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Listen Listening Gottschalk first picked up a camera as a high school art student growing up in New York City. She was driven to do documentary photography in large part by her fascination with the emergent LGBTQ scenes that she was a part of at the time. She said part of her style comes from documenting her own community: friends, lovers and family were often in front of Gottschalk's lens.
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By Jenna Wortham. O ne morning in August, as the sun brightened the sky over Syracuse, Zanele Muholi woke up thinking about her breasts. She had a cancer scare recently, and the dissection of female bodies lingered in her mind, kindling a concept for a photograph. She wanted to make a neckpiece similar to the beaded drapery worn by Zulu women during marriage ceremonies, only hers would be made of masking tape and tissues. It would form a bodice that looked like a cage — confining her body as much as adorning it.
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How does a person place himself in the current South African discourse when he is young, white and male? As someone who ticks all three boxes, this is a question I ask regularly as I seek to challenge myself and those around me while being sensitive to the historical social privileges that these variables afford. Last week, the first feature-length documentary on photographer David Goldblatt made its world premiere in South African cinemas, probing me to consider this question in the context of the South African white male and the responsibility he carries when wielding his lens. I acknowledge fully that I am the product of a white, middle-class, Jewish home. I have a good education.
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For more than a decade, South African photographer Zanele Muholi created a visual record of black lesbians in her home country. Although South Africa legalized same-sex marriage in , discrimination and violence against queer women remain widespread. In , Muholi began her Faces and Phases project, an ambitious series of bold, undeniably powerful portraits of lesbians made against plain or patterned backgrounds—now numbering around three hundred—and often exhibited in tightly arranged grids. Last November, Deborah Willis—author, curator, and prominent historian of photography—spoke via Skype with Muholi, who is based in Johannesburg, about photography and activism, her latest series Black Beauties, and her influences.
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