Charlie Markbreiter

  • culture June 04, 2019

    Just Because You're Paranoid

    “Eve Sedgwick, Once More,” a eulogy penned by theorist Lauren Berlant about their former mentor, began as follows: “Once upon a time, a very round, very red-headed woman . . . concluded a talk on the erotics of poetic form by inviting my colleagues to rethink sexuality through considering, among other things, their own anal eroticism.” Sedgwick wasn’t trying to be a shock jock. The late literary critic was the cofounder, arguably, not just of “queer theory,” but of what we now call “post-critique.” She is perhaps best known for coining the phrase “reparative reading,” a framework she came to

  • Lotte Laserstein: Face to Face

    In Self-Portrait with a Cat (1928), Lotte Laserstein’s hair is short, pushed off her face. The cat holds its pose because it’s tranquilized with brandy. Laserstein’s muse, and maybe lover, Traute Rose, also had short hair and liked loose clothing. In Tennis Player (1929), Rose watches a match while sportily grasping her own racket, waiting to play. For In My Studio (1928), however, she is La Grande Odalisque or she is postcoital. Laserstein, wearing a white linen smock, pays attention to what she is painting; the painting pays attention to Rose’s body. Laserstein’s and Rose’s androgyny was not