Schiele
Van Gogh
Matisse
Kahlo
Warhol
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James Franco Birthday - Portraits Vs Selfportraits
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Mark Morrisroe - Portraits/Selfportraits
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Homocore #1 (September 1988)
Homocore (Zine)
“Homocore” es un fanzine Americano de tendencia anarco punk, creado por Tom Jennings y Deke Nihilson, que fue publicado entre 1988 y 1991. Considerado uno de los primero y más importantes de los fanzines queers. Homocore fue el que ocupo el lugar contemporáneo a la juventud hardcore punk gay underground estadounidense. De hecho su relevancia reside en haber sido la publicación que promoviera las ideas queers en la costa oeste de los Estados Unidos.
La palabra ‘homocore’ fue utilizada por primera vez por G.B Jones y Bruce LaBruce en el zine J.D.s de Toronto. El término es un neologismo que nace de la combinación de las palabras homosexual y hardcore, usada como descripción para su audiencia, diferenciando así a las bandas de queerpunk. Esta palabra aparece por primera vez en el J.D.s número 1 en 1985.
Tom Jennings tomo prestada la palabra después de que él y su co editor conocieran a Jones y Labruce en el Anarchist Survival Gathering del 1987 en Toronto. Inspirados por los editores del J.D.s, y otros anarquistas, Jennings y Nihilson volvieron a San Francisco y comenzaron el Homocore zine... El primer número fue publicado en Septiembre de 1988. Aunque su audiencia en un principio fue la escena queer underground deSan Francisco, las cartas publicadas en sus últimos números incluían destinos de todos lados del mundo. Homocore fue compuestos por los autores pero también además con la participación de artistas, escritores y bandas como los anarco punk de los Apostles, el fotógrafo Daniel Nicoletta, el sello Chainsaw Records de la música Donna Dresch, el fundador de Lookout Records Larry Livermore, y los mismísimos Bruce LaBruce y G.B Jones.
Fueron publicados seguidamente ocho números durante 16 meses terminando en el 1991. Hubo un número intermedio llamado Bad Poetry Issue. Los miembros también organizaron eventos con este nombre en donde bandas como Fugazi, MDC, Beat Happening y Comrades in Arms participaron. El film Shred of sex de Greta Snider fue filmado e inspirado en medio de toda esta escena Homocore.
Este fanzine Homocore ha sido destacado como uno de los mayores impulsores de la escena queer, ayudando a popularizarlo, sobre todo en la zona oeste de Norteamérica. En el libro ya nombrado de Amy Spencer, DIY: The Rise and Fall of Lo-Fi Culture esta dice que la mayoría de los zines que compusieron toda esta escena retoman y reconocen de manera univoca a Homocore y J.D.s como las raíces del mismo, además de considerarlos como material obligatorio de lectura para aquellos que se habían desilusionado del gay mainstream.
En el libro de Stephen Duncombe donde examina numerosos zines, explica que la mayoría de los gay punk rockers se sentían doblemente desilusionados, por un lado por la abundancia de fanzines con perspectiva punk pero hetero que no discutían ni pensaban su condición homosexual y obviamente por otro lado les decepcionaba la comunidad gay oficialista liberal. Por eso usaron al Homocore y al J.D.s como medios de contacto y reunión para reforzar la idea de unidad, decir y discutir su condición y así recordarse que no están (no estamos) solos. El numero 7 de Homocore es considerado, comenta Chirstofer Wilde en un ensayo del 2007 llamado Queer Life, como el ejemplo de hasta adonde había evolucionado la escena queer, demostrando madurez y una gran reputación."
Nicolas Cuello
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Homocore #2 (December 1988)
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Homocore #3 (February 1989)
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Homocore #4 (June 1989)
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Fritz Andre Kracht
"Fritz Kracht was Germany’s most renowned exponent of “polagraphy” or “Sofortbild-Fotografie” as an art form.
Born in Cologne in 1926 and narrowly escaping service in WWII, he attended university in Cologne, where he studied history of art, theater, world literature, and philosophy. He did post-graduate work at Ludwig-Maxmillian University in Munich before winning a scholarship to Yale Drama, where he also earned a doctorate in American literature.
He met his German wife, Gerda, while they were both in the U.S., and they were married in New York’s City Hall over fifty years ago.
He met his German wife, Gerda, while they were both in the U.S., and they were married in New York’s City Hall over fifty years ago.
Fritz Kracht came to photography via extremely successful careers in the theater and experimental film. After completing his studies at Yale he lived in the United States for several years, where he worked with the American Ballet Arts school and with Eva LaGallienne. On his return to Europe he established himself as a much-sought-after director who worked extensively in Cologne, Bremen, Salzburg and Munich, where he became the resident director of the Bavarian State Theater. In 1965 he returned to America when he was invited by the American Educational Theater Association to participate in various American projects. During this period—at the request of his good friend Carl Orff—he translated Orff’s “Die Bernauerin” and “Astutuli“ into English for American productions.
Between 1968 and 1975 Mr. Kracht made 18 experimental films which attracted great attention in Germany and which were presented in festivals in San Francisco, Guadalajara, London and Cannes. In 1972 his long film ”Mexico” was forbidden entry in the Montreal Film Festival by the Canadian Film Censor’s office. His involvement in film evolved into a wider interest in all aspects of photography. As a result of his introduction to the work of the Americans Lucas Samaras and Marie Cosindas, he began experimenting with polagraphy in 1974. Within two years his work was exhibited in Paris, Germany, Switzerland and New York and is now found in private and public collections both here and in Europe. In 1979 the Austrian publishers Allerhiligenpresse published a luxury edition of Fritz Andre Kracht’s polagraphy.
Comments in The Village Voice concerning his first Leslie/Lohman show in 1979 included the following: “Giant erect penises are the focal point of his polaroids. The power of this erotic art is not only via the massive phallus, but comes from Kracht’s technique.” Fritz Kracht was his own model for these astonishing works.
The Krachts lived in Madrid and Marbella, Spain for the last several years of his life, and his last large show was in Madrid at the Circulo De Belles Artes in 1995.
He died in Marbella in October of 2005 after a lengthy battle with cancer. He is survived by his wife Gerda; two sons, Dorian of Los Angeles and Claudius of Madrid; a daughter, Marion of Berlin; and three grandchildren."
via: www.leslielohman.org
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Homocore #5 (December 1989)
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Homocore #6 (May 1990)
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Homocore #7 (February 1991)
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Zac Slams
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Hector Silva
"Hector Silva is a self-taught artist based in Los Angeles who has been producing work for more than twenty years. He is a very community-oriented person and was recently selected as one of ADELANTE’s twenty individuals who are among the most influential within the Gay and Lesbian Latino community due to his position as a role-model, innovative thinker, and leader in social change. Being raised in Jalisco, Mexico and now living in Los Angeles, Hector draws from the rich Latino/Chicano culture that has always surrounded him and incorporates it into his artwork. He pulls from the exposure he has had to public art, such as murals and graffiti, and appreciates the fact that it allows any person to interact with and admire it. Hector accredits religious iconography, Frida Kahlo, M.C. Escher, Tom of Finland and Chicano prison art as his primary influences. Exploring themes of cultural identity, Hector feels a responsibility to portray not only beauty, but truth in his artwork. Today, Hector’s work is collected internationally, receiving acclaim in the US and abroad."
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Alex Chaves
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Doug Ischar - At Large 1986
"In the summer of 1986, a young photographer shot hundreds of rolls of film documenting the pulsing rhythm of male bodies in the heat of the California sun. Moments of intimacy—a hand resting on a chest, bodies clasped in an embrace, lips parted for a kiss—reveal the sensuous pleasure of queer culture over a quarter century ago.
"I wanted to create a fresh portrait of a largely undocumented subculture," Doug Ischar explains now. "The only images of gay men that existed at that time were staged studio compositions, for example the photographs of Robert Mapplethorpe or Arthur Tress. Photographs of gay men flirting, socializing, and cruising were few and far between. And that pissed me off."
Currently on display at Night Club Gallery, Ischar's collection of photographs, entitled "At Large," reflects the rich tapestry of gay life in San Francisco, San Diego, and Los Angeles. Inspired by a long tradition of documentary photography established by Walker Evans, Dorothea Lange, and Robert Frank, Ischar was determined to chronicle what he believed to be the twilight of the gay culture. "I was an avid shooter," he says, "because, like a lot of people at that time, I was fearful that gay life as I knew it would be eclipsed by AIDS and right wing reaction. I was a man with a mission and wanted to commit to film as much as I could of what was going on."
Equipped with the camera of all the great street photographers—a Leica Rangefinder—Ischar captured the colorful spectrum of gay life from Pride Parades to the Gay Games, originally known as the Gay Olympics. Shooting with a 35mm wide-angle lens required a proximity, both physical and emotional, to his subjects. "Gay guys didn't mind me photographing them, because I was a good-looking, well-built guy in a T-shirt, and I'm sure that got me a fair amount of access."
pictures: www.nightclubchicago.org
text: www.chicagoreader.com
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Louis Fulgoni
"Louis Fulgoni was a graphic artist, print-maker, painter, and sculptor. His elegant and loose works often incorporated many themes, from landscapes to political and social commentary to erotic portraiture. After learning that he was HIV-positive at the height of the AIDS crisis, Fulgoni's work became increasingly more political and personal.
Fulgoni passed away in 1989 after battling complications with AIDS, but his large body of work remains as a testament to his skill and devotion as an artist and activist."
Fulgoni passed away in 1989 after battling complications with AIDS, but his large body of work remains as a testament to his skill and devotion as an artist and activist."
by Visual AIDS
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Crawford Barton
"Crawford Wayne Barton was born on June 2, 1943 in rural Georgia. As a child and teenager Bartontook piano lessons and enjoyed drawing and studying nature. After graduating from Calhoun High School in 1961, Barton attended the University of Georgia on an art scholarship. Barton studied drawing painting and sculpture at three different colleges in Georgia as an art major, but never graduated. Late in 1968 Barton decided to move to Los Angeles, CA to study filmmaking at UCLA. However, Barton never enrolled and instead moved to San Francisco. It was in San Francisco that Barton became a leading photographer of gay life. Barton took photographs for the Advocate, the Bay Area Reporter, the San Francisco Examiner, Newsday, and the Los Angeles Times.
In 1974, the M.H. de Young Memorial museum featured Barton's prints in an exhibit called New Photography, San Francisco and the Bay Area. Barton started his own photography business with a resale license in 1973, under the name Arts Unlimited. The business operated through 1978, but was never a profitable endeavor. However, a book of Barton's prints titled Beautiful Men was published in 1976 with a 2nd edition published in 1978. Barton's prints were also used to illustrate Look Back in Joy (1990) by Malcom Boyd. Crawford Barton, Days of Hope, a book of Barton's prints covering the years between the Stonewall riots and the onset of the AIDS epidemic, was published posthumously in 1994. Barton moved away from photography in the early 1980s and devoted his artistic energies to writing. He continued to show his photographs, but did not produce new work at the pace he did in the 1970s. During the 1980s Barton completed his epic novel, Castro Street, and a book of poetry, One More Sweet Smile, but neither was published."
Barton passed away from AIDS on June 12, 1993.
He was 50 years old.
texto by VISUAL AIDS
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Rolf Koppel
"German-born American photographer Rolf Koppel creates an artist’s book with his own technique of fusing traditional black and white photographs (shot on film) with photograms, to make a lyrical and personal fantastic voyage. Koppel, whose work has been shown at the Los Angeles County Museum of Art and other venues throughout the United States and Europe, uses himself and his spouse, Will, as nude models for this work. He adds simple natural light and ordinary household objects for photograms. Basement Arcade is a journey of imaginative scenarios that also comments on the nature of photography and perception. While the work seems on one level to be the erotic musings of an individual, it also has a gripping universality."
text rampub.com
+ photos leslielohman.org/
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Steve Locke
"Steve Locke (born 1963) is an African American artist who explores figuration and perceptions of the male figure, and themes of masculinity and homosexuality through drawing, painting, sculpture and installation art. He was born in Cleveland, Ohio, raised in Detroit, Michigan and is currently living and working in Boston, Massachusetts where he teaches at Massachusetts College of Art and Design.
Locke’s art explores the meaning applied to male portraiture. His works comprise several portraits of men - for almost a decade, he has reworked the particular gesture of a man with his tongue hanging out of his open mouth. "It’s hard to make a painting of a man and not have him look important. So I came up with this weird gesture," Steve Locke explained in an interview with the Institute of Contemporary Art, Boston. "I like that they’re not heroic, and not attached to any body,"he said of his pieces, which straddle the line between sculpture and painting. "They’re floating around in the atmosphere, waiting to possess somebody, or get inside your head and transform you." He aims to "make paintings of men who were vulnerable, or exposed, without using the obvious trope of nudity."His work provokes broader social, sexual and art historical conversations."
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Lars Deike
"Lars Deike 1963 was born into a family of publishers in Constance. He graduated from there training as a publishing assistant. After a move to Berlin, he worked as an editor at a large Berlin newspaper.
Lars Deike deliberately want to provoke in his paintings. The artist wants to cover with his pictures the entire spectrum of varieties of gay male sexuality - Leather, Rubber, Skins, Sports, or even a complete "snax - scene" can be reflected in his paintings."
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The Angels of Light - Tashi Shimada
The pioneers of psychedelic gay liberation theatre
The Angels of Light experimented with drag, make up, drugs and performance in their journey for sexual liberation
"Myth Thing, Flaming Hot Exotica Erotica, Titillating Titresses of de Amazon, Ghoul Diggers of Transylvania and Peking on Acid. If that sounds like something you're into then you should really get familiar with the legacy of The Angels of Light. Founded by the now-late Hibiscus (aka George Harris Jr, who passed away in 1982) – a fascinating character with a huge beard, who experimented with drag, make up, drugs and performance in his journey for sexual liberation – they were a free theatre group that formed in early 1971 in San Francisco, and took a fancy to headlining their performances with such names.
Self-confessed hippies, The Angels of Light riffed on the ideology of communal living, sharing and the end of private property for the group’s performances. Previously members of The Cockettes – a psychedelic theatre troupe who included members like "queen of B-movie filth"Divine – who caught the attention of Andy Warhol and Truman Capote, and gained the cult following that ultimately led to a disagreement between the group over being paid for gigs and remaining as a free entity (the latter, something Harris Jr was passionate about). From this split, The Angels of Light formed, putting on shows that challenged gender and sexuality, with loosely scripted fantasy stories, homemade sets and hand-crafted costumes.
While images of the troupe are scarce, one of its early members, Tashi Shimada, is releasing a set of 10 photos as postcards, revealing an intimate slice of the 70s, with the images never having been published before. Launching at the New York Art Book Fair at MoMA PS1 this weekend – published by Wild Life Press – we get a glimpse at them here."
via DAZE
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