HOMEGROWN: Along Kolkata’s Hooghly River, there dwells a constant sweet fragrance owed to Malik Ghat – a large wholesale flower market that attracts more than 2,000 sellers each day. While most foreign photographers travelling to Kolkata are attracted by its picturesque sunsets, or obsessed with capturing ‘poverty porn’ of sorts, Danish photographer Ken Hermann’s approach was a little different.
Having first visited Malik Ghat as a tourist, he fell in love, and knew he had to go back as a photographer. The vibrant colours of Malik Ghat’s various flowers usually make for a beautifully composed picture, if a seemingly obvious one, but Hermann was more interested in the people behind them. Men and women dedicating their lives to selling fresh flowers captivated Hermann, and inspired him to create a series of unique portraits that bring into focus the faces behind the petals, not to mention how varied each one of their petals really are. READ THE REST HERE @ HOMEGROWN
“If you want to take pictures in India, people tend to just stand up and look proud and strong. It’s very different from the Western world because if you take pictures here, people tend to smile,” shared Hermann. Hermann’s website HERE See the whole FLOWER MAN photo series HERE.
When I saw this pic (above) on Myselfixion, I had to find out more about it. And here’s what I found…
Gustave on the right.
GUSTAVEROUD.COM: Gustave Roud (1897-1976), one of Switzerland’s foremost Francophone authors, is mostly known for his poetic prose writings. After the death of C.F. Ramuz, Roud was known as a master by many young poets: Maurice Chappaz, Jacques Chessex, Philippe Jaccottet. His correspondence, his diary, and his critical writings are also a testimony to his prolific consideration of literature and the arts. However, for several years now, his work as a photographer (never exhibited during his lifetime) has also moved to the forefront: in this way, Gustave Roud is now considered to be one of the great European writer/photographers of the period between the two World Wars.
More about Roud’s writing, poetry and photography HERE @ GUSTAV ROUD
Wikipedia: While living a solitary life in his family farm at Carrouge, Roud maintained numerous friendships with artists, poets, and other intellectuals such as Charles Ferdinand Ramuz, Ernest Ansermet, and René Auberjonois, Maurice Chappaz. Roud was also a mentor to the young Philippe Jaccottet, who would later become one of Switzerland’s most accomplished poets.
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.
THREE THINGS: Sébastien Lifshitz’s OBSESSIVE queer photo collection @ i-D / NAKED BERLIN @ KALTBLUT/ MONSIEUR Butterfly portraits by LORD MARIPOSA
i-D: Parisian collector Sébastien Lifshitz has been building a robust and internationally-sourced photo archive since he was a teenager. His focus is on queer identity, from the art of drag to transgender metamorphosis. His collection of amateur photos is displayed for the very first time at the Rencontres d’Arles — a major festival in the south of France — under the title Sincerely Queer (Mauvais Genre, also a book). Collecting these images has been his hobby and passion alongside his films, most notably Bambi, a portrait of one of the first French transgender women, for which he won the best documentary César in 2013.
Read the FULL article & see more pics HERE @ i-D
Fedya Ili: 15 years experience in art-direction of glossy magazines and web, interior, graphic design. 2012 brought me to the decision — devote myself to photography. Cosmopolite (lived in Moscow, Paris, Munich, Berlin, Buenos Aires, Thailand, Kiev, Lisbon, Saint Petersburg).
SEE more of BOOK CLUB #32: NAKED BERLIN BY FEDYA ILI HERE @ KALTBLUT
More butterfly portraits HERE @ LORD MARIPOSA
Define Beauty: His Sweat
Matt Lambert gets under the skin of our infatuation with the bodily fluid
For the first instalment of the new series of Define Beauty, our series exploring the nuances of desire, Berlin-based director Matt Lambert delves into the sensual side of sweat. Here, the American filmmaker and photographer—known for his often-NSFW work exploring sex and intimacy—talks about his film asking: exactly what it is about our most-prevalent bodily fluid that have so many feeling weak at the knees?:
“I held an open casting call via my Instagram, inviting people to share thoughts on their love of sweat. The film aims to demystify, celebrate, sensualize and add humor to sweat and the love many gay men have for it.
“Sweat becomes a metaphor for love, sex, masculinity, vulnerability, excretion, exhaustion and intimacy”
“It’s a film about sweat, but we rarely refer to the sweat itself. It’s much more about its essence and what it represents. Sweat becomes a metaphor for love, sex, masculinity, vulnerability, excretion, exhaustion and intimacy.”
burning man photos by IVÁN ARÁNEGA more PICS HERE
A flower wedding : described by two wallflowers
by WALTER CRANE, 1845-1915
Just MEGA-ADORE the art direction/ vision and pinkness of WOO YEAH! Solidly AWESOME…
shooting by Jade Young
published in OH LA LA mag
sissydude hearts lttlsr
NYT: The British fashion stylist IB Kamara, originally from Sierra Leone, and the South African photographer Kristin Lee-Moolman have collaborated on a project titled “2026,” which addresses heteronormative attitudes to self-expression through fashion. The photographs imagine what men’s wear may look like in 10 years, through the use of fabrics rescued from garbage bins and thrift shops in Johannesburg and made into contemporary garments.
“I wanted to create a utopia where you can be whatever you want to be, without emphasis on masculinity or sexuality,” Mr. Kamara said last week, as he put the finishing touches to the large-scale photographic prints of young African men in dresses now hanging from the walls of Somerset House, one of Britain’s grandest palaces. “I wanted men, in particular black men, to just be able to be and breathe like every other type of man has been able to breathe for centuries, without the pressure and policing of black masculinity lingering over them.”
Articles & Images:
VOGUE RUNWAY: Haute couture is inherently a push-and-pull of old and new: old techniques, new materials; old maison, new designer; old silhouettes, new interpretations. Today, Viktor Horsting and Rolf Snoeren transformed their old collections into dramatic new clothes. This wasn’t an ordinary exercise in upcycling, nor a trip down memory lane. Rather, it relied on varying proportions of everyday base layers handwoven with leftover fabrics, boosted with swirling tulle volumes and embellished with heaps of hardware and buttons. Essentially, the designers performed a wondrous feat of conflating rag rugs with riches.
pics @ VOGUE RUNWAY