IN PAINTINGS throughout history, women were typically either seen as an object or as a domestic function. They were not, for the most part, painted in the same fashion that men were painted. But what if they were? What if we took a painting of man and replaced him with a woman?
This is a study of art, of history, of feminism, all through the medium of photography.
vive la femme
*the final portfolio will be done with 35mm film
QUEER FILIPINO SELFIES!
CA+T’s Queer Filipino Selfies! Pinterest board is growing! CA+T invites Filipino lesbians, gays, bisexuals, transgenders, queers, genderqueers, drag queens, baklas, tomboys, and other non-normative-identifying Filipinos and Filipino allies from around the world to submit a “selfie” and help CA+T create an online scrapbook and virtual resource that captures the diversity of queer-identified Filipinos throughout the global diaspora.
Check out CA+T’s Queer Filipino Selfies! Pinterest board to learn more about the project and how you can participate!
NOSTALGIA: Cindy Crawford, Tatjana Patitz, Helena Christensen, Linda Evangelista, Claudia Schiffer, Naomi Campbell, Karen Mulder, and Stephanie Seymour in Gianni Versace Photographed by Peter Lindbergh for the September 1991 Issue of Vogue
Visit Vogue.com for a look back at the iconic fashion house of Versace.
Dancing in the Dragon Jaws.
Dancing in the Dragons Jaws is Los Angeles-based photographer Thomas Alleman’s profound and nuanced body of work taken of San Francisco’s broader gay community during the mid-1980s. Working as a newspaper photographer for The Sentinel at the time, he was given the time and liberty that all sociopolitical relevant issues—including those of the present day—deserve. After shelving this work for over a decade, Alleman went back in 2009 to uncover and scan images that he’d previously overlooked.
Intermixed with images of galas, glitter, and glam are also images that show the severity of the struggle facing San Francisco’s gay community in the mid-80s. Alleman recalls, “We reported and photographed a blizzard of protests and demonstrations, vigils and marches and sit-ins, as the community struggled for social and political recognition of the crisis. But not every drumbeat was martial, of course. Often it was syncopated and disco-y, and I watched countless partiers dance to it with a shimmy and a bounce, and with life-affirming joy. While many of the pictures demonstrate a community in lamentation, many others are about anger and resolve, and most are about love and life. And disco and drag.”
Because of this range in depiction, because of the patience shown for the fight, because of the far-reaching concern shown for one another—whether dressed in a suit or in drag—Alleman shows us a human issue, not just an LGBT one. Therein lies this collection’s heart. Furthermore, Alleman reminds us of “that moment in our social history—so long ago, and so very recent—when the first wave of the AIDS epidemic crashed onto one of our country’s most vibrant neighborhoods. And, while that tribe convulsed with well-earned fear, heartbreak and anger, some still found the courage and the will to celebrate the dream of life they’d come to San Francisco for, and they danced in the dragon’s jaws.”
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