Miru Kim is fearless. She ventures into places to make her art that most of us would neither enter nor risk arrest to be in: underground tunnels, sewers, abandoned factories, power plants, the tops of bridges and churches. Once she arrives at these hidden and desolate places, Kim explores the setting, finds the best point of view, puts her camera on a tripod, and removes her clothes — in order to take some of the most engaging photographs of the moment.

The nude has a rich history in art, and its use as subject matter is constantly evolving, especially in contemporary photography and video. Spencer Tunick uses naked bodies to create installations of flowing flesh in public places, which he captures in photography and exhibits as prints; Katy Grannan finds her subjects via classified ads and photographs them nude or provocatively clothed in the privacy of their homes and in nature; and Pipilotti Rist puts sensuality center stage in her surreal video fantasies, where fruits, flesh, and flowers merge to create moving installations.
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On October 30th, 1974, Muhammad Ali touched gloves with George Foreman in Kinshasa, Zaire. After eight epic rounds, Ali put the mighty Foreman, and the demons of his late career achievements, down to the mat. The Oscar-winning doc When We Were Kings told the story of The Rumble in the Jungle and captured Ali’s magical verbal sparring, along with the feeling generated by American pop and confidence merging with tribal rhythms and homecoming warmth. But that was only half the story. Read More »