Forthcoming Timeless Author Lauren Levin recently wrote "Genre Wormhole #1: Archive For Future Memories" for SF MoMA's Open Space on the connection betwween queerness and the archive in the work of two visual artists Joel Gregory and Ellis Martin.
Timeless co-founder and editor, and creator of the Craigslist Personals Instagram archive @craigslist_personals__; this project has continuously been erased for "Violating the Community Guidelines" of Instagram. Gregory’s source material is close to 1,500 images pulled from the now defunct Craiglist Personals section. This project has since evolved into a series of Craigslist Personals adjacent videos and paintings. Levin writes:
Gregory did not explicitly begin Craigslist Personals as an archival project, but as the work grew it began to amass bulk, stylistic and formal variety: a language, visual and verbal, people used to present themselves as they sought connection, sex, friendship, or exhibitionism in the personals section of the Craigslist website.
Internet-adjacent projects like Craigslist Personals are often thought of as interrogations of narcissism and voyeurism, the shallow mirrors of the social media age. While voyeurism as it relates to the desire for connection is certainly important to Craiglist Personals, I find it also generative to read its politics along the axis of the queer archive: preservation and self-preservation, bodies speaking themselves, and (in the wake of SESTA and FOSTA) community grief.
Martin is currently co-editing a Timeless project that salvages excerpts of journals of gay trans activist Lou Sullivan from the archives at the GLBT Historical Society (with Zach Ozma). They also are the creator of an NB GQ T4T GQ NB enamel pin that uses imagery from an SF fisting party, "re-cod[ing] gay masculinity with reference to nonbinary trans identities. Martin also recently created a piece, Contact, an installation and chapbook that pits gay French author Hervé Guibert against Sophie Calle's flattening of Guibert's life and work, defining him only by his death from AIDS. Levin writes:
Martin performs a subtle intervention [into Calle's project "The Graves"] by captioning each image with an iteration of their own identity: for instance, beneath the gravestone marked “BROTHER,” “Queer Ellis.” By placing themself humorously into the gravestone text, Martin disrupts the po-faced vision of straight inheritance, in which an immutable family role displays hierarchy and subsumes the personal name.