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Posts by Miss Rosen

Honky Tonk: Portraits of Country Music 1972-1981 – Photographs by Henry Horenstein

Posted on October 30, 2020

Lovers, Tootsie’s Orchid Lounge, Nashville, TN, 1975 © Courtesy of Henry Horenstein
Ponderosa, Near Pikesville, KY, 1974 © Courtesy of Henry Horenstein

In the 1970s, country music reached stratospheric heights by seamlessly weaving itself into the fabric of American culture by blending elements of folk and rock music into its Southern honky-tonk roots. Songs of love and loss, booze and gambling, family and country — the triumphs and struggles of everyday folks trying to make it through life — fueled a new generation of artists who reveled in a compelling mix of nostalgia, heartbreak, and pride. 

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The ‘70s brought talents like Loretta Lynn, Tammy Wynette, Reba McEntire, and Emmylou Harris into the ranks, their raw talent and star power shining alongside luminaries like Johnny Cash, Conway Twitty, John Denver, and Charley Pride. Throughout the decade, country music could be heard on popular television shows like Hee Haw as well as on local radio from coast to coast, the stars of the Grand Ole Opry were seen as national icons — with breakout performers like Dolly Parton, Kris Kristofferson, Willie Nelson, and Marie Osmond going Hollywood. 

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Photographer Henry Horenstein, a dyed in the wool Yankee, began photographing the country music scene as part of a final assignment for his history professor, the famed British writer and socialist E.P. Thompson, who helped Horenstein understand the importance of recording, studying, and documenting the people who were going to disappear from history unless someone preserved their role in it. He did just that, amassing an extraordinary archive of the images now on view in the new exhibition,Honky Tonk: Portraits of Country Music 1972-1981 – Photographs by Henry Horenstein.

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Read the Full Story at Huck

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Dolly Parton, Symphony Hall, Boston, MA, 1972 © Courtesy of Henry Horenstein
Drunk Dancers, Merchant’s Cafe, Nashville, TN, 1974 © Courtesy of Henry Horenstein
Categories: 1970s, Art, Blind, Exhibitions, Music, Photography

Earlie Hudnall Jr.: Past and Present

Posted on October 29, 2020

Earlie Hudnall, Jr., Hot Summer Days, 2011, Courtesy PDNB Gallery, Dallas, TX

Growing up in Hattiesburg, Mississippi, during Jim Crow, Earlie Hudnall Jr. discovered the importance of photography, keeping records, and documenting family and community through his grandmother Bonnie Jean. 

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“My grandmother was like the community historian in her own way,” Hudnall says. “In the summertime, we would sit on the porch. She would be telling stories so vivid your imagination almost came to life.”

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Bonnie Jean kept albums that Hudnall would peruse, filled with photographs of community residents, primary school kids who grew up in the neighborhood, alongside family photos and works by her son Earlie Hudnall Sr. – an amateur photographer who made pictures while serving in the military. 

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Bonnie Jean impressed upon her grandson the importance of being aware of what was happening in the community. Hudnall recalls his family telling him about the lynching of Emmett Till, and stumbling upon newspaper clippings reporting an African American pilot shot down in the Korean War. Hudnall has kept them to this very day.

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Read the Full Story at Huck

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Earlie Hudnall, Jr., June 19, 1987, Courtesy PDNB Gallery, Dallas, TX
Categories: 1980s, 1990s, Art, Exhibitions, Huck, Photography

Jake Scharbach: Art at the End of Empire

Posted on October 28, 2020

Jake Scharbach

After empire peaks, it begins its descent, deftly illustrating the principle of Newton’s Third Law: for every action there is an equal and opposite reaction. It is this very reversal that makes it so difficult to grasp when one is witnessing it from the inside looking out rather than they other way around. 

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It is here in the fog of chaos that artists may act as guides. Their intuitive need to explore and express that which is a blessing and a curse illuminates the darkness that obfuscates our view. Once rendered, their work provides both context and subtext that we may use to chart our path into the unknown by providing us a quiet space to contemplate how the present has come to pass. 

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Growing up in a small town in Washington, American artist Jake Scharbach developed an early connection to nature that informed his ongoing suspicions of civilization, one that has served him well in his quest to wrestle with the ineffable and give it voice. Coupled with an intimate experience of community and unconditional relationships, Scharbach cultivates a language of symbols and signs rooted in Western ideals to analyze contemporary cultural values. 

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Read the Full Story at Jacques Marie Mage

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Jake Scharbach
Categories: Art, Jacques Marie Mage

A Brief Story of Homoerotic Photography in America, Part I

Posted on October 28, 2020

Tom Bianchi. Fire Island Pines. Polaroids 1975-1983 (Damiani)

It wasn’t until 2003 — nearly 40 years after the Civil Rights Act of 1964 was passed — that the US Supreme Court (SCOTUS) gave LGBTQ people their Constitutional rights, ruling in Lawrence v. Texas that intimate consensual conduct is a liberty protected by the Fourteenth Amendment. For the better part of American history, same-sex activity was treated as a crime to be persecuted under the law, for which citizens could be denied healthcare, housing, education, employment, and access across the board. 

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The American Psychiatric Association deemed it a pathology, dedicating more than 20 years to formalizing a language to describe and behaviors to treat what they erroneously deemed a form of mental illness until the egregious diagnosis was removed from the DSM-III-R in 1973. That same year, the Supreme Court modified its definition of obscenity in the landmark case Miller v. California from the of “utterly without socially redeeming value” to that which lacks “serious literary, artistic, political, or scientific value,” providing protections to previously censored works of art and culture under the First Amendment. 

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Much as same-sex activity was criminalized, so was any expression of — a practice dating back to the 1873 Comstock Laws, a set of federal acts for the “Suppression of Trade in, and Circulation of, Obscene Literature and Articles of Immoral Use,” which criminalized sending “obscene” materials, contraceptives, abortifacients, sex toys, personal letters with sexual content, or any information related to their topics through the U.S. Postal Service (USPS). In brief, to be LGBTQ in America posed life-threatening risk.

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Read the Full Story at Blind

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Men in Showers Series – Plastic Series, Jean Eudes Canival, Paris, 1975 © The Estate and Archive of Antonio Lopez and Juan Ramos
Categories: 1960s, 1970s, Art, Blind, Photography

Andy Warhol. Love, Sex, and Desire. Drawings 1950–1962

Posted on October 27, 2020

Andy Warhol. Love, Sex, and Desire. Drawings 1950–1962. Courtesy of Taschen

During the summer of 1952, a rising commercial illustrator named Andy Warhol was preparing to make his debut on the New York art scene. He had been working on a series of elegant line drawings celebrating queer love – a style and subject that couldn’t be less fitting to the American audience. Enthralled by hypermasculine ideals and Abstract Expressionist aesthetics, galleries balked at Warhol’s efforts to show his work but the then 24-year-old artist would not be denied.

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“Throughout his life, Warhol refused to be defined by social conventions,” says Michael Dayton Hermann, editor of Andy Warhol. Love, Sex, and Desire. Drawings 1950–1962(Taschen, November 2020). “John Giorno, artist, poet and Warhol’s former lover, explained, ‘Andy was a gay man and worked with the homoerotic. In the homophobic 1950s, this was daring and heroic. A great risk.’”

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The book brings together over 300 drawings rendered primarily in ink on paper of men reveling in the pleasure of youth, beauty, and the flesh. Their defining characteristic is a palpable sense of unbridled sexuality, one made all the more alluring by its defiance against societal norms. At a time when homosexuality was illegal and full-frontal male nudity was considered “obscene,” simply looking at the male body was an act of liberation, defiance, and pure delight.

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Read the Full Story at AnOther

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Andy Warhol. Love, Sex, and Desire. Drawings 1950–1962. Courtesy of Taschen
Categories: AnOther, Art, Books

Alex Majoli: Magnum Artists – Great Photographers Meet Great Artists,

Posted on October 27, 2020

Alex Majoli Wall in the studio of artist Ellsworth Kelly.(Photo by Alex Majoli and Daria Birang.) Spencertown, NY. USA. 2012. © Alex Majoli | Magnum Photos

At 15, Alex Majoli joined the F45 bottega in Ravenna, Italy, working as an apprentice under Daniele Casadio. “I grew up in the studio, which specialized in art reproduction,” Majoli recalls. “Many times my master asked me to go to the studios of the artists while they were working to complete the catalogues. I learned that the place where one should take a picture of an artist is in their studio.”

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The wisdom that an artist might best be understood situated within the environs in which they create has served Majoli extraordinarily well over the years. Although not primarily a portrait photographer, Majoli’s sensitivity to the complex interplay between his subjects’ inner worlds and outer lives has made him a gifted portraitist of leading contemporary artists.

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In the new book Magnum Artists: Great Photographers Meet Great Artists, the title’s author and editor Simon Bainbridge brings together portraits by Magnum members of more than 100 of the most innovative artists of the past century. From Edward Steichen, Man Ray, and Marcel Duchamp to William Eggleston, Nan Goldin, and Naim June Paik,Magnum Artists offers an intimate look at a diverse array of men and women who have transformed the course of Western art.

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Read the Full Story at Magnum Photos

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Alex Majoli Shirin Neshat, an Iranian visual artist, she is known primarily for her work in film, video and photography. In her house in NYC. NYC. USA. 2009. © Alex Majoli | Magnum Photos
Categories: Art, Magnum Photos, Photography

Judah Passow: Divis Flats Belfast 1982

Posted on October 25, 2020

Judah Passow

The Troubles reached a fever pitch in 1982, as the Irish National Liberation Army (INLA) struck hard, killing more British security forces than ever before. The grievous harm to the innocent was made plain on Thursday, September 16, when the INLA exploded a bomb hidden inside a drain pipe along a balcony in Cullingtree Walk, Divis Tower, Belfast.

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Though aimed against a British Army foot patrol, the blast had the unintended effect of killing two local children, Stephen Bennet, 14, and Kevin Valliday, 12, along with soldier Kevin Waller, 20. Three other civilians and one soldier were also injured in the explosion. 

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It just so happened that earlier that year, Israeli photojournalist Judah Passow spent a couple of weeks documenting Divis Flats for the Observer magazine to create a portrait of a people and a place. These photographs have been published in Divis Flats Belfast 1982 (Café Royal Books). 

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Read the Full Story at Huck

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Judah Passow
Categories: 1980s, Art, Books, Huck, Photography

Danny Lyon: The Destruction of Lower Manhattan

Posted on October 22, 2020

Barmen on the walls, 1967. From The Destruction of Lower Manhattan (Aperture, 2020) © Danny Lyon, courtesy Aperture

In 1966, Danny Lyon, then 23, returned to his native New York City an emerging star on the photography scene. He spent the first half of the decade documenting the Civil Rights Movement as the official photographer for the Student Nonviolent Coordinating Committee; at the same time he was a member of the Chicago Outlaws motorcycle club, making what would become The Bikeriders (1968), a landmark monograph that exemplified the emerging school of New Journalism.

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Lyon moved to Lower Manhattan just as the neighborhood was about to be torn apart to make way for the construction of the World Trade Center, under the auspices of David Rockefeller, founder of the Downtown Manhattan Association and brother of then-governor of New York, Nelson Rockefeller. The Rockefellers decided to launch of a program of “urban renewal,” which wholesale erased a neighborhood dating back over a century. Recognizing this historic moment, Lyon set to work, creating the portrait of a world that would soon disappear in the landmark 1969 book, The Destruction of Lower Manhattan, just reissued by Aperture.

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“I came to see the buildings as fossils of a time past,” Lyon wrote in the book’s introduction. “These buildings were used during the Civil War. The men were all dead, but the buildings were still here, left behind as the city grew around them. Skyscrapers emerged from the rock of Manhattan like mountains growing out from the earth. And here and there near their base, caught between them on their old narrow streets, were the houses of the dead, the new buildings of their own time awaiting demolition.”

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Read the Full Story at Blind

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Beekman Street and the Brooklyn Bridge Southwest Project Demolition Site, 1967; from The Destruction of Lower Manhattan (Aperture, 2020) © Danny Lyon, courtesy Aperture
Huey and Dominick, foremen. Both men have brought down many of the buildings on the Brooklyn Bridge site. Dominick directed the demolition of 100 Gold Street., 1967; from The Destruction of Lower Manhattan (Aperture, 2020) © Danny Lyon, courtesy Aperture
Categories: 1960s, Art, Blind, Books, Manhattan, Photography

Picturing Resistance: Moments and Movements of Social Change from the 1960s to Today

Posted on October 22, 2020

©Bob Adelman Estate. Mourner with sign at the Dr. Martin Luther King, Jr., memorial service, Memphis, Tennessee, 1968.

Protest is the very foundation upon which the United States was built. In demanding the government answers to the people and not the other way around, it is vital to a functioning democracy and at the core of the First Amendment.

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In 2020, protests feel particularly ubiquitous; spurred on by the Black Lives Matter Movement, which has since become one of the biggest global civil rights actions in the history of the world. The protest movement as we know it today began with the 1955 lynching of Emmett Till — his killers declared not guilty the very same day Breonna Taylor’s would some 65 years later.

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“Nobody’s free until everybody’s free,” activist Fannie Lou Hamer famously said in a 1971 speech. It is a principle at the heart of Picturing Resistance: Moments and Movements of Social Change from the 1960s to Today (Ten Speed Press), a new book by Melanie Light and Ken Light. 

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Read the Full Story at Huck

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©1976 Matt Herron. A white policeman rips an American flag away from a young Black child, having already confiscated his “No More Police Brutality” sign, Jackson, Mississippi, 1965.
©Michael Abramson. The Young Lords, New York City, 1970.
Categories: 1960s, 1970s, 1980s, 1990s, Books, Huck, Photography

The Campaign

Posted on October 19, 2020

Bobby Kennedy campaigns in Indiana during May of 1968, with various aides and friends: former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones © Bill Eppridge / Monroe Gallery of Photography

“Politics is theater. It doesn’t matter if you win. You make a statement. You say, ‘I’m here, pay attention to me,’” said Harvey Milk, the first openly gay elected official in California. Invariably photography, with its paradoxical ability to convey fact and fiction at the same time, has long played a major role in shaping political messages without ever saying a word.

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The new exhibition, The Campaign, looks at how photographers have documented the race for the most powerful office in the world — that of the U.S. Presidency — over the past 80 years from the campaign trail to inauguration day. The exhibition, which features work by Cornell Capa, Bill Ray, John Leongard, Alfred Eisenstaedt, Neil Leifer, Brooks Kraft, and Nina Berman, among others, dates back to Thomas E. Dewey’s run in 1948, which resulted in one of the greatest upsets in election history.

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Irving Haberman’s vibrant crowd scene shows just how influential the photograph was, as countless members of the crowd bear placards with Dewey’s confident visage gazing intently at us, emoting the perfect blend of assurance and artifice Americans have grown to know and love.

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Read the Full Story at Blind

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1948 Republican Convention, Philadelphia, PA © Irving Haberman / Monroe Gallery of Photography
John F. Kennedy, on-set monitor at the first-ever televised Presidential debate in 1960 © Irving Haberman
Categories: Art, Blind, Photography

Andé Whyland: Shots – 1980–1986

Posted on October 15, 2020

Andé Whyland. Keith Haring, Bethann Hardison, Grace Jones, Fab 5 Freddy

Growing up in Long Island and San Francisco, photographer AndéWhyland dreamed of moving to Manhattan from a young age. “Always feeling like a misfit, a city as large as New York had to have a place for me and a way to survive,” she says.

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In 1979, Whyland finally arrived, settling into a first-floor apartment in the East Village where she paid a mere $130 a month. Two friends in the building were regulars at Club 57 – a nightclub on St. Marks Place that hosted experimental art and performance events. They asked Whyland to model in a fashion show that featured “all kinds of weird props and some meat thrown around”. Soon enough, Whyland was hooked.

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“New York gave me the freedom to be myself for the first time in my life,” she says. “Making money was not a priority, but staying out late and having fun was. Everyone I got to know in the clubs was celebrating our newfound family, and the opportunity to do anything.”

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Read the Full Story at Huck

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Andé Whyland. John Kelly in Ballet of the Dolls
Andé Whyland. RuPaul, Billy Beyond, Larry Tee, Hapi Phace, Hatti Hathaway (center front).
Categories: 1980s

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