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Painting with Light: Incredible portrait photographs of young outsiders
06.23.2017
06:19 am
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‘Iris’ (2011).
 
At a cursory glance, I thought I was viewing some small figure detail from a Baroque painting or maybe a canvas by a Dutch Old Master. The richness, depth, and subtly of light fooled my eye. This was the photographer’s intention—to make the viewer re-examine what is seen.

The photographer is Pierre Gonnord. He previously turned his talents to photographing the last coal miners working in the pits at Asturias and Castilla y León, Spain. His portraits gave these men a dignity and nobility. They were “a tribute” to the lives being destroyed by economic cuts and governmental indifference—or as Gonnord described it “social genocide.”

Now Gonnord has thrown focus on to a series of painterly portraits of young people. He is specific in who he chooses to photograph, selecting “the person, the individual, alone in the margins of his social group…”

‘When I travel and meet a community, I have time enough to establish contacts and connections, to know individuals that move me for their charisma, sensitivity, intelligence, shyness, beauty … and this is why I decide to invite them (and no others) to do a portrait’

Gonnord takes his time photographing his subject and almost makes it sound almost like a forensic process:

‘Installed in the silence of a room, generally a very small space, sometimes with daylight, sometimes with a lamp, a flash, just one spot … in a short distance, in the same living area, I can talk with the individual, my fellow, a chosen human being, and looking at him I repeat once again this old ritual. A very short moment. Probably the most ancient since man has been on Earth. Strip little by little all the details, and in silence try to catch what maybe is under the skin’

His passion for portrait photography offers Gonnord the chance learn what he describes as “life experiences” allowing him to:

‘Learn from others, listen, watch, see, feel, express. It’s to open one’s eyes to the world, to know other universes, other realities in order to go beyond one’s own small frontiers in the urban environment and enter little by little into the sharing and the understanding of humanity’

and

‘To look into the eyes of these models is to feel in a certain way that we are looking at our own essence as human beings.’

See more of Gonnord’s portraits here.
 
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‘Attia’ (2010).
 
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‘Sophie’ (2012).
 
See more of Gonnord’s beautiful portraits, after the jump…

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Posted by Paul Gallagher
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06.23.2017
06:19 am
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Almost Grown: Sublime photographs of American teenagers 1969-1984
06.09.2017
09:08 am
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Charlie, Jones Beach, 1976.
 
Teenager: that tricksy time when you’re no longer a child but not quite yet the adult. When hormones light fires and the good ole triumvirate of sex ‘n’ drugs ‘n’ rock’n'roll drop by to shake everything up.

Joseph Szabo was teaching a bunch of such teenagers at Malverne High School, Long Island in 1972. Szabo was 28-years old—ancient to most teenagers—and was finding it a hell of a difficult to connect with his young charges. He had all but given up trying when he decided to start taking photographs of the kids in his class. This then led to his photographing all the kids in the school. Then all the kids in the neighborhood. He didn’t discriminate. He just wanted to document every kind of student he could find and let his photographs tell their story.

The kids responded to Szabo’s interest. They soon let him follow them down to the beach, or out to their hangouts and homes after school. Szabo’s pictures moved from posed portrait against wall or on beach to youths caught unawares like nobody was watching.

These kids lived in a world they described as “doing nothing” because they were neither at work or at play. It was this unselfconscious spontaneity that Szabo captured so perfectly that made his photographs stand out. They are beautiful and sublime depictions of a golden season when the world is still magical and mysterious before the first frost of adulthood brings cynicism and fear.

Szabo’s work has inspired movie directors like Sofia Coppola and Cameron Crowe and a shopload of fashion directors on shoots for every glossy magazine you can think of. Now in his seventies and retired from teaching in 1999, Szabo still takes photographs of the teenagers and adults he meets on his travels. But nowadays people are more cagey about having their picture taken and it ain’t so easy to connect in the same way. But Szabo still manages to capture those unguarded epiphanic moments when no one else is looking.
 
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Three Friends, 1976.
 
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Anthony and Johanna.
 
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Priscilla, 1969. It became the cover for Dinosaur Jr’s album Green Mind
 
See more of Szabo’s iconic pictures, after the jump…
 

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Posted by Paul Gallagher
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06.09.2017
09:08 am
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Playboy Playmates recreate their iconic covers 30 years on

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Monique St. Pierre, Playmate of the Year, June 1979.
 
Marilyn Monroe was the first Playboy cover girl featured in the magazine in December 1953. That copy of Playboy wasn’t actually dated as publisher and editor Hugh Hefner didn’t know if there would ever be a second issue. Marilyn was also the magazine’s first “Sweetheart of the Month,” a title which changed to “Playmate of the Month” with Playboy’s second issue in January 1954 when Margie Harrison became the magazine’s first ever centerfold. Marilyn’s iconic photo spread only appeared over pages 16-18. Since then, Playmate of the Month has continued right on up to present day with Elsie Hewitt featured as Playmate of Month for June 2017 and Brooke Power featured on the cover as Playmate of the Year.

There was a well-told urban myth about the glamorous Playmates featured on the cover that claimed they were given a marking, out of twelve, according to Hefner’s tastes. This was based on the stars printed on the cover either on or next to the letter “P” of Playboy. This rumor alleged Hef was giving “stars” for either the cover girl’s looks, or performance in bed, or even how many times the old goat had slept with her. This was never true. The stars which appeared on the cover between 1955 and 1979 denoted regional or international advertising for that particular issue.

Playboy is now synonymous with America and American values as Mom’s apple pie, the Stars and Stripes, and Abraham Lincoln. That Hefner’s magazine and his multi-million dollar porn industry have achieved such a strange (shall we call it?) respectability says much about the dynamic changes in culture and morals over the past six decades.

A selection of Playmates was recently offered the opportunity to replicate their iconic covers some thirty years on from their original appearance. Playmates Candace Collins, Monique St. Pierre, Cathy St. George, Charlotte Kemp, and Reneé Tenison, among others, were photographed by Ben Miller and Ryan Lowry as part of this project. As can be seen from the photographs below, the results are quite incredible.
 
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Monique St. Pierre, 2017.
 
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Candace Collins, Playmate, February 1979.
 
More then and now Playboy Playmates, after the jump…
 

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Posted by Paul Gallagher
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06.07.2017
09:57 am
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Cum for Me: Intimate photographs of men and women at the point of orgasm
05.18.2017
09:04 am
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Kristina.
 
We reveal ourselves in unguarded moments. Those instances of joy, happiness, fear, and anger—when emotions burst forth uncontrollably. Photographer Alina Cara Oswald had been thinking about such times and thought of creating a photographic project that captured women and men at their most intimate, unfettered, and emotionally reflexive moment when reaching orgasm.

Oswald didn’t believe she would find any models willing to masturbate in front of her and the camera. However, after talking about the idea, she did photograph a good friend and then herself reaching climax.

I started talking to people about my project and asked them very open and directly if they want to take part. And more and more people said yes. So I started photographing them. The project became bigger and bigger. I put my whole energy and thoughts into it. I was organizing everything and made many appointments. Most of the time I went to the model’s home, I brought some wine and some relaxed energy with me. I talked a lot to the person and then I setup my equipment. Then it was time for a hand-job.  Mostly I was in the same room, sometimes I went out and just came in at the end to take the photo. Sometimes I had couples and they helped each other. Sometimes the people watched porn or looked at erotic pictures. Afterward, we laughed and talked about it.

What fascinated Alina was not the photograph of someone cumming but “the process of how it arises and how a content can be presented and communicated.”

How can a piece of paper, which has just two dimensions, influence the third dimension? Can I communicate emotions and content through pictures without you knowing what it is about?

Alina titled this series of portraits Moments.

Based in Munich, Germany, Oswald studied photography, screenprinting, digital animation and communication at the city’s art college. She graduated in 2016. You can see more of Alina’s work here and here.
 
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Joel.
 
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Sarah.
 
See more forthcoming attractions, after the jump….

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Posted by Paul Gallagher
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05.18.2017
09:04 am
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Crowning Glory: Incredible vintage photographs of beautiful and intricate Nigerian hairstyles
05.18.2017
08:11 am
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‘Coiling Penny Penny’ (1974).
 
Each day photographer J.D. Okhai Ojeikere went out into the streets and photographed women’s hairstyles with his Brownie D camera. Ojeikere wasn’t just documenting the latest trends in hair fashion—he thought hairstyles were an “art form” that were created by “precise gestures” in the same way an artist sculpts the intricacies of a statue. Ojeikere was also aware these individual hairstyles reflected the major changes in Nigeria’s post-colonial politics and culture, together with the growth of personal freedom and the shift towards personal identity.

Ojeikere took thousands of photographs of women’s hairstyles from 1968 onwards. He captured the different weaves and braids on street corners, offices, bars, and at parties, He took his picture then noted down the name of each design. Ojeikere started his photographic career as a darkroom assistant at the Ministry of Information in 1954. In 1959, he was appointed staff photographer with the Western Nigerian Broadcasting Services. He then joined the Nigerian Arts Council in the 1960s when he began photographing and documenting Nigerian life and culture. His work has been exhibited throughout the world, including the 55th Venice Biennale d’arte in 2013, and his work is still exhibited and sold as prints today. J.D. Okhai Ojeikere died at the age of 83. in 2014.
 
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‘Ojo Npeti’ or ‘Kiko’ (1968).
 
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‘Pineapple’ (1969). 
 
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‘Fro Fro’ (1970).
 
More of J.D. Okhai Ojeikere’s photographs, after the jump…

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Posted by Paul Gallagher
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05.18.2017
08:11 am
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Moon shots: Showing your butt in public is the latest craze, apparently…

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No ifs or buts, the end is nigh, quite literally it seems for bright young things from across England (and now the world) who are taking pictures of themselves baring their buttocks in public places and uploading the resulting image to Instagram.

This kind of exhibitionism or mooning it we used to call it, is not new. It has been a well-used way of showing disrespect to an enemy or scorn to nobility for centuries. Now, showing your butt in some beautiful landscape is the latest jolly wheeze for firm-buttocked young people to entertain themselves. This was what the Internet was made for…..apparently

Well, three cheers for that.

It all started with the Instagram page Cheeky Exploits which has been encouraging people from across the globe to upload snaps of their bare butts in suitable lush or unusual envirnoments. And people have been sending in moonshots from Australia, Brazil, America and alike—and you can check them out here.
 
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More butts from around the world, after the jump…

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Posted by Paul Gallagher
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04.27.2017
09:43 am
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Pain is skin deep: Extreme close-up portraits of people on the edge
04.25.2017
11:47 am
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A portrait from photographer Bruce Gilden’s 2015 book ‘Face.’
 

“The older I get, the closer I get.”

—Photographer Bruce Gilden on his ever-evolving creative process

 
In an article from 2015 on photographer Bruce Gilden’s book Face, the word “dehumanize” was used to describe the artist’s grim, unflinching portraits of people he encountered across the country who in many cases had fallen on desperate, dire times. With craggy and withered faces beat by the street or the horrific effects of drug and alcohol abuse that manifests itself by destroying skin and teeth, Gilden’s subjects are unsettling to look at for so many reasons. It is nearly impossible to not feel empathy for them—an emotion that also might give the viewer cause to reconsider Gilden’s motivation for taking the intimate images. Bruce Gilden is no amateur. He is an artist who has honed his craft on the streets of New York and elsewhere for the better part of 40 years. Gilden also doesn’t really care if you don’t like his work, an admirable personality trait when it comes to the world of art and other creative pursuits. It’s a gift to be able to do something really well while giving zero fucks about what other people think.

When discussing his own personal style of photography, Gilden is quick to mention his obsession with professional wrestling, noting that his favorite wrestlers were always the “ugly” ones and that TV wrestling typically goes in for grimacing close-ups. Growing up in Brooklyn also afforded the budding photographer much in the way of inspiration thanks to the human diversity of his surroundings in New York City. Though he is considered to be self-taught, Gilden did enroll in night courses at the School of Visual Arts in New York before dropping out of Penn State where he was pursuing a degree in Sociology. Gilden and his camera have traveled all over the world taking pictures of Russian drug dealers and criminals running amok in a small rural town; members of the highly guarded Yakuza; and what is likely his most famous series of photos taken of beachgoers and other assorted nut-jobs who flock to Coney Island to let their freak flags fly.

Gilden’s work has been featured in many books, has been the recipient of a Guggenheim Fellowship and his life was the subject of the 2007 documentary film Misery Loves Company: The Life and Death of Bruce Gilden. Thankfully for all of us, the title of the doc is merely a clever play on words and Gilden is still very much with us and continues getting up close and entirely too personal with his subjects. I must be honest with you, many of the images that follow are incredibly difficult to look at. But they are no different from the faces that most of us divert our eyes away from on a daily basis. And that’s a fact.
 

 

“Angel” photographed in Florida.
 

 
More after the jump…

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Posted by Cherrybomb
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04.25.2017
11:47 am
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Strangely satisfying photos of food coordinated with monochromatic clothing


‘Licorice’ and ‘Zero Bar.’ Two of the photos from the series ‘Wardrobe Snacks’ by Kelsey McClellan and Michelle Maguire.
 
The photos in this post are the result of a joint venture by set and prop stylist Michelle Maguire and photog Kelsey McClellan who came up with the idea to coordinate various kinds of foodstuff and people wearing monochromatic outfits with a distinctly 70s vibe.

The series, Wardrobe Snacks, is oddly satisfying to look at and the pair are offering up prints of all twelve photos from the series for $145 a pop, here. Warning: the images in this post might make you both nostalgic and hungry at the same time. So maybe have a polyester pantsuit and some potato chips handy while you look at them.
 

‘Biscuit.’
 

‘Filet o’ Fish.’
 

‘Strawberry wafer.’
 
More after the jump…

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Posted by Cherrybomb
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04.13.2017
07:27 am
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The ‘private’ photographs of Marie Høeg and Bolette Berg: Questioning gender roles circa 1900
02.27.2017
11:41 am
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Marie Høeg (1866-1949) had short cropped hair. Bolette Berg (1872-1944) kept hers long. Marie was short. Bolette was taller. They were known to the people of Horten, a busy naval port in Norway, as the two ladies who ran the photography studio called Berg & Høeg. They made their living taking portrait photographs, landscape pictures and the occasional picture of ships. In the late 1800s and early 1900s photography was the latest craze where those who could afford it had their picture taken. There were many such photographic studios in Horten. Berg & Høeg may have been long forgotten had it not been for the discovery some thirty years ago of some 440 of their glass negatives in an old disused barn in Oslo.

Among these glass plates was a box marked “Private.” Inside this box was a set of images featuring Høeg and Berg playing around with traditional gender roles. Høeg dressed as a man with a waxed mustaches, or as a boy with white shirt, cap and cigarette, or in fur pretending to be an Arctic explorer like Roald Amundsen, who led the first expedition to traverse the Northwest Passage in 1903–06.

Berg & Høeg posed with their women friends indulging in some of the worst kind of vices usually attributed to men—smoking, drinking and playing cards. Høeg also posed as husband to an unknown male friend as wife and in a rowing boat as a bowler-hat-wearing suitor to Berg’s elegant object of desire.

The finished photographs would have been shared among their small coterie of friends in Horten. Their friends no doubt laughed at these daring, subversive images which cocked a snook at the strict conventions surrounding sexuality, gender and identity at a time when women were called the “weaker sex,” and forbidden the vote.

Marie Høeg was the main subject of these “private” photographs. During her life she was best known as a pioneering activist for women’s rights. She founded the Horten Branch of the National Association for Women’s Suffrage, the Horten Women’s Council and the Horten Tuberculosis Association. Bolette Berg worked more behind the camera. The two women are believed to have met while studying photography in Finland during the early 1890s. They moved to Horten where they set up a studio together in 1895.

In 1903, the two women left Horten and set up a new studio in Oslo (then called Kristiania) where they had a career producing scenic and portrait postcards. They bought a farm and at some point stored their glass negatives in the barn where these images remained long after both Berg’s and Høeg’s deaths until their discovery in the 1980s.
 
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More of Høeg and Berg’s cross-dressing pictures, after the jump…

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Posted by Paul Gallagher
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02.27.2017
11:41 am
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They Live by Night: Photos of gangsters, prostitutes & drag queens from Tokyo’s red light district

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Kabukichō is the red light district in Shinjuku, a commercial and administrative ward in central Tokyo. Apparently Kabukichō took its name from plans to build a kabuki theater in the district sometime in 1940s. This never happened. Instead the area became a busy red light world of nightclubs, hostess clubs and love hotels. It’s estimated there are some 3,000 such enterprises operating in Kabukichō today. At night, the busy neon-lit streets thrive with the curious and the criminal—around a thousand yakuza are said to operate in the area. All this relentless activity gave Kabukichō its nickname as the “Sleepless Town” (眠らない街).

Among the curious drawn to Kabukichō was photographer Watanabe Katsumi (1941-2006). During the 1960s and 1970s, this seemingly quiet and unassuming character prowled the streets camera in hand offering to take pictures of the sharp-suited yakuza, the pimps, the prostitutes and the drag queens who lived and worked in and among this red light district’s narrow streets. Watanabe thought of Kabukichō as his theater and the men and women who posed for him as his actors.

He approached each of his subjects and offered to take their picture.  He took the pictures quickly. But whatever he said to make each individual sufficiently relaxed worked. His photographs captured something unguarded and utterly spontaneous about his subjects. The next night he would return, deliver three prints of each photograph for 200 yen—roughly around a dollar back then. This was how he made his living.

In 1973, the first volume of Watanabe Katsumi’s photographs The Gangs of Kabukichō was published. This book was reissued in 2006, details here.
 
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More after the jump…

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Posted by Paul Gallagher
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02.23.2017
11:04 am
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Upside down photographs of faces become intriguing, introspective works of art
02.17.2017
07:21 am
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A photograph from the series ‘Alienation’ by South African artist, Anelia Loubser.
 
Anelia Loubser is a photographer from South Africa who has only been working in her chosen medium for fewer than ten years. During that short time period, her photographs have been seen in publications all over the world.

According to Loubser, she credits her twin sister with providing her with much of the inspiration that enables her to continue to create her art. In 2014 her fledgling photographic series Alienation created quite a stir as it featured unconventional black and white images of people—including members of her own family—taken at close range allowing them to become something other than what they are. Loubser’s composition of her subjects and their faces cut off just before you can see the formation of their noses—creating a powerful, otherworldly way for something as common as a human face to be perceived by the viewer. While the seemingly simple-sounding concept of photographing someone’s face upside down may seem uninvolved, Loubser’s enigmatic results are impossible to ignore. Here’s more from Loubser on the photographs you are about to see from Alienation:

I saw eyes on unfamiliar faces, and in them lies a whole galaxy of tales to tell. In their eyes, I saw happiness, sadness, excitement, pain, love, curiosity, wisdom and wonder - all these familiar human emotions on unearthed faces. This had such a tremendous impact on me because symbolically they summarized how I seldom feel living in a conflicting inner and outer universe with my own being. And it made my madness seem less messy.

A selection of Loubser’s topsy-turvy faces for you to lose yourself in follow.
 

 

 
More after the jump…

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Posted by Cherrybomb
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02.17.2017
07:21 am
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Waterworld: The man who photographed pin-ups… underwater
02.01.2017
11:28 am
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In 1938, a young photographer named Bruce Mozert was on his way to a shoot in Miami when he got word Johnny Weissmuller was filming his latest Tarzan flick at Silver Springs, Marion County. Mozert took a detour on the off-chance he might get a few good snaps of the former Olympic champion and box office star—or at the very least shake his hand. He managed both. When he shook Weissmuller’s hand, the Tarzan actor lifted the twenty-two year off the ground and straight up into the air. This incredible feat of athleticism wasn’t the only thing which impressed Mozert on his day trip. In Silver Spring he had found a beautiful and idyllic location in which to make his career as an underwater photographer. 

Silver Springs is the site of one of the largest artesian spring formations in the world. It is said to produce an estimated total of some 550 million gallons of crystal-clear water daily. The beauty of these waters was the kicker for Mozert. They appeared so perfect, so beautiful, so clear that he knew he had to devise a unique and original way to incorporate the springs into his photographic work.

He moved into nearby city of Ocala where he set about building a box-like waterproof housing for his camera. He then started taking subaquatic pictures of employees from Silver Springs Park, who acted as his underwater models. Mozert photographed his models doing everyday things underwater—frying fish, drinking a champagne cocktail, reading a paper, and so on. He used various homemade special effects to make it all seem almost real. Condensed milk was used to create smoke for barbecuing fish—“The fat in the milk would cause it to rise, creating ‘smoke’ for a long time.” Alka Seltzer provided the bubbles for the champagne. Anything was possible—“All you got to do is use your imagination.”
 
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Dive into the subaquatic life of Bruce Mozert, after the jump…
 

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Posted by Paul Gallagher
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02.01.2017
11:28 am
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Reimagining the American Dream for an alternative facts universe
01.25.2017
01:50 pm
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Now that we’re in a post-truth, alternative facts universe where everything is great, amazing, really really great and yuge ‘cause the President sez so. Hell, who needs facts in this new world anyway? They’re difficult, troublesome and damnably inconvenient. The President ain’t got time for that. No, sir. People want nice. They want cuddly, comforting, fluffy things—not cold hard facts. The Prez knows that and he’s gonna tell us how it’s gonna be. “It’s gonna be great, really great and no one can even imagine how truly great this greatness is gonna be.” Nope.

But you know, I think that maybe we need some art for this truly great post-truth/alt facts universe—something that captures how things can be interpreted to fit a new purpose. Maybe a bit like these photographs by Polish artist Weronika Gęsicka?

There’s something about Gęsicka’s work that seems—well, at least to me—to fit our new alterno-world. Like the way in which Weronika takes old American publicity shots from fifties and sixties archives and manipulates them to create a “new history.” She primarily works with found photographs and images creating art that explores memory and its mechanism, scientific and pseudoscientific theories, mnemonics and the various disorders related to it.

Of course, the big difference between the two is that Weronika makes art that raises important questions about our conceptions of reality, while el Presidente is attempting to enforce his own deluded fantasies on everyone else’s reality. (Quite an artform in its own right, one might argue. It’s only a few days in, let’s see how long it can last.)

Weronika takes one found picture then tries “to erase, as much as [she] can, the difference between an original image and [her] own alteration, [thus] creating a completely new history at the same time.”

Gęsicka chooses:

Family scenes, vacation souvenirs, everyday life, suspended anywhere between truth and fiction. It is hard to figure out whether they are spontaneous or entirely staged.

       

Then asks:

Who are, or were, these people in the images? Are they actors playing happy families, or real persons whose photos were put up for sale by the image bank?

And when finished:

These photos, modified in various ways, are wrapped in new contexts: our recollections of people and situations are transformed and gradually blur.

These altered pictures are funny, disturbing and strangely unnerving. Weronika’s photographic nostalgia makes the viewer aware something is not quite right and leaves you wondering if ever will be again.

View more of Gęsicka’s work here.
 
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More of Weronika Gęsicka’s work, after the jump…

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Posted by Paul Gallagher
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01.25.2017
01:50 pm
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Early photos of Boy George, Steve Strange & more at the club that launched the New Romantics

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DJ and singer Princess Julia with George O’Dowd aka Boy George.
 
Billy’s was a nightclub in Soho, London, where every Tuesday for most of 1978 two young men—Steve Strange and Rusty Egan—ran a club night playing tracks by David Bowie, Roxy Music and Kraftwerk. The club was in a basement underneath a brothel. From this small cramped space a new generation of artists, writers, performers and DJs first met up and planned the future together. Punk was dead. It was uncool. It had gone mainstream. The teenagers who came to Billy’s wanted to create their own music, their own style and make their own mark on the world.

Among this small posse of teenagers were future stars like Boy George, Siobhan Fahey (Bananarama), Marilyn, Martin Degville (Sigue Sigue Sputnik), DJ Princess Julia, Jeremy Healy (Hasyi Fantayzee), Andy Polaris (Animal Nightlife) and an eighteen-year-old Nicola Tyson who would go onto become one of the world’s leading figurative painters.

It’s rare that someone is savvy enough to ever take photographs of a nascent cultural revolution. But Nicola took her camera along to Billy’s and she documented the teenagers who frequented the club that launched the New Romantics and a whole new world of pop talent.
 
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A blonde-haired Siobhan Fahey with at friend at Billy’s long before she joined Bananarama and later Shakespeare’s Sister.
 
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Club host Steve Strange (in cap) with an unknown friend.
 
See more photos of Nicola’s photos, after the jump…

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Posted by Paul Gallagher
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01.20.2017
01:47 pm
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Strange, surreal portraits made from found photographs, food, insects and everyday objects
01.12.2017
08:12 am
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For this recipe you’ll need some bean sprouts, one fish-head, a tablespoon of popcorn, one butterfly, some seeds, half-a-dozen seashells, some buttons, a watch and two dozen photographs found in an old flea market.

Susana Blasco admits to having the soul of a sailor . She also owns up to being an artist, graphic designer, illustrator and razor sharpener. Susana has designed book covers, album covers, posters and all the other things graphic designers do. She also makes rather fabulous and imaginative artworks out of found photographs.

Antiheroes is one of Susana’s many photographic projects. It began through trial and error, chance and experimentation where Susana placed everyday objects on top of old photographs to create surreal and slightly disturbing portraits. A slug becomes a woman’s smile, a girl embraces her sister with a crab tentacle, a woman’s head explodes into shoots, and a man’s head is eaten by confetti. I find these pictures quite irresistible, in large part due to Susana’s highly imaginative use of mundane props to create startling portraits from a seemingly unknown world.

Susanna’s series Antiheroes is available as prints.
 
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See more of Susana Blasco’s surreal portraits, after the jump…

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Posted by Paul Gallagher
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01.12.2017
08:12 am
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