Throughout the 1970s, 80s and 90s, Mike Abrahams travelled the country photographing National Front marches, prison life and people’s everyday struggles
Continue reading...© Photograph: Mike Abrahams
© Photograph: Mike Abrahams
Tee A Corinne took fearless shots of same-sex lovers in a 1980s Oregon commune – and published a notoriously intimate colouring book that became a minor classic. Has her time come at last?
In 1993, Tee A Corinne wrote that she was “close to being finished with sexual imagery”. Corinne was a prolific multimedia artist, activist, photographer and writer of erotica and autobiography. Much of her work involved what she called “labia imagery and … images of women making love with other women or with themselves”. After three decades of this, however, she was thinking about moving on. “I have thought this before but changed my mind,” she wrote. “Why? Because no one else was making the images I wanted to see.”
The images Corinne made, in part because nobody else was doing it, remain extraordinary, invigorating and quietly radical. Her Artist’s Statement: On Sexual Art is just one of many documents, posters, essays and letters gathered together by Charlotte Flint, editor of A Forest Fire Between Us, a new book collecting some of Corinne’s considerable body of work and the ephemera surrounding it.
Continue reading...© Photograph: © Tee A. Corinne / Tee A. Corinne Papers, Coll. 263. Special Collections and University Archives, University of Oregon Archives, from Tee A. Corinne: A forest fire between us (MACK, 2024). Courtesy of MACK and University of Oregon Archives.
© Photograph: © Tee A. Corinne / Tee A. Corinne Papers, Coll. 263. Special Collections and University Archives, University of Oregon Archives, from Tee A. Corinne: A forest fire between us (MACK, 2024). Courtesy of MACK and University of Oregon Archives.
A new book pulls together glamorous portraits of film stars from the 1920s to the 60s who could draw an audience with their name alone
Continue reading...© Photograph: John Kobal Foundation/Getty Images
© Photograph: John Kobal Foundation/Getty Images
Stars turned out for the Vogue World event celebrating fashion and sports, at Place Vendôme in Paris, a month before the city hosts the Olympics
Continue reading...© Photograph: Kristy Sparow/Getty Images for Vogue
© Photograph: Kristy Sparow/Getty Images for Vogue
For generations the Gurung community in Taap, about 175km (110 miles) west of the capital, Kathmandu, and other villages in the districts of Lamjung and Kaski, have scoured the steep Himalayan cliffs for honey. The villagers say the proceeds, split among them, are drying up as the number of hives has declined over the past decade, although some also earn a living from growing crops of rice, corn, millet and wheat
Continue reading...© Photograph: Navesh Chitrakar/Reuters
© Photograph: Navesh Chitrakar/Reuters
Enlarge / To be fair, I wouldn't put it past an AI model to forget the flamingo's head. (credit: Miles Astray)
A juried photography contest has disqualified one of the images that was originally picked as a top three finisher in its new AI art category. The reason for the disqualification? The photo was actually taken by a human and not generated by an AI model.
The 1839 Awards launched last year as a way to "honor photography as an art form," with a panel of experienced judges who work with photos at The New York Times, Christie's, and Getty Images, among others. The contest rules sought to segregate AI images into their own category as a way to separate out the work of increasingly impressive image generators from "those who use the camera as their artistic medium," as the 1839 Awards site puts it.
For the non-AI categories, the 1839 Awards rules note that they "reserve the right to request proof of the image not being generated by AI as well as for proof of ownership of the original files." Apparently, though, the awards did not request any corresponding proof that submissions in the AI category were generated by AI.
© William A. Anders/NASA
Enlarge / Light painting reveals a cloud of particulates on Airport Road, Addis Ababa, Ethiopia (PM2.5 10-20 micrograms per cubic meter). (credit: Robin Price)
Light painting is a technique used in both art and science that involves taking long-exposure photographs while moving some kind of light source—a small flashlight, perhaps, or candles or glowsticks—to essentially trace an image with light. A UK collaboration of scientists and artists has combined light painting with low-cost air pollution sensors to visualize concentrations of particulate matter (PM) in select locations in India, Ethiopia, and Wales. The objective is to creatively highlight the health risks posed by air pollution, according to a new paper published in the journal Nature Communications.
“Air pollution is the leading global environmental risk factor," said co-author Francis Pope, an environmental scientist at the University of Birmingham in the UK who spearheaded the Air of the Anthropocene project with artist Robin Price. "[The project] creates spaces and places for discussions about air pollution, using art as a proxy to communicate and create dialogues about the issues associated with air pollution. By painting with light to create impactful images, we provide people with an easy-to-understand way of comparing air pollution in different contexts—making something that was largely invisible visible."
Light painting has been around since 1889, when Étienne-Jules Marey and Georges Demeny, who were investigating the use of photography as a scientific tool to study biological motion, created the first known light painting called Pathological Walk From in Front. In 1914, Frank and Lillian Mollier Gilbreth tracked the motion of manufacturing and clerical workers using light painting techniques, and in 1935, Man Ray "signed" his Space Writing series with a penlight—a private joke that wasn't discovered until 74 years later by photographer/historian Ellen Carey in 2009.
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