Made in Fire Island: how artists were at the heart of the LGBTQ+ mecca
Fire Island has long served as a vital haven and creative crucible for LGBTQ+ artists, profoundly shaping the works of figures like Robert Mapplethorpe and Peter Hujar, alongside subsequent generations. A new publication, 'Fire Island Art: 100 Years,' delves into this rich artistic heritage.
The book recounts personal journeys, such as that of Ugandan sculptor Leilah Babirye, who arrived in 2015 for an artist residency in Fire Island's Cherry Grove. Having sought out LGBTQ+ artist residences online, Babirye secured a spot at the Fire Island Artist Residency, an initiative established four years prior to enhance access to this celebrated enclave. As a lesbian from a conservative background, she was struck by the island's uniquely vibrant queer culture. She described Cherry Grove, with its dynamic social scene and open displays of identity and connection, by saying, "I thought Cherry Grove was America."
Indeed, Fire Island's modern narrative echoes a fundamental American theme: a sanctuary where marginalized individuals seek freedom and realize their aspirations. For this scenic barrier island off Long Island, these aspirations have always encompassed both sexual liberation and artistic expression. Edited by John Dempsey, a local resident and president of the Fire Island Pines Historical Society, 'Fire Island Art: 100 Years' chronicles an artistic lineage stretching back to the pre-war era. It highlights the collaborative work of Paul Cadmus, Jared French, and Margaret French, known as PaJaMa, whose captivating paintings and photographs captured the intimate and unconventional bonds forged during their summers on the island.
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