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On September 8, Finnish company Itella Posti will release stamps featuring the work of Tom of Finland. The postage honors his art’s “confident and proud homoeroticism,” as the Itella Posti proclaims, with two drawings from his prolific career selected for the September–October run.
The stamps were designed by graphic artist Timo Berry with Susanna Luoto of the Tom of Finland Foundation. “The sheet portrays a sensual life force and being proud of oneself,” Berry said. “There is never too much of that in this northern country.” Tom of Finland, aka Touko Laaksonen, is also being celebrated in an exhibition of his correspondence from the 1940s until his death in 1991 as part of the inauguration of Finland’s Postal Museum on September 6.
The Tom of Finland stamps are being joined by some autumn scenes of the countryside and sprightly Christmas designs, but considering the uproar in the United States over just the removal of a cigarette from the lips of Robert Johnson on his 1994 stamp and the one for Jackson Pollock in 1999, the fact that the Finnish stamps include smoking along with unapologetic sexuality is pretty incredible. It’s not, however, the first time nudity has made it onto a stamp — for example, the Goya stamps from the 1930 Spanish-American Exhibition in Seville.
Meanwhile, the United States Postal Service is releasing a stamp of slain San Francisco politician Harvey Milk on May 22, Harvey Milk Day. After his life as one of the first openly gay elected politicians in the country, he’ll now be the first one to grace a US stamp.
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Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
N.O. Bonzo’s illustrations, murals, and literature build on radical art traditions, addressing relations of labor and identity in local communities and protest movements.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
For Calderón Ruiz’s first exhibition, artists Esteban Ramón Pérez and Jaime Muñoz plumb the depths of Chicanx identity.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.