Tim Campbell lent this portrait to GCAM for display in the Montrose Counseling Center. It was on display from December 2009 through early to mid 2011. Then suddenly it disappeared.
When Campbell tried to retrieve the portrait, which he had never signed over to GCAM, GCAM Curator Judy Reeves put him off for over three months. When finally she did return the portrait to Campbell, Reeves made an incredible scene: She called people to witness Campbell making off with the portrait af if he were stealing something from her. She blocked his way taking photographs.
Campbell had in fact given Reeves a signed receipt for the portrait which he in fact owned himself.
Reeves insisted there were some papers Campbell was obligated to sign. Campbell offered to read and sign them but Reeves said she didn't have them with her. Campbell decided at that point that Reeves was nuts, gave Reeves the prepared receipt, took the portrait and walked out.
So why all the fuss over a portrait of Jones at Gay Pride?
Campbell thinks he stumbled on some closet info about Jones and Ms Pride that Reeves want to guard in an act of probably misguided heroism. Campbell guesses that Reeves thought by hiding the portrait, she was protecting Jones from some outing.
Campbell says "I've always just assumed Jones was gay. That's why I did her portrait. In fact, I did another one of her alone, all in pink, and gifted it to Jones herself at City Hall. She told me at the time that I had hit on the color scheme of her campaign for reelection. Hmmm. I thought. The girly-girl color of choice. To me, outing Jolanda Jones would be like outing Liberace. Who hasn't guessed it already? But of course, it is always possible that I have made a huge, huge mistake. But I doubt it!"
Campbell suspects Jones may be seen by many blacks as straight whereas most of those in the gay community who know who she is believe she is gay. So what's the big deal?
The best way to make a book or a work of art famous is to ban it. Thanks Judy.
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