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From The Museum at FIT: A Queer History of Fashion: From the Closet to the Catwalk The Museum at FIT, New York, 13 September 2013 — 4 January 2014 Curated by Fred Dennis and Valerie Steele A …

Press release (14 December 2016) from the Royal Collection Trust: Canaletto and the Art of Venice The Queen’s Gallery, Buckingham Palace, London, 19 May — 12 November 2017 The Queen’s Gallery, Pala…

Press release (14 December 2016) from the Royal Collection Trust: Canaletto and the Art of Venice The Queen’s Gallery, Buckingham Palace, London, 19 May — 12 November 2017 The Queen’s Gallery, Pala…

Stuart Brumfitt: An exhibition at the Fashion Institute of Technology in New York explores the LGBTQ contribution to style, from 18th-century London to present-day America

Courtesy Stephen Rutledge. Sweden, 1955. Courtesy Stephen Rutledge. Swe...

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Strong woman and acobat Louise Leers (aka Luise Krökel), 1930s. Some of the images of the badass strong women in this post date all the way back to the very early 1900s however the female “strong woman” was an attraction as long ago as the early 1700s where women such a the “Female Italian Samson” and the “Little Woman from Geneva” would perform impressive feats of strength such as bearing massive amounts of weight on their backs or effortlessly hoisting several men in their arms. The ‘Great Sandwina’ aka, Katie Brumbach. Sometime in the late 1800s the appearance of strong women became more prevalent in sporting events and were also a common attraction in circuses where they would showcase their superhuman strength. This in turn paved the way for other rule-breaking girls such as female wrestlers and bodybuilders. One of the best known super women was Katie Brumbach called the “Great Sandwina.” Hailing from Vienna, Brumbach’s parents were also circus performers and it would appear that she was the combination of her father (who stood 6’ 6”) and her mother (who was herself a strong woman of sorts, sporting biceps that measured 15 inches around). She not only...

Graffiti and visual artist Keith Haring photographed with one of his paintings in April 1984. One of Mitchell's most beautiful color photographs. This exhibition print is 17 x 22". Comes direct from the Jack Mitchell Archives with a Certificate of Authenticity. Jack Mitchell, (1925-2013) bulging photographic portfolio of actors, writers, painters, musicians and especially dancers describes a pictorial history of the arts in the late 20th century. Mr. Mitchell, who took hundreds of pictures for The New York Times, was both a portraitist and a capturer of complex motion. An expert in lighting, he worked mostly, though not entirely, in black and white, and he was known — by his subjects, by the magazine and newspaper editors he worked for, and by critics — as someone who could make a photograph reveal character. Jack Mitchell was the official photographer for the American Ballet Theater, and he chronicled the work of the Alvin Ailey American Dance Theater for more than thirty years. When he retired in 1995, he had fulfilled more than 5,000 assignments in black and white, and nearly a thousand in color. He photographed more than 160 covers for Dance magazine, and his photos have appeared in Time, Life, Newsweek, Rolling Stone, Vanity Fair, Vogue and many other publications. Mitchell’s photographs are in the collections of the National Portrait Gallery, the Museum of African American History and Culture, and the Smithsonian Archives of American Art, among others. The 2019 USPS Black Heritage postage stamp honoring American performer Gregory Hines was made from a Jack Mitchell photograph, and a Jack Mitchell photograph of Audre Lorde was transformed into a huge glass mosaic as a permanent installation at the 167th Street MTA subway station in NYC.

He is remembered for his subversive photographic explorations of gender identity and his powerful performances with ex-partner and artist Marina Abramović