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

Posts by Miss Rosen

The Truth About Halston, According to People Who Knew Him

Posted on May 27, 2021

Liza Minnelli and Halston at Studio 54 circa 1982 in New York CityPhotography by Robin Platzer/Images/Getty Images

Halston lived the American Dream –  then fell victim to it. Born Roy Halston Frowick in Des Moines, Iowa, in 1932, Halston arrived in Chicago at the age of 20, opening a hat business the following year, with a clientele that included actresses such as Kim Novak, Gloria Swanson, and Deborah Kerr. In 1957, he began using the name Halston professionally and moved to New York, skyrocketing to fame when he designed the famous pillbox hat Jacqueline Kennedy wore to the 1961 Presidential inauguration.

.

By the end of the decade, hats had fallen out of fashion but Halston continued his ascent, designing clothes and opening his first eponymous boutique on Madison Avenue in 1968. The following year Halston launched his first ready-to-wear line, adopting the chic minimalist silhouette that would become the hallmark of disco style. Celebrities including Bianca Jagger, Liza Minnelli, and Babe Paley flocked to Halston in droves, driving the worth of Halston’s line to $30 million. He sold his line in 1973, expanding to become a brand long before this kind of thing was done, stamping his name upon fragrance, luggage, menswear, and handbags, all while retaining creative control.

.

The 1970s belonged to Halston as he defined decadence with a delicious blend of sex, glamour, and luxury. A fixture on the club scene, Halston brought the edge of night to the daytime world with “The Halstonettes,” a term fashion journalist André Leon Talley used to describe the jet-setting squad of supermodels who appeared together in Halston ads, editorials, and events including Pat Cleveland, Beverly Johnson, Angelica Huston, Karen Bjornson, and Alva Chinn.

.

But like any mortal flying too close to the sun, Halston’s fall was harrowing. After signing a six-year, billion-dollar licensing deal with JC Penney in 1983 to produce Halston III, a line of affordable products starting at $24, high-end retailers retaliated, dropping his ready-to-wear line. That same year, Halston lost control over his namesake company and then, in 1984, he was banned from creating designs for Halston Enterprises. He barely made it through the decade, testing positive for HIV in 1988, before dying on 26 March 1990 at the age of 57.

.

“Fashion is brutal,” says photographer Dustin Pittman, who knew Halston from the early 1970s. “People don’t realise the only designer still living from the American side at the Battle of Versailles is Stephen Burrows. That’s it. Oscar de la Renta, Bill Blass, Halston, and Anne Klein are all dead. Fashion goes up and down – a lot of designers go bankrupt.”

.

In 1991, American journalist Stephen Gaines penned Simply Halston: The Untold Story, the biography that inspired Ryan Murphy’s new five-part Netflix biopic series about the designer’s life starring Ewan McGregor in the title role. In a statement released on 10 May 2021, Halston’s family derided the show as “an inaccurate, fictionalised account”, much in the same way the Versace family described Ryan Murphy’s 2018 American Crime Story: The Assassination of Gianni Versace as a “work of fiction.”

.

Invariably, myth looms larger than fact, becoming a through line that shapes the historical record. To provide balance, we speak to Halston’s friends, colleagues and associates to provide insight into the character of a man who was larger than life.

.

Read the Full Story at AnOther

.

Liza Minnelli; Andy Warhol; Halston; Jack Jr. Haley [& Wife]; Mrs. Mick Jagger – Celebrities during New Year’s Eve party at Studio 54: (l-r) Halston, Bianca Jagger, Jack Haley, Jr. (bkgrd), Liza Minnelli (bkgrd), Andy Warhol.Photography by Robin Platzer/Twin Images/The LIFE Images Collection via Getty Images/Getty Images
Categories: 1980s, AnOther, Art, Fashion

Guzman: 90s Girls

Posted on May 27, 2021

Guzman. Total, Total, 1996.

On his first day at the studio in 1983, Constance Hansen remembers asking Russell Peacock to clean the stove. She laughs at the reversal of gender roles and then adds, “It was for a photo shoot. I remember asking Russell what photographers he liked and what he wanted to do and he started talking about riding his bicycle through Europe for six months and sculpture. Meanwhile I was in full commercial mode, working around the clock.”

.

A bustling still life photographer, Hansen’s posh client roster included Bergdorf Goodman, Bonwit Teller, Lord & Taylor, and Balducci’s – but things began to change when Peacock began collaborating with her. Paging through the luxurious art book style catalogues for Yohji Yamamoto and Comme des Garçons, inspiration struck. “We thought fashion photography looked like fun, not knowing how difficult it was,” Peacock says.

.

After business hours ended, they opened studio to the downtown scene, inviting club icons like Dianne Brill and Marilyn for portraits, styling them in clothes by emerging designers like Marc Jacobs and Isabel Toledo, and publishing in the Village Voice, aRude, Taxi, and Interview. To establish a distinct identity, they adopted the name Guzman.

.

“There were no doubles in photography at that time and everyone was against it except Paula Greif,” Hansen says. As creative director at Barney’s, Greif got Guzman its first big music gig – shooting the cover of Rockbird, Debbie Harry’s 1986 solo album. “We worked with Stephen Sprouse, Andy Warhol, and Linda Mason. We were trying not to act blown away but we were,” Hansen says.

.

By 1990, Guzman had opened a 3,000 square foot studio on 31st Street in Manhattan. They also secured a Los Angeles photo agent, who get them gigs in the music industry, bringing in an extraordinary line up of artists including Sting, the Neville Brothers, Digable Planets, Luther Vandross, and Dru Hill. “It was a golden era,” Hansen says. “Someone would call us up to do whatever we wanted.”

.

Read the Full Story at Dazed

.

Guzman. En Vogue, EC3, 1997.
Guzma. SWV, Release Some Tension, 1997.
Categories: 1990s, Art, Dazed, Fashion, Music, Photography, Women

Alex Christopher Williams: Black Like Paul

Posted on May 27, 2021

Alex Christioher Williams

“My father became ‘Black’ when I was in sixth grade,” American photographer Alex Christopher Williams remembers. Born to a white mother and a Black father, Williams, who presents as white, was raised by his mother in predominantly white suburban neighborhoods in Ohio. His father, Paul, who was 21 when Williams was born, chaperoned his sixth-grade class on a field trip to Washington D.C. “My father was much younger than many of the other kids’ parents so he was much cooler and more relatable to us,” Williams says. “I got to see my friends and everyone in my class communicate with my father and suddenly I became cooler because my father was Black — as though he were an accessory like a Gucci bag.”

.

After Williams’ mother remarried, the family moved to Mississippi when he was 13. “I was fortunate to have my maternal grandfather take me aside and say, ‘Just get ready. Prepare yourself.’ I had no idea what he was talking about,” he remembers. Raised in a “white normative culture,” Williams learned to code switch, moving effortlessly between various white friend groups. He rarely mentioned his father’s identity among his friends, for when he did, it was met with stereotypes of race.

.

“When I was in Mississippi, my friends never met my father but would identify certain characteristics about what they knew about Black culture in me and point that out,” Williams recalls. “We were in a band together and there was a moment when we would click. I’d be excited, jumping up and down yelling, and they would call it ‘Black Man Freak Outs.’ Or they wouldn’t even believe it, saying things like, ‘There’s no way Alex could be Black.’”

.

Read the Full Story at Blind

.

Alex Christioher Williams
Alex Christopher Williams
Categories: Art, Blind, Books, Photography

Allen Frame: NYC 1981

Posted on May 26, 2021

John West and Charlie Boone, NYC, 1981 © Allen Frame, courtesy Gitterman Gallery and Matte Editions

In the Deep South lies Greenville, Mississippi, a distinctly progressive town set amid a conservative landscape that gave birth to writers, musicians, and artists including photographer and filmmaker Allen Frame. Being LGBTQ was an unspoken fact of life; few like sculptor Leon Koury had the courage to come out. In the early 1970s, while on break from Harvard University and later Imageworks, Frame spent time at Koury’s studio, finding a source of connection that kept him from feeling like a complete outsider in hypermasculine world.

.

Dying to escape, Frame moved first to Boston before arriving in New York in 1977 just as the Gay Liberation Movement was in full swing. In 1981, he got a place on Perry Street just blocks from the Stonewall Inn, the site of the historic uprising in the fight for LGBTQ rights. At a time when one could easily afford to live, work, and party in New York, Frame took a job cleaning apartments, which left him with plenty of time to revel in the city’s burgeoning downtown art scene. Frame hung out in the East Village amid a new crop of artists and photographers including Nan Goldin, David Armstrong, Kenny Scharf, Dan Mahoney, Peter Hujar, and Alvin Baltrop.

.

At the same time, Frame was making his own body of work, which French critic Gilles Mora and photographer Claude Nori described as “photobiography.” Like Goldin and Armstrong, Frame created a journal of his personal life, one that evokes the warm intimacy of a family photo album. No longer an outsider, Frame was fully immersed among the avant garde but a penchant for mystery and suspense remained in his work, one that becomes all the more poignant in light of the catastrophe that would soon destroy the fragile world he loved.

.

Read the Full Story at Blind

.

Nan Goldin on her birthday, Allen Frame in the reflection, Nan’s loft on the Bowery. Courtesy of the artist and Gitterman Gallery © Allen Frame
Categories: 1980s, Art, Blind, Books, Exhibitions, Manhattan, Photography

Megan Doherty: Stoned in Melanchol

Posted on May 24, 2021

Megan Doherty

Growing up in Derry, Ireland, artist Megan Doherty first picked up the camera as a teen to make reference photos for paintings. Soon after, she became enthralled with the possibility of using photography to bring to life images that fueled her imagination. 

.

Young and ambitious, Doherty felt confined by small-town life. “I was feeling trapped, unfulfilled, and seeking escape from reality by any means necessary,” she says.  “I got lost in films that gave me a glimpse into the possibilities outside of what I knew and also allowed me to observe how captivating mundanity could be if viewed through a new perspective.”

.

Gradually, Doherty realised that she could turn the camera onto her world to transcend the limits of her environment. She began photographing intimate moments with friends, both staged and unfolding in real-time. The result is a collection of photographs titled Stoned in Melanchol (Setanta Books), a Rizla style box of 50 prints.

.

Read the Full Story at Huck

.

Megan Doherty
Megan Doherty
Categories: Art, Huck, Photography, Women

Janette Beckman: Downtown New York in the 1980s

Posted on May 20, 2021

Janette Beckman. Andre Walker, Robin Newland, and Pierre Francillon for Paper’s premier issue, June 1984.

After covering the first hip hop showcase in the UK for Melody Makermagazine in 1982, British photographer Janette Beckman became hooked to the newly emerging style and sound of New York street culture. That Christmas, she decided to see the scene for herself. 

.

“I took the train from JFK airport and got off at West Fourth Street,” Beckman recalls of her first foray into the heart of downtown New York. “It was very exciting. Kids were carrying boomboxes on the train and people were breakdancing on the street. It was like everything I saw in the movies. I was a big Scorsese fan and here I was walking on those Mean Streets.” 

.

Once she arrived, Beckman decided to call the city her home, settling down in the East Village and opening a photo studio on Lafayette Street. In 1984, Beckman got word that her good friend Kim Hastreiter and David Hershkovits were launching Paper, a black-and-white fold-out zine. “They asked if I wanted to take photos, and I did.”

.

Read the Full Story at Huck

.

Janette Beckman. Jose Extravaganza wit Keith Haring designed trophy, Susanne Bartsch’s Love Ball, 1989.
Categories: 1980s, Art, Fashion, Huck, Manhattan, Music, Photography

Underexposed: Women Photographers from the Collection

Posted on May 20, 2021

Mickalene Thomas, Les Trois Femmes Deux, 2018.

History is filled with works of art that have survived save one salient point: the name of the person to whom their creation might be attributed. In the 1929 essay A Room of One’s Own, British author Virginia Woolf knowingly surmised, “I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.”

.

Even though it wasn’t until the twentieth century that women began to command the political and cultural capital to demand credit where it was due, their contributions are all too often left out of the pantheon alongside their male counterparts. It is only in recent years that mainstream institutions have begun to center those relegated to the margins of history, and in doing so offer new paradigms by which we may reconsider women’s roles in shaping the world.

.

The new exhibition, “Underexposed: Women Photographers from the Collection”, in Atlanta, brings together 100 works made over the past century, presents a panoply of perspectives and approaches across a wide array of genres including photojournalism, documentary, portraiture, and advertising. Featuring works by Berenice Abbott, Margaret Bourke-White, Sally Mann, Nan Goldin, Diane Arbus, Zanele Muholi, Sheila Pree Bright, Cindy Sherman, Mickalene Thomas, and Carrie Mae Weems, the exhibition explores image making through the female lens.

.

Read the Full Story at Blind

.

Nan Goldin, Cookie and Sharon on the Bed, Provincetown, MA, 1989.

Categories: Art, Blind, Exhibitions, Photography, Women

Remembering Tom of Finland Through Stories of Those Who Knew Him

Posted on May 19, 2021

Tom of Finland, Untitled, c.1973, Tom of Finland Permanent Collection

Those who had the pleasure of meeting Tom of Finland (born Touko Valio Laaksonen, 1920–1991) may have expected to encounter a walking, talking version of his drawings. Instead, they would have been greeter by a gentle soul, whose Finnish upbringing made him a quiet and reserved individual, who would easily slip into the fantasy world of his homoerotic drawings for hours at a time.

.

“If you know Finns, and most people don’t, they can be quite quiet,” says Durk Dehner, president of the Tom of Finland Foundation. “When I first went to Finland, Tom set up a cocktail party for me at his apartment. His friends started coming while he was arranging cocktails and preparing hors d’oeuvres. We were all sitting in the living room and nobody was saying a word. I was so uncomfortable, I went into the kitchen and said, ‘When are they going to start talking?’ He said, ‘Give them one more drink and they will,’ and that was the case. Of course six hours later I went into the kitchen and said, ‘When are they going to go home?’ That’s Finns in a nutshell.”

.

Although Tom was unassuming, he was confident and determined to create works of art that would empower and inspire gay men at a time when homosexuality – and very the depiction of it – was criminalised, stigmatised, and misrepresented. Tom’s groundbreaking drawings of bikers and leathermen, which he made from photographs now on view in the new exhibition Tom of Finland: The Darkroom, revolutionised the portrayal of gay men forevermore. “He wanted his history to be in his art,” Dehnrer says. And so it was – but still many wish to know, what was Tom of Finland really like? Here his friends, lovers, and models reminisce on the man behind the myth.

.

Read the Full Story at AnOther

.

Tom of Finland, Untitled (Aarno), 1976, Tom of Finland Permanent Collection
Categories: 1970s, 1980s, AnOther, Art, Exhibitions, Photography

Common Practice: Basketball & Contemporary Art

Posted on May 19, 2021

Lew Alcindor, basketball player, by Richard Avedon, New York, 1963

“Basketball is a universal language, much like art is. There are other sports that are likely more popular, but none are as influential as basketball from a cultural standpoint,” says artist and filmmaker John Dennis. “It transcends barriers in music, fashion, art, and pop culture, and also draws attention to pressing issues in the social and political arena.”

.

Growing up in the suburbs of New York City, Dennis saw an artificial division drawn between athlete and artist, one that failed to reflect the common ground they shared: a dedicated commitment to practice across all disciplines. Whether shooting in the gym, painting in the studio, or printing in the darkroom, athletes and artists must show up every day to transform their talents, skills, and passion into a successful career and lasting legacy.

.

As an avid basketball player, Dennis sought new ways to connect with the game and explore the intersections between sport and art. He teamed up with artist Carlos Rolón and Project Backboard founder Dan Peterson to create the new book Common Practice: Basketball & Contemporary Art (Skira). Featuring the work of 250 artists including Richard Avedon, Salvador Dalí, Keith Haring, Barkley Hendricks, JR, KAWS, Alex Prager, Lorna Simpson, Andy Warhol and Ai Weiwei, the book presents an inclusive look at the iconography of basketball through a modern lens.

.

Read the Full Story at Huck

.

The Basketball Game by Ron Tarver, 1993
Firemen put out blaze while youths play basketball by Paul Hosefros for The New York Times, 1975
Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Huck

Hannah Gottlieb-Graham: ALMA Communications

Posted on May 13, 2021

Luke A Wright. Hannah Gottlieb-Graham, ALMA Communications, 2021.

“I am a collaborative person,” says Hannah Gottlieb-Graham, founder of ALMA Communications, a New York-based firm specialising in publicity, partnership, and publishing. Its client-list includes Air Jordan and Fotografiska New York, critic and curator Antwaun Sargent, and photographers such as Tyler Mitchell, Andre D. Wagner, and Diana Markosian.

.

“My business operates at the intersection of contemporary art, fashion, beauty and social justice,” says Gottlieb-Graham. At just 26, she comfortably combines the language of the digital generation with a politically aware understanding of the power of art in centering previously marginalized groups within an institutional framework. 

.

Since launching ALMA on 01 January 2020, Gottlieb-Graham has taken on more than 40 projects in the fields of art, photography, book publishing, film, fashion, beauty, and nonprofit. She signs clients for three or six-month contracts, with the aim of building lasting relationships. “When I work with a new client, we’ll sit down and talk about their wish list,” she explains. “I’ll make a strategy, and that will change depending on specific projects or launches. Nothing is cookie-cutter. Everything is personal.”

.

Read the Full Story at British Journal of Photography

.

Andre D. Wagner. Viola Davis and her 10-year daughter Genesis Tennon, for a feature titled Black Americana: A Photo Essay on Love and Pain, Directed by Regina King for W Magazine: The Directors Issue, April 2021.
Categories: Art, Books, British Journal of Photography, Exhibitions, Photography

Lionel Derimais: New York 1980 Vol. I & II

Posted on May 12, 2021

Lionel Derimais. African-American young couple, Manhattan, New York City, NY; USA. 1980

Parisian native Lionel Derimais fell into photography by accident. He dreamed of becoming a veterinarian, but his math grades made such aspirations impossible. 

.

“In 1977, a school mate showed me his camera. I immediately thought: ‘I’ll do that too’ – even though I had no idea what ‘that’ meant,” he recalls. That summer, Derimais got a job at a photography shop, bought his first camera, built a darkroom, and never looked back. 

.

In September 1979, he arrived in New York to study English at Columbia University. “But I just wanted to be ‘out there’ with film in my pocket, taking pictures,” he says. 

.

Read the Full Story at Blind

.

Lionel Derimais. Kids posing for a photo while another one hides, Manhattan, New York City, NY, USA. 1980
Lionel Derimais. A reflection of the Twin Towers in downtown Manhattan, Manhattan, New York City, NY, USA, 1980
Categories: 1980s, Art, Books, Huck, Manhattan, 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