Christer Strömholm – [from first to last] Suzanne and Mimosa (196X); Suzanne and Mimosa (196X); Cobra and Caprice (1961); Narcisse (1968); Soraya and Sonia (1962); Cynthia (196X); Gerdy (196X)

Apparently Strömholm moved from Sweden to Paris towards the end of the 1950s. He took up residence in Place Blanche, at the heart of the red light district.

During his time in this locale, he befriended a number of the trans women sex workers in the neighborhood. (Many of who were working to save up money for gender confirmation surgeries.)

In 1983, he published this photos in a book entitled Les Amies de Place Blanche–of the work, he wrote: It was then— and still is— about obtaining the freedom to choose one’s own life and identity.

Aeric Meredith-GoujonTitles unknown (200X)

Tumblr has it’s problems. However, in at least one regard, I think it’s actually better than a museum.

When I go to a museum: I’m in a public place–which makes me uncomfortable to begin with. Short of seeing something that makes such a profound impression that I lose track of time and physical embodiment, I’m always super vigilant about monitoring my anxiety levels, hunger, do I have to pee and if I do which bathroom can I use with the least fuss.

All these factors preclude my not fully engaging with the majority of works I see.

Tumblr–until they made their asinine best stuff first option (which you all should disable this feature, double pronto)–is sort of wonderful with the way it both introduces you to stuff you wouldn’t have known you loved but also forces you to reconsider work you’ve previous passed on.

I’ve been in the anti Aeric Meredith-Goujon camp for years. He’s completely revamped his website, though; and his editing is better–although I do think he’s lost some of his early edginess in favor of making his bodies of work more accessible.

Either way, the above two images are fan-effing-tastic.

Aino Kannisto – [↑↖ ] Untitled {Launderette} (1999); [↑↗] Untitled {?} (20XX); [↖] Untitled {White Tub} (2008); [↗] Untitled {Stripey Curtains} (2013); [↙] Woman Washing Herself from Delicate Demons {collaboration with Satu Haavisto}; [↘] Woman on a Hospital Bed from Delicate Demons {collaboration with Satu Haavisto} (2014); [↓↙] Untitled {Shower II} (2000); [↓↘] Untitled {Bathtub} (2015)

Um… so… :::looks down at toe of boots and kicks clumsily at imaginary dirt::: this is like really, really, super, above-and-beyond, over-the-top phenomenal work.

Kannisto’s a member of The Helsinki School and fucking A, if you want to you yourself a jealousy aneurysm–go ahead and check that out. (It’s EXTREMELY rare to find a group with this much stellar work to their collective credit.)

Her use of color is more understated that Prue Stent–but understated color that still is integral to the work is actually incredibly difficult to manage.

Plus, I’m always gonna go gaga for any artist that is intimately familiar with both Uta Barth and Johannes Vermeer.

But what I think is most impressive about her work is how she fits so much narrative potential into such minimal and unadorned frames.

God, it is really unnerving to look at work that this incredible–because it’s a rare occasion and it’s happened maybe three times in the almost six years that I’ve been running this blog that I’ve seen indications that what I feel is important to photography as a form is something other artists are also tuned into/turned onto.

Thanks so much to @absolution-v, for his post featuring Kannisto–without it I’d probably have gone another five years without knowing about her. (Also, if you aren’t already, you should definitely check out Absolution-V’s blog–it’s offbeat and eccentric but I’m routinely introduced to work I’d otherwise miss.)