Reading Time: 6 minutes A digital platform, active Instagram feed and printed newspaper, the APP pairs photography with bold design to keep the cause on the agenda
Reading Time: 5 minutes The Turkish photographer is known for amplifying the voice of the marginalised queer community in their country, but until now has found it difficult to voice that of their own.
Reading Time: 3 minutes Drawing on Amsterdam’s IHLIA LGBT Heritage and Homologie magazine, Lerma pieces together a new narrative to represent the experience of gay men outside of stereotype
Reading Time: 3 minutes Moreno’s Latest work draws on glamour, Freud, gender and performance as they navigate an isolated lockdown.
Reading Time: < 1 minute Vincent Ferrané’s portraits of Ava, Jackie, Leo, Mathieu, Matthias, Maty and Raya are now published in a photobook
Reading Time: 4 minutes In the winter of 1988, at the Institute of Contemporary Art in Philadelphia, an exhibition opened, triggering outrage. The Perfect Moment, a display of 125 photographs by New Yorker Robert Mapplethorpe, was the most comprehensive show of his work to date – and the most provocative – featuring images he had taken over the previous 25 years, including those of his divisive X Portfolio.
The retrospective came at a difficult time in Mapplethorpe’s life: he was 42, and losing his fight with Aids – the disease that would take his life the following March. Perhaps, for him, this was his final chance to show this expansive oeuvre to the public – most of it shot in his Manhattan loft. But his pristine black-and-white photographs of BDSM scenes, and the sexy, sinewy strangers he met at the Mineshaft sex club, shocked conservative audiences. On a political level, the culture wars in the US were raging.