Miss Rosen
  • Home
  • About
  • Imprint
  • Writing
    • Books
    • Magazines
    • Websites
    • Interviews
  • Marketing
    • Publicity
    • Exhibitions & Events
    • Branding
  • Blog

Posts by Miss Rosen

Destiny Mata: The Way We Were

Posted on June 8, 2021

Collage © Culture Crush, Inc 2021 © Destiny Mata 2021. All rights reserved

Most people do not know that one of the earliest punk groups on the scene was a Black band from Detroit named Death that helped shape the sound of a radical style that would never sell out. Although Black and Latino culture lies at the roots of punk rock, its contributions have largely gone overlooked or erased. Artists like Bad Brains, Alice Bag, and Vaginal Davis have played an integral role, creating a space for communities of color within a predominantly white realm.

.

Over the past five decades, punk has transcended all boundaries, spanning four generations of disaffected youth. Mexican-American photographer Destiny Mata, (aka “The People’s Photographer”) remembers attending her first Punx of Color show in a Brooklyn basement and the thrill of being surrounded by Black and Brown musicians, which she describes as “the avant garde of the disenfranchised” in her first book, The Way We Were (Culture Crush Editions).

.

“After that one show, I thought, ‘Get me to the next one!’” Mata writes in the book’s introduction. “I met so many amazing artists, activists, and community organizers. But they were not just putting on a show, they were also putting together benefits for grassroots organizations fighting for undocumented and trafficked migrant workers, fighting against gentrification, supporting causes around autism and hunger like the Color of Autism Foundation and Feed the People/Bronx, all in support of their own communities. In other words, that night, there was much more to it than music.”

.

Read the Full Story at Blind

.

Bronx Artists and curators Kiara Cristina Ventura, Rocio Cabrera, and Nicole Bello at Emo Night, Bronx Beer Hall, organized by the Hydropunk and Odiosas art, music, and educational collectives © Destiny Mata 2021. All rights reserved
Categories: Art, Blind, Books, Music, Photography

Black Archives Presents “Stories Untold: The Raymond Boyd Collection”

Posted on June 7, 2021

Craig Mack Live In Chicago, 1994. Photography Raymond Boyd/Michael Ochs Archives via Getty Images

When Notorious B.I.G. dropped “Juicy” in 1995, he took a generation back to their roots with the iconic bars: “It was all a dream / I used to read Word Up! magazine / Salt ‘N’ Pepa and Heavy D up in the limousine”. Long before hip hop went pop, it was an underground scene shaped by local artists like Chicago photographer Raymond Boyd. 

Growing up, Boyd used to page through Black-owned magazines like Ebony and Jet, marveling at pictures of the Jackson 5, Stevie Wonder, and Diana Ross – whose songs were sampled by hip hop artists he would later photograph. Reading their stories, Boyd was enthralled by tales of struggle and triumph against the odds. “It wasn’t so much gossip,” Boyd recalls. “You read about how they grew up, built their careers, artists who inspired them, how they set up their rehearsals and stage performances. That helped me to learn about them.”

.

oyd took up photography after his mother gave him a Kodak pocket camera when he graduated high school. Drawn to the local music scene, Boyd frequented local clubs and concerts, making photographs. His enthusiasm caught the eye of Earl Calloway, fine art editor of the Chicago Defender newspaper, who gave Boyd a shot, and helped nurture the young talent into a photojournalist. 

.

“Seeing the live shows just blew me away. Being in the pit in front of the stage that close the artists could look right down at you, point, and pose – that was real cool,” says Boyd.  “I also got a chance to sit in front of the artists, listen to them tell their story, get a better understanding of what they went through, and watch how their facial features would change when they talked about how far they’ve come from where they first started. But once the red light goes off on the recorder, the best part of the interview comes.”

.

Read the Full Story at Dazed

.

Bushwick Bill of Geto Boys performs in Chicago, 1990. Photography Raymond Boyd/Michael Ochs Archives via Getty Images
DJ Mad Mike and rapper Paris at a bookstore in Chicago, 1991 . Photography Raymond Boyd/Michael Ochs Archives via Getty Images

Categories: 1980s, 1990s, Art, Dazed, Music, Photography

Bill Mindlin: A Silver Anniversary

Posted on June 7, 2021

On this, the 25th anniversary of photograph magazine (originally Photography In New York), The Click sat down with publisher Bill Mindlin to speak about the little magazine that could — and did — become a national treasure, the only publication of its ilk. The magazine, which features columns by Lyle Rexer, Vince Aletti, Jean Dykstra, Elisabeth Biondi, and Sarah Schmerler, among others, has become a mainstay among photography aficionados.

.

Says columnist Vince Aletti, “Bill is at once easy-going and focused, with a strong vision for photograph that he’s honed and grown successfully over the years. I’m glad to have been one of the early contributors and happy to still be there among a larger group of writers and a substantially beefed-up section of reviews and features. What began as essentially a listings magazine has turned into something much more essential and lively. I’m always impressed by the design and efficiency of the magazine and happy to be associated with it.”

.

Mr. Mindlin’s path to publisher is as eclectic as his magazine. A native of San Francisco circa the summer of love, he grew up in a working class neighborhood, went to UC Berkeley during the people’s park years and then to Columbia for grad school in industrial social welfare. “After working at one of the New York City unions for ten years, it was time for a change. So I went to Europe and ended up in Israel where I enrolled in a photography program in Jerusalem.” Quickly realizing that he had the interest, but not the talent, Mindlin began exploring the medium more in depth, studying the lives and work of photographers and learning about the history of photography.

.

.

“When I came back to the U.S. in 1986, I starting working at the Marcuse Pfeifer Gallery in Soho. Cusie was a pioneer contemporary photography dealer in the 1970s and 80s — way ahead of the times. I also briefly worked at A Photographer’s Place, a wonderful bookstore that specialized in photography.”

.

Mindlin got the idea for a guide while working at the gallery. “Visitors would always ask me where are the other photography shows, so I created a mimeographed list of suggested shows that I passed out. That was the genesis,” he says.

.

Soon, others came on board. “I had many wonderful mentors. Founding editor Ava Swartz enlightened me as to what it means to be a good writer and a good journalist; Laura Miller educated me about the elements of good design; Conrad Gleber and Bob Warhover guided me through the printing and publishing side of the business. And the late John Figueroa worked tirelessly to get it off the ground, as did A.W. Lercher, one of our first columnists,” he recalls.

.

“For the first issue in November/December 1988, we listed 116 photo exhibitions in New York City. The East Village was going strong; Soho was emerging as the hot new gallery district; 57th Street and further uptown had their fair share of galleries as well as the many museums lining Fifth Avenue.”

.

“1989 was a pivotal year for us in that it was the 150th anniversary of photography. Every museum across the country had a major photography exhibition. It was a phenomenon. That was the convergence of attention to photography. From that year forward, a host of dealers opened galleries: Yancey Richardson, Robert Mann, Bonnie Benrubi, the list goes on. The marketplace started to boom,” Mindlin recalls.

.

“Flash forward to 2008. At that time we were going strong. But then the great recession happened. It was humbling. Everyone was struggling, but fortunately most of our clients managed to stay in business. We made cutbacks to survive, and people stuck with us.”

.

But what came out of the shock of 2008 was Mindlin’s conviction that social media was the way of the future. “I realized a digital and social media presence was critical to growing the publication and having it exposed to new audiences,” he says.

.

“We created a website that mirrored all the information found in the print publication; we created a Facebook page that now has over 138,000 likes, and a Twitter page with over 23,000 followers. Our latest project is a weekly e-newsletter covering the many openings, events and news of the week. Undoubtedly the most satisfying aspect of the job is our photograph team: Anthony Beale, Jean Dykstra, Fabio Cutro, Mary Ann Livchak and the folks at Meridian Printing. Working with such a dedicated and talented team has led to the success of the publication.”

.

The staff of photograph

Managing Editor Jean Dykstra notes, “I’ve been working with Bill at photograph, in one capacity or another, for more than fifteen years. He is incredibly dedicated, smart, and one of the most generous people I’ve ever worked with. Photograph is really his vision, and it’s a publication uniquely dedicated to covering that world — from collectors to dealers, curators, and photographers. It’s a huge pleasure to work with him.”

.

Associate Editor Anthony Beale, a 20-year veteran, observes, “My experience working at photograph has allowed me to stay continuously submerged in photography after getting my MFA at SVA. Over the course of 20 years, I have witnessed the field grow, transform, and expand. Back in 1988, Bill created something that was needed for photography galleries and institutions exhibiting photography. He created a resource that enthusiasts rely on for information. Working with Bill from the age of 23 to age 44 has been a gratifying and fulfilling experience.”

.

Mindlin concludes, “The magazine has taught me to love the word and the visual. The photo community is an amazing group: gallery owners, museum curators, publishers, and auction house specialist are among the hardest working, most committed folks. And while the field is small, the sense of camaraderie is large.”

.

Original Published at The Click, Summer 2014

.

Categories: Art, Photography

In the Gallery with: Brian Clamp

Posted on June 4, 2021

© Peter Berlin, “Self Portrait as Urban Cowboy, “ c. 1970s, Hand-painted vintage gelatin silver print.

The year 2000 marked a turning point for New York-based gallerist Brian Clamp. After turning 30 and receiving his MA in Critical Studies in Modern Art from Columbia University, he had reached a crossroads. “I had been working as director of Owen Gallery on the Upper East Side, and wanted to get more involved with contemporary art, photography, and working with living artists,” says Clamp. “I decided to take the plunge and start my own gallery, not fully realising what I was getting into.”

.

That fall, he opened ClampArt, and worked as a private dealer from his West 27th Street loft. An avid practitioner of photography, Clamp also spent time at The Camera Club of New York (now known as Baxter St), getting to know a number of photographers whose work he admired. Through these relationships, Clamp developed the foundations for the gallery program. 

.

In early 2003, Clamp signed a lease for a commercial space on West 25th Street, just as Chelsea was becoming the center of the downtown art world. “I was able to get a ground floor space in Chelsea for my first gallery without any backing,” he says.

.

Read the Full Story at British Journal of Photography

.

© The Estate of Peter Hujar, “Scrumbly Koldewyn and Tom Nieze, The Cockettes,” 1971, Vintage gelatin silver print, Courtesy Peter Hujar Archive.
Categories: 1960s, 1970s, 1980s, 1990s, Art, British Journal of Photography, Exhibitions, Manhattan, Photography

Meryl Meisler: New York PARADISE LOST: Bushwick Era Disco

Posted on June 3, 2021

Meryl Meisler. Potassa de la Fayette Poised at COYOTE Hookers Ball The Copacabana, NY, NY 1977.

In 1975, at the tender age of 23, Meryl Meisler arrived in New York City to study with legendary photographer Lisette Model. The Long Island native quickly found herself at home living amid the dazzling display of a city that evoked the refrains of Paradise Lost, John Milton’s 1667 epic poem chronicling the fall of man. Everywhere she turned, scenes of ecstasy, pandemonium and redemption unfolded with cinematic flair, beckoning her to photograph its rapturous days and nights.

.

In a new book and exhibition, New York PARADISE LOST: Bushwick Era Disco, Meryl chronicles the hedonistic nightlife scene of the late 1970s and pairs it with images of Bushwick in the 1980s as it struggled to recover from the plague of “benign neglect“, wherein the Federal government systemically denied financial support to Black and Brown communities nationwide.

.

andlords hired arsonists to torch their buildings to collect insurance payouts, prompting Howard Cosell to allegedly proclaim, “There it is ladies and gentlemen, the Bronx is burning” during Game 2 of the 1977 World Series. Entire city blocks were reduced to rubble while abandoned buildings were boarded up. The city was cheap, run-down and dangerous — attracting the kind of fearless devotee that defines the heroic spirit of New York. Teetering along the edge of bankruptcy, $453 million in debt, the city became a cauldron of creativity, unleashing hip hop, punk, and disco before the decade ended.

.

“Better to reign in Hell than serve in Heaven,” Satan proclaims in Paradise Lost, a sentiment befitting the city’s gritty glory. In the wake of the sexual revolution and the civil rights, women’s and gay liberation movements, a new generation came of age revelling in the libertine pleasures. Clubs like Studio 54, Copacabana, GG’s Barnum Room, and Les Mouches offered the ultimate escape: a night of freedom, fantasy, and decadence.

.

Read the Full Story at i-D

.

Meryl Meisler. Magnolia Tree, Bushwick, Brooklyn, NY 1983.
Meryl Meisler. Meryl’s Hand Prints on JudiJupiter on Man Wearing White, Studio 54, 1977.
Categories: 1980s, Art, Books, Brooklyn, i-D, Manhattan, Photography

Revisiting “Minamata,” W. Eugene Smith’s Final Photo Series

Posted on June 3, 2021

Photo: W. Eugene Smith. © Aileen Mioko Smith

By 1971, American photographer W. Eugene Smith (1918–1978) had become a shadow of his former self, a shell-shocked recluse with a drinking problem who had retreated into the seclusion of his New York studio and home. Smith was alone, surrounded only by the remnants of his career as a world-renowned photojournalist.

.

Under the red light of the darkroom bulb Smith’s photographs hung, mementos of the best and worst of humanity. After getting his start in 1939 for Newsweek, Smith began shooting for Life the following year, compiling a compendium of work that made him one of the most influential photojournalist of the twentieth-century. A master of the photo essay, Smith, who became a member of Magnum Photos in 1955, documented war and peace, poverty and beauty in equal part.

.

In the 1960s, while Smith risked his life to bear witness to the destruction and salvation of humanity, halfway around the world the Chisso Corporation’s chemical factory was poisoning the fishing village of Minamata, Japan. Between 1932 and 1968, the factory released wastewater contaminated with toxic methylmercury, poisoning the water and sea life consumed by locals. As of 2001, 2,265 people were afflicted with Minamata disease, a neurological disorder that causes muscle weakness, damage to hearing, vision, and speech, as well as insanity, paralysis, coma, and death. The first case was reported in 1956; since then 1,784 have died as a result.

.

Read the Full Story at Blind

.

Photo: W. Eugene Smith. © Aileen Mioko Smith
Photo: W. Eugene Smith and Aileen Mioko Smith. © Watanabe Elichi

Categories: Art, Blind, Books, Japan, Photography

Thomas Holton: The Lams of Ludlow Street

Posted on June 3, 2021

Thomas Holton. Bath time, 2004.

As the son of travel photographer George Holton, who studied under Ansel Adams, Thomas Holton grew up surrounded by images of distant lands capturing people from New Guinea to Guatemala.  

.

“I began to realise the magic photography has to transport the viewer elsewhere and tell new stories and share experiences,” Holton says. George Holton passed away in 1979 during his time working in the town of Lushan on the Yangtze River, while making a book about China, his wife’s native land.

.

Two decades later, Thomas Holton embarked on a journey of his own: an 18-year odyssey into the life of a Chinese-American family, the Lams. He first encountered the family in 2003 while pursuing his MFA at The School of Visual Arts in his hometown of New York. 

.

Read the Full Story at Huck

.

Thomas Holton. After swimming, 2013
Thomas Holton. Drying Laundry, 2004
Categories: Art, Exhibitions, Huck, Manhattan, Photography

Safe/Haven: Gay Life in 1950s Cherry Grove

Posted on June 2, 2021

Young Man Posing for Polaroid, 1959, Cherry Grove Archives Collection, Gift of Don Steeple

ne of the very first gay beach towns in the United States, Cherry Grove on Fire Islandbecame a weekend and summer destination for the LGBTQ community in the years before the Stonewall riots, widely considered one of the most important events leading to the gay liberation movement. At a time when homosexuality was considered both a crime and a mental illness, Cherry Grove provided sanctuary from persecution, creating a space for the community to enjoy the pleasures of life on their own terms.

.

In the new exhibition, Safe/Haven: Gay Life in 1950s Cherry Grove, curators Brian Clark, Susan Kravitz, and Parker Sargent of the Cherry Groves Archives Collection bring together 70 enlarged photographs and additional ephemera that offer a window into this extraordinary chapter of American history. Featuring images made at the beach, theater performances, art exhibitions, Duffy’s Hotel bar, the annual regatta, and end-of-season costume ball, where revelers could openly flout laws against cross-dressing, the exhibition celebrates the power of joy, love, and resilience just in time for Pride Month.

.

“Hate and homophobia often forced homosexuals to live in secret in order to protect their own safety and reputations,” says Clark. “Salvaging our gay history is critically important to validate the ways we existed. We honor our gay elders and gay ancestors by telling the truth about their joys and struggles along with acknowledging their leading contributions to our world.”

.

Read the Full Story at Blind

.

End of Season APCG Ball, Community House, Woman with Headdress, September 1954, Cherry Grove Archives Collection, Gift of Harold Seeley
One Hundred Club Party, 1949, Cherry Grove Archives Collection, Gift of Harold Seeley
Categories: 1960s, Art, Blind, Exhibitions

Emily Sujay Sanchez: Stories of Trauma, Survival and Healing

Posted on May 31, 2021

Emily Sujay Sanchez

“My story is no different from women who look like me,” says Emily Sujay Sanchez, a Bronx-based photographer of Dominican heritage, who recounts a story of trauma, survival, and healing that first took root when she picked up the camera at the age of 23.

.

“I had just moved back to Providence, Rhode Island, after having my son. It was a really rough time,” Sanchez says. “ I had this baby and separated from my son’s father, right away. I was suffering from postpartum depression, though at the time I didn’t know what it was. I couldn’t find work, and then when I did it was an overnight job one hour away from home, working in the coat checkroom at a casino. I was going through it.”

.

But providence, as it were, intervened and Sanchez enrolled in a photography course being taught at a local school. “I took into to film and darkroom and I will never forget the feeling because I was able to quiet everything that was going on at the time,” Sanchez says, then stills herself, holding back the tears.

.

“I still remember the first photographs I took. My instructor sent me out and said, ‘Take pictures of what attracts you and look at the lines’ — whatever the hell that meant!” Sanchez laughs. “The city is deserted, there’s nothing really going on. I was walking around this area and there was a diner. I saw a waitress outside smoking a cigarette on her break. Her eyes were glazed and she was completely in her own world. I asked if I could take her picture and she said, ‘Sure.’”

.

Read the Full Story at Blind

.

Emily Sujay Sanchez
Emily Sujay Sanchez
Categories: Art, Blind, Bronx, Latin America, Photography, Women

Miles Aldridge: Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020

Posted on May 30, 2021

Donatella Versace, 2007 © Miles Aldridge

Hailing from North London, photographer Miles Aldridge lived a charmed life as a young boy, his formative years spent within the inner circle that made the 1960s swing. His father, Alan Aldridge was an illustrator who got his start doing covers for Penguin Books before opening his own graphic design firm, INK, in the heart of Soho, where he worked with the Rolling Stones, the Beatles, the Who, and Elton John. “I grew up around my father’s psychedelic images and the rock and roll lifestyle ofSwinging London,” Aldridge says. “My sister Saffron and I would go backstage at Elton John concerts and see the incredible pageantry from behind the scenes.”

.

But things fell apart when his parents divorced. “The family imploded,” he says. “I tried to put the pieces back together and of course they never do.” From the age of 10 until he went to art school in his 20s, Aldridge struggled to adapt as his mother fell into a depression and their once vibrant psychedelic home fell apart. When he found punk music in the 1970s, he discovered an outlet to release his pent up rage through music. He then formed a band called the X Men and played psychedelic-garage-punk music.

.

Realizing his true talent laid in art, Miles Aldridge left the band to study illustration at Central St. Martins. After school, he worked in publishing doing book covers that stand up to this day but found this line of work was too solitary for his liking. “I wanted to do something more energized, collaborative, bigger, bolder and sexier,” he says. “Being a film director or a photographer were the two career options I toyed with. For a while I did both.”

.

Read the Full Story at Blind

.

Mystique #1, 2018 © Miles Aldridge
Categories: Art, Blind, Exhibitions, Photography

Joel Meyerowitz: Wild Flowers

Posted on May 28, 2021

Joel Meyerowitz

Bronx-born photographer Joel Meyerowitz is no stranger to risk. At the age of 24, he put it all on the line when he quit his job at a New York-based advertising company to become a photographer after watching Robert Frank at a photoshoot. “I didn’t know who he was, what he stood for, or anything about photography,” Meyerowitz, now 83, recalled of that fateful day in 1962. 

.

“I stood behind him so I could watch the way he was handling the different subjects. I could see it over his shoulder this little action was unfolding. He barely spoke to the preteen girls in front of the camera, he just grunted or made little body gestures. Each time their actions seemed to peak into something that had a fragmentary image of beauty I heard the click of his Leica.”

.

After the shoot, Meyerowitz went back on the street, and began to see extraordinary moments reveal themselves among the mundane. He remembers, “I walked through New York City, from 23rd Street to 53rd Street, just looking at everything. I had so many minor epiphanies along the way that by the time I got to the office I was filled with of desire to be on the street taking photographs. When I got upstairs, my boss asked me how it went and I said it was, ‘Fantastic, the shoot was great but I’m quitting on Friday. I have to become a photographer.’”

.

Joel Meyerowitz describes the scene in vivid detail, the way his boss stood silently with a small cigar clenched between his teeth, a little trickle of smoke going up and making his eye wink. “He was appraising me,” Meyerowitz says. “He was an artist himself so he understood that some transformative thing had happened to me. Then he loaned me his camera and out I went on Friday into the world.”

.

Read the Full Story at Blind

.

Joel Meyerowitz
Joel Meyerowitz
Categories: 1960s, 1970s, 1980s, 1990s, Blind, Books, Photography

« Older entries    Newer entries »

Categories

Archives

Top Posts

  • Home
  • About
  • Marketing
  • Blog
  • Azucar! The Life of Celia Cruz Comes to Netflix in an Epic Series
  • Eli Reed: The Formative Years
  • Bill Ray: Watts 1966
  • Jonas Mekas: I Seem to Live: The New York Diaries 1950-1969, Volume 1
  • Mark Rothko: The Color Field Paintings
  • Imprint

Return to top

© Copyright 2004–2025

Duet Theme by The Theme Foundry