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Posts by Miss Rosen

Tanya Marcuse: Fruitless|Fallen|Woven

Posted on August 29, 2019

© Tanya Marcuse, courtesy of Radius Books. Conceptual catalogue of fruit trees photographed over a 4 year period in the Hudson Valley, NY by artist, Tanya Marcuse. Many of the trees grow on land that is for sale and in danger of development.

Nature is our greatest teacher, providing ample evidence of the wisdom of the earth, the cycles of life and death ever flowing from one into the next. It is here in nature that we learn the truth: the beauty and power of the sublime, the ineffable, unspeakable grandeur that existence inspires.

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But with the words written in Genesis 1:26, the world has lost its way, for the very idea that we have dominion over what does not belong to us is a sin of the worst kind. We are stewards and our role is to preserve and conserve so that nature continues to provide abundance, rather than wipe us off the earth as payback for the abuses of greed, gluttony, wrath, sloth and pride that have wrought the horrors of climate change to our doorstep.

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The further we remove ourselves from nature, stashed indoors and stuck behind screens, in a state of constant consumption, always needing more and never satisfied, the more perilous the payback will be, according to Newton’s Third Law: “For every action, there is an equal and opposite reaction.”

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Yet it is entirely too easy to forget, to lose ourselves in the conveniences and conventions of the postmodern world, to presume that there are no consequences for our choices just because we cannot see them yet. We can rationalize the irrational until such a day the center can no longer hold, and the weight of our delusions shall break the dam, a deluge of glacial proportions.

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Read the Full Story at Feature Shoot

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© Tanya Marcuse, courtesy of Radius Books. Conceptual catalogue of fruit trees photographed over a 4 year period in the Hudson Valley, NY by artist, Tanya Marcuse. Many of the trees grow on land that is for sale and in danger of development.

© Tanya Marcuse, courtesy of Radius Books. Conceptual catalogue of fruit trees photographed over a 4 year period in the Hudson Valley, NY by artist, Tanya Marcuse. Many of the trees grow on land that is for sale and in danger of development.

Categories: Art, Books, Feature Shoot, Photography

Jim Marshall: Show Me the Picture – Images and Stories from a Photography Legend (Chronicle Books)

Posted on August 27, 2019

Jimi Hendrix filming Janis Joplin backstage at Winterland, San Francisco, 1968 © Jim Marshall

Throughout his illustrious career, American photographer Jim Marshall (1936-2010) defined the look of rock and roll. His images helped turned the genre into a revolutionary movement which went against the oppressive power structure of the status quo.

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“Jim was a very complicated man and anybody who knew him either hated him or loved him,” says Amelia Davis, Marshall’s longtime assistant. She is also the editor of Jim Marshall: Show Me the Picture – Images and Stories from a Photography Legend (Chronicle Books), a masterful compendium of the photographer’s life designed to complement the documentary film, Show Me the Picture: The Story of Jim Marshall.

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“He had a rough exterior,” she continues. “He was a drug-addicted, drinking, gun-toting guy. But when you look at these photographs you see humanity in Jim, because he wouldn’t be able to take those photos if he didn’t have that inside of him.”

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Read the Full Story at Huck Online

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John Coltrane at Ralph Gleason’s house in Berkeley, California, 1960 © Jim Marshall

Janis Joplin “happy” backstage at Winterland, San Francisco, 1968 © Jim Marshall

Categories: 1960s, 1970s

Rick McCloskey: Van Nuys Blvd. 1972

Posted on August 26, 2019

© Rick McCloskey

© Rick McCloskey

After World War II came to a close, a new phenomenon crept across the United States. As many adolescents no longer had to drop out of school and get a job to support their family, the era of the teenager began. Born of a potent combination of combination of leisure time, disposable cash, angst, boredom and rebellion, teens soon discovered true freedom came from owning or borrowing a set of wheels.

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The car — perhaps the most potent symbol of American self-determination at the expense of the environment — became the vehicle to freedom of a sort: the ability to go cruising at night. From the late 1940s through well into the 1990s, cruising down the main streets, avenues, boulevards, and specially designated strips became the coolest thing a teen could do.

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Growing up in the San Fernando Valley of Southern California during the 1950s and ‘60s, American photographer Rick McCloskey spent his youth cruising Van Nuys Boulevard every Wednesday night. His family home, just one city block from “The Boulevard” was located a few blocks from the famed Bob’s Big Boy Restaurant, home of the All-American meal: burgers and milkshakes.

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Read the Full Story at Feature Shoot

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© Rick McCloskey

© Rick McCloskey

Categories: 1970s, Exhibitions, Feature Shoot, Photography

Michele Saunders Old School Rules for Nightclubbing

Posted on August 22, 2019

© Michele Saunders

“My life lead me to the Garage,” Michele Saunders tells Document Journal. Growing up in France, her father would play jazz records, nurturing a lifelong passion for music that took shape when she moved to America to attend Mount Holyoke College in Massachusetts. On Wednesday nights, she’d road trip down to New York to catch the world famous Amateur Night at the Apollo Theater in Harlem.

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In 1979, she met her soon-to-be husband Andre Saunders, who was producing Billy Nichols’s disco classic, “Give Your Body Up to the Music,” mixed by Larry Levan, resident DJ at the Paradise Garage. Andre invited her to see Nichols perform—an experience that would change her life.

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“The very first time I went, I was backstage, dressed in a Norma Kamali outfit with high heels and a fur coat,” Saunders recalls. “I was like, ‘Oh my God! I am going to be back next week by myself, no husband, no high heels, no fur coat. This is where my new home is going to be.’”

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Read the Full Story at Document Journal

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© Michele Saunders

Categories: 1980s, Document Journal, Manhattan, Music, Photography

Kohei Yoshiyuki: The Park

Posted on August 22, 2019

© Kohei Yoshiyuki, courtesy of Radius Books/Yossi Milo.

Under the cover of darkness, Japanese photographer Kohei Yoshiyuki crept through Tokyo’s Shinjuku, Yoyogi, and Aoyama Parks during the 1970s, in search of an illicit world known to a select few. Moving like a hunter on the prowl, Yoshiyuki used infrared film and flash to capture public displays of sex between heterosexual and homosexual couples—and, perhaps more shockingly, the voyeurs who gathered to watch.

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“One day I stumbled on the scene—and [an] incredible scene [Laughs]. That was when I was still an amateur,” Yoshiyuki tells Nobouyoshi Araki in a conversation titled “Tiptoeing into the Darkness…With Love,” featured in the new book Kohei Yoshiyuki: The Park.

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“I was shocked. They were actually fucking,” Yoshiyuki says. “When I saw them I knew this was something I had to photograph.”

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Read the Full Story at Document Journal

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© Kohei Yoshiyuki, courtesy of Radius Books/Yossi Milo.

© Kohei Yoshiyuki, courtesy of Radius Books/Yossi Milo.

Categories: 1970s, Art, Books, Document Journal, Japan, Photography

Mike Osborne: Federal Triangle

Posted on August 22, 2019

© Mike Osborne

© Mike Osborne

Many Americans profess surprise at the inhumane social practices coming from the present White House. Perhaps they are comforted that they once had the luxury to have never been concerned about the forces of the military and prison industrial complexes weighted against foreign lands and U.S. citizens alike.

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Perhaps the carnage of AIDS never touched their families. Perhaps they were never the victim of land grabs, medical experimentation, or any number of the genocidal acts waged by this nation that are documented in the annals of history and the on-going subject of current events.

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“I guess the only time most people think about injustice is when it happens to them,” poet Charles Bukowski opined, summing up the new wave of “Not my country!” that greets those who have chosen denial over truth up until it finally affected them.

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Read the Full Story at Feature Shoot

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© Mike Osborne

Categories: Art, Books, Feature Shoot, Photography

Vivian Maier: The Color Photographs

Posted on August 22, 2019

Chicago, April 1977 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York © Vivian Maier

Self-Portrait, Chicagoland, October 1975 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York © Vivian Maier

When legendary American photographer Vivian Maier died in 2009 at the age of 83, she left behind some 40,000 Ektachrome colour slides that had gone unseen and unpublished. Thankfully, a new exhibition and monograph – titled Vivian Maier: Colour Photographs  – showcase the stunning works made by the artist, who worked in total seclusion throughout her life.

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For more than 40 years, Maier work as a nanny on Chicago’s wealthy North Side. Her job gave her the ability to hit the streets with her camera and take portraits of modern life during the second half of the 20th century.

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“Look closely art the many self-portraits Vivian Maier made, and you will see her disguises, her cloak of invisibility,” photographer Joel Meyerowitz writes in the book’s foreword. “She’s as plain as an old-fashioned school marm. She’s the wallflower, the spinster aunt, the ungainly tourist in the big city… except… she isn’t!”

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Read the Full Story at Huck Online

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Untitled, c. 1977 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York © Vivian Maier

Categories: 1960s, 1970s, Art, Books, Exhibitions, Huck, Photography

Greg Ellis: Sex Crimes

Posted on August 21, 2019

Beau Rouge, Los Angeles, 1954, Gelatin silver print from original large-format negative© The Estate of Bob Mizer (1922-1992). Courtesy of ClampArt, New York City

It wasn’t until 2003 that the US Supreme Court finally gave LGBTQ people basic civil rights protection under the Constitution, ruling that sex between consenting adults of the same gender in private was not a crime. Under the current administration, though, these rights are slowly being chipped away in an effort to take the nation back to a time when citizens could be targeted for what have been interchangeably known as Crimes Against Nature, Unnatural Acts, and Sex Crimes.

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For generations, these draconian laws lead to incarceration, institutionalisation, familial rejection, public shaming, loss of employment, denial of healthcare, and even death for members of the LGBTQ community. “This is our history,” says Greg Ellis of Ward 5B, who has co-curated Sex Crimes, a new group exhibition with Brian Clamp. “Times have changed, there have been gains made, and I think it’s good to put this context out there to say, ‘hey, not too long ago this is where we were, and we don’t want to head back there.’”

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Rooted in the decades before Stonewall, Sex Crimes features work by artists including George Platt Lynes, John S. Barrington, Bruce of Los Angeles, James Bidgood, Mel Roberts, Jim French, and Jack Smith, all of whom created homosexual art and literature under the threat of arrest.

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Read the Full Story at AnOther Man

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Untitled (Cowboy) / P00103, c. 1967-9, Vintage Polaroid print (Unique)© The Estate of Jim French (1932-2017). Courtesy of ClampArt, New York City

Categories: 1960s, AnOther Man, Art, Exhibitions, Photography

Michele Saunders & Tina Paul: The Last Nights at Paradise Garage

Posted on August 19, 2019

Michele Saunders. All photography © Tina Paul, 1987. All rights reserved.

Keith Haring, LA2, and Lysa Cooper. All photographs from the closing party of Paradise Garage. New York, September 26, 1987. All photography © Tina Paul, 1987. All rights reserved.

From 1977 to 1987, Paradise Garage reigned supreme over New York’s downtown nightclub scene. Located at 84 King Street, the Garage was home base for resident DJ Larry Levan (1954-1992), whose signature style of dance music became the definitive sound of New York—popularized by West End Records founder Mel Cheren (1933-2007), who financially backed the club.

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Over a customized sound system designed by Richard Long, Levan would weave spellbinding tapestries of house, disco, rock, and pop tracks that kept revelers coming back for more. The Garage regularly hosted live performances by the hottest artists of the era, featuring everyone from Grace Jones to Whitney Houston, Sylvester to Divine, Klaus Nomi to New Order, Gwen Guthrie to The Clash.

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Modeled on David Mancuso’s legendary invitation-only parties at The Loft, where no liquor was served, the Garage was a members-only club that curated its attendees as carefully as Levan selected his records. The three decades after the club closed, it remains an icon of New York’s nightlife hey-day, living on as the annual Paradise Garage Reunion, to be held this August 30 and 31 at Elsewhere in Brooklyn. In advance of the festivities, Garage members Michele Saunders and Tina Paul look back at the last weekend at the legendary club.

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Read the Full Story at Document Journal

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Walter, Gilbert, and Henry on the roof deck. All photography © Tina Paul, 1987. All rights reserved.

Garage Kids. Daryl, Richie Mercado, Leslie Macayza, Judi MeMuro, Duglas Coleman, and John Howard. All photography © Tina Paul, 1987. All rights reserved.

Categories: 1980s, Document Journal, Manhattan, Music, Photography

Cowgirls of Color: Hard Ride

Posted on August 19, 2019

From left: Peyton wears shirt and denim dungarees Wrangler, shoes her own. Dawn wears plastic fringed vest, printed shirt and jeans LRS, hat, scarf and earrings her own, boots Vic Matie Photography Fumi Nagasaka, Styling Roxane Danset

Long before culture fell (back) in love with the yeehaw agenda, Cowgirls of Color had been living it. The group met on the black cowboy scene, where they had watched men ride together for years, when in 2014, one of the cowboys’ fathers decided to start an all female team. Just five month later, they landed an invitation to the historic Bill Pickett Rodeo, the prestigious all-black, invitational touring event. Now they ride together while also training the next gen of rodeo stars.

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Beyond blazing a trail for black cowgirl representation and sporting achievement, Cowgirls of Colour is space for community, support and good old fashioned fun. “We would train cookout, line-dance, sit-around, and have a good time,” says fouding member, Selina ‘Pennie’ Brown. “When I started riding, I saw all the therapeutic benefits of horse culture, (introducing) them to kids who are dealing with trauma. I’m not looking to be a rodeo champion; I am looking to create them.”

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Read the Full Story at Dazed

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From left: Dawn wears fringed jacket and shirt Coach 1941, trousers Hyke, hat and jewellery her own, boots Vic Matie. Selina wears shearling coat Dsquared2, denim shirt and trousers Off-White, hat and boots her own. Crystal wears puffer jacket with fringing and dungarees Moncler 3 Grenoble, plaid shirt Off-White, t-shirt John Richmond, hat and boots her own. Brittaney wears knitted cape Miu Miu, denim blazer LRS, denim shirt Levi’s, jeans Wrangler, hat and belt her own, boots Vic Matie. Kisha wears nylon gabardine jacket with mohair Prada, shirt Coach 1941, trousers PT Pantaloni Torino, hat, earrings and boots her ownPhotography Fumi Nagasaka, Styling Roxane Danset

Categories: Dazed

Elspeth H. Brown: Work! A Queer History of Modeling

Posted on August 19, 2019

Ruth Ford, c. 1930s. Portrait by George Platt Lynes

Lily Yuen with fellow performers, in Lily Yuen Collection, Schomburg, Folder 6: scrapbook 1926-1930. Manuscripts, Archives, and Rare Books Division, Schomburg Center for Research in Black Culture, The New York Public Library, Astor, Lenox and Tilden Foundations.

Fashion models, first described as “mannequins” arrived in New York via London in 1909. Their purpose, as their name denotes, was to sell merchandise to a burgeoning consumer class — while simultaneously advertising archetypes that simulated insatiable desire.

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This desire was cultivated within something the product could never supply — a psychological state of want and aspiration designed to heighten insecurity and anxiety through the creation of a state of constant craving. Tapping into the psychological underpinnings that can only exist when survival is no longer the mainstay of one’s being, merchandisers understood the link between consumption and identity necessary to maintain the capitalist enterprise.

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Glamour, romance, sex, and pleasure became the foundation upon which the mannequin was based — making the very spectacle of the human body and visage an object available for purchase. In the creation of the model, the individual was reduced to a thing that could be commodified and exploited for the express purpose of profits.

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Read the Full Story at Feature Shoot

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George Platt Lynes with Paul Cadmus, on the set, c. 1941 Courtesy of the Harry Ransom Center, The University of Texas at Austin.

Categories: Books, Fashion, Feature Shoot, Photography

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