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| Burlesque artist Kitty Victorian uses performance, props and costumes to challenge ideas about what is sexually attractive. |
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‘Hey, Is That a Boy or a Girl?’
Warehouse Gallery
Through Dec. 4
1017 7th St., NW
Kitty Victorian
Friday, Nov. 18, 10 p.m.
$7
Dylan Scholinksi and Michelle Sewell
Saturday, Nov. 19, 6 p.m.
Free
BLK w/BEAR,
Renee Shaw and Qier,
Sunday, Nov. 20, 7 p.m.
$7
‘Regarding Gender:
an Evening of Short Films’
Tuesday, Nov. 22, 7 p.m.
$7
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HOME > ENTERTAINMENT > FEATURE
By: GREG MARZULLO COMMENTS
 
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the feeling that the distorted voices are the long-drowned words of the Japanese figurines. The children look archetypal with their simple joyful expressions, and yet their haunting prisons beg the question of what society does to its little boys and girls.
“How much information do you need or not need before you assign a gender?” asks Adams, 51, about the difference between biological sex organs and the socially codified series of behavior that makes up gender.
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The artist has a unique perspective on gender and sex.
“I’ve been involved with the leather community in the Midwest. It’s not about gender; it’s about power,” Adams says.
He remembers talking to people who were not able to conceive of a woman being a “master” in the leather scene. According to him, the master is in that position because of the agreements among the participants – not because of some gender-informed concept of sexual roles.
“In terms of sexuality, more so than in a cultural way, I’ve been able to overcome gender-limiting information,” he says.
DYLAN SCHOLINSKI COULD be one of those confined figures in Adams’ installation. A female-to-male transsexual, the artist was put into an adolescent psychiatric treatment unit by her parents for a “gender identity disorder” in 1981.
“For me, gender is part of everything that I do. It’s about me walking down the street, eating at a restaurant, and going to the movies,” he says.
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Gilbert Trent’s ‘Repress, Release’ |
Scholinski, now 39, has a number of pieces in the show, and many of them are multi-layered in meaning and media. Polaroids, snippets of printed words and layers of paint are all plastered onto canvases and wood.
In many of the works, there seems to be a conflict between confinement and liberation. A photograph of an old mansion distorted by falling rain, thick strokes of red dissipating into a cross-hatched cage, and the old piano-school maxim “Every Good Boy Does Fine” dominates one of Scholinski’s larger pieces.
That particular work was created from an experience he had in Memphis.
“Using the men’s
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