The issue 12 of OUT/LOOK serves as a platform for emergent intersectional critiques of mainstream notions of queerness. In the 2017 version of OUT/LOOK, I am inspired to create work that pushes intersectional queer critiques forward to consider possible connections we can make to unsettle systems of oppression while carefully holding conflicts and contradictions arising from such situated resistance. Some of the pieces in this issue that help formulate my artistic response are Charles Fernández’s “Undocumented Aliens in the Queer Nation”; Kt. Vermeulen’s “A Family Comes Out”; and the Letters to the Editors section.

soft skin

soft skin explores softness as an articulation of strength and challenges the cis-heteropatriarchal notion of “tough skin” as a standard of survival. Inspired by the transmasculine experience of being off testosterone, the work traces the shifting contours of emotional/bodily landscape to explore various borders and boundaries that confine our existence. soft skin is a project of profound grief, vulnerability, and liberation, which is precisely what it means to become embodied.

2017, color pencils on bristol paper, 11 x 17″

  • Bo is an interdisciplinary artist whose cultural intervention encompasses visual arts, comics, performance, filmmaking, creative writing, scholarly knowledge production, and culinary business. His work across these terrains of production addresses the complex connections among different experiences of marginalization, challenges capitalistic relational practices, and imagines alternative possibilities of desire and resistance. Learn more about Bo’s work at

Thank You to Our Sponsors

Made possible in part by a grant from The Creative Work Fund, a program of the Walter and Elise Haas Fund that also is supported by The William and Flora Hewlett Foundation

Also supported through UCSC by the Arts Research Institute, Arts Dean’s Fund for Excellence and Dickson Emeriti Professorship Award

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    Homepage Image Credit
    Queer Nation kiss-in at the cable car turnaround.
    © Rick Gerharter
    San Francisco, 1991.