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Photography: American Artist, Christopher Clary, Claudine Boeglin, Galerie Andreas Schmidt, Guaizine, HOUSING for American Artist, Jacque Donaldson for ICP, Jade Doskow, Jenyu Wang, JimC, Livio Baumgartner for Graphische Sammlung ETH Zurich, Molly Soda, moosenyc, nicole killian, Paul Soulellis, Richard Louissaint, Porpentine Charity Heartscape, Robert Mapplethorpe Foundation, Signe Pierce & Alli Coates, Stephan Ruiz, William E. Jones, and Zachary Kaplan. Video: Anthony Malone, Christopher Clary, Erin Davis / Max C Lee, Giordano De La Cruz for ICP, Paul Soulellis, Signe Pierce & Alli Coates, Thomas James for Paris Ass Book Fair, Palais de Tokyo. Audio: Know Wave, Robert Keith. Typography: Arial Narrow by Robin Nicholas and Patricia Saunders, Women's Car Repair Collective by Nat Pyper. Design: Christopher Clary. Platform: Cargo.


More on the Women’s Car Repair Collective ... they was one of several initiatives organized by the Lesbian Alliance of St. Louis, Missouri, in the early 1970s. The collective was a “service by and for women” that offered repairs of foreign and American cars, workshops, and rentals of garage space, books, and tools. The Lesbian Alliance, formed in 1972, also opened a coffee house, offered counseling and legal services, and published a lesbian-feminist newsletter called MOONSTORM through their imprint Tiamat Press. In a 1973 issue of the local independent radical newspaper THE BRIDGE, the collective wrote that “we must create our own lesbian-identified structures.” This font is based on the handwritten lettering featured on a flyer advertising the Women’s Car Repair Collective. The lowercase alphabet repurposes the Venus symbol used in an early title treatment of MOONSTORM. Gaps in the alphabet were filled by emulating existing forms as needed. This font was originally commissioned for use by the 2019 Counterpublic Triennial in St. Louis. It was completed in 2020 with the support of Library Stack. It is the fourth font in a Queer Year of Love Letters.

Thankful to be commissioned by Rhizome, supported by Eyebeam, awarded by the New Jersey Council on the Arts, exhibited at Les Rencontres d’Arles, bested by Hyperallergic, and collected by MoMA.