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

Posts by Miss Rosen

Jane Friedman: How to Find Artists That Can Change the World

Posted on October 3, 2017

Photo: Mark Sink, Grace Jones, ca 1988

Artwork: Arturo Vega, “Supermarket Sign(Steak Sale)”, 1973. Acrylic on canvas 48 x 72 x 1 1/2 inches

Located in the heart of New York’s East Village, Howl! Happening was established in memory of artist Arturo Vega, who designed the iconic Ramones logo. Vega, a Mexican national, fled his native land in 1968 when the government rounded up 148 of the country’s most notable artists and intellectuals, putting their lives at risk. Vega fled to New York where he had prominent connections, like Jane Friedman – the woman made rock’n’roll journalism a legitimate business.

.

New York native Jane Friedman grew up on Broadway, as her father handled public relations for legendary shows along the Great White Way. Friedman followed in her father’s footsteps, and along the way, she realised her talents would be best served by supporting the greatest artists of the time. She went on to craft a new lane in the media, representing artists like Jimi Hendrix and Frank Zappa, as well as doing PR for the famed musical Hair. She was also Patti Smith’s manager throughout her career.

.

Friedman has been a behind-the-scenes fixture in downtown New York, working with artists and musicians to ensure their success and legacy. When Vega, one of her dearest friends died in 2013, Friedman set up Howl! Arts, a non-profit organisation that preserves the culture of the East Village and the Lower East Side in a rapidly gentrifying city that has effectively erased so much of the New York’s fabled past.

.

Taking its name from Allen Ginsberg’s famed 1955 poem, Howl! Happening: An Arturo Vega Project is the cornerstone of the organisation. A gallery, performance space, and archive located around the corner from where CBGBs once stood, Howl! Happening has been home to a series of phenomenal shows including exhibitions by Patricia Field, Lydia Lunch, Taboo!, PUNK Magazine’s 40th Anniversary, and The East Village Eye – as well as on-going events and performances that showcase the very best of the community, which continues to thrive despite the exponential explosion in the cost of living.

.

This month, Howl! presents Love Among the Ruins: 56 Bleecker Gallery Street and the late 80s New York, a group exhibition that looks back at the famed East Village gallery and performance space that served as a vital intersection of music, fashion, art, and nightlife during one of the most vital and devastating period of New York history. Featuring works by nearly 100 artists including David LaChapelle, Nan Goldin, Jean-Michel Basquiat, Dondi White, Stephen Sprouse, and George Condo, to name just a few, the exhibition is on view through October 7, 2017.

.

Friedman speaks with us about what it takes to cultivate a community of artists that can change the world, while staying true to your roots, and shares images from the ongoing show.

.

Read the Full Story at Dazed

.

Straight to Hell flyer

Photo: Mark Sink, Keith Haring, ca 1988

Categories: 1960s, 1970s, 1980s, 1990s, Art, Dazed, Exhibitions, Manhattan, Music, Painting, Photography, Women

Radical Women: Latin American Art, 1960-1985

Posted on September 28, 2017

Photo: Sandra Eleta (Panamanian, b. 1942), Edita (la del plumero), Panamá (Edita (the one with the duster), Panama), 1978-1979. Black and white photograph. 30 × 30 in. (76.2 × 76.2 cm)Courtesy of the artist. Artwork © the artist

“I don’t give a shit what the world thinks. I was born a bitch, I was born a painter, I was born fucked. But I was happy in my way. You did not understand what I am. I am love. I am pleasure, I am essence, I am an idiot, I am an alcoholic, I am tenacious. I am; simply I am,” Frida Kahlo wrote in a letter to her husband, artist Diego Rivera.

.

The Mexican artist, who faithfully painted self-portraits throughout the course of her life, has become not only one the most famous artists in the world, but is very often the only Latin American women artist most people know by name. The invisibility of her comrades can be attributed to the power structures within the art world that disregarded the major contributions that women from 20 countries have been making to the art world throughout the twentieth century.

.

Radical Women: Latin American Art, 1960-1985, a new exhibition on view at the Hammer Museum, Los Angeles, is a major step towards setting the record straight with more than 260 works by 116 women artists now on view through December 31, 2017. Curated by Dr. Cecilia Fajardo-Hill and Dr. Andrea Giunta, Radical Women is a watershed moment in the art world, illustrating the power of intersectionality in the new millennium.

.

Six years in the making, Radical Women brings together women from across Central and South America, the Caribbean, and the United States, showcasing the works of pioneers making art on their own terms, including Brazilian art star Lygia Pape, who had a solo exhibition at the Metropolitan Museum of Art earlier this year; visionary Venezuelan Pop artist Marisol, who died at the age of 83 in 2016; and the gender-bending self-portraiture of Cuban American performance artist Ana Mendieta, whose husband was found not guilty of her murder in 1985.

.

The exhibition, which is accompanied by a catalogue of the same name, published by Prestel, is a brilliant introduction to both the artists and the issues they face as women in the Latin American diaspora, providing their own take on feminism, patriarchy, gender, sexuality, identity, and art history. We spotlight six artists you should know, who have inherited the mantle from the indomitable Frida Kahlo.

.

Read the Full Story at Dazed

.

Photo: “Marcha gay (Gay pride march)”, 1984. Gelatin silver print. 11 × 14 in. (27.9 × 35.6 cm) Courtesy of Yolanda Andrade.

Photo: Paz Errázuriz (Chilean, b. 1944), La Palmera, from the series La manzana de Adán (Adam’s Apple), 1987. Digital archival pigment print on Canson platinum paper. 19 5/8 × 23 1/2 in. (49.8 × 59.7 cm)Courtesy of the artist and Galeria AFA, Santiago. Artwork © the artist.

Categories: 1960s, 1970s, 1980s, Art, Books, Dazed, Exhibitions, Latin America, Photography, Women

Dasha Yastrebova: Welcome to the Moscow Underground

Posted on September 28, 2017

Photo: Dasha Yastrebova, Dancers in costume, 2007. Courtesy the artist

Photo: Dasha Yastrebova, Masha Galaxy, trash-character and performer, the star of all parties, and a legend in Moscow, 2007. Courtesy the artist

In 2007, when the Solyanka Club opened in Moscow, it was a time of great hope. The first generation of post-Soviet teenagers came of age in a moment when anything seemed possible, mostly because the government was willing to overlook many social and cultural activities. Solyanka, a restaurant during the day and a nightclub after dark, burst forth. It quickly became the home for an underground, bohemian community of artists, photographers, designers, musicians, performers, and filmmakers who embraced those whom the Russian government persecuted, specifically queer culture, drag queens, and people who identified as transgender. Even then, Solyanka was an island of tolerance in a country plagued by prejudice and persecution.

.

At the age of eighteen, while shooting for magazines like Russian Vogue, Dasha Yastrebova started going to Solyanka. She photographed there for a year, and most of this work has never been seen before. Here, Yastrebova speaks about this intriguing moment in Russian history, a period of personal and creative freedom that has since disappeared.

.

Read the Full Story at Aperture Online

.

Photo: Dasha Yastrebova, Stylist Natasha Sych, 2007. Courtesy the artist.

Categories: Aperture, Art, Photography

The Artists Using Gender as a Tool and a Weapon

Posted on September 25, 2017

Photo: Paul Mpagi Sepuya, Darkroom Mirror (0X5A1531), 2017. Archival pigment print, 51 × 34 in (129.5 × 86.4 cm). Courtesy the artist and Yancey Richardson, New York

Beyond the binary lays a world of infinite possibility, a space of total freedom and fluidity. ‘Male’ and ‘female’ are the space where we begin, and when we liberate ourselves from the paradigm of ‘either/or’ a vast wealth of gender expression begins to reveal itself.

.

Invariably, not everyone is comfortable within this extraordinary space. Many hold fast to simplistic, reductive thinking that diminishes the complexities and nuances of human experience and may resist enlightenment. Others understand the necessity of expansive and inclusive ideas, conversations and art – and it’s here that Trigger: Gender as a Tool and a Weapon takes off.

.

Curated by Johanna Burton, Trigger is a major exhibition featuring the work of more than 40 artists from all walks of life, which will be on view at the New Museum, New York this month and catalogued in a book of the same name on November 21.

.

By positioning gender at the intersection of race, class, sexuality and disability, Trigger exposes deep ambiguities, curious contradictions and fundamental questions at the heart of life on earth. The artists featured here offer ways to use gender to construct and dismantle culture, building new spaces and refurbishing the old. We speak with Burton about the importance of the show, and profile the work of six artists using gender as a weapon and a tool to embrace, reject and subvert the status quo.

.

Read the Full Story at Dazed

.

Artwork: Tschabalala Self, “Loner”, 2016. Fabric, Flashe, and acrylic on canvas, 84 × 80 in (213.3 × 203.2 cm). Courtesy the artist and Thierry Goldberg, New York

Artwork: Justin Vivian Bond, “My Barbie Coloring Book”, 2014. Watercolour on archival paper, 14 ½ × 11 ½ in (36.8 × 29.2 cm). Courtesy the artist

Categories: Art, Dazed, Exhibitions, Painting, Photography

Welcome to the 2017 Edition of the NY Art Book Fair

Posted on September 24, 2017

 

Photo: Sean Maung

Where else can you find the Jean-Michel Basquiat sleeve for K-Rob vs. Rammellzee’s legendary Hip Hop cut “Beat Bop” hanging on the wall like a work of art in the very same building where Jean-Michel’s original paintings once hung during his lifetime? The NY Art Book Fair, naturally.

.

Printed Matter’s famed book festival returns to MoMA PS1 this weekend, and it will literally take your breath away, with a line up of more than 370 booksellers, antiquarians, artists, institutions, and independent publishers from 28 countries around the globe. The fair, which runs through 9pm this evening and tomorrow, September 24, from 11am–7pm, is a phenomenal opportunity to catch up with your faves and check out the latest happenings.

.

The NY Art Book Fair covers all price points, whether you wish to pay what you want for the phenomenal zines by Research and Destroy New York City or you have 5Gs to pony up for a David Hammons original painting of Michael Stewart, at the Printed Matter Rare and Out of Print booth.

.

Read the Full Story at Crave Online

.

Artwork: David Hammons, The Man Nobody Killed. Brooklyn, NY: EYE Magazine, 1986, at Printed Matter Rare & Out of Print.

 

Categories: Art, Bronx, Crave

Welcome to the “Backyard Biennial”

Posted on September 22, 2017

Patrice Helmar, Dýrfinna

Welcome to the “Backyard Biennial,” which kicks off today, Friday, September 22 at 6:30 PM, a showcase of art, photography, and live events at the home of artist Patrice Helmar in Ridgewood, Queens. The Biennial runs on Saturday, September 23 from 12–6 PM; Sunday, September 24 from 12–8 PM; and Saturday, September 30 from 12–6:30 PM.

.

Among the artists exhibited are faves Delphine Adama Fawundu, Yoav Horesh, and Thomas Roma — the Columbia University connection. Helmar speaks with us about her vision for the event, which is free and open to the public.

.

Please talk about the inspiration for the Backyard Biennial. How did this idea come about?

.

Patrice Helmar: This summer it was exciting, but also frustrating to see so many friends and colleagues posting their art travels. A common affectation was to extensively criticize work at various pavilions. I’m all for criticality but the mechanics of spectacle and spectator alike at such a grand monetary scale are hard to swallow.

.

I spent part of the summer visiting my family and making work in Alaska. Before I headed north to buy the domain, Backyard Biennial. This felt like a small commitment to make a thing happen. What started as an inside joke became a serious curatorial endeavor as I reached out to various artists asking for their participation as early as May of this year.

.

Ian​ ​Lewandowski, Alex,​ ​Lorenzo,​ ​Benji.

While Manhattan has gone completely corporate and Brooklyn is undergoing massive gentrification, the borough of Queens seems (from the outside at least) to retain the flavor of Old York. Could you speak about the significance of hosting the Backyard Biennial in Ridgewood?

.

Patrice Helmar:. Ridgewood is where I currently work and live. I’m not a Native New Yorker, but I’ve heard from my friends who are about how much the city has changed. I’ve seen gentrification happen in the past five years that I’ve lived in the city, but I can’t imagine what it must feel like when it’s your own neighborhood.

.

There are artists I know who live and work in the city that are like me. These artists work multiple jobs, live with roommates or their families, try to avoid marginalized roles in a small corner of the art world, and may work hard enough to have a studio. Often these artists are deeply in debt because of student loans, and may struggle to afford materials to produce their work.

.

Having the Biennial in my backyard makes sense because it’s not an additional cost. It’s not a dedicated gallery space – commercial or otherwise, or part of an institutional framework. Another thing that has been interesting about putting the show together is having to consider that everyone who sees the Biennial will walk through my bedroom. It’s made me super conscious of my own living space, and feels very personal.

.

Courtney​ ​Garvin, Box Braids

How did you decide which artists to feature in the show? What would you say are some of the defining characteristics and themes of the works featured in the show?

.

Patrice Helmar: I’ve had a project for the past year called the Marble Hill Camera & Supper Club. It started when I lived in the Bronx and had a lot of space. There was a huge kitchen, and two parlor rooms. The house was a Victorian style home. Every month I’d invite four different artists, photographers, or writers to present their work via a slideshow. I’d cook a big dinner, and sometimes fifty or more people would show up. On average it would be about 20 to 25 people coming to spend the evening sharing work and hanging out.

.

There are a group of artists in the show from my hometown in Alaska. I made a conscious decision to include their works because they make strong work that I admire, and it isn’t always the easiest thing to show when you live in an isolated part of the country.

.

Also, I approached artists who are very well established. Some were unable to be in the exhibition, but two of my favorite artists, Thomas Roma and Tom Kalin were kind enough to agree to have works in the show. I’m very honored that their work is included.

.

Why did you decide not to sell the works?

.

Patrice Helmar: I don’t want the focus of the Backyard Biennial to be commercial. I want to people to hang out, and have art accessible and seen in a different kind of place.

.

Sitting in my garden with a cup of coffee and looking at laundry across the skyline on clotheslines, hearing dogs barking and kids playing, and having my neighbor’s tomatoes creep across my fence as they ripen at the end of the summer makes me feel alright. There are a lot of things happening in the world that don’t make me feel alright.

.

As excited as I am about sharing the Backyard Biennial, I’m really looking forward to spending that first morning alone with a backyard full of art I’ve handpicked, on a day when the show isn’t open to the public.

.

Allin​ ​Skiba, Boys Don’t Cry

Categories: Art, Photography

Remembering Jean-Michel Basquiat

Posted on September 21, 2017

Photo:Jean-Michel Basquiat on set of Downtown 81, written by Glenn O’Brien, Directed by Edo Bertoglio, Produced by Maripol Photo By Edo Bertoglio© New York Beat Films LLC, by permission of the estate of Jean-Michel Basquiat all rights reserved

Jean-Michel Basquiat joined the 27 Club on August 12, 1988. He died young, at the height of his success, breaking through boundaries that had marginalised countless African-American artists from establishing their rightful place in museums, galleries, and history books. With the $110.5 million sale of his painting at auction earlier this year, Basquiat once again was established at the pinnacle of American art, with his work setting records and putting him in the company of Pablo Picasso and Francis Bacon.

.

But who was the man behind the work, the Brooklyn native of Puerto Rican and Haitian lineage whose singular style set him apart and has influenced generations of artists worldwide since his death? As the Barbican opens Boom for Real – the first large-scale exhibition in the UK about the American artist – we speak with those who knew and worked with him over a period of ten years, to paint a portrait of the artist as a young man.

.

Read the Full Story at Dazed

.

Jean-Michel Basquiat, 1982. A frame from the ART/new york video “Young Expressionists.”Credit Paul Tschinkel.

Categories: 1970s, 1980s, Art, Brooklyn, Dazed, Exhibitions, Graffiti, Manhattan, Painting, Photography

Kerry James Marshall

Posted on September 19, 2017

Untitled (Curtain Girl), 2016, acrylic on PVC panel, 76 x 61 cm. Picture credit: © Kerry James Marshall, courtesy of the artist and Jack Shainman Gallery, New York

“Extreme blackness plus grace equals power,” Kerry James Marshall observed, revealing an essential truth of the nature of the world. From a purely aesthetic sense, black is a color and it is something more. It is both the complete absence or absorption of light. It takes in all colors of the visible spectrum becoming the amalgamation all that we know, becoming the alpha and the omega: from where we begin and to where we return.

.

In this way, Africa as the birthplace of humanity makes perfect sense: from blackness all colors of wo/mankind have been birthed. Black is one of the first colors used by artists painting in the caves of Europe, those prehistoric beings who intuitively understood that essential power of the hue rested in both its immediate impact and its longevity.

.

With homo sapiens dating back nearly 200,000 years in Africa, in the grand scheme of history it is only in recent times that some have chosen to vilify blackness. Europeans became obsessed with framing it in a negative light, crafting the idea of race as a justification for a campaign of global imperialism that systematically pillaged, enslaved, and decimated peoples of a darker hue across Africa, Asia, Australia, and the Americas.

.

From this we have inherited trauma rooted in profound psychosis that posits us in a position to spread truth to power. Giving voice to that which has been silenced, giving sight to that which has been distorted or erases, giving sanctuary to that which has been targeted for destruction: this is our shared responsibility. Each of us brings talents and gifts, wisdom and understanding, experiences and insights that fill in the blanks, fitting together like a puzzle of billions of pieces that reveal the image of God.

.

But… such a picture may never appear but that’s no reason to do what we must, for it is in our individual efforts that we light the spark of inspiration and fuel the flames of action. American artist Kerry James Marshall (b. 1955 in Birmingham, Alabama) leads by example, dedicating his life to the creation of a body of work that restores black to its rightful place.

.

His recent touring exhibition Mastry has claimed the space that it deserves, in the highest echelons of wealth, power, and history: the realm of fine art. In conjunction with the exhibitions, Phaidon has just released Kerry James Marshall, the most comprehensive book published on the artist.

.

The book is a tour-de-force, providing a comprehensive look at Marshall’s singular career and the ways in which he has used painting as a site for the writing of history. Marshall’s life itself traces the course of America over the second half of the twentieth century, beginning with the artist’s formative years deep in the heart of Dixie under the apartheid system of Jim Crow.

.

In 1963, his family joined the final wave of the Great Migration, moving to South Central Los Angeles, just in time to experience the horrors of the Watts riots in 1965. “By the time the riots got to where we were, it was like a carnival,” Marshall tells Charles Gaines in the book. “The violence that took place was confusing to me.… I started to see that the responsibility for my needs shifted to me as opposed to a collective. I try never to approach a thing as if I’m one hundred percent certain about what it is or what the proper response to it is supposed to be.”

.

Portrait of the Artist as a Shadow of His Former Self, 1980, egg tempera on paper, 20 x 16 cm. Picture credit: © Kerry James Marshall, photo: Matthew Fried, © MCA Chicago

With a perspective rooted in openness and self-reliance, Marshall set forth on a journey rooted in discovery. His purpose began to take shape in 1980, when he painted A Portrait of the Artists as a Shadow of His Former Self, a work that recalls the influence of the great African American painter Horace Pippin (1888–1946). But here, Marshall began his exploration of the power of black, of the color that would come to be a signature element in his work.

.

He told Gaines, “This was when it started to look like there was something that could be done with the black figure, that it could be used to explore ideas that are not only relevant to picture making by itself but also to convey some of those ideas that I’d been developing about where black people fit in. Before then, apart from the self-portraits, which I’d do as an exercise, I was still doing still lifes and paintings of inanimate objects in order to figure out how to paint…. [The issue of race] really came into focus with that one painting.”

.

With his focus honed and his skills at the ready Marshall set forth to create a body of work depicting the African American experience in all of its complexities, a profound portrait of a people that embraces the heroism of daily life, while also underscoring the culture and its relationship to the individual.

.

“To recognize the diversity of Blackness (to use Rahsaan Roland Kirk’s militantly colloquial spelling) would be to recognize that there is such a place as the interzone that poet Elizabeth Alexander once termed The Black Interior – primarily a psychic space where flocks of self-actualized black subjectivites freely roam about, walkabout and roust about, “Greg Tate writes in the book.

.

“If you happen to own the Black Interior that belongs to Kerry James Marshall and you dare to take up the ambitious mission of rendering the interiors of the Black Whole – that loud, proud, obsidian realm saturated with oscillating frequencies, swooping modalities, spiky plateaus, swampy valleys, funky declensions, cosmic ascents, elaborate head rooms, and wickedly salty tall-tales – you have already reckoned with apprehending the liminality of American Blackness: the half hidden/half revealed qualities of that Free Bloack Thang that Duke Ellignotn believed imbued all truly black expression with a lofty and iridescent aura of transluesency, “Tate explained.

.

And, indeed, that one magnificent sentence is as much as masterpiece as the paintings it describes, so perfectly modulated in its nuances that the complexities of its content simply dissolve before your very eyes. It is what it is, as the classic African-American proverb recognizes.

.

And what it is restores balance to the earth, the soul and the spirit, the present moment and the history books. The mastry of Kerry James Marshall is a vision to behold, a marvel of necessity, desire, and self determination that leads by example and keeps the promise that possibility, when realized, is God made manifest on earth.

.

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Painting

The 5 Art Shows You Need to See This Fall

Posted on September 19, 2017

Photo; Dawoud Bey. A Boy in Front of the Loew’s 125th Street Movie Theater 1976, Printed by 1979. Gelatin Silver print 230 x 150. Featured in “States of America: Photography from the Civil Rights Movement to the Reagan Era“

Philippe Halsman, A Paragon of Beauty, Dalí’s Moustache, 1953-54.
Vintage photomontage print. 35.3 x 23.5 cm. Philippe Halsman Archive, New York © Philippe Halsman Archive. From “Dali/Duchamp”

Fall is when everything begins, as the new season kicks into gear and people get in the swing of things. As your calendar fills up, there’s no better time to get away from it all and dip into a museum to catch an exhibition that will inspire the soul and inflame the mind. Crave spotlights five of the best new shows opening this season, each one a phenomenal collection of art and ideas.

.

States of America: Photography from the Civil Rights Movement to the Reagan Era

.

The history of the United States is a multifaceted mosaic of experiences, tiled together around a fragile center that exploded in civil war in the nation’s first hundred years. In its second century, it was rocked over and over again by peoples determined to live into the rights guaranteed under the Constitution against those who would deny them. From the 1960s through the 1980s, the nation faced some of its greatest challenges, from the Civil Rights Movement, which spawned the Women’s and Gay Liberation Movements, to the devastation of COINTELPRO and a government that willfully used illegal measures to destroy its people from within.

.

Looking back at what was and the promises of what might have been, Nottingham Contemporary, UK, presents States of America: Photography from the Civil Rights Movement to the Reagan Era, a collections of 250 photographs by 16 American masters, now on view through November 26, 2017. Among the artists featured are Crave faves Diane Arbus, Dawoud Bey, Mark Cohen, Bruce Davidson, Louis Draper, William Eggleston, Lee Friedlander, Jim Goldberg, Danny Lyon, Mary Ellen Mark, Stephen Shore, and Garry Winogrand.

.

Read the Full Story at Crave Online

.

Head wrap interpreted for Items: Is Fashion Modern? by Omar Victor Diop. © 2017 Omar Victor Diop @africalive-production.com. Image courtesy The Museum of Modern Art, New York.

 

From Martin Wong: Human Instamatic

Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Painting, Photography

Stephen Dupont: Piksa Niugini Portraits and Diaries

Posted on September 16, 2017

Photo: Sing-Sing Performers, Goroka Show, Eastern Highlands © Stephen Dupont

It is estimated that ancient inhabitants first migrated from Africa by way of Southeast Asia to Papua New Guinea (PNG) between 50,000-70,000 years. Around 7000 BC, agriculture developed in the highlands, making it one of the few areas in the world where people independently domesticated plants, and by 3000 BC, traders from Southeast Asia began to collect bird of paradise plumes native to the island.

.

Sharing an island with Indonesia, PNG rests just TK miles from Australia. Home to 6.3 million people, PNG is considered one of the most culturally diverse countries in the world with 848 different languages listed for the country, of which 12 have no known living speakers. PNG is also one of the most rural counties, with only 18% of its population living in urban centers. Although the nation has the sixth fastest-growing economy in the world, as of 2011, at least one third of the population lives on less than $1.25USD per day.

.

PNG is one of the world’s least explored countries, both geographically and culturally, making the work of Stephen Dupont even more salient and prescient in ways we cannot yet fully comprehend. His newest book, Piksa Niugini Portraits and Diaries (Radius Books/Peabody Museum Press) is a two-volume slipcased set that documents PNG’s most important cultural and historical zones: the Highlands, Sepik, Bougainville, and the capital city of Port Moresby.

.

PNG is one of the world’s last frontiers, and Dupont’s photographs reveal a people and a place that is on the brink of detribalization. As Dupont notes, “I love this country. I didn’t think I ever would, but something here gets into your blood…. The Gardener Fellowship handed me the opportunity to take my camera, diaries, and sketchbooks into some very wild and remote places—a chance to do what I do best, be a nomad, a storyteller, and capture the beauty, mystery, and the trauma of this strange and epic land.”

.

 

Photo; Sing-Sing Performers, Goroka Show, Eastern Highlands © Stephen Dupont

Indeed, epic is the perfect word to describe the world Dupont depicts, a world that dissolves at our fingertips. With each turn of the page we venture further inside a place that is unknown from the outside. These two volumes read as a visual poem of great depth and breadth, a poem of an ancient tradition that is spoken in languages entirely too original as to be understood upon a cursory glance. Each of Dupont’s photographs requires inner stillness and silence of the mind to absorb the brilliance of a nation that has maintained a distinct identity over millennia.

.

The portraits, collected in a single volume, give us a look at the finished work as a cohesive whole, but it is the diaries that give us an understanding and a feeling for Dupont’s travels. We see his Moleskine notebook scanned with handwritten notes, his full contact sheets, newspaper stories, snapshots, aerial views, landscapes, all of which provide a larger context for the space the portraits occupy in the larger frame. Dupont’s typewritten journals, which appear at the end of the book, give us a means by which to situate his work. Too often we only see the finished work, never knowing the means to which the photographer had to achieve his goals. Dupont’s journals change this, and give us a greater understanding to the commitment he brings to documenting PNG.

.

As he explains, “I’m no anthropologist or historian; my intentions are more personal, artistic, even experimental. Through my photography and in these books I hope to capture a passing footprint of society here, to highlight detribalization and the cultural changes taking place in Papua New Guinea in 2011. It’s not just art. It’s a piece of history—photographs, observations, notes, drawings, and reflections that offer an alternative window into on one of the most intriguing and inspiring places I have ever experienced.”

.

First published at L’Oeil de la Photographie
April 1, 2014

.

Photo: Sing-Sing Performers, Goroka Show, Eastern Highlands © Stephen Dupont

Categories: Art, Books, Photography

Not Yet, a Poem

Posted on September 16, 2017

Artwork: Hoffman botanical butterflies

It is the most perfect clarity of the sun.
Like so much cotton candy it disappears once tasted on the tongue.
That’s not how this begins, but I can’t begin.
I am in the middle of a story that never ends.

.

It is like stepping into a river,
never to enter the same spot twice
and I try, for a third time today to find the words that escape my grasp…
for my hands are open, palms facing down.
And it is in this position that the storms rumble,
electric waves of shock, and they build
and they hold until they are released
with the tiny tapping of fingertips.

.

And the tips they do tap
as they do type
and they find the rhythm
of the key strokes but my mind,
no dice.
And I wonder if I could write without thinking,
just listen to the keys tap tap away
and simply compose my prose accordingly
but no,
this sentence takes too much thought so
I continue then,
slowly,
to find my point.

.

It is here in the middle of the story
that I begin again.
Nothing like a new beginning, says the addict.

.

Yesterday,
I return to my stroll
and I do it well
as my hips do roll and my shake do shock
and a man up in a wheelchair said, I love your walk.
And I walked long in the sun,
long enough to bubble copper and gold
as my skin glistened delicate and soft
and I smiled because no longer was I lost.

.

I was found,
or it found me.
And as the message came,
it was clear and sweet.

.

I just want to love you.

.

So love me. It feels good.

.

And my chest closes tight in a knot
and I can’t breathe for a minute and it gets hot.
The concrete is sparkling with shards of glass
and you know why the concrete sparkles like this?
It’s cause rats will burrow in it. Yes.
Under these streets are tunnels, warrens, dens.
And the only thing that will stop them is shards of glass.

.

Tho, on acid it looks like somethinn else.
Looks like the streets are littered with gems
and the light winks and blinks and tickles gently.
It is glitz and glamour and greatness at once
and who ever said not everything that glitters is gold
has never made due with less than twenty four kayy.

.

But yes. I do digress.
I wish to express this thing. This thing that I was told
and I sit here, breathing it in and breathing it out
and knowing, now knowing, just knowing,
ahhhh.

.

I’m not ready. Not yet.

.

~Miss Rosen
Brooklyn, 2012

Categories: Poetry

« 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