Sometimes I get obsessed/ inspired about someone (or a group of people) and I can’t stop searching for info on them. Recently I’ve had my Hockney LOVE (re-reading 1976’s Hockney by Hockney) resurface and with it, Hockney’s friends- muse Celia Birtwell and “maybe Hockney’s lover” and Celia’s husband and creative partner Ossie Clark. Birtwell popped up recently in 2015 when she collaborated with Maria Grazia Chiuri and Pierpaolo Piccioli for Valentino’s beautiful pre-fall 2015 collection. So here you go. Come join my new obsession! I’ve got Julia Watt’s 2003 book ‘Ossie Clark 1965-1974’, The Ossie Clark Diaries & Birtwell’s 2011 picture book coming in the mail, so I’ll be busy reading and observing images through now and into 2017. Probably share more images as well. Don’t worry… hairy assholes will be coming soon!
Wikipedia: Mr and Mrs Clark and Percy is a painting by the British artist David Hockney. Painted between 1970 and 1971, it depicts the fashion designer Ossie Clark and the textile designer Celia Birtwell shortly after their wedding at which Hockney was Clark’s best man. Hockney and Clark had been friends since the early 1960s. One of their cats sits on Ossie’s knee (the cat in the painting was not in fact Percy — this was the name of one of their other cats — but Hockney thought Percy made a better title than Blanche, the cat he painted). The work is in acrylic on canvas, and measures 2170 x 3084mm in its frame. The painting featured in the final 10 of the Greatest Painting in Britain Vote in 2005, the only work by a living artist to do so. The painting is in the collection of the Tate Gallery.
INDEPENDENT UK: In the painting, Birtwell wears a dress co-designed by her and her husband. Theirs was one of fashion’s most volatile but successful marriages. Success is an odd word to use, given that the couple divorced in 1974, and Clark and his business were declared bankrupt in the early 1980s. But their professional and personal partnership defined the 1960s and 70s, forming a blueprint for contemporary British fashion. That blueprint comprises spectacular shows, painstakingly constructed clothes, a global influence on other designers and, paradoxically, creative abundance shackled by financial reality. Ossie Clark and Celia Birtwell represented its first cresting wave – one that inevitably came crashing down. Read the rest HERE.
Hockney drew on both The Arnolfini Portrait by Jan van Eyck and A Rake’s Progress by William Hogarth in the symbolism and composition of the painting. A copy of Hockney’s own interpretation of A Rake’s Progress is seen on the wall. The positions of the two figures are reversed from the Arnolfini Portrait with the conclusion that Birtwell is the assertive partner. The lilies next to Birtwell, a symbol of female purity are also associated with depictions of the Annunciation (at the time of the portrait Birtwell was pregnant). The cat on Clark’s lap is a symbol of infidelity and envy. In this case, Clark continued to have affairs which contributed to the breakdown of the marriage in 1974.
Author Judith Watt comments: “Celia collaborated with Ossie. This was a joint effort. People say that she was his muse, which indeed she was, but their work absolutely went hand in hand. It was her designs that he used to create his. I think it’s unfair that she not be given that voice”
Ossie was noted, from this period on, for buying six new record albums a week, all from the newest and most popular recording artists. His love of music and art were legendary amongst Ossie’s friends. Also at this time Ossie began to take hard drugs more recreationally with friend and business partner Alice Pollock. “This is when his character began to change” says longtime friend Lady Henrietta Rous.
He’s not hairy. He shaves his pits and pubes. But gosh darn it, I love to look at this young fella!
This guy is SUPER SUPER mega-hot. Sadly, I couldn’t find a “gallery quality” image of this painting anywhere (not even on ebay).
Maybe cus the artist Arthur Kampf was a fucking Nazi?!!
So anyhoo, here are the best versions I could find for your viewing pleasure (I also included a few other hilariously gay “Kampf Camp” paintings)
More GAY CAMP KAMPF after the jump…
MATTHEW LISTER photos by CARLO WILLIAM ROSSI & EUGENIO D’ORIO for SATELLITE MAG
What price Hollywood? was the title of an early George Cukor film, but is a question every closeted movie star has probably asked himself. In 1930, the top box office star was a gay man. Billy Haines lived with his lover, Jimmie Shields, and never posed on the red carpet with a beard on his arm. By 1933, he was washed up in show business; and by 1936, he had become hugely successful in an entirely new line of work-interior decorator. Out of the Closet, Off the Screen: the Life of William Haines details the extraordinary life of Billy Haines, the only matinee idol who ever decided that Hollywood’s price was too high and walked away from film stardom.
RICK JONAS HAS THAT OLD SCHOOL 1990’s/ early 2000’s BEL AMI BOY CHARM… I CAN’T RESIST HIM.
SORRY I’M YELLING!!!
I’m gonna repeat the images a few times… cus it’s glorious…
shirtless stretch after the jump…
I just LOVE LOVE LOVE Hetz’s rough and romantic photos. Raw beauties all!
He has a new exhibit/ book launch! The info here: We’re pleased to announce the book release of Berlin-based photographer Florian Hetz. The bar manager of the legendary Berghain will present his first monograph “The Matter of Absence” on October 8, 2016. The foreword to the book is written by designer Stefano Pilati. Book Launch & Exhibition “The Matter of Absence” by Florian Hetz Berghain, Am Wriezener Bahnhof, 10243 Berlin October 8, 2016. 8 p. m. – 11 p. m.
“Through photography, Hetz explores the human body, the beauty in the ugly, and the ugliness in beauty. As his most important sense, he describes seeing since an eye disease runs in his family that might eventually cause him to lose his eyesight. “I suppose that knowing you might lose something makes it more precious to you,” Hetz explains. The book “”The Matter of Absence”” is Hetzʼs first publication. Body parts like in a peep show, caught in an action, caught in a singular moment. Seemingly familiar, and yet very random: Due to the lack of identity, due to the anonymity, it could be the high school crush, the neighbor, the priest, the ex lover, the best friend, or the online flirt. By showing very little of the surrounding, the close-ups offer a wide field of storytelling. The narrative happens rather in the head than on the photo. What leads to that particular moment becomes equally important as the moment itself. The absence of identity in times of selfies. Designer Stefano Pilati puts it like this: “”In his authenticity, Hetzʼs talent maniacally explores the moment between the photographer―as artist, witness, obsessive―and the subject. He interprets the body as a quintessential sex object through simple, domestic gestures, producing a body of work that is far removed from the spirit of “entertainment” and “staging” in current forms of social-media visualizations.”” A stunning, unique debut.
These Hetz photos below from his Tumblr… SO GOOD!
VICE: The skateboarding community worships Brian Anderson as a god, but for many years kept his sexuality a secret from nearly everyone in his life. Our guy Reda sat down with Brian and some of his closest friends to talk about being gay in the professional skateboarding industry and why he chose now to come out.
SISSYDUDE LOVES: DAVID HOCKNEY on SELFIES & WHAT TURNS A PICTURE INTO A MASTERPIECE : ‘People have a deep desire to make pictures’ @ GUARDIAN CULTURE
From cave paintings of 100,000 years ago to the selfie culture of the 21st century, British artist David Hockney and art critic Martin Gayford discuss their new book, A History of Pictures, which looks at how and why people throughout time have made images using whatever means they have.