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fellinesca

35. What’s Up, Doc? (1972) Dir. Peter Bogdanovich

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Bad Girls Go to Hell (Doris Wishman, 1965)

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All the Beauty and the Bloodshed (Laura Poitras, 2022)

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On the Silver Globe (Andrzej Zulawski. 1987)

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Always for Pleasure (Les Blank, 1978)

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Keanu & River in My Own Private Idaho (Gus Van Sant, 1991) ♥

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My Own Private Idaho (Gus Van Sant, 1991)

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River Phoenix wakes up in Rome in My Own Private Idaho (Gus Van Sant, 1991)

andivebeenaforestfire

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Ænigma (Lucio Fulci, 1987)

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Ænigma (Lucio Fulci, 1987)

blueteensclub

mementomoriiv

Malwine Stauss

marimyam

Quilts by Rosie Lee Tompkins, from The Radical Quilting of Rosie Lee Tompkins

queerasfact

Queer artists 14/30 - Salman Toor

Salman Toor is a Pakistani-American painting living and working in New York City. His work often depicts candid scenes of queer men in social scenarios such as gays bars and house parties, as well as the experiences of South Asian men in the diaspora. These pieces explore themes of public and private space, the role of technology in modern life, and the treatment of men of colour. Salman’s work often uses bright, saturated colours, with many of them strongly featuring the colour green. He says, “I chose green for aesthetic reasons. There is something nocturnal about it, like night vision. It’s inviting and glamorous, but it has connotations of poisonous gases and potions. But most importantly, I like that it’s not a sentimental color.”

Salman’s work is influenced by both South Asian and Western canons, placing subjects who have typically been marginalised from art history into these canons. His painting The Bar on East 13th, for example, visually references Manet’s A Bar at the Golies-Bergere. He states, “I like these seemingly undernourished and hairy bodies of color inhabiting familiar, bourgeois, urban, interior spaces. I see these boys or men as well-educated, creative types discovering what it means to live an artist’s life in New York City and in the thick of changing ideas about race, immigration, and foreignness, and also what it means to be American. Sometimes they can look like lifestyle images. They are also fantasies about myself and my community.”

[Image descriptions: Two green-tinted scenes of bars in which men dance, talking, embrace and kiss. In the first, a bartender stands behind a bar, looking at the viewer, while the mirror behind him reflect the patron he is looking at and the bar behind him. In the second, a central figure stands in a gap in the crowd, looking down at a mobile phone which shines light across his face.]