Sensitif gets all Kris Kross and shit with a high-flying spread from photographer Fred Goudon, "Jump". We'd never heard of the guy, but Casual in Instabul loves him. That - and Goudon's incredible shots - are enough for us...

Death and the doppleganger aren't necessarily cheery subject matter suited for spring, but they take on a surprising freshness in photographer Nick Vogelson's new show at The Cooper Union, "The Uncanny".

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Homo-photog Eric Schwabel sure has grown up.

The Minnesota native got his start shooting for flesh-heavy fag-rag, Blue. Since then - and a move to California from New York - Schwabel has opened his own studio and gone on to shoot for MTV, Pepsi, DUB and Rockstar. He may be on the verge of art stardom, but Schwabel's just as grounded - and gay - as ever.

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This image is a bit hard to pin down. Are you looking at photographic evidence of a synchronized ritual? Or are you taking in a painter's send-up of the pomp and circumstance? Does something seem a bit fabricated? Is this real? "Yes" to all four questions.

So who belong to that painted arm? Why, that's the artist: Alex Golden.

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Who says print media's dead? Fashion rag 10 proves the ink-stained species has some blood left - and, what's more - it's hot.

The current edition of the "unabashedly aspirational" magazine - which also describes itself as "a celebration of the most creative and original brands and designers" - features a magnetic spread from London-based photographer, Mariano Vivanco. Model Sean looked appropriately epic for the 300-page quarterly.

See more shots over at American Urge. For more information on 10, click here.

It's been a while since our last We Want Your Art. What better time to reintroduce our gallery of our creative reader's creations than after that inspiring interview with Matthias Herrmann? (See below, silly.)

This here photo comes to us from San Francisco-based photographer Matt Baume. When asked to describe his work, Mr. Baume told us:

I like photos that elicit feelings of well-worn comfort; so my best pictures have a sense of used-uppyness, where things look a bit weatherbeaten. One of my obsessions is the peculiar, eccentric thing that makes you feel content - it's always something different and totally unpredictable for each of us, and for some folks it's a secret, but we all have one. My favorite pictures are of boys doing weird things that make them happy.

He also tells us that he's got a bit of an unhealthy obsession with the unlikely and that through his photographs, he aims to "capitalize on viewers' sense of the impossible, reminding them of the appeal of their own imaginations." And isn't that what true art's all about? Engagement?

Check out Baume's Flickr page and see where your mind takes you...

Spring's about shedding winter coats and winter blues. It's a time when the world wakes from slumber and gets a little bit wild. Thus, we present to you The Wild Issue.

Over the next few weeks we'll take a look at some pretty wild people, places and things. We're not talking about drunken revelry here, we're talking about the primal, the adventurous, the outlandish, the untamed and the ferocius. Who better to start with, then, than German artist Matthias Herrmann?

Herrmann sheds more than just the winter coat - he sheds it all to offer the viewer an unadulterated view of the gay male body, the humor in morality and the risky business of exhibitionism.

This isn't the first time we've mentioned Mr. Herrmann here. The celebrated photographer first came up way back in September when we featured his "cum shot" shots. This is, however, the first time we've interviewed the former head of Vienna's Secession and we couldn't be more pleased with the results.

See what Herrmann has to say about changing the face of gay art, why HIV positive men are still sexy and the difference between taboo and a secret, after the jump. And when you're done with that, be sure to head on over to his website to see more of Herrmann's - er - body of work.

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Something tells us it may take a little while for Bill Gates to save the world. Until then, why don't you bide your time with some pictures from the new issue of French fag rag, PREF. We've posted some after the jump, including homo-photog Joe Oppedisano's hot and sweaty shots of Brandon Mills. They're good for what ails ya...

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We've had an email correspondence with artist Del LaGrace Volcano for about two months now. We originally contacted him for The Boundaries Issue, but, as happens, things didn't work out. Sitting down to play The Emotions Issue, we knew we couldn't pull it off without his help.

Our entire mission with this issue revolves around the idea that love is not one set things - it's a melange, a collage, a medley of emotions, sentiments and, at times, constraints. Volcano's work addresses the space between gender, sexuality and everything in between.

On his website, Volcano writes,

As a gender variant visual artist I access 'technologies of gender' in order to amplify rather than erase the hermaphroditic traces of my body... An intentional mutation and intersex by design, (as opposed to diagnosis), in order to distinguish my journey from the thousands of intersex individuals who have had their 'ambiguous' bodies mutilated and disfigured in a misguided attempt at 'normalization'. I believe in crossing the line as many times as it takes to build a bridge we can all walk across.

Like The Power Issue subject, Claude Cahun - who, you'll see, Volcano cites as an inspiration - Volcano's work seeks not simply to test the viewer's perspective, but to extend it. Break it, even. As in love, one walks away from Volcano's work having learned something new. Or, we should hope so, because no life's worth living if you don't open yourself to new experiences, right?

Lucky for us, Volcano opened himself up to us. See what he has to say about the all-pervasive nature of androgyny, "coming out" as "intersex", and his sexually frustrating teenage years, after the jump...

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Now's the perfect time to mention an AfterElton piece in which Brian Juergens explores the difference between American athletic images and those found in Europe, where calendars like Dieux du Stade have changed the way sportsmen present themselves. Of the difference, photographer Ewoud Broeksma says:

They are not seen as homoerotic, but first of all as art. This is true. I'm not saying this to put the context right in my view, but it is what I hear. They don't think in terms of gay or straight, probably — they're just boys acting like they are in control of the world.

Broeksma's statements recall Mark Simpson's New York Times endorsed, Out Magazine published essay on "Sporno" in which he writes:

Being equal opportunity flirts, today’s sporno stars want to turn everyone on. Partly because sportsmen, like porn stars, are by definition show-offs, but more particularly because it means more money, more power, more endorsements, more kudos.

The essay goes on to wonder why a similar wave hasn't crashed Stateside. The answer, we think, can be found in our old friend Frank Griggs' statement:

I doubt they see it as homoerotic at all. We Americans are just fetishizing cultural difference. Most would say that gay men are responsible for the sudden naked footballer craze, and I think they are, but not in the way you might expect. Homos are definitely styling the best of these shoots, but the end product is being enjoyed by plenty of women along with the frequently acknowledged gay following.

If that damn Snickers commercials any indication, it doesn't seem as if American sportsmen will be allowing themselves to be fetishized by the fagalas anytime soon. And even if they do allow themselves to be marketed to the gay demographic, they probably won't let them oil 'em up. Shame...

Born in Boston in 1959, Mark Morrisroe led a brutally short life. After fleeing his drug-addicted mother at the age of 13, Morrisroe found a new home on Boston's streets, earning extra cash by taking up the world's oldest profession and following his dreams in the only way he knew how: tenaciously.

His dedication to photography earned him a spot at School of the Museum of Fine Arts in Boston alongside the likes of Nan Goldin, David Armstrong and Philip Lorca diCorcia. Founder of the punk 'zine, Dirt under the name Mark Dirt and known to embody a down on her luck drag-queen named Sweet Raspberry, Morrisroe's credited as Boston's first Punk.

Despite - or, perhaps, in conjunction with - his wells of talent, Morrisroe battled years of drug addiction and paralytic self-abuse. Like so many of his peers, Morrisroe's fast living got the best of him: he contracted HIV and died in 1989 at the tender age of 30. Though many may not have realized it, the world lost a legend and with that legend, the record of a life lived.

To celebrate Morrisroe's oft-ignored work, Andrew Belonsky caught up with another of Morrisroe's school chums and former boyfriend, Jack Pierson. Meeting at Pierson's Chelsea a fews days after Pierson returned from art basel Miami beasch, where he had been promoting his more recent collection, Desire/Despair, they chatted about the boys' first date, Morrisroe's unique culinary skills and what it really takes to make a legend.

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We were just paying a visit to our oh-so-sexy friends at My Comrade and learned something very interesting: New York City's Clampart Gallery will be presenting an exhibit of legendary art-fag James Bidgood's work. Most well known for his 1971 film, Pink Narcissus, which revolves around the masturbatory fantasies of a down on his luck prostitute, Bidgood's earned quiet a cult following. Although, it wasn't always thus: when the film first debuted, Bidgood neglected to attach his name, leading many to assume the film came from Andy Warhol.

It wasn't until Taschen published a book of Bidgood's work that he publicly came out at the man behind the queer favorite. In a 2006 interview, Sean Fredric Edgecomb asked Bidgood what he thought of the Warhol rumors, to which Bidgood replied:

Pink Narcissus doesn’t look anything like Warhol. First of all he would never put that much effort into anything, and that always annoyed me, the first reason that I don’t like things. That’s why I’m a very old corny guy, because if my Aunt Mabel could do it, it ain’t worth doin’, and for God’s sake, I loved my Aunt Mabel, I just figure if you’re going to be in a gallery, you should be able to do more than my Aunt Mabel could do.

He's got a point there.

Anyway, if you're interested, the show's running from January 4th-February 17th at Clampart (521-531 West 25th St). For more information, check out their website.