ADDITIONAL CREDITS
Cover. Bracelet (on right hand, thin), $7,050,
by Chanel Fine Jewelry. His own bracelet
(on right hand, thick) by Human Made. Bracelet
(on left hand, price upon request) by Ofira
Jewels. Ring (pinkie finger), $150, by Kenneth
Jay Lane. Other ring, his own.
Page 10. Bracelets (on left hand and right
hand, top) and earrings, his own. Rings
(on right hand, from top), $2,600, $2,400,
and $2,600, by Fabergé. Ring (on left
hand), $3,250, by Onirikka.
Page 16. Clockwise from top: Angal Field;
Ryan Lowry; Betina du Toit; Donna Trope;
Grace Ahlbom
Page 63. 1) Jesse Grant/Getty Images.
2) Debbie Hickey/Getty Images. 3, 5, 9 & 12)
Courtesy Gucci. 4) Vittorio Zunino Celotto/Getty
Images. 6) Dimitrios Kambouris/Getty Images.
7) Andrew Toth/Getty Images. 8) Derek Wood.
10) Jamie McCarthy/Getty Images.
11) C Flanigan/Getty Images.
Page 66. From left: Steve Granitz/WireImage;
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Issue
nearest to
filing datea. Total No. Copies 999,623 962,362
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(1) Mailed Outside-County Paid
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Copies included on PS Form 35410 0
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Outside the Mail8,259 10,331
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h. Total 999,623 962,362
i. Percent Paid 88.58% 88.43%
j. Paid Electronic Copies 35,526 32,545
k. Total Paid Print Copies (Line 15c) + Paid
Electronic Copies846,140 832,759
l. Total Print Distribution (Line 15f ) + Paid
Electronic Copies950,650 937,410
m. Percent Paid (Both Print & Electronic 89.01% 88.84%
Copies)He points to the long tradition of black por-
traiture where figures like Jacob Lawrence,
Romare Bearden, and Kerry James Marshall
have focused almost exclusively on positive
aspects of black life. “What Jonathan Lyndon
Chase is doing is taking it a couple of steps
further,” Lumpkin explains. “He’s knocking
down two walls at the same time: the wall of
black representation but also the wall that
has hidden works representing queer expe-
rience in the black community from view.”
At the 2019 Armory Show, in March in
New York City, his former Los Angeles dealer,
Kohn Gallery, sold four large-scale paintings
to major museums, including the Walker
Art Center and ICA Miami, right as the art
fair opened. This past May at the 2019 edi-
tion of Frieze New York, his current dealer,
Company Gallery, presented an installation
of his paintings, drawings, and sculptures
called Aisle 8, which explored the kitchen
and supermarket as charged sites of gender
performance. On some fake grass inside the
booth, Chase laid down fat slabs of sculpted
meat. It’s a common trope he uses in his
work to explore “connotations of what it’s
like to be fetishized” and “like a metaphor-
ical thing—just thinking about how fragile
we are because we’re meat,” he explains. It
is also partly the reason we see a lot of black
men sagging their pants in his work. They are
showing o≠ their asses as a way to peacock a
fledgling masculinity. The presentation was
awarded the Frame Prize, the fair’s top prize
for emerging galleries.
“Jonathan is one of the most powerful voices
among a generation of young queer artists
who are unapologetically expressing their
experiences and desires with a new kind
of sexual and emotional candor,” explains
Scott Rothkopf, the Whitney Museum’s
chief curator, who told me the museum
recently acquired Run away with me
(2019). “What makes his art so powerful
is the way he portrays his subjects with a
level of formal invention that amplifies its
psychic intensity. Through the beautiful
distortions of the figures and his sensitive
touch, you really feel physical contact and
longing among men with an intimacy that’s
both personal and universal.”
Before breakfast wraps up and Chase has
to run around the block to a therapy appoint-
ment, we talk about his new projects beyond
painting. He’s trying his hand at fiction this
fall. “It’s like science fiction, fantasy,” he says,
about the book that will be published by
Capricious. It is inspired by the speculative lit-
erature of the black authors Octavia E. Butler
and Samuel R. Delany, who helped define the
genre. He won’t tell me the title of the book but
says it is set on a space station and centers on
two protagonists, an interior designer and a
photographer, in an open, nonlinear narrative
and includes aspects of his drawings. “One of
them is pregnant,” he explains. “They’re both
kind of like male-presenting but femme, so
not to give away too much, but there’s an evil
demonic entity that is trying to sort of take
over the couple’s baby,” he says.
Chase also has plans for a project in the
home-goods sphere. Though he doesn’t want to
reveal anything publicly just yet, he says: “I’m
looking to be like gay black Martha Stewart.”
This does not mean there won’t be more
paintings. Chase will also be showing at
galleries and art fairs around the world. In
September he was included in a group show
at New York’s Hauser & Wirth and Mitchell-
Innes & Nash galleries. He is riveted by the
challenge to once again put black queer
figures, emboldened with his dreams and
fears, down on the canvas. Each show will
be yet another opportunity for Chase to give
gay black men back to themselves. He has to
fight to stay true to his ideas and, as he put it
to me back in his studio, “just make work—it
sounds corny as fuck—intuitively, through
the heart.”antwaun sargent is a writer and critic
living in New York City. His first book, ‘The
New Black Vanguard: Photography Between
Art and Fashion,’ is out now from Aperture.