Sasha Weidner. Aurora II 2005. Pigment Print. 100x100cm (comment)
If I catch a glimpse of their sexiness it’s sexiness ther’re playing with their practice but it’s not something I’m asking for. I´m aware that tis there. I´m aware that the people might see it but I´m interested in the life I would have had if I was a boy and this is one facet of it.
Collier Schoor. Wrestlers. (Video. / BTS)
Jim Goldberg. Raised by Wolves (Interview / book)
Kyle Dunn. Downward Dog.
George Hoyningen-Huene
Rassvetgym
Karoliina Paatos (newspaper: New Heroes)
Vasantha Yogananthan. Mystery Street
Bill Costa. The Apsara
Clifford Prince King. Communion 2019 (Web)
Leigh Ledare. Double Bind, 2010
Bathing horses. Various artists. (Instagram)
(Connected with Jenna Westra
Robert Mapplethorpe
Wilhelm Von Gloeden
“It took me years to learn how to look at Evans photograph. I didn’t know what I was looking at, at that time. I didn’t understand why Minor White conducted class barefoot; why he always had young men staying in his house.
Ron Jude. Dark Matter (gallery) (video)
In Dark Matter, Ron Jude revisits the source material taken from photographs in his hometown newspaper in Central Idaho in the American West. In this new body of work, Jude reimagines how these photographs can be configured to reflect this microcosm’s collective mood and values. Motivated by a sense of unease and bewilderment with the cultural bifurcation of America, and grounded in a sense of tragedy, loss, and rage, Jude uses a looping tempo of images to surface the latent underpinnings of this mood, located in the helplessness and corresponding desire for control that stutter throughout the sequence. Consistent with themes found in his previous book Alpine Star, Dark Matter is at once a self-reflexive meditation on how cultural context shapes one’s sense of self, and an examination of the way in which photography, as a mass-medium, both mirrors and reinforces shared perceptions and attitudes.
1853–1941. Water Rats 1880.
Water Rats caused a little comment at the time as it featured naked children playing in a boat, but the image is not erotic. Sutcliffe was using the conventions of the academic nude to show how photography can approach art. He was, however, excommunicated by his local clergy for displaying it, as they thought it would 'corrupt' the opposite sex. Edward VII (then the Prince of Wales) later purchased a copy of the picture.
Boy Falls from Tree. Jeff Wall. 2010
"As I worked on it, I realised that it is, in a way, about gravity," Wall explains. "That in this most tranquil scene, this enormous force is operating, and we don't really notice it most of the time. It's a huge force allowing a flower to grow at that rate, a rock to lie in its place, a tree to grow, and so on. But at the same time it has a catastrophic quality, because it pulls things towards the centre of the earth very quickly. A falling body accelerates very fast."
Wall hesitates to explain exactly how he momentarily suspended gravity to get the picture of the boy falling. "Spectators enjoy pictures more when they just enjoy them and don't necessarily get worried about all the ins and outs," he says. However, he does disclose that the boy - an actor hired for the purpose - did indeed fall from the tree. "We just protected him from the consequences," he explains. "But it wasn't done in the studio or anything like that, it was all done there."
William E Jones - The Fall of Communism as Seen in Gay Pornography, 198
Tee A. Corinne: A forest fire between us
A forest fire between us is an ambitious publication that uncovers Tee A. Corinne’s radical and expansive photographic practice, offering a new perspective on the intersections of her work as photographer, lesbian sex activist, educator, and author.
Edited by curator Charlotte Flint, this book charts a route through Corinne’s practice with never-before-seen photographs, slides, contact sheets, and ephemera uncovered from her archive. Showcasing the pioneering work that established Corinne as one of the foremost lesbian photographers of her time, this publication places Corinne alongside friends, fellow artists, writers, and activists who helped define radical counterculture, from Audre Lorde to Joan E. Biren (JEB), Ruth Mountaingrove to Honey Lee Cottrell, among others.
Karel Egermeier. (archive)
Wilhem von Goelden
Henry Scott Tuke (Slides)
Edward Weston
BIANCO ORDINARIO
Hélène Bellenger
