Mangaluru: A forum in Dakshina Kannada has launched a campaign to prevent photography and videography of daivaradhane of Tulunadu. Members of the Tulunada Daivaradhane Samrakshana Vedike, have begun installation of boards prohibiting photography and videography of daiva kola, bhoota kola, nema and other demigod worship.
Vedike convener Chandu Kotian Kuppepadavu told TOI, “We have decided to visit all daivasthanas in the district and request the committee to prevent photography and videography of daivaradhane. We have put up boards prohibiting photography and videography in more than 25 shrines in the district. We also have plans to visit the remaining shrines and request the committees. We also have noticed that committees of many shrines have adopted the change by insisting devotees not to use mobile phones and cameras in its premises,” Kotian said.
He said the vedike has decided to visit a daivasthana every week as part of the campaign. “We are not forcibly stopping anyone from shooting daiva kolas. We have been trying to convince them of the significance of Tulunadu’s worship. It is very sad to see people holding mobile phones in their hands in front of the deity during nema and kola rituals. Further, such photos and videos are also misused for reels to be shared on social media. Let devotees offer prayers with folded hands instead of holding mobile phones,” he added.
Recently, members of the communities like Nalike, Pambada and Parava had held a protest in the city opposing the portrayal of daivaradhane in dramas, cinema, Yakshagana, and other entertainment platforms. Further, they also have opposed sharing of video clips of daivaradhane on social media. Daivaradhane should not be an artform for entertainment to be presented on other platforms, said the community members who held a protest.

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On view until February 25 at the HKCACC Gallery in Po Hing Fong, Sheung Wan, the exhibition is a result of Fowler’s desire to discover and showcase little-known or abandoned pockets of Hong Kong.

The British photographer, who has lived in Hong Kong since 1989, is a video producer by trade, having produced and directed a number of cooking shows, action-adventure shows and commercial videos over the years.

When work dried up during the coronavirus pandemic, he began using his camera gear to take stills instead.

“I was satiating my wanderlust by travelling to all the places in Hong Kong that I hadn’t been,” he says. “I hadn’t realised what I’d missed until I started looking deliberately.”

Above all, the photographer was looking to capture images that offered a sense of ambiguity. “I’m looking for images that you can’t really place in a time frame,” he says.

That led him to temples and makeshift shrines all over Hong Kong, where he discovered hundreds of deities and demons that all had colourful backstories.

Among the places he visited were a sky full of gods and Buddhas, the Hong Kong Dragon Garden, in Tsing Lung Tau in the southwest New Territories, and the Fuk Tak Temple, in Shau Kei Wan at the eastern end of Hong Kong Island.

“I realised that a lot of people just don’t understand what’s going on inside the temples,” he says. “They go once as a tourist, but then they don’t revisit these places.

“They don’t realise how many magical stories that are contained within, and the absolute beauty of these effigies, which have decades, if not centuries, of patina. All that wear and tear really adds to their lustre, in my opinion.”

Among the effigies on display in “The Art of Celestials” are those of Guan Yu (god of war), Choy San (god of wealth) and Tin Hau (goddess of the sea).

The figurine of Sai Wong Mo (also known as the Queen Mother of the West) was found at a roadside shrine where someone had splashed the abandoned statues with red paint and cemented them in place – traditionally, it is considered bad luck to throw away religious figurines, which is why they are often abandoned on street corners in Hong Kong.

“When you’re looking at a portrait like this, I can imagine them as a living entity,” says Fowler. “Your brain starts going into the backstory of what kind of people they would be. If he’s a benevolent demon, you can imagine him being a lot of fun.”

Indeed, demons such as Qianliyan, the green-skinned one with extraordinary vision from the novel Journey to the West, as well as his younger brother Shunfeng’er, who has exceptional hearing, are also depicted in the exhibition.

Having died in a fierce battle the siblings became vengeful spirits, but they began using their abilities for good after the sea goddess Mazu intervened.

Meanwhile, Guānyīn shows the goddess of mercy (also known in Cantonese as Kwun Yum) against a graffiti-adorned backdrop, which was added in post-production. By juxtaposing the deities with modern backgrounds, Fowler hoped to reinterpret the portraits in a contemporary context, he says.

“I just wanted to bring them into the modern world somehow,” he says. “Obviously a picture needs to be visually arresting on the first glance, but I want people to then go, ‘Hang on a minute. What’s going on?’”

Other images offer a sense of humour – a photograph of two half-undressed monks enjoying each other’s company is simply titled Joy.

“It’s a bit homoerotic,” Fowler says with a laugh. “I’m not going to say anything more about that, I’ll just let people make their own minds up.”

“The Art of Celestials”, HKCACC Gallery, 68 Po Hing Fong, Sheung Wan, until February 25; dickiesuzuki.com.

In an era where the narrative of art and personal identity intertwines, the unveiling of George Platt Lynes’ private collection by Skinner Auctioneers heralds a significant moment in the celebration of queer artistry. Lynes, an American photographer renowned for his evocative portrayal of the male form, navigated the treacherous waters of societal norms to immortalize the beauty and intimacy of homosexual relationships. The collection, featuring both commercial portraits of eminent gay writers and musicians like E.E. Cummings and Virgil Thompson, as well as daring nude photographs, marks a bold assertion of Lynes’ legacy as a pioneer of queer photography in the 20th century.

Breaking the Taboo: George Platt Lynes and the Celebration of Queer Artistry

George Platt Lynes’ journey as a photographer was one of both innovation and rebellion. Born into a period where the mere depiction of homoerotic themes was a defiance, Lynes used his lens to craft narratives that went beyond the constraints of his time. His adept use of lighting and poses not only elevated the aesthetic value of his work but also imbued it with a profound sense of emotion and vulnerability. Despite the potential backlash, Lynes committed himself to explore and celebrate the spectrum of human sexuality through his art. This recent exhibition not only showcases Lynes’ commercial successes but also his audacity to venture into the realm of the explicit and intimate, portraying nude figures with an elegance that challenged and transcended the taboos of his era.

The Legacy Preserved: Triumph Against Prejudice

Following Lynes’ death, the fate of his expansive body of work, particularly the pieces that candidly celebrated male nudity and homoerotic desire, hung precariously. Much of it was feared destroyed or forever hidden from public view, in part due to the anti-gay sentiment that pervaded society. However, Lynes’ foresight in entrusting his collection to the Kinsey Institute ensured that his vision would not be extinguished. Today, this collection stands not only as a testament to Lynes’ artistic genius but as a triumph against the anti-gay prejudice that sought to suppress such expressions. The preservation and public appreciation of these hitherto unseen works represent a significant stride in the ongoing journey towards inclusivity and acceptance in the art world and beyond.

A Revolutionary Vision: Unveiling the Unseen

The documentary ‘Hidden Master: The Legacy Of George Platt Lynes’ serves as a beacon, illuminating the life and work of a man who dared to envision a world unbound by prejudice. Lynes’ photographs, capturing the likes of friends, models, and performers, including Yul Brenner, in their most vulnerable and intimate moments, speak volumes of his knack for storytelling through the lens. These images, once cloaked in secrecy, now invite the public to partake in Lynes’ revolutionary vision—a vision that champions the beauty of the male form and the authenticity of queer relationships. By bringing these works to light, Skinner Auctioneers not only honors Lynes’ legacy but also contributes to the narrative of art as a catalyst for social change, challenging us to rethink and expand our understanding of beauty, sexuality, and human connection.

In conclusion, the exhibition of George Platt Lynes’ private collection is a watershed moment in the recognition and celebration of queer artistry. It underscores the enduring power of art to challenge societal norms, to preserve the nuances of human emotion and identity against the tides of prejudice. Lynes’ work, once the subject of taboo and contention, now stands as a beacon of progress, inviting viewers to appreciate the complexity and beauty of human sexuality. As we delve into these photographs, we are not just witnessing the legacy of a visionary artist; we are participating in an ongoing dialogue about the essence of humanity and the transformative power of art.

If you could look backward through the lens of the camera that captured the most memorable moments of my career, you would see the eye of photographer Bob Caccamise.

But now, sad to say, Bob is retiring.

“It’s like Simon and Garfunkel breaking up, you know, it’s similar to that,” Bob said. “Or it could be like ‘Bonnie and Clyde’ breaking up.”

His wit and dear friendship have made my work feel like anything but. We’ve been partnered for the better part of 30 years now, and travelled to every corner of the country, covering the strange and somber. 

And to think it all began with a chance meeting at a company holiday party.

“And he (Hartman) was sitting down by himself because no one liked him, and I said to him, ‘If you want a cameraman, I’m your man,'” Bob said.

I was drawn to his humility. But working with him wasn’t so much about his raw talent as a cameraman, it was just fun. 

“But the raw talent was definitely there,” Bob said.

We’ve been told we’re like an old married couple. And I know many of you can relate. In fact, this week we put out a call on Facebook asking to hear from other “work spouses.” Hundreds chimed in, and the relationships they describe sounded an awful lot like “real” marriages.

“You don’t really have to explain certain things, they just know what you’re thinking,” one responder said.

People have always told me I have best job in America, and it’s true, but not for the reason everyone assumes. Rather, it’s because every week, I’ve had Bob by my side to share the experience.

“We started out as work friends and we became best friends,” Bob said.

And that part will never change.

Steve Hartman

Steve Hartman has been a CBS News correspondent since 1998, having served as a part-time correspondent for the previous two years.

MARQUETTE, Mich. (WLUC) – A photography exhibition called Extracting History: Mining and Marquette County opened at the Beaumier U.P. Heritage Center Friday.

Most of the displayed images are by photographer Lexie Belles. The exhibition is the visual show for the completion of her Master’s of Fine Arts degree at Northern Michigan University. Belles said her main areas of focus are Old Town Negaunee and the Cliffs Shaft Mine Museum in Ishpeming.

“This is probably two-and-a-half, three years’ worth of work and a lot of help from many different individuals,” Belles said. ”And working with great people from the community… A completion of something that has been a long time coming.”

Belles said her theme explores how the mining industry impacted the community’s culture. The exhibition runs through March 1.

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