It’s a sweltering Wednesday night in Manchester, as we await the special guest. The opening act has gone, the stage has been cleared, and is set for the trailblazer of modern turntable technicians and self-styled scientist, Grandmaster Flash. Hip hop has changed immeasurably since its salad days, where a raw, anti-disco, New York underground movement […]
It was the personification of spangly TV sci-fi served with a thick slice of Colby cheese. Produced in the 70’s and based 500 years into the future, Buck Rogers envisioned a post-apocalyptic 25th Century Earth where space-age villainy, stargates and copious amounts of spandex reigned supreme. Cryonically induced into a state of suspended animation following […]
Embracing the issue of class-consciousness with aplomb, and thankfully devoid of contemporary horror’s current preoccupation with CGI, Society (1989) is not only a divine slice of body horror, but also a fascinating polemic on the social mores of Reaganite America.
Initially commissioned to photograph a Balenciaga hat, it was only a matter of time before the influential images of Parisian photographer Guy Bourdin were showcased in international fashion bibles.
On its initial release in 1932 it was reviled, but in subsequent years, baroque horror classic, Freaks is regarded as an eccentric gem which was too enlightened for its time, primarily because the majority of its ensemble cast were disabled sideshow performers.
Amongst an array of exceptional and disparate images for sale at the forthcoming Philip de Pury & Company Photographic Auction, a considerable number emanate from the milieu of fashion photography.
A heavily manipulated image which projects an exaggerated sense of reality represents the distinctive signature style of Chinese fashion photographer Chen Man.
The services of Sigmund Freud serves as a fitting space to showcase the work of Louise Bourgeois whose exhibition The Return of the Repressed explores her thirty years of ambivalent attachment to psychoanalysis.
Initially gaining recognition for a collaboration with Dior in 1980, subsequent campaigns for Yves Saint-Laurent and Valentino and covers for Vogue and Vogue Italia have earned Italian photographer Paolo Roversi, a place within fashion’s aristocracy.