Where the Homeless Sleep

Anthony Hernandez takes a hard look at the neglected landscapes of Los Angeles.

By Stephen Hilger

East Los Angeles–born Anthony Hernandez has long recognized the underprivileged people and disregarded spaces of his hometown in his photographs. The artist’s photobooks published between 1995 and 2017 provide an anthology of overlooked, ordinary, and deprived public life in his native city. While Hernandez’s intention of giving visibility to this segment of society has been consistent, his photographic style has undergone important shifts during his fifty-plus-years calling. Despite these formal changes, however, Hernandez has persistently aimed to picture life in Los Angeles from an atypical perspective. Allan Sekula likened his imagery to “a city grid opening up to the east, and thus a reversal of the usual understandings of Los Angeles topography, which always approach downtown from the west, and rarely take in the view from the other side of the river.”

Anthony Hernandez, Forever #62, 2010
Courtesy the artist and MACK

In Hernandez’s most recent title, Forever (MACK, 2017), he returns to this familiar territory, examining the most neglected landscapes throughout points east and south of downtown LA. The fifty-five closely cropped color photographs in the book are different from the sweeping, cinematic images of Los Angeles one may be accustomed to seeing. Instead of buying into the glamorous projection exported through motion pictures and via self-aggrandizing digital screens, Hernandez takes what he has described as a “very hard look” at the urban landscape, and at the “hard spaces” its citizens occupy. With Forever, Hernandez returns to a longtime subject, photographing the spaces inhabited by the homeless in Los Angeles and beyond. The first photograph in the book reveals a worn-out broom leaning against a white-washed yet stained wall, and soiled sheets of cardboard jutting out past the foreground. As in William Henry Fox Talbot’s seminal picture of the broom at Lacock Abbey, the photograph attests to everyday life. A crucial difference is that Hernandez’s broom positioned against a dead-end concrete wall appears more confrontational as opposed to Talbot’s, positioned by an open door.

Anthony Hernandez, Forever #31, 2011
Courtesy the artist and MACK

Made two decades earlier, Hernandez’s first monograph, Landscapes for the Homeless (Sprengel Museum, 1995), presents the viewer with the visual evidence of homeless encampments between or underneath the sprawling freeways of Los Angeles. Invisible to the multitudes traveling through the city in motorized vehicles, these sites are made conspicuous in Hernandez’s saturated color photographs of the denizens’ bedding, clothing, cooking utensils, and other possessions within the brushy foliage. Landscapes for the Homeless depicts the social condition of homelessness without human subjects. It is the absence of the dispossessed in these “landscapes” that charges the scenes. Borrowing from Walter Benjamin, the “photographs become standard evidence for historical occurrences, and acquire a hidden political significance. . . . They stir the viewer; he feels challenged by them in a new way.” The lack of human presence marks the perhaps most significant transformation of the artist’s working process. While Hernandez’s earliest views from the street emphasized city dwellers adrift in the city by foot, his “landscapes for the homeless” are as hauntingly absent of people as the city views by Eugène Atget. This signature emptiness has remained in every subsequent series that Hernandez completed since that landmark work.

Anthony Hernandez, Landscapes for the Homeless #1, 1988
© the artist and courtesy Yancey Richardson, New York

When Hernandez started out as a photographer in the sixties, he roamed streets, beaches, and other public spaces to compose street photography–style portraits of the city’s residents. By the late seventies, Hernandez began to photograph people waiting for the bus throughout Los Angeles with a 5-by-7-inch view camera; in the process, he created a new style of street photography more attuned to the urban landscape. These photographs remained unpublished for thirty years, until they appeared in the monumental book Waiting, Sitting, Fishing, and Some Automobiles: Los Angeles (Loosestrife Editions, 2007). The coveted volume, published by John Gossage’s imprint, features forty-two exceptional duotone, gatefold reproductions of Hernandez’s black-and-white photographs from the late seventies and early eighties. Waiting, Sitting, Fishing, and Some Automobiles includes four distinct yet related photographic series that portray the systematic use of public space in Los Angeles. The large-format views open up the pictorial space and render details not possible with a smaller negative. In the book’s first sequence, “Public Transit Areas,” the viewer can glean small details like chewing gum littered on the sidewalk by waiting riders and motor oil–speckled roadways. Pedestrians recede from the foreground to the middle ground, transforming his images of people waiting into urban landscapes. The following two series in the book also depict Angelenos waiting: in “Public Use Areas” office workers take their breaks in overbuilt corporate plazas, while in “Public Fishing Areas,” people pass time at lakes and watering holes in the city’s furthest environs. In the final selection, “Automotive Landscapes,” Hernandez pictures auto-repair shops, used-car lots, and junkyards—the locations where the defining machinery of daily life in Los Angeles is maintained.

During the early nineties, on a walk through the city after his own car broke down, Hernandez noticed a crowd waiting in line at a social-services office. Although he had passed the scene often in his own vehicle, he experienced things differently by foot, where he could observe architectural details from the vantage of the people waiting in line at the welfare office. Hernandez photographed the tile façade that wraps around the building, recording what the people saw as they moved through the line. A detail view of the tile grid enfolds the book Waiting for Los Angeles (Nazraeli Press, 2002). The image is highly formal—a straight-on depiction of square colored tiles—yet the significant shift in perspective places the observer within the social space of the subject, simultaneously representing both an abstract and real view.

Anthony Hernandez, Forever #36, 2009
Courtesy the artist and MACK

As in Waiting for Los Angeles, Hernandez assumes the perspective of the subject—the vantage point of the homeless—in Forever. While the “landscapes for the homeless” made by Hernandez two decades earlier created views of an outsider looking in, Hernandez’s new photographs look out from the sites where the homeless sleep. The artist perceived what the inhabitants see as he positioned his camera on the ground where they sleep, cook, and maintain their makeshift shelters. An essay by Hernandez’s wife, Judith Freeman, written in dialogue with him, gives context to the photographs by transporting the reader along the photographer’s itineraries through the city. The conversational format is evocative of the dialogue between Lewis Baltz and Hernandez in Landscapes for the Homeless, titled “Forever Homeless,” which served as inspiration for the title of the new book. In the original text, Hernandez claimed, “the homeless stand for the failure to face the future. Maybe forever homeless is the future.” In 1995, the year when Landscapes for the Homeless was published, the global homeless population was estimated to be 55 million people. Twenty years later, it had nearly doubled to 100 million. To document the homeless sites in Forever, Hernandez didn’t need to discover hidden enclaves of the dispossessed; so many of these campsites now appear in plain sight, in the harsh, bright light of the midday sun. As the photographer learned through firsthand observation, “the most neglected landscapes are left for the most neglected people.”

Anthony Hernandez, Forever #56, 2009
Courtesy the artist and MACK

The bulk of Hernandez’s work has focused on what Baltz described as the “defeated” majority; however, in the course of five decades of photographing and the publication of more than a dozen books, there is an important exception. Rodeo Drive, 1984 (MACK, 2012) brought to light Hernandez’s photographs of luxury shoppers or wannabes in a brilliant series of corporeal color photographs. They compose the last series in which Hernandez depicted people, and the first photographs by the artist in color. Hernandez took aim at “the winners, the lumpen rich, enjoying the spoils of their victory on Rodeo Drive.” With the inclusion of Rodeo Drive, 1984, Hernandez’s archive provides an even further-reaching visual atlas of the socially diverse and divided metropolis.

Stephen Hilger is a photographer also born in Los Angeles, a place he frequently photographs. His recent monograph, Back of Town (SPQR Editions, 2016), chronicles the disappearance of a neighborhood in New Orleans. He teaches at Pratt Institute in Brooklyn, where he is chair of photography.

The post Where the Homeless Sleep appeared first on Aperture Foundation NY.

Source: https://aperture.org

I love Nice!

European Tour Highlights

This is one of my favorite videos we made in the last year! Thanks again to Olya and the team!

Daily Photo – I love Nice!

I took this during our short day in Nice, France while we were on the European Tour. After a breakfast stop with mimosas, we took a stroll down the beachfront and ended up in this hashtaggy area where a bunch of locals were in full French party mode! This is kind of a “throwaway photo” – and by that, I mean, I take a lot of quick photos here and there with never any plans to publish them. Just tiny little moments here and there that I think are interesting. I don’t publish 95% of the photos I take… I’ve always thought about making a Tumblr or another Instagram account called “Trey’s Throwaway Photos” that are little moments like this. I don’t know what to do with my other 95% of photos… they are not terrible, but they’re not portfolio-quality either… just kind of in between… little ideas like this.

Photo Information

  • Date Taken2017-05-01 13:08:33
  • CameraX1D
  • Camera MakeHasselblad
  • Exposure Time1/2000
  • Aperture3.5
  • ISO200
  • Focal Length30.0 mm
  • Flash
  • Exposure ProgramManual
  • Exposure Bias

Source: http://ift.tt/2sX4vPC

Become a stylist with this new music video


[dropcap]P[/dropcap]aris is the capital of fashion and the French songwriter Broken Back has decided to give the city a little musical twist. With Ideas For Music, the musician has created a new music video where you can change the style of the people in the video, becoming a real stylist.

Ideas For Music is a creative video studio, award-winning, that creates and produces innovative music experiences together with artists and brands, creating new and seamless ways for qualitative brand content and massive PR. The first music video in which you are the stylist  is conceived and directed in collaboration with From Paris – a creative communication agency, Vente Privée – a fashion online store where you can find many designer pieces to buy and rock, Woow Your Life – a video production, and Immersive Garden – a digital production studio.
With each click you have the power to switch the characters’ styles and see where these different looks take you. This colorful and warm-hearted experience goes together Broken Back’s track, The Sooner The Better, quite well and pushes it’s message forward: Seize the day! The story starts with an old woman but the adventure quickly takes a turn for the unexpected. You can have fun with the different looks but each look, keep in mind, will impact the protagonists’ story.
There are five chapters, and each chapter is a story, you can choose which one you want to start with and change the style of the protagonist. The chapters are "The Call to Adventure", "How They Met", "The Club Takeover", "On The Run" and "One Last Idea". Each chapter has its own style and outfits that you can choose, changing the destiny of the people involved.
So why don’t you take a break from work or studying and enjoy creating outfits and fun adventures in an innovative fashion experience.

The post Become a stylist with this new music video appeared first on Positive Magazine.

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Just Charlie and the issue of identity


Produced by Seahorse Films and distributed by Wolfe, the largest exclusive distributor of lesbian, gay, bi and transgender (LGBT) films, Just Charlie is the story of a boy, a promising football star of his hometown Tamworth and of England, making his father proud and happy. But not everything is as nice as it seems. Charlie looks like a boy, but he is not a boy inside. He feels a she and is suprised twice by his football couch and his father wearing female clothes and make-up.
Despite all the tragedy and drama, the film has a happy ending, where Charlie is finally expressing herself as she really is and her sister Eve is getting married. A promise of hope that the director Rebekah Fortune wanted to donate to the viewers, some of whom might feel close to this story. Depicting the Trans community with all the problems but also the nice moments, is the aim of this film and is certainly worth every tear that I spilled over it.

We asked some questions both to Rebekah, the director, and to Harry Gilby, the main actor of the film, Charlie.
Just Charlie is a film on identity and gender. What inspired you? Is there a specific experience or is just because it has to be talked about?
Rebekah: I have always struggled with my own identity, never really feeling I fit in. I think its one of the biggest challenges young people face and one that can affect you for the rest of your life. Not really knowing who you are, or not being accepted for who you are, creates scars that I am not sure ever heal. “Just Charlie” began its life as a stage play twenty years ago inspired by a daytime television programme. Peter Machen, who wrote the screenplay for “Just Charlie” and I, were fascinated by the idea that someone could be born and feel completely disassociated from what they saw in the mirror and how those around them identified them. No one was talking about the issue at the time but the more we explored the issue the more we began to feel angry about the treatment of the Trans community and the injustices they were suffering. Skip forward twenty years and although some things have changed and there are more high profile figures in the Trans community, there is still a great deal of work to be done to try and make people understand. Many of the Films, TV shows etc have dealt with trans adults but we felt compelled to explore what the reality is like for a young person in The UK, how with the right help and support they don’t need to suffer all their lives, but also explore the ripple effect this very brave decision has on the world around them.
For me, Just Charlie really highlights something we all go through and are constantly challenged on. Who we are, or rather, who are we? In modern times we have been encouraged to express ourselves, to be who we want to be, to go out into the world and say,”This is me!” However, if that does not conform with what people believe you should be, well you are just plain weird and there is something “wrong” with you. It’s a modern story and its a story that will continue to develop as we progress as human beings. We wanted it to be a story we can all participate in and not just be a story about transgender. Transgender issues in the UK are moving forward but it’s a real struggle. Especially in the current political climate and the fact that very totalitarian views are given oxygen and have emboldened people to allow their fear and hatred to take centre stage. I hope that Just Charlie can help show that we are all people struggling to define who we are and that by supporting each other unconditionally we can actually have much healthier happier lives.
What do think society and politics are doing for this issue?
R: I think society and politics are dealing with things in very different ways. Unfortunately politically we seem to be having all our rights and desires to be who we are crushed. Anyone who has their own way of looking at things, who isn’t “normal”, is vilified or mocked. We are expected to fit conventions and behave as an unthinking hive mind, who blindly accepts what we are being told by politicians and the politically controlled press. I am sad to say all the progress we had made in accepting and celebrating difference, uniqueness and individuality is being slowly eaten away. That said on a more positive note, the response to Just Charlie has been a little overwhelming. I don’t think we ever expected a film made for little more than 50p and a bag of chips was going to have the impact it has. Myself and other members of the cast and team have been mobbed at festivals by people thanking us for making such an important film, on several occasions members of the audience who have identified as Trans or parents of trans children have stood up and openly wept during Q&A sessions. When we screened the film in London one brave Trans lady stood up to talk to us, she tried so hard to hold her emotions in, but as she explained this could have been her story on screen, and thanked us for being her voice, the tears began to flow, not only from her but us too. She held her emotions in just long enough to praise our decision to have a happy ending, an ending that she felt gave the trans community hope, and showed audiences there can be a positive outcome if we learn to be more accepting. She then sat and sobbed and sobbed and sobbed.
I think however the most wonderful responses have been from young people who have been so open, receptive and accepting of the film, angry at the way Charlie is treated and keen to make a difference. I have always had faith in young people but their response internationally to Just Charlie has given me great hope for the future. 500 teenagers cheering and giving the film a standing ovation is not something I will forget anytime soon.

The film depicts a true and faithful image of what could actually happen in a family that has to face this issue. Is this what you had in mind from the beginning?
R: I felt that the world of Just Charlie needed to be very ordinary. We decided that we would set the story in the town where I had grown up and where Peter (writer) lived for a time. It is a town right in the centre of England with a population of about seventy-five thousand people. It’s not big and it’s not small, but it is small enough for someone that is different in some way, or who appears to be different, to stand out. Someone will know someone who will know someone. It’s that kind of town. The audience needed to feel that this was a place they knew and they needed to relate to the family, so they are simply aspiring working class people doing their best for their family. Working hard to provide a good life. They are not rich, they are not poor. I really needed people to connect with them, because if you’re going to talk about something most people feel they know nothing about but have strong reactions to, they have to be taken on a journey willingly. They needed to be able to place themselves in the position of the characters they are watching. We did a great deal of research with Charities and Trans organisations and wanted to represent an amalgamation of their stories. We know not everyone will have had one positive and one negative parent but we wanted to show both sides of the coin, enabling people to empathise with different characters whilst ultimately still coming to the same end result. We also felt strongly about focusing on the ripple effect that it had on the whole family, we talked a great deal to siblings and although, most like Eve are very supportive, they often struggle too, the thought of losing the brother they once had, the family breaking down, very little time for them or consideration for their feelings etc. It’s a very complicated situation for any family right now, but hopefully, if the world becomes more understanding, better educated and more accepting, it need not have such a devastating impact on anyone involved.
How was it working with Harry?
R: Harry was fabulous to work with, receptive, intelligent and emotionally mature for someone so young, but then I must say so where the whole team, especially Scott Williams (Paul), Patricia Potter (Susan) and Elinor Machen Fortune (Eve). It was vital that the actors built that family dynamic, in order to get the most from Harry and also to make him feel safe enough to be able to expose himself emotionally. The whole set was nurturing and supportive which really allowed Harry to shine.
Is there another specific issue that you would like to bring on screen?
R: There are so many I can’t count. Identity will always be a big subject for me and The Plough, which we are currently financing, is a magical romance between two characters: one with Aspergers, one with dual heritage trying to find their place in the world. I would like to make a film about the Pendle Witches who were tried and hung as witches primarily for being women, poor and having the wrong political beliefs, and the film I always said I would win an Oscar for is an epic story of Mata Hari and how she was an innocent woman used as a scapegoat by politicians,  along with working on a post-apocalyptic feminist Western because I adore Westerns.

The film is about a boy who doesn’t feel right in his male body. Was it difficult for you to play this role?
Harry: At first I was very apprehensive about auditioning for this role because I didn’t really understand too much about the transgender issue as I was only 14 at the time. However I soon realised that these sort of roles are ones that every actor dreams of playing as they are very difficult and take you out of your comfort zone. I wondered then if I would be good enough to play the role of Charlie and portray her as Rebekah and Peter imagined the role to be? Could I do it justice? After the auditions and all the research I did however I felt that I could do it and by the time it came to shooting I was reasonably confident I would hopefully be able to play the role without too much difficulty. Rebekah was brilliant at guiding me through the process and putting me at ease. Some of the scenes are very emotional and these were very difficult to do over and over again for different camera shots and angles. It’s very hard for instance to cry and then stop and then cry again over and over again.
How was it working on this film with Rebekah Fortune?
H: It was great, a dream come true to be doing our first movie together. She was very understanding, realising that I knew very little at first about the subject, but she gave me freedom to explore different ways of shooting the shots and was always very encouraging if I got it wrong or played the scene differently to how she saw it. It was Rebekah’s first feature film but you’d never know that as she knew exactly what she wanted and how to achieve it. She was very patient with all us young actors and I would love to work with her again.
After shooting the film, have you seen yourself on screen? How did it make you feel?
H: Yes I’ve seen it many times now as we have been travelling around the world on the festival circuit promoting the film. It’s extremely bizarre to see yourself on screen for the first time, 20ft high, in front of a cinema audience and at first I was very critical of myself feeling I could have done some scenes differently or better perhaps but after a while you sort of get used to it and relax more. I’m still not sure I like looking at myself though but I suppose many actors feel this way. Above all though I’m proud and hope that our performances touch peoples hearts and maybe help them understand quite a difficult and emotional subject better after they have seen the film than before.

What do you think about the theme of the film?
H: I feel the film is really topical and has come out at just the right time. It’s about a subject that many people have kept to themselves and been afraid to speak about for fear of discrimination and abuse. I hope in our small way we can help educate people about this very emotive subject and if we can help those that are perhaps unsure as to their gender identity, however old they are, then Rebekah and the team will be very happy and proud. Many trans people have seen the film now and it’s very touching to hear how they feel about it and their reaction. There are usually lots of tears!! They very clearly identify with some of the areas and scenes in the film so that’s fantastic.I guess Caitlin Jenner is the most famous transgender person in the US, if not the world and I would love her to be able to see the film and hopefully find some common themes in it with her life.

The post Just Charlie and the issue of identity appeared first on Positive Magazine.

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Flickr Heroes of the Week

Our new Flickr Heroes of the Week are ‘Pony at sunrise’ by Grégory Dolivet on Tumblr and Twitter & ‘A peek from reptilian eye’ by Sumit Bam Shrestha on Facebook and Google+

Pony at sunrise...
A peek from reptilian eye

Want your photo featured as a cover image on our social media pages? Join the Flickr Heroes group!

These are some Honorable Mentions:

Get out of my way!!
Russian Ballet dancers  | Saarang 2018,IIT Madras.
The nights watch

If you want your photo to be considered for a Flickr Hero (aka Cover Photo) feature next week, submit your best image(s) to the Flickr Heroes group pool by Monday morning. Winners are announced in the Flickr Heroes Group, on the blog, and across our social media accounts. If you haven’t already, follow @Flickr where you share your photos!

Flickr on Facebook

Flickr on Twitter

Flickr on Tumblr

Flickr on Instagram

Flickr on Google+

Source: http://blog.flickr.net

Read: The Hour of Land

Okay, The Hour of Land is rocketing to the top of my “books of the year,” list. I’m not entirely sure what year this book was written, but seeing as I just found it…it’s going on my 2018 short list. I’ve read Terry Tempest Williams before, and will again because she writes beautifully. What I love most about her work is the personal connection and her dialogue. She interviews really well, and brings those interviews, formal and informal, to life through smooth, well edited, concise structure.

The Hour of Land is about our national parks and William’s journey through these parks. Not all of them mind you, just a few, but that’s all she needs. My personal favorite, Big Bend.

Now, there are TWO other things you should know. Williams worked with Frish Brandt at the Fraenkel Gallery in San Francisco to acquire images for the chapter heads. The images are from Avedon, Friedlander, etc. It adds to the book and makes you wonder why more people don’t do this.

The SECOND surprise was starting a new chapter and reading “….my dear friend Lawrence Fodor in Santa Fe,” and then to have the email chain between Williams and Fodor printed out for our enjoyment. I wish EVERYONE could read these emails. They are so beautiful you realize you are doing with two people who are beyond shallow livers…they are connectors. For those of you wondering why the name Larry Fodor sounds familiar….well, I’ve interviewed him here. And I’ve also mentioned him here and here. I love seeing people and things connect via the chance encounters of people who explore.

Now, here is the tough part. The message of this book. The West is going away. Development, in great part due to energy companies, is threatening these rare places that are more fragile than we imagine. We all hear about these horror stories but most feel helpless to do anything, which is just the way the energy companies want it. People like Ryan Zinke who seemingly operate above the law based on arrogance, corruption and an apathetic public still believing we can achieve energy independence by drilling every available foot of open land. Williams comes from a family of “pipe” men, including her father who was responsible for natural gas lines all over The West, so not like she isn’t having to fight for her opinions, even within her family.(I’m in the same boat.) It adds an interesting twist to this story.

Get this book, read it and pass it along.

Source: http://shifter.media

Wings of Angels – Northern Lights on Iceland

Wings of Angels - Northern Lights on Iceland wallpaper

I’m currently on Iceland and was quite disappointed the last time when I travelled here (drone crash, bad weather and almost no northern lights).

This time however, my return to Iceland was awarded with the most powerful northern lights I’ve ever seen!

Adobe Lightroom and Photoshop, Gloves, five layers of clothing and patience

Nikon D800, Nikon AF-S NIKKOR 14-24mm f/2.8G ED.

Mac users: download Macdrops the official InterfaceLIFT app for Mac OS X.

Source: http://ift.tt/uZTAwX

Mohammad’s Tomb in Rabat

Trey Ratcliff, Tomb Editor

That clever name was not created by me, but Stu up in Scotland. He’s the good lad that helps edit together all these special videos for Passport Members! Thanks Stu! Today’s special Passport Bonus section shows how I processed this image. Enjoy!

Daily Photo – Mohammad’s Tomb in Rabat

This is the second photo that I have edited from this tomb, and I believe I like this one better. It’s amazing how much better I’ve come to learn Aurora HDR in just the past few years. In fact, I can’t even remember if I edited the other photo from this tomb with Aurora or Photomatix. Man, my memory is the worst. THE WORST. I hope Google hurries up with their AI because my HI is really leaking like a sieve.

Photo Information

  • Date Taken2014-03-01 21:24:43
  • CameraILCE-7R
  • Camera MakeSony
  • Exposure Time1/5
  • Aperture6.3
  • ISO250
  • Focal Length11.0 mm
  • FlashOff, Did not fire
  • Exposure ProgramAperture-priority AE
  • Exposure Bias-0.3

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My bodies my rules: Destiny Eames


Her work often features women as the focal point and uses a combination of flat, geometric shapes and repetitive lines. These elements create a dynamic space and serve to create a path for the viewer’s eyes to follow.

These four specific works are from a six-part series titled "FemmePop." The series focuses on current feminist issues through a subtle approach. Like most of her work this series features the female figure in a graphic style. Each piece in this series utilizes vibrant colors to create a fun mood. At the same time, each work includes a feminist message, making the purpose of that individual work and the series as a whole straightforward. These messages include; "by body, my rules," "strong, feminist, immigrant," "#metoo," black. no sugar, no cream," "not gay for your fetish," and "the future is accessible." You can see Each work in the series features a female figure as the focal point. Each figure is made up of solid, flat shapes, which gives it the "pop-art" look. Behind each figure is an arranged flower pattern, which further unifies each piece of the series.

This series aims to support a broad group of women of minority groups such as, women of the LGBTQ+ community, women with disabilities, and immigrant women. Destiny’s goal for this series is to get it seen by as many people as possible in hopes of spreading awareness and support. She believes that right now is a sensitive time in America, which is why she feels this is relevant and so important for the public to be aware of.

About the author:
Destiny Eames was born in 1995. She lives and attends university in Pittsburgh, PA. She has been published in Rune and The Critical Point, receiving honorable mentions for her pieces “Body” and “In Limbo.”

The post My bodies my rules: Destiny Eames appeared first on Positive Magazine.

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MIRAMONTI Boutique Hotel – kingdom of peace, oasis of natural beauty.


Set 1230m above sea level, this jewel first opened its door at the beginning of the 20th century as a guest house with three rooms. Overlooking the city of Merano, it recently became a hotspot for young souls of the area to flock to.
The Hotel has been completely renovated, showcasing “The Owner’s House”, a home within the hotel. Nine rooms built of wood in clean architectural style and essential interiors, utilizing hand-made designer pieces alongside natural materials, and boasting shielded terraces offering spectacular views.

The freshly launched Q-SUITE (which guests can access from a secret door… magestically entering near the handmade spiral iron stair), debuts this month. This 42square meter suite lays upon the ground floor built over rock and one can’t help but marvel while looking through the 12-meter wide frameless glass window, offering a great view over the Adige valley.
The suite furthermore features Vitra Design furniture and local porphyry stone flooring with a walk-in shower boasting an extraordinary view over the city of Merano – you will feel like you’re showering in the heart of the forest!

For 5 years, this urban hotel is part of the SLH collection (Small Luxury Hotels of The World). The SLH group features a diverse collection of over 500 hotels in more than 80 countries around the world – its hotels are united by the offer of the prime locations, high quality, and a truly authentic way to discover a destination. This one of a kind retreat will pamper you with a charmful and eclectic sense of hospitality. The idea of the “undisputed protagonist” is all about the new and the traditional blending together flawlessly in a youthful but elegant and functional combination.

Design and atmosphere are a conscious priority, the Alpine style and the strength of nature play a supporting role when it comes to creating new spaces and emotional worlds. The immense glass-windows, the sapient use of the local stone, the refined Nordic inspired furnishings and setting, the chic accessories provide a guarantee 100% made in Italy and they’re all proof that “style is the answer to everything”.
What makes Miramonti a truly unique experience is the Vitalis SPA, for those deserving some pampering, you’re cuddled between indoor solutions such as Finnish saunas and Turkish baths or you can abandon yourself to a dedicated organic Spa treatment and rest in one of the relaxing areas while enjoying panoramic view.
One of the trade marks of Miramonti boutique hotel would be its salt-water 16 meters long infinity edge pool. Maintained at 32°C, it’s accessible all year-round and boasts views of St. Katherine church, which was constructed in the 13th century. Like a warm cave leads you to the stunning scenery in all four seasons.
With direct access from the 4th floor you can loose yourself, strolling along pathways in a leafy and natural protected forest of 30-hectares behind the structure.

Just a short drive away from Merano, with a population of 700 people, Avelengo is a tip for globetrotters and nature lovers where you will find the combination of luxury and naturalness, life and joy, happiness and satisfaction.
Thanks to the perfect location and the excellent organization “self-made” hoteliers Carmen and Klaus, owners of this dream built on the rock, offer you a series of activities to assure an authentic experience within nature: close to Merano 2000 Sky area with 40 km of groomed slopes, ski-tours, ice-climbing, horseback riding. From April to October, Klaus will accompany you himself through a very personal wine tasting tour to discover the local products and cellars of South Tyrol region.

Not to be left unmentioned, the culinary experience at Miramonti is simply elevated. With three different options: Panorama Restaurant, Klassik or Stube, which will meet your needs with a varied list of delightful courses. The cuisine is well-structured to guarantee authenticity of the taste, flavors of the territory and particular attention is given to the excellent quality and freshness of the ingredients.
The attention to the guest is 360-degree and always present. All staff members will take care of you – lending itself from a memorable hospitality experience to a well-deserved “time out”.

[quote_box name=""]“While the world around us is changing more and more quickly, we want to be a place of steadfastness and peace. A place with its own strength and its own aura. “Hard to find, hard to forget” – that’s how the MIRAMONTI should be remembered. Hard to forget, because we have already thought ahead for you. Because we can identify with you. We understand your needs and turn them into beautiful experiences.”
Carmen & Klaus.[/quote_box]

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