A visual chronicle of the last century of life on Fire Island exposes an intimate lineage of sunburned bacchanalias and queer mythmaking.
Colorful TM Davy painting of three men, hugging, while looking at one mans phone
TM Davy, 635, 2019. Image courtesy of the artist.

For nearly a century, Fire Island has existed as both refuge and fever dream—an improbable strip of land where queer art, desire, and community continually reshape one another. Fire Island Art: 100 Years, edited by Fire Island Pines Historical Society president John Dempsey, lifts the veil on the slender isle’s outsized role in queer artmaking from the 1930s to the present.

Moving decade by decade, the book changes its focus fluidly between canonical figures and those long-overlooked. Richard Avedon, Paul Cadmus, David Hockney, Peter Hujar, Robert Mapplethorpe, and Andy Warhol appear alongside lesser-known artists whose work also evolved in quiet proximity to the dunes. Archival material and newly unearthed pieces expand the narrative, reframing Fire Island as a cornerstone of queer modernism.

Two men at bar in their underwear
Paul Himmel, The Bar in Duffy’s Hotel, late 1940s. Image courtesy of the Cherry Grove Archives Collection.

Contemporary artistic voices—TM Davy, Nicole Eisenman, K8 Hardy, Lyle Ashton Harris, Doron Langberg, and Salman Toor, among them—carry readers into the island’s present-day effervescence, in no small part fueled by nonprofit arts groups like BOFFO and the Fire Island Artist Residency. Essays, interviews, and primary texts (from Frank O’Hara, Wolfgang Tillmans, and others) crescendo into a chorus of perspectives generations to come will be grateful to have all in one place.

 

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