In my last post, I wrote about the connection I perceived between the Baby Dolls of New Orleans and Steve Prince’s artistic depiction of the four horsemen of the apocalypse. I was able to visualize and solidify this connection by interpreting several of Prince’s works and perceiving Prince’s horsemen and the Baby Dolls of New Orleans as straddlers of the line between certain dichotomies in order to empower themselves.
However, where in my last post I claimed I saw the most striking evidence of the horsemen’s line-straddling in “Katrina’s Veil: Stand at the Gretna Bridge” and “Dirge,” I first perceived the horsemen straddling the line between the dichotomy of masculine and feminine in “Second Line I-IV.” In these pieces, each of the horsemen is portrayed individually and is dressed in a masculine suit with spiky shoes. Their appearance is juxtaposed by their dainty, feminine poses that parallel those struck by the Baby Dolls while “walking raddy.” It is in this way that Prince depicts the horsemen as straddling the line between masculinity and femininity.