There’s an incredible sense of both empowerment and vulnerability present in these black-and-white photographs, taken by Rotimi Fani-Kayode, that explores the complexities of sexuality and hypersexuality, eroticism, intimacy, agency - or lack of, tradition and race - all highly critical aspects that form part of the experiences of many black gay men.

With a short-lived career that spanned between 1982 and his death at the age of 34 in 1989, the Nigerian-born artist centered most of his work on the many factors in his life that spoke to the tensions in his life that resulted from his constant sense of otherness. Born in Lagos, Nigeria in 1955, Fani-Kayode was part of a prominent Yoruba family who eventually moved to Brighton, England in 1966 to escape a military coup in the country and the ensuing Biafra war. From the age of 12, Fani-Kayode would continually struggle with frictions caused by his layered and intersectional identities of being a black, African, gay man, something he would eventually convey and express through his art work.

“On three accounts I am an outsider: in matters of sexuality; in terms of geographical and cultural dislocation; and in the sense of not having become the sort of respectably married professional my parents might have hoped for.”

"My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms.”

September: Highlighting African Photographers

“I can’t accept that. I can’t accept that there was only one black woman in the entire film, who delivered one line and who we never saw again. I can’t accept that the bad guys were Asian and that although in [Taiwan], Lucy’s roommate says, “I mean, who speaks Chinese? I don’t speak Chinese!” I can’t accept that in Hercules, which I also saw this weekend, there were no people of color except for Dwayne Johnson himself and his mixed-race wife, whose skin was almost alabaster. I can’t accept that she got maybe two lines and was then murdered. I can’t accept that the “primitive tribe” in Hercules consisted of dark-haired men painted heavily, blackish green, to give their skin (head-to-toe) a darker appearance, so the audience could easily differentiate between good and bad guys by the white vs. dark skin. I can’t accept that during the previews, Exodus: Gods and Kings, a story about Moses leading the Israelite slaves out of Egypt, where not a single person of color is represented, casts Sigourney Weaver and Joel Edgerton to play Egyptians. I can’t accept that in the preview for Kingsman: The Secret Service, which takes place in London, features a cast of white boys and not a single person of Indian descent, which make up the largest non-white ethnic group in London. I can’t accept that in stories about the end of the world and the apocalypse, that somehow only white people survive. I can’t accept that while my daily life is filled with black and brown women, they are completely absent, erased, when I look at a TV or movie screen.”

(Source: kennysweeney)


The Manson Trio from Pippin. How could you not love them!?

Petition to Kill Katy Perry’s Career











Their Bromance is too beautiful. Seriously can’t handle their overloading cuteness. Ramley forever~


Akira Kusaka, on Tumblr



Today’s Classic: Ray Morimura

Fan Bingbing in Georges Chakra’s Fall 2012 couture gown (X-Men: Days of Future Past World Premiere, May 10)

(Source: tonyloki)


Beveren, Belgium (by © Steven House www.houselightgallery.com)