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

Posts from the “1960s” Category

Dapper Dan: Harlem Hustle

Posted on August 30, 2018

“I’m from the east side of Harlem, which was the power base when I was growing up in the 50s and 60s. I was always in awe of the Rat Pack – they influenced fashion. Before that, it was James Cagney and Edward G Robinson, the guys who played gangsters in Hollywood movies. But my biggest influence came from the Italians in East Harlem. Those were the first people in the ghetto we saw with Cadillacs, diamond rings, silk suits, all that.

.

“The experience that shaped my relationship with clothes and how transformative they could be came about as a result of how poor we were. We used to put paper in our shoes to cover the holes in the sole. Then we got more innovative and started putting in linoleum, because it didn’t wear out as fast. One day, when I was eight years old, I came home and my feet were killing me. My oldest brother took me to a Goodwill store. He asked, ‘You see any shoes you like?’ I saw some split-toe shoes with tassles. I took off my shoes and tried them on. They felt good. He said, ‘OK, take your shoes, put them on the rack. Let’s go.’ I will never forget that. I took care of those shoes like they were a living thing. They made me feel like somebody.

.

“Those shoes were also my initiation into elements of criminality. Later on, I used to boost my own clothes. I call it the ‘Robin Hood complex’. It’s OK if you need it. That led to me being involved in street things. I grew up before the drug epidemic. When that came, I chose to retreat. I went back to school and got pretty radical.“

.

Read the Full Story at Dazed

.

Photography Petra Collins. All clothes Gucci-Dapper Dan collection. Styling Emma Wyman.

Categories: 1960s, 1970s, 1980s, 1990s, Dazed, Fashion, Manhattan

Brave, Beautiful Outlaws: The Photographs of Donna Gottschalk

Posted on August 30, 2018

Self-portrait in Maine, 1976 © Donna Gottschalk, courtesy of the artist

Growing up in the city’s Lower East Side, Donna Gottschalk came out just as early activist groups such as the Gay Liberation Front were forming. While an art student at Cooper Union, Gottschalk used the school’s silkscreen shop to print ‘Lesbians Unite’ posters and stencil ‘Lavender Menace’ on T-shirts.

.

After seeing the exhibition of Diane Arbus’ work held by the Museum of Modern Art just after that artist’s death during the early 1970s, Gottschalk recognized the power of photography to preserve the people she held closest to her heart. She began to take intimate photographs of her friends, family, and roommates with an intuitive understanding that one day, this would be all that would remain of them.

.

Tragically, many of those featured in her work met with early deaths, including two of her siblings. To cope with the loss and protect the memories of those she loved, Gottschalk packed up the photographs and put them in storage for 40 years. It is only now, as she approaches 70, that she has delved back into her archive to reflect on the incredible people at the forefront of the Gay Liberation Movement from the late 1960s throughout the 70s.

.

In Brave, Beautiful Outlaws: The Photographs of Donna Gottschalk at the Leslie-Lohman Museum of Gay and Lesbian Art in New York, we meet those Gottschalk knew and loved, including Alfie, her childhood brother who transitions into Myla, her adult sister, just prior to her death from an AIDS-related illness. Here, Gottschalk takes us back to a pivotal time in history, as a new generation of activists transformed the conversation around sexuality, gender, identity, visibility, and representation, giving us an intimate glimpse into their private lives.

.

Read the Full Story at AnOther Online

.

Alfie in Mary’s Dress Age 16, 1974 © Donna Gottschalk, Collection of the Leslie-Lohman Museum

Categories: 1960s, 1970s, AnOther, Art, Photography

Malick Sidibé: LOVE POWER PEACE

Posted on July 30, 2018

Untitled, 1979/2004 © Malick Sidibé

Malian photographer Malick Sidibé (1936-2016) bought his first camera, a Brownie Flash, in 1956 while working as an apprentice for Gérard Guillat in the nation’s capital of Bamako. Self-taught, Sidibé hit the scene, taking photographs at African events filled with teenagers coming of age at the same time that the country reached independence in 1960.

.

Whether photographing at parties or in his studio, Sidibé effortlessly captured the dignity, style, and pride of the first generation of post-colonial Malian men and women. Now, his portraits have become symbols of LOVE POWER PEACE – which just happens to be the title of Malick Sidibé’s seventh solo exhibition at Jack Shainman Gallery, New York, on view now through August 10, 2018.

.

LOVE POWER PEACE presents a selection of previously unseen work from Sidibé’s archive that chronicles the creation of a nation liberated from nearly a century of French rule, filled with the hope, optimism, and boundless energy of youth. Photography gave Sidibé a means to mirror and amplify, creating exquisite images that speak to self-representation, to how one sees themselves and wants to be seen.

.

Read the Full Story at Huck Online

.

Au cours d’une soiree © Malick Sidibé

Les copins à Niarela, 1967/2008 © Malick Sidibé

Categories: 1960s, 1970s, 1980s, Africa, Art, Exhibitions, Photography

Andrea Giunta: Radical Women – Latin American Art, 1960-1985

Posted on July 22, 2018

Paz Errazuriz (Chilean, b. 1944), La Palmera (The palm tree), 1987, from the series La manzana de Adan (Adam’s Apple), 1982-90. Gelatin silver print. 15 9/16 × 23 ½ in. (39.5 × 59.7 cm). Courtesy of the artist and Galeria AFA, Santiago. ©the artist.

Radical Women: Latin American Art, 1960-1985, the phenomenal survey of Latin American artists, enters its final weekend at the Brooklyn Museum, where it will be on view through July 22, 2018. Accompanied by a catalogue of the same name published by DelMonico|Prestel, the exhibition is a stunning tour de force through a quarter century across the Western hemisphere showcasing an extraordinary group of women who experimented with photography, performance, video, and conceptual art to explore the issues of autonomy, oppression, violence, and the environment.

.

Photography plays a pivotal role in Radical Women, examining how it is both a work of art and a piece of evidence. Here archetypes and iconography are pushed to the edge as the artists featured here subvert expectations and stereotypes, offering fresh and empowering new perspectives for consideration.

.

Guest curator Andrea Giunta, who co-curated the exhibition with Cecilia Fajardo-Hill, shares insights into the ways artists used photography to raise awareness, expose, and explore the issues facing Latin American women during a tumultuous and transformative time in history – issues that are as pertinent then as they are today.

.

Read the Full Story at Feature Shoot

.

Maria Evelia Marmolejo (Colombian, b. 1958), 11 de marzo—ritual a la menstruacion, digno de toda mujer como antecedente del origen de la vida (March 11—ritual in honor of menstruation, worthy of every woman as a precursor to the origin of life), 1981. Photography: Camilo Gomez. Nine black-and-white photographs. Five sheets: 11 3/4 × 8 1/4 in. (29.8 × 21 cm) each; four sheets: 8 1/4 × 11 3/4 in. (21 × 29.8 cm) each. Courtesy of Maria E. Marmolejo and Prometeo Gallery di Ida Pisani, Milan. ©the artist.

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

Axis Mundo: Queer Networks in Chicano LA

Posted on June 19, 2018

Anthony Friedkin, Jim and Mundo, Montebello, East Los Angeles, 1972. From The Gay Essay, 1969–73. Gift of Anthony Friedkin. ONE National Gay & Lesbian Archives at the USC Libraries. Courtesy of Anthony Friedkin

Teddy Sandoval, Las Locas, c. 1980. Courtesy of Paul Polubinskas. Photo by Fredrik Nilsen

Born in Tijuana in 1955, Edmundo “Mundo” Meza was raised in East LA, in the heart of the Chicano scene. As an artist, Meza worked outside of the mainstream, building a network of radical creatives who were dealing with issues political activism, identity, and social justice connected with the emergence of the Chicano Civil Rights, Women’s, and Gay Liberation Movements.

.

His untimely death from complications due to AIDS at the age of 29 in 1985 changed everything. As an early casualty of the epidemic, his voice was silenced too soon. Shortly after, his work stopped being exhibited and began to disappear.

.

Curators C. Ondine Chavoya and David Evans Frantz were on an urgent mission to preserve what remained. As they began their work, they tapped into a gold vein. An explosion of artists from Mundo’s underground network began to pour forth, and over a period of four years, the curators developed relationships with more than 50 artists, groups, and bands working between the late ’60s and early ’90s.

.

Read the Full Story at Huck Online

.

Patssi Valdez, Reclining (Betty Salas and Gloria), c. early 1980s. Courtesy of Patssi Valdez

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Exhibitions, Huck

Christo and Jeanne-Claude: Urban Projects

Posted on June 19, 2018

Christo and Jeanne-Claude

In 1958, Christo Vladimirov Javacheff moved to Paris and met Jeanne-Claude, a Moroccan-born French woman who had studied philosophy at the University of Tunis. The young Bulgarian artist received a commission to paint a portrait of her mother and fell in love with the vibrant redhead, who serendipitously shared his birthday: the 13th of June, 1935. Fate conspired to unite this extraordinary pair of Geminis, who worked together until Jean-Claude’s death in 2009, transforming the experience of public art into something equal parts powerful and profound.

.

“I have a real need to appropriate reality,” Christo reveals in the stunning new book Christo and Jeanne-Claude: Urban Projects (D.A.P./Verlag Kettler), the first volume to give a comprehensive account of their work inside cities around the globe.

.

“The real is the real. The work is not a photograph, a film, or an image. It is the real thing,” Christo says, speaking with passion over the phone from the US. “This is because I have the enormous visceral pleasure of the real thing. I understand many people do not like to be in an uncomfortable place that is windy, hot, boring, because it is demanding of your effort, but if you have a physical pleasure to only do things like that (laughs), you understand. It is something.”

.

Read the Full Story at Dazed

.

“The Gates” (2005)

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Dazed, Exhibitions

This is No Dream: Making Rosemary’s Baby

Posted on June 13, 2018

Mia Farrow. Photography by Bob Willoughby © MPTV Images / Reel Art Press

In 1968, film director Roman Polanski brought Rosemary’s Baby to life and forever changed the way we imagine horror films. In a genre best known for its gruesome and grisly tropes, Rosemary’s Baby made the realm of the supernatural all too plausible in a delectable mixture of the mystical and the mundane.

.

The exquisitely cinematic film, which moves at a dreamlike pace, takes place inside New York’s stately Dakota building on 72nd Street and Central Park South, where a coven of witches decides to impregnate a young Rosemary Woodhouse (Mia Farrow) with the child of Satan. Rosemary’s Baby is meticulously crafted so that every moment slowly unfolds in an exquisite tension that denies release until a denouement so quiet you realise there is no escape.

.

Yet, despite – or perhaps because of – the aesthetic perfection of Polanski’s work, the film production was a horror story all its own, one that is meticulously recounted in This Is No Dream: Making Rosemary’s Baby by James Munn (Reel Art Press). Set for release on June 12, the 50th anniversary of the legendary film, the book takes behind the scenes and on to the set, where drama was ever present.

.

“There was never a dull moment,” set photographer Bob Willoughby observes, as his photos help to convey the dark undercurrents at work. Although Polanski was riding high, at the height of his stardom while making this film, his countless scheduling delays put his job in jeopardy. At the same time, actor John Cassavetes, who co-starred as Guy Woodhouse, was ready to fight Polanski over creative differences.

.

Read the Full Story at AnOther Online

Categories: 1960s, AnOther, Books, Photography

Remembering Interview Magazine

Posted on May 29, 2018

Diana Ross on the cover of Interview magazine. Artwork Richard F. Bernstein

Debbie Harry on the cover of Interview magazine. Artwork Richard F. Bernstein

Last week, nearly 50 years after it first launched, Andy Warhol’s Interview magazine announced that it was ceasing publication. The large format periodical, which began as a ‘Monthly Film Journal’ in an effort to entice Hollywood to bankroll and distribute Warhol’s films, evolved over a period of five decades to become ‘The Crystal Ball of Pop’, chronicling the downtown scene.

.

Interview was the ultimate Warholian project, giving readers insider access to the pop cultural elite through a compelling blend of glamour photography and celebrity-on-celebrity conversations that sprawled decadently across the oversize pages of the magazine. From 1972 to the late 80s, Richard F. Bernstein gave it a stamp of distinction with his exquisitely rendered portraits of everyone from Grace Jones, David Bowie, and Diana Ross to Debbie Harry, Michael Jackson, and Bob Marley, among many others.

.

Under the auspices of editors like Bob Colacello, Ingrid Sischy, and Glenn O’Brien, Interview constantly reinvented itself, striking the perfect balance between art and celebrity, just like Warhol himself. Here, a handful of editors and contributors share their memories of working alongside Andy, Glenn, and Ingrid over the years.

.

Read the Full Story at AnOther Man

.

Grace Jones on the cover of Interview magazine. Artwork Richard F. Bernstein

Categories: 1960s, 1970s, 1980s, 1990s, AnOther Man, Art, Manhattan

Danny Lyon: The Destruction of Lower Manhattan

Posted on May 26, 2018

Aerial view of Manhattan, 1966–67. The Cleveland Museum of Art, Gift of George Stephanopoulos. © Danny Lyon

In 1966 at the age of 25, American photographer Danny Lyon returned to his native New York at the top of his game. Having completed his work on The Bikeriders and in the Civil Rights Movement as a member of the Student Nonviolent Coordinating Committee, settled into an apartment in Lower Manhattan just as the neighbourhood was undergoing radical change.

.

Under the auspices of David Rockefeller, the Downtown Manhattan Association had been formed as part of a new program of urban renewal. Industries were decamping from Manhattan in search of greener shores, leaving the city abandoned and in an abject state of decay. The financial district was heading to midtown where they could erect shiny new skyscrapers; the Washington Street Market closed after the fruit and vegetable suppliers set up shop in New Jersey. All that remained were 19-century residential and industrial buildings.

.

Governor Nelson Rockefeller, David’s brother, already had plans for the construction of the World Trade Center in the works, and together they focused on a new vision for downtown New York. A plan was enacted that would wholesale erase the buildings and streets of lower Manhattan and in its place, a new neighbourhood would be built, one designed to attract middle and higher income people in the name of “urban renewal.”

.

Read the Full Story at Huck Online

.

View south from 88 Gold Street, 1966–67. The Cleveland Museum of Art © Danny Lyon

Categories: 1960s, Art, Exhibitions, Huck, Manhattan, Photography

Olivier Mossett: Wheels

Posted on May 25, 2018

Taken from Wheels by Olivier Mosset © Olivier Mosset, courtesy of Edition Patrick Frey

50 years ago, France was marked by a period of student uprisings known today as ‘May 68’. For nearly two months, millions of people joined in a series of occupations, demonstrations, and general strikes nationwide that brought the country to a halt. The protests ignited an artistic movement that embraced the independent spirit of radicals, rebels, and renegades.

.

Swiss artist Olivier Mosset was living in Paris at the time and became close with group of bikers who maintained an outlaw lifestyle. When he bought his first motorcycle, a US Army surplus Harley Davidson, he helped start a motorcycle club, a phenomenon wholly unknown in Europe at the time.

.

Mosset’s studio on the Rue de Lappe doubled up as a hub of radical painting, a garage and a clubhouse for the Marxist-influenced bikers. As a painter, Mosset created monochromatic, geometric abstractions that conceptually reduced the image to its formal roots – and yet he couldn’t deny the allure of the motorcycle. Throughout his career, Mosset found inspiration in its mechanical form, pairing his paintings with sculptural readymades in the mid-90s.

.

On June 8, Edition Patrick Frey will release Wheels, a retrospective of Mosset’s motorcycle work. Here Mosset looks back on enduring appeal of these icons of outlaw style.

.

Read the Full Story at AnOther Man

.

Taken from Wheels by Olivier Mosset © Olivier Mosset, courtesy of Edition Patrick Frey

Categories: 1960s, AnOther Man, Art, Books

Andy Warhol’s Chelsea Girls

Posted on May 11, 2018

Andy Warhol, The Chelsea Girls, 1966. Pictured: Nico. © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Film still courtesy The Andy Warhol Museum

Andy Warhol, The Chelsea Girls, 1966. Pictured: Angelina “Pepper” Davis / Eric Emerson. © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Film still courtesy The Andy Warhol Museum

During the summer of 1966, while hanging out in the famed backroom of Max’s Kansas City, Andy Warhol took a napkin and began to draw a line down the middle. On one side, he wrote “B,” and on the other “W.” From this simple sketch, the concept of a split screen film, which would become Chelsea Girls, was born.

.

“I want to make a movie that is a long movie, that is all black one side and white the other,” scriptwriter Ronald Tavel recounts Warhol explaining, in Ric Burns’ documentary film Andy Warhol.

.

A true radical in the avant-garde cinema community, Warhol’s first major film was Sleep (1963): a five-hour, 20-minute silent film of John Giorno, his boyfriend at the time. It could be described as an endurance test, for nothing much happened. Warhol took this idea of the still camera and the unedited reel of film, combined it with the faux-documentary sensibility of cinéma vérité, added his Superstars into the mix, set them in a simple scenario, and let them do their thing.

.

The result was Chelsea Girls was born: a split-screen film featuring 22 different 33-minute reels featuring appearances by Nico, International Velvet, Eric Emerson, Brigid Berlin, Mario Montez, Ondine, Gerard Malanga, Susan Bottomly, and Ingrid Superstar that became Warhol’s first commercially successful film – due in no small part to the classic cocktail of sex, drugs, and drama.

.

“Before, people fell asleep during my films. When they didn’t walk out,” Warhol observes in the new book, Andy Warhol’s Chelsea Girls (D.A.P./The Andy Warhol Museum, May 24). “But Chelsea Girls is packing them in. Why? Because it’s dirty.”

.

Read the Full Story at Dazed

.

Andy Warhol, The Chelsea Girls, 1966. Pictured: Nico / Ondine. © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Film still courtesy The Andy Warhol Museum

Andy Warhol, “3 Min. Mary Might”, 1966. Pictured: George Millaway, Ronnie Cutrone, Angelina “Pepper” Davis, unidentified man. © 2018 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved. Film still courtesy The Andy Warhol Museum

Categories: 1960s, Art, Books, Dazed, Manhattan

« 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