Michael Kirwan

"Michael Kirwan was born in New York City on December 27th, 1953. He was the middle child of Patrick and Mildred Kirwan, he from New York, she from Pensacola, Florida. Raised in the Washington Heights district of New York, Michael attended the St. Rose of Lima Catholic school from first through fifth grades.  Even though he rarely had art supplies,  from an early age he drew on paper bags with ballpoint pens and filled small steno pads with drawings. He was buck-toothed and regularly called a sissy but didn’t really care as long as he could draw more inviting worlds on the A&P bags that came from the supermarket. He became part of an innovative program developed by the Archdiocese of New York whereby particularly bright boy students would be taught rigorous, in-depth college courses by the Christian Brothers. So he spent the sixth, seventh and eighth grades travelling downtown to West 83rd street to attend the Monsignor Kelly experimental school. Here his artistic abilities were recognized and he flourished in somewhat adult academic setting. Upon graduation however, he found that there was no available next step, and was horrified when he started freshman year at Cardinal Spellman High School in the Bronx and understood that he’d have to endure four years of being badly taught what he already knew by inferior teachers. Young Mr. Kirwan became irreverent, manipulative and displayed a caustic wit when insulting his “superiors” at every opportunity. He treated his high schools years as a long cosmic joke and was one of the featured regulars in “detention”.

 Michael Kirwan in bed with Richie Raimondo

While still at Spellman, Michael married his high school sweetheart and six months later became a father. Later that year he was denied a diploma because he had hurled a jelly donut at the back of his religious instructor’s head (she an ex-nun). With a family to support Michael worked in the shipping and receiving area at Gimbels department store. He stayed there from 1973-1979. His marriage dissolved under the combined weight of his irresponsible attitude and continuing homosexual shenanigans. In 1980, embracing his newly found gay identity, he went to work at the St. Marks Baths, a sperm-splashed institution in the East Village. Michael rose through the ranks quickly from laundry boy to management through being an incapable/inept but endearing presence nonetheless. Encouraged by Bruce Mailman, owner of both the baths and the magnificent and historic “Saint” dance club, Michael rediscovered art and in particular his skill at drawing the naked men surrounding him at work. In 1986, Michael realized that the AIDS epidemic would soon end the heydays at the tubs. It was during this time that his works were first published in STROKE magazine. He next worked for about two years at a porn video distributorship (GVC) before the company profits vanished up the executive’s nostrils" 


Bhupen Khakhar

"Bhupen Khakhar (also spelled Bhupen Khakkar, Bombay 10 March 1934 – Baroda 8 August 2003) was a leading artist in Indian contemporary art. He worked in Baroda, and gained international recognition for his work.

Khakhar was a self-trained artist, and started his career as a painter relatively late in his life. His works were figurative in nature, concerned with the human body and its identity. A self-professed homosexual the problem of gender definitions and gender identity were major themes of his work. His paintings often contained learned references to Indian mythology and mythological themes.

Khakhar's oil paintings were often narrative and autobiographical. His first exhibited works presented deities cut from popular prints, glued onto mirrors, supplemented by graffiti and gestural marks. He began to mount solo exhibitions as early as 1965. Though the artist had been largely self-taught, his work soon garnered attention and critical praise. By the 1980s Khakhar was enjoying solo shows in places as far away as London, Berlin, Amsterdam and Tokyo.

The artist's work celebrated the day to day struggles of India's common man. Khakhar's early paintings depicted average people, such as the barber, the watch repairman, and even an assistant accountant with whom he worked. The painter took special care to reproduce the environments of small Indian shops in these paintings, and revealed a talent for seeing the intriguing within the mundane. His work has been compared to that of David Hockney. Though he was influenced by the British Pop movement, Khakhar understood that western versions of Pop Art would not have the same resonance in India.

Khakhar's often openly homosexual themes attracted special notice. Homosexuality was something that at the time was rarely addressed in India. The artist explored his own homosexuality in extremely personal ways, touching upon both its cultural implications and its amorous and erotic manifestations. Khakhar painted homosexual love, life, and encounters from a distinctively Indian perspective.

In the 1990s Khakhar began experimenting more with watercolours and grew increasingly confident in both expression and technique. He found himself portrayed as "the accountant" in Salman Rushdie's novel The Moor's Last Sigh. Khakhar returned the favour by later making a portrait of the author that he called The Moor, and which is now housed within the National Portrait Gallery, London. In You Can't Please All (1981; London, Knoedler's) a life-size naked figure, a self-portrait, watches from a balcony, as father, son and donkey enact an ancient fable, winding through the townscape in continuous narration."

texto:  wikipedia.org