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Posts by Miss Rosen

Mel Odom: Gard Stuff

Posted on May 10, 2021

Mel Odom, Birthmark, 1978

Growing up in Mayberry, North Carolina, in the 1950s and 60s, artist Mel Odom would sneak out of his room after his parents went to sleep, turn the TV down low, and watch old movies late into the night. Mesmerised by the sleek yet sensuous art deco aesthetic that defined old Hollywood glamour, Odom revelled in the cool sexuality that smoldered under the glimmering surface of these films.

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Intuitively he brought this sensibility to his work as an illustrator, a passion that took root when he was just three or four years old. Born to a mailman and a housewife living in a small town, Odom found solace in drawing his own world. “As an adult I realised whenever there was something traumatic going on in the family or in my life, drawing where was where I would go to exhibit some sense of control,” he tells AnOther. “I would go to my room and draw for hours. My parents understood it was something that meant a great deal to me, so I had lessons from the time I was seven years old.”

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After receiving his first commission in third or fourth grade to draw 36 place cards for a school event, Odom understood he could make money doing what he loved. It’s a passion that he’s pursued throughout his life, one that he reflects back on in the new two-part exhibition, Mel Odom: Hard Stuff, now on view online and at the Tom of Finland Store in Los Angeles. For the exhibition, Odom brings together 100 drawings made between 1975 and 2019 that showcase his wholly original approach to illustration.

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Read the Full Story at Blind

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Mel Odom, Rayford, 1979
Categories: 1970s, AnOther, Art, Exhibitions

Sarah Hermanson Meister: Fotoclubismo – Brazilian Modernist Photography and the Foto-Cine Clube Bandeirante, 1946–1964

Posted on May 10, 2021

Gertrudes Altschul, Filigree (Filigrana), 1953, The Museum of Modern Art, New York © 2020 Estate of Gertrudes Altschul

At precisely 2:34 p.m. on April 29, 1939, a small group of amateur photographers gathered in the Blue Room of the Martinelli building in São Paolo, Brazil, to create the Foto-Cine Clube Bandeirante (FCCB). Lawyers, businessmen, accountants, journalists, engineers, biologists and bankers… These white collar professionals shared a common love for the innovative possibilities of photography. Together, artists including Thomaz Farkas, Geraldo de Barros, Gertrudes Altschul, Maria Helena Valente da Cruz, and Palmira Puig-Giró, among others would gather regularly in the spirit of competition and camaraderie to create a space for shared discovery.

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Informed by the movement towards abstraction dominating the modern art world, members of the FCCB pushed the boundaries of the medium into new realms, and their influence extended into artistic circles across Europe and North America. Like their peers working in painting, design, and literature, the FCCB found inspiration in majestic elegance of daily life, drawing from architecture, nature, texture, shape, shadow, solitude, and movement to create new ways of seeing the world.

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For 25 years, the FCCB continuously challenged visual tropes, resisting the lure of repetition and cliché in a search for originality of style and technique. But with the Coup of 1964, in which the United States funded the Brazilian Armed Forces overthrow of President João Goulart, a brutally repressive regime dominated the country for the next twenty years. As the FCCB prepared for the Eighth São Paulo Bienal in September–November 1965, the government began to jail critics and intellectuals, an act that signaled the end of an era had arrived.

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After the FCCB disbanded, they all but disappeared from the history of modern photography outside Brazil. In her final exhibition for the Museum of Modern Art, curator Sarah Hermanson Meister has organized Fotoclubismo: Brazilian Modernist Photography and the Foto-Cine Clube Bandeirante, 1946–1964, a restoration of a vital but forgotten chapter of art history, opened since May 8. Featuring more than 60 photographs drawn from the MoMA’s collection, the exhibition and accompanying catalogue present a series of works that offer indelible insight into mid-century modernism with a Brazilian touch.

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Read the Full Story at Blind

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Maria Helena Valente da Cruz, The Broken Glass (O vidro partido), c. 1952, The Museum of Modern Art, New York © 2020 Estate of Maria Helena Valente da Cruz
Julio Agostinelli, Circus (Circense), 1951, The Museum of Modern Art, New York © 2020 Estate of Julio Agostinelli
Categories: Art, Blind, Books, Exhibitions, Latin America, Photography

Gary Green: Rebels & Dandys

Posted on May 6, 2021

Gary Green. Anya & Roxy, 1976.

American photographer Gary Green first picked up the camera as a youth coming of age in suburban Long Island during the late 1960s. “My parents thought it was another thing I’d give up like the saxophone and other hobbies that languished after a year or two,” he recalls. But, to his parent’s surprise, his interest in photography steadily grew into a career.

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In the summer of 1976, Green moved to New York to work for a commercial photographer in midtown Manhattan. “New York was cheap, dirty, and dangerous in the best way. There was art to be seen, music to be heard, and artists making work everywhere,” he says.

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Camera in hand, Green quickly hit the burgeoning punk scene at Max’s Kansas City and CBGB, photographing bands like the New York Dolls, Blondie, and the Ramones, as well as the people on the scene like Andy Warhol. In the new exhibition, Rebels & Dandys, which features a selection of work from his recent book When Midnight Comes Around (Stanley/Barker), Green looks back at this pivotal era in music history.  

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Read the Full Story at Huck

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Gary Green. Girls with fake guns, Peppermint Lounge, c.1980.
Categories: 1970s, Art, Books, Exhibitions, Huck, Manhattan, Music, Photography

Andy Grundberg: How Photography Became Contemporary Art

Posted on May 6, 2021

Jan Groover, Untitled, 1978 © Estate of Jan Groover

From its very outset, photography occupied a curious place within the world of art, its mechanical nature offering a new way of seeing and recording, while simultaneously confounding the status quo at every turn. Its deceptive simplicity, margin for error, and ability to reproduce a single image infinite times challenged all that traditionalists held sacred about the singular work of art. Although photographers long sought for their work to be recognized — and valued — as art, it would be nearly 150 years before the establishment acknowledged it as such. Unsurprisingly it took artists themselves to show functionaries as much.

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As a photography critic at The New York Times from 1981-1991, Andy Grundbergplayed a pivotal role in the elevation of photography within the art world. He arrived in New York in August of 1971 with youthful dreams of being a poet. He got a job working in Soho just as the neighborhood was transitioning from a manufacturing center to an artists’ outpost, working as a day laborer to help transform huge industrial buildings transformed into lofts. At the time, the New York art world was firmly entrenched on 57th Street, just a stone’s throw from Sutton Place, but by the end of the decade, the downtown scene would rise to prominence.

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Photography, with its ability to do what no other medium could, played first a functional then a formal role in the contemporary art scene. In the new book How Photography Became Contemporary Art (Yale University Press), Grundberg pens the perfect mix of history and memoir that chronicles the mediums transformation in the 1970s and ‘80s. Offering a first-person account from the frontlines, Grundberg explores the radical artists and movements that shook up the scene and reflects on the medium’s relationship with feminism and artists of color.

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Read the Full Story at Blind

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Edward Ruscha, Phillips 66, Flagstaff, Arizona, 1962. From the book Twentysix Gasoline Stations, 1963. © Ed Ruscha
Categories: 1960s, 1970s, 1980s, 1990s, Art, Blind, Books, Photography

The Prince Family: Houston Rap Royalty

Posted on May 5, 2021

Jas Prince returns to his Texas ranch after visiting Jamaica and heads straight to his horse. Photography Rodney Pinz

Blood makes us kin and loyalty makes us family,” says J. Prince, the godfather of Southern hip hop. Hailing from Houston’s Fifth Ward, Prince built his empire one brick at a time, rising to become one of the most influential figures in the culture. As DJs and MCs moved from park jams into recording studios in the 1980s, New York-based labels like Def Jam, Tommy Boy, and Sleeping Bag dominated the national scene.

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“New Yorkers’ hustle game was so strong back in the beginning,” Prince says. “They spread it out throughout the South and monopolised our radio stations and our clubs. I had to change that narrative.” In 1987, he founded Rap-A-Lot Records, introducing a new style and sound with iconic artists including Geto Boys, Pimp C, Bun B, Do or Die, and Devin the Dude, which planted the seeds for a massive independent movement across the South that continues to this day. “I inspired the homies Master P, Cash Money, Tony Draper, everybody near Texas, to follow the blueprint,” Prince says.

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A visionary whose legacy begins – but does not end – with hip hop, Prince has become a mogul whose interests also include a 1200-acre Angus cattle ranch, the aptly-named Loyalty Wines, and the Prince Boxing Complex, a multi-million dollar recreation centre located in the heart of the Fifth Ward, a historically Black neighborhood settled in Houston by freemen after the American Civil War. 

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Read the Full Story at Dazed

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J Prince Jr. greeted at Heart NightClub in Houston by a friend. Photography Rodney Pinz
Loading water at James Prince Sr.’s charity relief event for those affected by the Texas winter storm. Photography Rodney Pinz
Categories: 1980s, 1990s, Art, Dazed, Fashion, Music, Photography

Meryl Meisler: The Best of Times, The Worst of Times

Posted on April 30, 2021

Fast Dancing at the COYOTE Hookers Masquerade Ball NY, NY February 1977 © Meryl Meisler

As a Baby Boomer coming of age in Massapequa, Long Island, in the 1950s and 1960s,Meryl Meisler enjoyed the picture perfect suburban American childhood. Her days were filled with Girl Scout meetings, piano lessons, twirling practice, and ballet class; on weekends, her family would take trips to New York City to catch a Broadway show. Glamour and theatricality filled her youth, setting the stage for things to come when she moved to Manhattan during the summer of 1975, after receiving her MA in Art from the University of Madison in Wisconsin.

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Twenty-three of age, Meisler arrived in New York just as it was reaching the peak of decadence. The financial collapse of the city (as a result of the explosion in public spending), combined with the Sexual Revolution, the Gay Pride, and Women’s Liberation Movements to create the perfect storm: a playground for a new generation coming of age that could afford to work, live, and party in New York.

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Meisler sublet a room from her cousin Elaine on the Upper West Side, in Manhattan. “I fell right in,” she remembers. “I was freelancing as an illustrator, making sporadic money, and photographing. I set up a darkroom in the laundry room and that was that. I loved meeting different kinds of people from different backgrounds. My cousins had a gallery in East Harlem that brought together poets, artists, and musicians of all ages. Elaine’s older sister, Barbara, was friends with journalist Betty Friedan and all the famous feminists of the day. I was going to parties with movers and groovers, then out dancing at a Latin club. I felt at home. Whoever I was, this was where I belonged.”

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Read the Full Story at Blind

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The DJ Booth at 4AM Studio 54, NY, NY, August 1977 © Meryl Meisler
Opening The Mirrored Door on Opening Night (With Judi Jupiter), La Farfalle, New York, New York, juin 1978 © Meryl Meisler
Categories: 1970s, Art, Blind, Exhibitions, Manhattan, Photography

Pixy Liao: Your Gaze Belongs to Me

Posted on April 29, 2021

Bed Wrestling, from the “Experimental Relationship series”, 2019 © Pixy Liao

Through the history of Western art, the heterosexual dynamic has shaped the notions of artist and muse: the male as creator, sublimating his sexual prowess to make art; the female as muse, the passive object of inspiration. The notion of a muse comes from the ancient Greeks, who cast nine goddesses as the source of inspiration for men to pen poetry, hymns, music and song, dance, comedy, tragedy, history, and astronomy — decidedly more “feminine” disciplines, as opposed to science, math, and philosophy.

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Some 3.000 years later, the paradigm is as patriarchal as it is démodé — and now brilliantly challenged by Chinese photographer Pixy Liao in “Your Gaze Belongs to Me“, her first museum exhibition, curated by Holly Roussel. Hailing from Shanghai, Liao recalls being raised with traditional gender roles hailing from Confucian times that very much mirror that of ancient Greece.

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“As a woman brought up in China, I used to think I could only love someone who is older and more mature than me, who can be my protector and mentor,” Liao toldLenscratch. “Then I met my current boyfriend, Moro, who is 5 years younger than me, I felt that whole concept of relationships changed, all the way around. I became the person who has more authority and power. One of my male friends even questioned how I could choose a boyfriend the way a man would choose a girlfriend. And I thought, ‘Damn right. That’s exactly what I’m doing, and why not!’”

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Read the Full Story at Blind

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You don’t have to be a boy to be my boyfriend, from the “Experimental Relationship” series, 2010 © Pixy Liao
Categories: Art, Blind, Exhibitions

Tom of Finland: The Darkroom

Posted on April 29, 2021

Tom of Finland, Untitled (Gavin), 1987, Tom of Finland Permanent Collection ©1987-2021 Tom of Finland Foundation

Wars, for all their horrors, have been known to foster a sense of brotherhood among the men who fight in them. This was certainly the case with Tom of Finland – born Touko Laaksonen (1920–1991) – who was conscripted to serve in the Finnish Army during World War II and rose to become a lieutenant, beloved by his platoon for treating them with kindness and respect. The son of a country choral master, Tom seized the opportunity to strengthen the bond between his men and created the first men’s choir in the Finnish Army.

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“They had a lot of time sitting around waiting for the Russians to attack them so Tom taught all of the men in his platoon how to sing,” says Durk Dehner, president and co-founder of the Tom of Finland Foundation. “He could take on initiatives that came out of his own inspiration and yet he had this sensibility of not having to stand out and be noticed.”

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Flying under the radar, quite literally, Tom established a cottage industry selling drawings through his mail-order business, while also working a day job at an advertising firm. What few people know is the role photography played in Tom’s artistic process. Now, the new exhibition Tom of Finland: The Darkroom, opening April 30 at Fotografiska New York, brings together photographic portraits the artist used as reference images for his legendary and hugely influential drawings. Organised in conjunction with Tom’s 101st birthday on May 8, the exhibition explores this little-known aspect of the artist’s work, which was confined to his home studio and darkroom so as to protect him from persecution, prosecution, and imprisonment.

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Read the Full Story at AnOther

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Tom of Finland, Untitled, c.1986, Tom of Finland Permanent Collection © 1986-2021 Tom of Finland Foundation
Categories: 1960s, 1970s, 1980s, AnOther, Art, Exhibitions, Photography

Nydia Blas: Revival

Posted on April 25, 2021

Revival © Nydia Blas

We are born into bodies inscribed with histories that we do not control, a complex mix of truth and trauma, archetype and stereotype. As we walk the earth at a specific time and place, we are met with expectations and limitations based on the bodies we hold — but the force of our very nature empowers us to reimagine and create new paradigms writ large. This is the magic of Panamanian American artist Nydia Blas, who uses photography, collage, video, and books to render intimate scenes of Black girl bliss.

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In her first monograph, Revival (Kris Graves Projects, April 2021), Blas takes us inside her world, a space of exquisite sensitivity where she is free to explore, confront, and celebrate the very essence of body and soul. Using her lived experiences as a girl, woman, and mother, Blas carefully weaves allegorical images of the feminine into majestic tapestries of resilience, resistance, and reclamation through what she describes as a “Black feminine lens”.

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Growing up in the predominantly white college town of Ithaca, New York, Blas was introduced to folklore as a child when her Aunt Beverly gifted a copy of Virginia Hamilton’s book The People Could Fly: American Black Folktale. Blas came to understand what matters most is choice. We hold the power to choose our own thoughts and beliefs, and use them to heal the wounds we carry, passed on from one generation to the next.

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Read the Full Story at Blind

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Revival © Nydia Blas
Categories: Art, Blind, Books, Photography, Women

Gulnara Samoilova: From Russia With Love

Posted on April 21, 2021

Untitled from the series “Lost Family”, 1987-2015 © Gulnara Samoilova

With the recent publication of Women Street Photographers (Prestel), photographerGulnara Samoilova has once again returned to the public eye — but in a very different way from when she won the World Press Photo for her photograph of September 11. After the trauma she endured that day, Samoilova left photojournalism, never to return. She established a successful wedding photography studio but eventually found herself depressed. Money and status simply were not enough — she needed to return to her love of making art.

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Encouraged by the words of American photographer Mary Ellen Mark, Samoilova decided to change careers in 2015. She dreamed of traveling the world and taking street photographs, a passion she enjoyed since she first picked up the camera as a teenager in her hometown of Ufa, the capital of the Republic of Bashkortostan in Russia.

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The answers became clear after the 2016 Presidential election in the United States. Triggered with memories of sexism experienced throughout her career, Samoilova decided to create Women Street Photographers, a now-highly popular Instagram feed, in 2017. With the success of the community, she could organically expand the platform to include a website, exhibition series, artist residency, inspirational films, and now the book, which brings together the work of 100 artists from around the world pushing the boundaries of street photography into new realms.

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Read the Full Story at Blind

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Untitled from the series “Uda, Baskiria” © Gulnara Samoilova
Untitled from the series “Lost Family”, 1987-2015 © Gulnara Samoilova
Categories: Art, Blind, Books, Painting, Photography, Women

Judi Hampton: Eyes on the Prize

Posted on April 21, 2021

Pictured in front of the Omaha, Neb. Central Police Station June 27, 1969, just after their release from questioning, are Black Panthers, left to right: Robert Cecil, Robert Griffo, Frank Peate, Gary House, and William Peak. (AP Photo)

“The past is never dead. It’s not even past,” William Faulkner famously wrote in the 1951 novel Requiem for a Nun, about the vicious cycle of trauma that lies deep in the heart of America. It is a truth that plays out more frequently than we may know. 

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Following the April 11 police shooting of 20-year-old Daunte Wright at a traffic stop, George Floyd’s girlfriend Courteney Ross revealed to the pressthat she had taught Wright while he was a student at Edison High School. The horrific convergence echoes that of Iberia Hampton, mother of slain Black Panther leader Fred Hampton, who babysat for Emmett Till before the 14-year-old boy was brutally murdered in 1955.

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The stories of Emmett Till and Fred Hampton are just two of the stories featured in Eyes on the Prize, a landmark 1987 documentary TV series chronicling about Civil Rights Movement, which is now streaming free for a limited time.

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Read the Full Story at Huck

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27 Mar 1969, Dallas, Texas, USA — Original caption: Heavyweight champion Cassius Clay playfully spars with an unidentified Negro boy after Clay learned that he has won a delay in his 4/11 draft call. Clay’s Louisville draft board announced that his records are being transferred to Houston, Clay’s new home, and then Houston will set a new date for his draft call. Clay is in Dallas visiting local Black Muslim leaders. — Image by © Bettmann/CORBIS
Eve Arnold. Malcolm X at a Black Muslim rally, USA. District of Columbia. Town of Washington D.C. 1961.
Categories: 1960s, 1970s, 1980s, Exhibitions, Huck

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