Photographer David Gwinnutt’s new show Portraits Trouvés at north London estate agency Currell provides documentation of the drastic transformation of our city through portraiture of some of the leading lights in arts and culture from the 80s to the 10s.
Anthropologist Ted Polhemus has uploaded a wealth of new images from his extensive and valuable street style archive onto his website.
Continue reading Ted Polhemus: More street style delights posted on his digital archive
The Conformist – artist Paul Kindersley’s counter intuitively-titled group show about non-conformity of expression from Emma, Lady Hamilton and Aubrey Beardsley to Marvin Gaye Chetwynd and Julie Verhoeven – opened with a bang last night with a private view at Mayfair’s art and jewellery space Belmacz.
Continue reading The Conformist: A vibrant, eccentric, chaotic delight – miss out at your peril!
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I am among the participants in The Conformist, a group exhibition being organised for the New Year by artist Paul Kindersley at the gallery of Julia Muggenburg’s extraordinary London art/jewellery establishment Belmacz.
I’m saddened by the news of the death last week of the great Australian photographer Robyn Beeche.
From time to time I’m going to be turning over information and images here as I go through the process of writing my book Legacy: The story of The Face.
Today I spent an enjoyable and enlightening few hours interviewing former editor Richard Benson; during our conversation it became clear that one of the turning points in the history of this significant magazine occurred with the spring 1992 publication of the issue headed Love Sees No Colour.
This coincided with the High Court judgment against the magazine in the unfortunate libel case brought by actor/singer Jason Donovan on the grounds that he had been branded a liar and a hypocrite as a result of the inference that he was gay.
The theme of tolerance had been hatched by Benson’s predecessor Sheryl Garratt long before the dispute reached, in publisher Nick Logan’s words, “its unhappy conclusion”.
In terms of the magazine’s narrative, the issue affirmed The Face’s position as the lightning rod of the progress of popular culture in the inclusive 90s.
Designed by Boris Bencic and Lee Swillingham, the issue tipped the hat to those figures who had played a part in the 80s story – Boy George, Paul Smith, Leigh Bowery – and also hit the mark with the generation setting the pace for the new decade, whether it be Joe Bloggs, Kate Moss or Martin Margiela.
Produced in an all-hands-to-the-pump atmosphere, with Logan and Garratt in daily court attendance and the all-too-real prospect of forced closure as a result of the huge legal bills resulting from the Donovan case, The Face May 1992 is a cracking issue, one which stands up as a consummate example of journalistic excellence achieved under duress.
Legacy: The story of The Face is published by Thames & Hudson in autumn 2017.
NAME: Nicholas Abrahams
RESIDES: London
OCCUPATION: Film-maker
Nick Abrahams’ work includes promos for Stereolab, Add (N) To X and sigur rós. More recently he collaborated with Jeremy Deller on the fascinating exposition of fan’s desires, The Posters Came From The Walls.
Among Abrahams’ current projects is Jayne County biopic Man Enough To Be A Woman. Judging from the rushes shown last year, this will be a doozy.
Last autumn Abrahams created the 30-minute Stooges film Doghouse. The installation at Tatty Devine included a portrait of our hound Rita.
Abrahams cuts quite a dash in any company; as I say below, I admire his ability to combine the edgy with the traditional without pretension.
Here he answers the Blokes Of Britain questionnaire, covering ground from Tiny Tim to gold teeth by way of Cordings, Trickers, Viv Stanshall and William Burroughs. Oh, and not to forget Edward Gorey’s fur coats, Joseph Beuys’ felt suits and Nick’s own creation: The Denton Welch safety bib.
How would you describe your sartorial style?
My girlfriend says I look like a straight bear (IE: a chubby gay man with beard).