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The New Yorker - Photo Booth

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Hurst captured the country’s culture—from public rituals of the cult of Santa Muerte to scenes from everyday life—with no small amount of homoeroticism.

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In 1983, the photographer Tom Arndt heard about something interesting happening in the parking lot of a Holiday Inn: a casting call for Prince’s new movie.

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The photographer has said, of his images of his wife Edith’s extended clan, “I wanted to pay attention to the body and personality that had agreed out of love to reveal itself.”

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The artist bent the medium of photography to suit his creations.

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