Homeward Bound is a domestic setting where all the skeletons are let out of the closet and allowed to play on the furniture, to stomp each other’s grapes. With the eye of noted designer Oliver M. Furth, the gallery space has been transformed into a literal home, complete with a living room, dining room, bedroom, bathroom, beyond. Karon Davis’s Bianca sits plaintively by a front room window, drinking, smoking, waiting for a lover who will never return. Bjarne Melgaard cross-dresses in the skins of other species as if he was never quite comfortable in his own, while Lisa Anne Auerbach is very comfortable lounging around the house, reading bondage magazines in her underwear. Chris Burden’s first wife informs him in a letter that not only won’t she crucify him to their VW Bug, but that the suggestion has destroyed her relationship with the vehicle. Gold-leafed snails carry their mobile homes to the apexes of an organic landscape—the tips of Ruben Verdu’s nose and erect phallus—and both artist and travelers achieve climax simultaneously. Within the walls of this house, faces become chairs, vaginas become toothy faces, jello moulds become temples and orifices, music becomes sex itself. Homeward Bound will be on view until December 9th at Nicodim Gallery, 571 S Anderson Street Ste 2 Los Angeles
photographs by Flo Kohl
photographs by Adam Lehrer
“Athens Love” consists of snapshots Ren Hang took in Athens and other parts of Attica, Greece, during an artist residency in April, 2015. The images evoke faded memories of escapades with friends and lovers against the saturated backdrop of the Mediterranean. An incandescent face rises from a tumble of long black hair, bordered by a blue sky and sea; protruding genitals cheekily reflect the surrounding natural landscape. Linking these images is a narrative Ren Hang subtly pursues in all his work, in which man and nature each react to the other’s magic. Ren Hang will be signing copies of monograph, Athens Love, at New York’s Dashwood Books on March 25, 2016 with an exhibition at Klein Sun Gallery in New York from 24 March 2016 to April 30, 2016. Click here to read Autre's short interview with the photographer.
Sean Maung's work is self-aware and straight up, no bullshit. He goes in and gets facts, doesn’t set up situations to make them seem glamorous or rough or exciting, they just are. Erotic, troubling, downright dirty, an homage to Nan Goldin and Weegee - work that is so uncomfortable and confident in its willingness to be exposed, looked at. Sean Maung on Initiation: “[Emma Gruner] had hit me up on Instagram. Sent me a DM of herself naked with a comment saying that she liked my work. I looked into who she was. She was an erotic artist from London. She wasn't afraid to immerse herself into erotic art; taking cock, sucking dick and swallowing cum. I liked that. It didn't feel like the porn, it felt like art. And she was real and confident enough to fuck in a hardcore way. I told her that I digged her work and if she was ever in NY to hit my line. She contacted me, saying she was gonna be in DC on the weekend of the 14th and I was randomly gonna be there the same weekend to shoot a rap show. She liked the idea of being backstage at a rap show, among an urban culture that isn't the same as in Europe. Growing up in LA, whenever I heard the word initiation, it meant a gang jumping you in. This was her initiation into a lifestyle that was exotic to her, but she was ready and open.” You can click here to purchase Sean Maung's series Initiation in the form of a limited edition zine here. text by Audra Wist
Photographer Jan Hoek and fashion designer Duran Lantink present Sistaaz of the Castle, a project about the style and fashion of transgender sex workers in Cape Town, South Africa. Together they created a series of photographs and a fashion collection around their fashionable appearances, and their ability to make the most exuberant creations of everything they find. The project will be shown during FashionWeek Amsterdam and an exhibition at Foam Photography Museum Amsterdam. The local sex workers’ organization, S.W.E.A.T., gave Jan and Duran the opportunity to meet and collaborate with their transgender support group Sistaazhood. For this project, Jan and Duran zoom in on six girls from the community: Coco (25), Cleopatra (23) Sulaiga (30), Gabby (29) Flavinia (33) and Joan Collins (57). Most of the girls are homeless, living under a bridge beside the castle of Cape Town. Jan Hoek made photographs of them, their lives and their outfits. The documentary images serve as a lookbook for the collection of Duran Lantink. The designer was inspired by the creative ability of the girls to produce beautiful creations from found garments. He recognized a similarity to his own process, using different recycling methods and collage techniques. Along with the creations, the artists were interested in how the girls would like to look if they had unlimited possibilities. One of the girls would like to work in a luxurious Victorian brothel. The 57-year-old Joan Collins dreams of a wedding dress and a third wants to become Miss Africa. All these fantasies are translated into a dream-couture capsule collection by Duran, which is also photographed by Jan. In addition to the fashion show and exhibition, a printed publication (APE) will be published and distributed worldwide in March 2016. Eventually, Jan and Duran will return to South Africa to present the Sistaaz of the Castle project on its original site. Usually, transgender sex workers are presented as perpetrator or victim in the South African media. The girls of Sistaazhood expressed their wish to be seen positively in the news. The collection will be presented during FashionWeek Amsterdam at the Gashouder on January 16 at 7p.m.. The Foam exhibition will be on view until January 20.
My sexual freedom had turned into burgeoning co-dependency and like a shark sniffing out blood in the water, my eyes went white and I could no longer see the world as I once had. I fiended for that good stuff and locked myself away gnawing at the fence of sexual satisfaction. I started getting attached, paranoid, neurotic. This was a real problem for me. I am interested in sex, I write about sex, I think about sex, I like sex very much. I don’t even have to question it—I’m just there, fucking. And therein lied the problem: reckless, automatic over-investment. By diving head first into something that was supposed to be on particular terms, did I lose the ability to create the framework in the first place? Click here to read more.
It was slow at first, circular, like a rabbit chasing a fox on a cul-de-sac in the suburbs. I watched the fan. He told me I tasted amazing. I liked that. My fears dissolved, so did his tongue. It felt warm, the way the metal underbelly of a truck heats up on a highway in Nevada. He kissed my thighs and slipped a finger inside me. I reached for his shoulders not because I wanted him inside me, not yet. This was sensuality with no endpoint. I needed to kiss him. His lips were glazed and slippery. I’d never tasted myself. It was sweet and I let go. Click here to read more.
photographs by Oliver Maxwell Kupper
"Find a couple. Have each of them tell me a secret. Install two safes in their home. Lock each secret up in its own safe. Keep the codes to myself. The lovers will have to live with the other’s secret close at hand but out of reach." Fraenkel Gallery presents an exhibition of work by Sophie Calle. Calle uses photography, text, and video to pursue her sociological and autobiographical investigations. Her exhibition at Fraenkel Gallery focuses on four bodies of work in which the artist delves into the nature of love, violence, secrets, and death. Among the works on view will be Secrets—a pair of working safes for storing a couple’s secrets, accompanied by a plaque engraved with the above text and the artist’s contract stipulating how these mysteries will remain secured. Writing is often integral to Calle’s work, as in her 2014 triptych Suicide (also on view), in which photographs of dark ripples on the surface of black water are accompanied by text sandblasted on glass: “They say the police can distinguish between people who drown themselves for love and those who drown themselves for money…” Featured in this exhibition will be two series incorporating portraits from ‘ready-made’ sources and addressing themes of privacy and violence. Calle’s Cash Machine photographs are made from ATM video surveillance footage, and each work is exhibited as a sequence of two to eleven images. Collateral Damage, Targets is a series comprised of images of petty criminals’ mugshots, which were used for police target practice. The exhibition will be on view until December 24, 2015 at Fraenkel Gallery in San Francisco. photographs by Bradley Golden
Steven Kasher Gallery presents Thomas Roma: In the Vale of Cashmere. This exhibition of Roma’s most recent project consists of an intricate sequence of 75 black and white portraits and landscapes photographed in a secluded section of Prospect Park, a meeting place where black, Latino and other gay and bisexual men have long sought one another out to fulfill their wish for community and to satisfy sexual desire. This is Roma’s first major New York exhibition of new photographs since his acclaimed solo exhibition Come Sunday at the Museum of Modern Art in 1996. The book In the Vale of Cashmere will be published by powerHouse Books in conjunction with the exhibition. Thomas Roma: In the Vale of Cashmere will be on view starting today and running until December 19, 2015 at Steven Kasher Gallery, 515 W. 26th St., New York, NY
“I love to be caressed,” he said to me, my hand on his chest. Color me impressed. As I get older, I continually notice the need for men to be touched. I’ve been a long time proponent of strip clubs, sex work, and so forth – physical sites designed for and marketed to men for sexual pleasure – even before I could really justify it legally or intellectually. I always had a hunch that something was going on there that was good for women and for sex, and that the usual bad mouthing on the grounds that men were sniveling tit-obsessed cretons was ill considered and lacked any constructive thought about the potential of these venues for sexual progress. Click here to read the full essay.
He was a “he,” which meant the dummie knew already that there was only two things in the world that mattered and he wasn’t either of them. Were, were! There was the online world of instagram photos and sexiness. Everything that was young or female and sexy or famous and rich and arching its back in a photo, which he wasn’t and then there was the physical world of problems, such as taking a shit and what was written on the wall, and having to go upstairs to take a shit because someone was already in the bathroom, which was the janitor, probably, and him being on campus, and him being in his office, and his being on campus, and him being a fuckhead professor, which you shouldn’t and couldn’t really even say as a fuckhead who was a professor. Fuckhead. click here to read the full story
Flipping my roles, cuckolding is a favorite. To have someone watch me fuck is an honor and a privilege yet enormously humiliating and/or exciting for them. I am enjoying myself thoroughly while you watch and pine. Click here to read the full essay.
Brian Kokoska, who can often be found with a knife clutched between his teeth or with a devious, wide-grinned smile, is one of our favorite artists working today. His paintings almost look like they belong to the hand of a child in art class working out some kind of trauma caused by alien abduction, but when you look closer, there is unexplainable magic going on. Perhaps Kokoska’s paintings are mirrored reflections of our own demons, or the artist’s – who really knows or cares – but what you will find amongst his crude oil painted visages is a sense of primordial familiarity. Maybe these creatures are our friends, or maybe they are out to kill us. Click here to read our interview with the artist.
I just masturbated to the thought of sitting on someone’s face. I figured whatever came to mind I’d write about. And really, what better way to begin writing about facesitting than right after getting off to the thought. What is it about the act? Just a few minutes ago before writing these words, I was lying in bed rubbing myself to the thought of my ass coming down gently on a particular face, me “triumphantly” above him, as he often remarks. The pressure and weight of my ass resting on his face, suffocating him temporarily and squeezing my thighs against his neck and head. I like the way he gasps for air as I release his face from the grip of my derriere. The image alone sets off a fantastic wank — a vision of ivory softness, large and overwhelming, looming above his face, which is soon to be smothered into erogenous bliss. Click here to read more.
J.W. Anderson is currently hosting an exclusive, online exhibition and print sale of photographs by English photographer Ian David Baker. Baker's intimate, black-and-white portraits and collages offer a rare glimpse into gay youth subculture of 1980s England. The 50 images displayed in the exhibit have been personally curated by designer Jonathan Anderson and selected from Baker's archive. Many of the negatives no longer exist, making these original prints the last remaining copies of Baker's early work. Visit J.W. Anderson's website to view the exhibition and purchase prints.