Portrait of a Girl (Sophie Gray), 1857. Sir John Everett Millais (English, 1829-1896). Oil on mounted paper.
Sophie Gray was the artist’s sister-in-law and one of his favourite models in the 1850s. The is alive with an electric energy between the sitter and the artist. Women of this period were not portrayed in a confrontational manner, which was unacceptable to Victorian Society. Sophie displays a direct, intimate self-confidence, creating an image far more familiar to 20th century eyes than those of her day.
Carla Andrade - Costa da Morte
THIS IS AMAZING
Lupita Nyong’o and Benedict Cumberbatch at the Pre-Golden Globes party
No you guys stop it
I know it would be tough for anybody to stand next to Lupita without looking dull and plain by comparison but Batchy especially, man. And I like Batchy. This is the best argument for why white people should not have control of society’s beauty standards.
I just wanted to see some cool vintage carry-on bags, Ebay. Instead you pull this.
Bought my plane ticket and booked on Via Rail for my trip to SLC this summer. I get to be in San Francisco for a whole hour! That’s not sarcastic enthusiasm; my threshold for travel excitement is extremely low.
Andrew Putter: Native Work (Capetown, South Africa)
This new installation comprises 21 black-and-white photographs of contemporary black Capetonians, in ‘tribal’ or ‘traditional’ costume in the genre of the iconic ethnographic photographer Alfred Martin Duggan-Cronin. These are displayed in a grid alongside the same subjects photographed in colour, where the sitters chose what they wished to wear based on how they see themselves.
'Cognizant of the dangers inherent in Duggan-Cronin's colonial, ethnographic approach to making images, Native Work nevertheless recognises an impulse of tenderness running through his project,’ writes Putter in an article about his project published recently in the journal Kronos: Southern African Histories. ’By trusting this impulse in Duggan-Cronin’s photographs, Native Work attempts to provoke another way of reading these images, and to use them in the making of new work motivated by the desire for social solidarity, a desire which emerges as a particular kind of historical possibility in the aftermath of apartheid.’
By exploring his own complex feelings towards an ideologically tainted but aesthetically compelling visual archive, Putter enters the fraught terrain of ethnographic representation to wrestle with himself about his own complicity, as an artist and a white South African, in this troubled visual legacy. Art critic Alex Dodd writes that this new work ‘constitutes one of those rare instances in which it becomes unmistakably clear to the viewer that the primacy of authorial intention has everything to do with the subtle alchemy that determines the meaning and affective power of images. In this case, the immense respect and tenderness that went into the making of the photographs registers visually as a kind of auratic quality of dignity that shines through each and every portrait.’