There’s an air of both mundaneness and mystery in the series The Waiting Game by Spanish photographer Txema Salavans. The blown-out landscape images were collected over a period of six years, and the intriguing photographs don’t depict hitchhikers – they feature prostitutes. We see women sitting at rural roadside locations along Spain’s Mediterranean coast, including highways, secondary highways, and small byways between towns. Formally, they are not the focus of Txema’s composition. They appear from a distance and sit on the side of the photo’s frame as road signs, wilderness, and construction sites surround them. The routes seem desolate but are still well traveled, as drivers want to avoid having to pay for toll roads, as well as trucks carrying goods and fruit take them from Andalucia to France.
Salavans disguised himself knowing that these women probably wouldn’t want their photos taken in the first place. He wore a surveyor’s costume, complete with an assistant and a surveyor’s pole. The results offer an unconventional into the world of prostitution that takes it off city streets and to quiet moments. (Via Feature Shoot)
“Hermaphrodite [sex … is] the sex of the angels,” explains Claudette, an intersex sex worker, to the photographer Malika Gaudin-Delrieu. The pair began their collaboration after meeting in Claudette’s native Switzerland, where Gaudin-Delrieu was documenting the country’s legalized prostitution. With her recent series of photographs, the artist elegantly dispels stigma around complex gender identities; as seen through her lens, Claudette is a woman, a husband, and a father.
Ideas on prostitution, a field often associated with the abuse and exploitation of women, is also complicated by the work. Here, sex work is seen as a means of self-actualization and joy; “Claudette is the opposite of a victim. She controls her life, makes her choices clearly and knowingly. She does more than just live her life, she loves it,” says Gaudin-Deirieu of her subject. A courageous activist for sex workers’ rights, our protagonist stands before a dark auditorium, bathed in spotlight, silently inhaling, poised to speak.
Laced throughout the work are subtle moments of love and intimacy. The series, romantically titled La vie en rose (presumably after the love song by Edith Piaf, a prolific French singer who was cared for by sex workers), focuses in part on Claudette’s 52 year marriage to her wife Andrée. Claudette’s quiet warmth and affections, seen in her and Andrée’s sleepy embrace, permeates throughout the entire visual narrative; with the same profound care, she counts her earnings, dresses in lingerie, rubs her neck.
Claudette describes her work as “[assuming the role of] ultimate femininity […] with happiness and a sense of relief,” and her nuanced relationship with her sensual yearning shines through in the images. We follow her as stops in the street, seduced by a lingerie shop window, as she dresses herself, fingering the textured fabrics as they cling to her body. Claudette’s life, as seen through streaming sunlight and soft darkness, is magnetic, alluring, and unexpectedly soothing, and viewers are left to ponder an indescribably complex global sexual and political landscape. What do you think? (via Feature Shoot and HuffPost)
Writer’s note: Gaudin-Deirieu’s work and this post are in no way meant to be taken as a generalization of the lives of sex workers; instead, they are meant to highlight the life an individual. As the artist explains, there are as many views on prostitution as there are people practicing it. For many, it’s a form of abuse; for Claudette, it is not.
The word “hermaphrodite” is usually considered to be offensive, and in no way is this post meant to condone or encourage the use of the word under most circumstances. Here, it is used only because Claudette herself identifies with the word.
“Takeesha was working one of the streets in an empty industrial area. She called me over and said, ‘Hey, take my picture,'” Arnade recalls. “I was relatively cautious initially because I didn’t want to be insulting, but she opened up and started telling me her life story.”
A former Citigroup financier of 20 years, Chris Arnade, became disillusioned by the narrow-mindedness and greediness of the corporate world. As a way to escape his unhappiness in Wall Street, he started taking long walks with camera in hand. He strolled through Hunts Point in the Bronx, one of the city’s most dangerous neighborhoods. It was there, while on a walk around town, where he met a very friendly and honest prostitute named Takeesha.
She opened up, he photographed her. Astonished by her honesty, Chris insisted in creating a positive and honest image of her friend Takeesha.
From then on his life changed for the better. He traded his job for his new-found hobby: Taking honest and vibrant photographs of prostitutes, homeless people, and drug addicts in the South Bronx. He would not only take photographs of them, but he would also get acquainted and makes friends with these ‘rejects of society.’
“Hunts Point is a dark cloud with a silver lining. It’s people who are seemingly in the lowest of the low positions who are still somehow resilient. Those moments of resilience can be very optimistic.”
Although there are many whom are against his work (some calling it ‘exploitative’), Arnade stands by his images and his daily walks with pride. In a way, this is Arnade’s way to give back. See, Aranade grew up with the Catholic Church, a doctrine which taught him to do good in order to make up for the sins he’s committed in the past. Although always a very honest man, Arnade’s past with Wall Street haunts him daily, and his new found love of the camera and new friends make up for the piled guilt he felt for many years.
I want to make conventional portraits for unconventional people.
His images are simple, yet quite powerful. He captures these reject’s livelihood in a very honest and nonchalant way. The background is their native space and not a studio. Their clothes is not borrowed, but its theirs. Arnade’s images are crammed with damaged, but optimistic outlooks- he does not what to portray anything different; vulnerability is key. (via PolicyMic)
Scot Sothern is an older photographer, who due to a gnarly motorcycle injury, now walks with a cane. His stunning black and white photographs taken years ago explore what many consider to be the world’s oldest profession, prostitution, while his recent color shots document the random scenes he encounters on a daily basis. And while many of us roll up our windows and try to avoid even subtle eye contact with street corner hookers, Sothern welcomed them into motel rooms to pose for his unnerving lens and even partake in debauchery reserved for a pervert’s imagination and Charles Bukowski’s pen. He was probably the only person to ever shoot his subjects with something other than a gun or semen and his photos, mostly taken in the late 1980s went largely unseen until his first exhibit in 2010 at DRKRM Gallery in downtown LA – just blocks away from where a fan could’ve gotten into some serious trouble if they were inspired by the work. Besides living a wild life and making sure to have a camera there to capture it all, Sothern is also a wonderful writer who is able to describe his experiences with literal crack-addicted whores like they were the most elegant things you’ve ever read about in your life. WARNING: This post contains images that are NSFW.