.: We Were Once A Society Of Artists

Sunday, August 05, 2012

We Were Once A Society Of Artists

One of the things I have noticed over the years is our departure from art and design in favor of economic thriftiness.
We used to be a race of creative creatures who place a value on creating intricate and ornateness in everything we created from cars to buildings. The giant glass structures of today are rarely inspiring or speak to the creativity of the human imagination. We had lost our way sometime around the great depression and settled for the banal of the rectangular box. Yet we have living templates of how the world should have evolved. One of which resides in my home town of Detroit… The Guardian Building…

The Guardian Building is a landmark skyscraper in the United States, located at 500 Griswold Street in the Financial District of Downtown Detroit, Michigan. The Guardian is a class-A office building owned by Wayne County, Michigan and serves as its headquarters. Built in 1928 and finished in 1929, the building was originally called the Union Trust Building and is a bold example of Art Deco architecture, including art modern designs. At the top of the Guardian Building's spire is a large American Flag, complementing the four smaller flags atop nearby 150 West Jefferson. The building has undergone recent award-winning renovations. It was designated a National Historic Landmark on June 29, 1989, and the associated Detroit Financial District is on the National Register of Historic Places. The Guardian building includes retail and a tourist gift shop.

The main frame of the skyscraper rises 36 stories, capped by two asymmetric spires, one extending for four additional stories. The roof height of the building is 496 ft, the top floor is 489 feet, and the spire reaches 632 ft. The exterior blends brickwork with tile, limestone, and terra cotta. The building's interior is lavishly decorated with mosaic and Pewabic and Rookwood tile. The semi-circular exterior domes are filled with Pewabic Pottery; Mary Chase Perry Stratton worked closely with the architect in the design of the symbolic decorations. Its nickname, Cathedral of Finance, alludes both to the building's resemblance to a cathedral, with its tower over the main entrance and octagonal apse at the opposite end and to New York City's Woolworth Building, which had earlier been dubbed the Cathedral of Commerce. Native American themes are common inside and outside the building. Wirt C. Rowland, of the Smith Hinchman & Grylls firm, was the building's architect while Corrado Parducci created the two sculptures flanking the Griswold Street entrance. The building includes works by muralist Ezra Winter. Rowland's attention to detail was meticulous. He supervised the creation of bricks to achieve the desired color for the exterior and designed furniture for the bank's offices. His attention went as far as designing tableware, linens and waitress uniforms for a restaurant in the building.

Note: Images were taken by various photographers Some text was derived from Wiki. This site does not specify or denote the sexual orientation of any model and as such please post your comments accordingly.

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The Dance Through Life Project

Photograph project dedicated to capture the Art of Dance within the parameters of everyday life. The project hopes to capture the innate relationships between dance and everyday life. Images of dance performed in non-traditional locales hopefully demystifying dance as being inaccessible and drawing the obvious metaphor that while all can not express life with such movement and physicality, we all love with our own signature grace. Therefore we all dance.

Order your copy today by clicking on the books above!

Through New Eyes: The Photography of Christopher Cushman by Rinaldo Walcott

The Black male body remains an enigma despite its over representation in the public sphere. The dominance of hip hop culture globally, driven in part, but not exclusively by the innovative sounds of rap music have made Black men a standard by which Black men and other men judge themselves in contemporary culture. However, there is a paradox, because despite the prevalence of hip-hop’s popular global impact, Black men are also still some of the most despised men in Western culture. Stereotypes of criminality, disease and danger still abound and organize Black men’s lives, even within hip hop culture. Thus representations of Black men tend to be much more restricted, than open-ended. The struggle to bring Black men into complex open-ended representations has been an on-going historical struggle. One of the most potent forms of representation in the last one hundred and fifty years has been the photograph. Photography has offered the promise to represent the real in a manner that has both seduce its viewers and baffled them with its artifice. Black male photographic representations in the last half of the twentieth century and into the twenty-first have promised to rescue Black men from the confines of mis-representation and stereotype. One of the most difficult and complicated circumstances of Black male representations has been in the realm of representing their sexuality. Black men’s sexuality is still over-burdened by a perceived threat and danger, especially now in the hyped-up era of the downlow. Then along comes Cushman. I first hear of Christopher Cushman’s photography from my boyfriend. He told me of a guy who was taking photographs of black nudes based upon how they wanted themselves to be seen, not how he posed them as his models. When I met Cushman he confirmed that he did indeed work from the models’ suggested posed and not impose his own. The idea is a great one because it allows the models agency in choosing what they believe to be an adequate representation of who they are. While it is now true that in contemporary culture subjects have learned to play for the camera, offering us artifice on command, this artifice can be understood as exposing inner senses of self and being. Cushman’s photography captures and reveals those inner desires. Look at me, many of the models seems to say. But look at me anew, is also what they seem to project and insist on. Cushman’s eye lavishes these Black male bodies with glimmers of light revealing their nuance personalities. While most of the men are naked their individuality comes clearly through. And yet, their eyes too reveal that they belong to a community, a family and possess desires, fantasies and needs. In these photographs, as viewers we are given new eyes to see beyond our inner voyeur. Cushman channels, Robert Mapplethorpe, Rotimi Fani-Kayode and many other artists, commercial and amateur photographers who seek to rescue the Black male body from the disastrous depths of mis-representation, and who almost always fall short. The conversations that his models create between his work and others whether unconscious or not reveal the profound influence of the image in our time. However, in Cushman’s eyes the Black male body is not being rescued, instead it stands on a self-made pedestal, not arrogantly announcing its existence but coolly (its signature) singing its own praisesong as swathes of light and behind the camera love washes over it. In each moment a small but significant revelation is made. Each revelation offers us the opportunity of an Epiphany – to think a thought about a Black man that we have not thought before. Professor Rinaldo Walcott is a cultural critic and Canada Research Chair of Social Justice and Cultural Studies at the University of Toronto. He lives and writes in Toronto.

FIERCE! Being Black, Being Gay in America

"What Chris has done with this important collection of images, Fierce: Being Black, Being Gay in America, A Photographic Essay, is to seek, lift, and affirm the identity and visibility of men-who love-men and express it in many ways. His photographs display Midwest American men from the outlandish and flamboyant, to the subdued and subtle. You’d think these were “ladies who lunch;” muscular men dressed for the “Park” in lace, and floppy hats to give effect for all to see. Brothers connecting in places we know are safe, such as our nightclubs, the discos, and special events targeting our interests.

The importance of Fierce is paramount: all men are created equal, and share a space on earth. These portraits of men have to be recognized as God’s beauty and not His damnation. Time will thank those who were strong and dared enough to express themselves for all to see and appreciate in a manner that’s loving and creative. Time will also thank us for not living in a paranoid state of mind, and afraid of our own shadows. Remember, this cluster of work isn’t Robert Mappelthope’s approach to black imagery, but the approach of documenting men as they wanted to be seen: with and without sexual stimulation, for shock value."

Curtis A. Lipscomb
Executive Director Kick – The Agency for L-G-B-T African-Americans
Detroit Michigan / 2005
www.e-kick.com