https://fineartmultiple.com/francis-bacon/
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| Balthus |
Irving Penn
RETRATOS
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| Edith Piaf |
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| Helmut Newton |
Tuesday, September 29, 2026
Kate Upton Embraces Sunny Style for Vogue Thailand Cover Shoot
KATE UPTON EMBRACES SUNNY STYLE FOR VOGUE THAILAND COVER SHOOT
Published on
Fresh off her super SI Swimsuit Issue return, Kate Upton lands another cover with the April 2017 issue of Vogue Thailand. Captured outdoors by Yu Tsai, Kate wears a Miu Miu swimsuit and shawl. In the accompanying spread, the blonde bombshell flaunts her curves in looks from the spring collections. Stylist Amy Mach dresses Kate in the designs of Balenciaga, Dolce & Gabbana, Celine and more. / Hair by John Ruggiero, Makeup by Rachel Goodwin
Polly Penrose / Body
DYNAMIC NUDE SELF PORTRAITS DEPICT ONE WOMAN’S CHANGING BODY OVER SEVEN YEARS (NSFW)
Over the duration of seven years, London based photographer Polly Penrose created a series of dynamic self portraits that examine a woman’s changing body and it’s emotional reaction to a physical space. The series, titled Body of Work, began in a purely organic way, stemming from her desire to capture eccentric nude portraits, while aware she could more accurately dictate concepts and ideas using herself as a subject rather than a model.
Each portrait is a reaction to how the body can ‘fit in’ a physical space. Often, Penrose has never seen the location before, and she never enters a space with a concrete idea. Open to unrehearsed experimentation, each image tests her stamina; whether she can balance upside down on a chair or stretch into a downward dog-like yoga pose, while running back and forth between her positioning and the camera’s self timer. Each pose is also an emotional response to her feelings at that specific moment in her life. For example, she forms a tight ball of excitement on a yellow chair as she reacts to her recent engagement. In another, she is overwhelmingly calm and balanced, nine months pregnant, awaiting the birth of her first child. Then we see the almost sacrificial, exhausted pose two months into motherhood.
Richard Kern / An interview
29 MAY 2010
Richard Kern
AN INTERVIEW
By David Walsar
One of the premier visual stylists of the No-Wave scene in 1980s New York, filmmaker and photographer Richard Kern worked with musicians and performers like Lydia Lunch, Henry Rollins, Kembra Pfahler and Lung Leg, a.k.a. Elizabeth Carr — who, most famously, appeared on the Kern-shot cover for Sonic Youth’s 1986 album EVOL.
Wing Shya / Hong Kongs's Enigma
WING SHYA: HONG KONG’S ENIGMA
There is an art to taking photos, which we can all clumsily learn; and then there is photography that opens up a world of iridescent dreams and peculiar fantasies, in which each characters’ emotions are tangible, caught in a momentary standstill. It is this kind of photography that steals our hearts and Wing Shya has made it his forte.
Monday, September 28, 2026
An Autumn Sunset by Edith Wharton
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| Edith Wharton fotografata da David Levine |
Poesia della settimana: Un tramonto autunnale di Edith Wharton
Nota soprattutto per i suoi romanzi, la scrittrice fu anche, a tratti, una poetessa di grande talento, come dimostra questa riflessione su un cielo infuocato.
Harlem’s ‘Manchild in the Promised Land’
Harlem’s ‘Manchild in the Promised Land’
April 10, 2014
One of my young students at City College once asked me how many writers associated with the Harlem Renaissance of the 1920s were actually born and raised in Harlem. “Not many,” I answered without any real concrete information for her question.
Jhumpa Lahir / The Namesake and Me
The Namesake and Me
Lauren Olmeda
July11, 2017
I have a tattoo on my left ribcage; it is made up of four lines, drawn to look like the silhouette of a small house, but without a line sealing it at the bottom. To me, it signifies that home is an open-ended concept, one without a lock on the door, one that can be returned to over and over again. The protagonist of Jhumpa Lahiri’s The Namesake, like me, lives between two worlds but never feels fully comfortable or accepted in either. This purgatory sets the course of his (and my own) life, sneaking up on him in moments he least expects it and driving some of his most important decisions. He does not know quite when to give in to the pull of his ancestry or to the illusion of American-ness he has cultivated his entire life. I grew up stretched across an ocean, pulled between Germany and the United States from the age of barely fifteen. Having moved abroad at such a young age, I was malleable and moldable, ever-changing yet desperately trying to retain whatever American identity I had managed to create by then. I was resistant to my new home, never referring to it as such but instead calling it “this place.” I blamed my parents for yanking the rug out from under me and transporting me to a new continent just as I was beginning to discover myself. I was hesitant to make friends, not wanting to abandon the ones I’d left behind and for whom I stayed up till 5 AM, chatting away online as if we were still in the same time zone. Even as I settled into my new school, the sense that I was betraying who I thought I was nagged at me with persistence. I wanted to be happy, but being happy felt like giving in, accepting my reality, instead of rebelling against it as I’d sworn to do from the very first day.
Julie Myerson / What I see in the mirror
What I see in the mirror: Julie Myerson
'When I was 35, I considered having a rose tattoo – my kids flatly forbade it and I'm extremely grateful'
Julie Myerson
Friday 8 July 2011 22.59 BST
I see a woman of 51. But it's strange and oddly comforting to notice that the dreamy, unformed face of my 13-year-old self is somehow still there, too.
‘The people in the photo’ /A French novel by Hélène Gestern
‘The people in the photo’
A French novel by Hélène Gestern
Kate Wilkins
March 3, 2014
Hélène Gestern’s deftly crafted debut novel won heaps of prizes in France (‘Eux sur la photo’, Arléa, 2011). Will its English translation, `The People in the Photo‘ – published in the UK by Gallic Books this February – follow suit?
Sunday, September 27, 2026
Shirley Jackson / The US queen of gothic horror claims her literary crown
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| Shirley Jackson |
Shirley Jackson: the US queen of gothic horror claims her literary crown
This article is more than 4 years old
Ignored by critics during her lifetime, the Haunting of Hill House author is now recognised as a great American novelist
Sarah Hughes
She has been cited as an inspiration by Stephen King, Donna Tartt, Neil Gaiman and Joanne Harris. Now the American author Shirley Jackson, once memorably described as writing “not with a pen but a broomstick”, is set for a long overdue reappraisal on this side of the Atlantic.
Shirley Jackson’s Disappearing Act
Shirley Jackson’s Disappearing Act
Underrated for most of her life, the author of "The Lottery" is at last experiencing a revival.
Jane HuSeptember 26, 2016
“And the first thing they did was segregate me” goes the opening line of Shirley Jackson’s 1941 short story in the New Republic. In the enigmatically titled “My Life with R. H. Macy,” an unnamed Macy’s shopgirl narrates her first day at the store until the moment she abruptly walks off the job forever. Although this was Jackson’s first publication in a commercial magazine, the first sentence is typical of the blunt and uncanny style for which she would later become known. The story also prefigures a career in which she’d frequently be discriminated against and misunderstood. She was 25 at the time. This is how the magazine’s bio line introduced her to the public: “Shirley Jackson, the wife of Stanley Hyman, is living in New Hampshire and writing a novel.”
Shirley Jackson / The Man in the Woods
The Man in the Woods
Wearily, moving his feet because he had nothing else to do, Christopher went on down the road, hating the trees that moved slowly against his progress, hating the dust beneath his feet, hating the sky, hating this road, all roads, everywhere. He had been walking since morning, and all day the day before that, and the day before that, and days before that, back into the numberless line of walking days that dissolved, seemingly years ago, into the place he had left, once, before he started walking. This morning he had been walking past fields, and now he was walking past trees that mounted heavily to the road, and leaned across, bending their great old bodies toward him; Christopher had come into the forest at a crossroads, turning onto the forest road as though he had a choice, looking back once to see the other road, the one he had not chosen, going peacefully on through fields, in and out of towns, perhaps even coming to an end somewhere beyond Christopher’s sight.
Saturday, September 26, 2026
Analysis of Vladimir Nabokov’s Novels
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| Vladimir Nabokov by David Levine |
Analysis of Vladimir Nabokov’s Novels
In 1937, Vladeslav Khodasevich, an émigré poet and champion of “V. Sirin’s” work, wrote, “Sirin [Nabokov] proves for the most part to be an artist of form, of the writer’s device, and not only in that . . . sense of which . . . his writing is distinguished by exceptional diversity, complexity, brilliance, and novelty.” Khodasevich went on to say that the key to all Sirin’s work was his ability to put all his literary devices on display, with little or no attempt to conceal them, thus entertaining his readers more with the revelation of how the magician performs his tricks, than with the trick itself. “The life of the artist and the life of a device in the consciousness of an artist—this is Sirin’s theme.” Khodasevich, although he had not yet read The Gift—purported to be Vladimir Nabokov’s greatest Russian novel—had discovered the most important element of Nabokov’s fiction.
Nabokov, 40 years on / 13 things you probably didn’t know about the Lolita novelist XLISTO 2017
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| Vladimir Nabokov |
Nabokov, 40 years on: 13 things you probably didn’t know about the Lolita novelist
40 years after his death, Vladimir Nabokov's Lolita continues to mesmerise and shock in equal measure. His greatest achievement however, is not the story of Humbert Humbert's perverse affection, but rather his own artistic endurance as a writer
A secret of Nabokov
The secret of Nabokov's sexual style
Lolita was a taboo-breaker, but Nabokov always denied it was pornographic. David Lodge on how poetry and humour come together in his writing about sex
Saturday 7 June 2014 08.30 BST
W
riting well about sexual intercourse is not easy, and it has got more, not less, difficult as virtually all legal restraint on the explicit description of sexual acts in literature ceased in most western democracies from the 1960s onwards. Censorship in the past was often oppressive and silly, but it also presented a stimulating challenge to writers, to which they responded by finding subtle ways to convey their meaning indirectly, or more courageously by gradually testing and extending the limits of socially acceptable explicitness. There are a limited number of possible sexual acts. Now that the novelist is expected to describe them, how does s(he) achieve originality? How to avoid revealing, or appearing to reveal, his/her own sexual predilections and fantasies?
Friday, September 25, 2026
Sea Oak by George Saunders
SEA OAK by George Saunders
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