Marfa Journal Issue 1 is a new publication created by artists for artists to connect contemporary high-end fashion and art. Marfa Journal‘s overriding concept is inspired by the small desert town of the same name in Texas, which has attracted the art world since the 1960s and continues to be a capital of cultural disorder despite only having a population of 2,000. The first issue premieres with a bang, with two cover options featuring either Erik Brunetti shot by Victor Saldana or the cast of the new film The Total Princess shot by Alexandra Gordienko. The magazine is split into six sections: raw, casual, decadent, romantic, obscure and progressive.
Images from Capricious Magazine, Vol 2, Issue no. 11, Issue no. 13 and Issue no. 14
Swedish photographer Sophie Mörner founded Capricious Magazine in 2004. It is a biannual publication dedicated to showcasing emerging fine art photography. Its contributors and subject matter span the globe and is comprised almost entirely of images. Since Capricious collaborates with guest editors and chooses a new theme for each edition, the material is never lackluster. And while constant change is a primary Capricious trait, there are also definite common visual threads running throughout its history. Capricious has an affinity for things like animals, androgyny, opposition, reclaimed life, lust, natural as well as urban life, intimacy, revolution and nostalgia. Hanna Liden, Ryan McGinley, Esther Teichmann, Nick Haymes, Olaf Breuning, Melanie Bonajo and Skye Parrott are just a few of the dozens of photographers whose early work has been promoted by presence in Capricious. As a leading fine art photography journal, Capricious Magazine occupies a rare and whimsical space between commercial and fashion photography; it operates as both a tool for discovering new talent and as an artists’ oasis.
Capricious Magazine was the first-born and led to several other art and culture-related publications. Capricious Publishing has since produced GLU (Girls Like Us), LTTR V, Famous and Screen Capricious (a DVD compilation of short films). Capricious Books is the group’s latest endeavor. The first was “The Known World,” a photographic collaboration by Anne Hall and Sophie Mörner, released in November 2008, and the second is a monograph, also of photographic work, by Dutch artist Melanie Bonajo, “I Have a Room With Everything.” In 2009, Emmeline de Mooij created “Muddy” and in 2010, with AK Burns, Capricious published the first issue of RANDY magazine (a brand new lesbian culture zine). This year Capricious will work together with K8 Hardy to publish her first artist monograph.
Capricious Presents: is a roving curatorial project. Founded in June 2008 as an offshoot of fine art photography publication Capricious Magazine, our exhibitions serve as a physical venues for work of the same “capricious” aesthetic. Our mission is to provide sanctuary away from the city’s clamor and strife. Capricious works with emerging artists and to transform spaces according to their own visions and dreams, thus bringing the Capricious generation together.
Michaël Borremans, Shades of Doubt, It is not something of beauty underneath, 2012
When Belgian artist Michaël Borremans first presented his paintings to the world at the tender age of 37, he immediately caused a stir in the art scene. His realistic yet mysterious figurative images subtly draw one to the centre of a question which remains permanently unspoken. Through the combination of his immaculate painting techniques, using muted tones and classic compositions, and the puzzling scenarios that are at the heart of his work, the artist brings together both:
melancholy and humour.
Signed by the prestigious David Zwirner gallery in New York, Borremans represents the modern reincarnation of the classic painter, in the same league as his colleague and friend Neo Rauch. Recently, Borremans also started translating his mysterious scenarios into abstract short films, which have been shown at Berlin Biennial 2006, among others. He lives and works in Ghent.
With mono.kultur, Michaël Borremans talked about the mystery at the heart of painting and life in general, his commission for the Belgian Queen, and why he needs to wear his Sunday suit when he goes to work.
The issue features a whopping 20 plates of Michaël Borremans’ paintings, all printed in lifesize scale, allowing you to examine the technical mastery behind his work in breathtaking detail.
Classy pervs, rejoice: The coffee-table sex magazine Richardson is back from the dead. British fashion stylist Andrew Richardson (no relation to the similarly licentious photographer Terry) put out three glossy issues featuring porn stars and pontification between 1998 and 2002 before going on hiatus amid the post-9/11 economic downturn. In the years since, Richardson refined his business plan. (Sex = still interesting! Website = necessary!) “It’s the perfect time,” Richardson says. “There is a dialogue to be had about sex. All the information out there, whether it’s about sex parties, Internet sex, or pornography, is overwhelming. There is a real need for an edited voice.”
“Sorry I was being polite because you had put me in a public and difficult position. I actually think the magazine brings nothing to the potential art of pornography and do not want to be quoted in any way. Sincerely, Richard Avedon.”
That was a letter written by the legendary photographer to Andrew Richardson that is proudly reprinted in the opening pages of the third issue of the magazine published in 2002. With its confrontational, potent mix of sex, politics, art and a hefty dose of punk rock attitude, Richardson was never going to be to everyone’s taste. But even if Avedon passed on it, plenty of the highest calibre of photographers ranging from Glen Luchford, Mario Sorrenti and of course, Terry Richardson have shot for its pages, elevating it far above the realms of the mere sex magazine. That the magazine more closely resembles a beautifully put-together coffee table book is probably due to British-born Richardson’s background as a highly-sought after fashion stylist. But inside its pages, stories on group sex, sadomasochism, internet hook-ups, a guide to sexual fetishes represented by handkerchiefs and contributions from the likes of Bruce LaBruce, Harmony Korine, Richard Prince, Jack Pierson, Larry Clark and anarchist, Stewart Home serve to discomfit and entice in equal measure.
After a seven-year hiatus, the magazine returns with an unflinchingly honest look at the female gaze in A4. Crossover porn star, Sasha Grey gives a full and frank interview whilst posing seductively, whereas elsewhere Amy Kellner dishes on Riot Grrl, and transgressive artists like Annie Sprinkle, Valie Export and Carolee Schneeman are profiled in detail. At a time when the conservative nature of advertisers means that sexual provocation in magazines has become a rare commodity, the return of Richardson provides a much needed jolt and frisson of excitement.
