canadian ports down the Hudson River, New Yorkers scrounged for respite from and within an increasingly unlivable city. It was a time not dissimilar to ours. Some mostly white New Yorkers found refuge in the city’s patronage system, with political candidates in poorer wards securing votes by paying for ferries to transport constituents to “pleasure grounds” upstate. Others enjoyed exclusive “pleasure gardens,” outdoor havens which existed throughout the country but were especially prominent in New York. With much of the city’s resources restricted to the white and the wealthy, autonomous communities built their own sanctuaries; throughout the 1820s, on the outskirts of lower Manhattan, Black-owned pleasure gardens flourished. The spirit of these gardens joyful, recuperative, filled with wonder run through the work of artist and activist Tourmaline, permeating her ....
Tourmaline, Morning Cloak, 2020, dye sublimation print, 29 1/2 × 30 . OVER NEARLY two decades of political organizing, archival research, writing, and art-making, Tourmaline has demonstrated that abolition, Black trans liberation, and abundant pleasure are interwoven, inseparable projects. In her first solo exhibition, “Pleasure Garden,” up through January 31 at Chapter NY’s Madison Street pop-up location, Tourmaline debuts a series of five photographic self-portraits alongside Salacia, a cinematic account of Mary Jones, a Black trans sex worker who lived in New York in the 1830s. The works weave together sites as varied as nineteenth-century Black-owned pleasure gardens, the free Black land-owning community of Seneca Village, outer space, and the Hudson River Piers, asserting that all these moments of “freedom dreaming” comingle in the present. The day before Christmas, we sat down over Zoom to discuss time-travel-y dreams, the Concord grapes you may n ....