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Posts from the “1970s” Category

John Ahearn & Rigoberto Torres: The South Bronx Hall of Fame

Posted on July 30, 2018

Luis and Virginia, 1985. Courtesy of John Ahearn.

Life on Dawson Street KBA Studio, 1982-3. Courtesy of John Ahearn.

During the ’70s, the South Bronx became the face of urban blight, as the federal government systematically denied basic services to Black and Latinx communities under the Nixon White House policy of “benign neglect.”

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As neighbourhoods fell into extreme states of poverty, crime, and disrepair, landlords realised they would make more money torching their buildings and recouping the insurance money than they ever could from rent — leaving the South Bronx with vast swaths of empty lots, burned out buildings, and mounds of rubble.

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The stark struggle for survival experienced by regular people in the Bronx inspired artists to create incredible feats, like John Fekner’s epic stencils, Gordon Matta-Clark’s first architectural interventions, and the explosion of graffiti across whole cars. In the late 1970s, Stefan Eins moved his gallery, Fashion MODA to Third Avenue near 147th Street and the Hub in the heart of the South Bronx, where he began exhibiting emerging downtown artists like David Wojnarowicz, Keith Haring, and Jenny Holzer, as well as graffiti artists such as Richard Hambleton, John Crash Matos, and Chris Daze Ellis.

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Read the Full Story at Huck Online

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South Bronx Hall of Fame Walton Street Sidewalk Studio. Courtesy of John Ahearn.

Janelle and Audrey, 1983. Courtesy of John Ahearn

Categories: 1970s, 1980s, Art, Bronx, Huck

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.

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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.

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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.

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Read the Full Story at Huck Online

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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.

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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.

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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.

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Read the Full Story at Feature Shoot

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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

Godlis x Angela Boatwright on Punk, Now & Then

Posted on July 22, 2018

Blondie, CBGB, 1977. Photo by GODLIS.

GBGB, 1977. Photo by GODLIS.

On a cool night late in the summer of 1976, David Godlis stood on the Bowery: a desolate NYC strip synonymous with flophouses and winos who’d lived under the shadow of the Third Avenue El train for more than a century. Although the train had been dismantled, that thoroughfare remained barren and bleak – but for a white awning emblazoned with black letters that announced “CBGB”.

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At 25, Godlis had returned to his native New York towards the end of 1975 after spending seven years in Boston, where he studied photography alongside Nan Goldin and Stanley Greene at Imageworks. Back in town, he’d pick up the latest issue of The Village Voice and flip to the classified section where he perused the help-wanted listings. It was there that an ad for a bar repeatedly caught his eye. Intrigued, Godlis set out to catch a band called Television. When he arrived, the streets were completely empty. He spotted the white awning and said to himself, “That’s got to be the joint.”

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He opened the door and stepped inside what felt like a new world: a long, narrow room illuminated by neon beer signs hanging on the wall. At the front desk sat Roberta Bayley, who had shot the cover of the Ramones’ first album, though Godlis didn’t know who she was at the time.

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Read the Full Story at Huck Online

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Punks at Indiana Street show, Boyle Heights, July 2015. Photo by Angela Boatwright.

East L.A. Liquor, N. Fickett Street, Boyle Heights. Photo by Angela Boatwright.

Categories: 1970s, Art, Huck, Music, Photography

Meryl Meisler: Fire Island 1977 – 1978

Posted on July 17, 2018

Copyright Meryl Meisler / Courtesy of Steven Kasher

Copyright Meryl Meisler / Courtesy of Steven Kasher

In July 1978, Donna Summer released Last Dance, the final word on the dancefloor – the last record spun at the club before the lights come on. American photographer Meryl Meisler could not have known then just how apt that track would be when it released during her last summer at The Survivor, a cottage on Fire Island.

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Just one year earlier, Meisler had made her entrée to the Fire Island social scene, after meeting a hairstylist named Barnett through a friend of a friend she knew from her nights at Studio 54. Barnett had just gotten out of a long-term relationship and took a shine to Meisler. He extended an open invitation to his home, and for two seasons Meisler made her way to heart of Cherry Grove, accompanied by her childhood friend Judi Jupiter.

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During those first years in between the Summer of Love and the advent of AIDS, New York was a carefree candyland, equal parts innocence and decadence. Camera in hand, Meisler captured a forgotten slice of New York LGBTQ history in these photographs, some of which appear in her books A Tale of Two Cities: Disco Era Bushwick and Purgatory & Paradise: SASSY ‘70s Suburbia & The City (Bizarre Publishing). Meisler looks back at this Edenic idyll 40 years on.

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Read the Full Story at AnOther Man

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Copyright Meryl Meisler / Courtesy of Steven Kasher

Copyright Meryl Meisler / Courtesy of Steven Kasher

Categories: 1970s, AnOther Man, Art, Photography

Marc H. Miller: Downtown Art Ephemera, 1970s-1990s

Posted on July 10, 2018

Public Art Fund, Spectacolor Lightboard, Robin Winters, Card, 1988. Courtesy online Gallery 98

Before the internet made it quick and easy to share information, artists relied on IRL tactics to promote their work. Posters, flyers, paper invitations, postcards, zines, objets d’art, and other ephemera represented a populist impulse: reach the masses and give them a taste of what was to come—something they could keep and collect without having to spend a dime.

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Impermanent art, like graffiti and performance, came to the fore in the Lower East Side in the 1970s and 80s. Art ephemera was often all that remained after a show, and it took on new significance. The materials could be produced cheaply and distributed at will, transforming art in the age of mass reproduction into a marketing tool.

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From his studio at 98 Bowery, artist, journalist, curator, and art historian Marc H. Miller amassed an impressive collection of rare ephemera from New York’s storied era of renegade artmaking from the 70s to 90s. His trove contains work by Jean-Michel Basquiat, Andy Warhol, Nan Goldin, Kiki Smith, Cindy Sherman, the Guerilla Girls, Robert Mapplethorpe, Peter Hujar, and Gordon Matta-Clark, as well as galleries like FUN, Fashion MODA, P.P.O.W., ABC No Rio, Leo Castelli, and Tony Shafrazzi.

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Nearly 200 items from Miller’s collection are on display in New York this month, in Downtown Art Ephemera, 1970s-1990s at James Fuentes Gallery. To celebrate, VICE caught up with Miller to chat about why these relics from the recent past have such power today.

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Read the Full Story at VICE Online

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P.P.O.W, David Wojnarowicz, Early and Recent Work, Card, 1990. Courtesy online Gallery 98

Emily Harvey Gallery, Jean-Michel Basquiat, Henry Flynt, The Samo Graffiti, Card. Courtesy online Gallery 98

Categories: 1970s, 1980s, 1990s, Art, Manhattan, Painting, Photography, Vice

David Wojnarowicz: History Keeps Me Awake at Night

Posted on July 10, 2018

Artwork: David Wojnarowicz with Tom Warren, Self-Portrait of David Wojnarowicz. Collection of Brooke Garber Neidich and Daniel Neidich, Photography Ron Amstutz

At the pinnacle of his career, American artist David Wojnarowicz (1954-1992) was the preeminent symbol the 1980s East Village art scene. Like his contemporaries Kathy Acker, Jenny Holzer, and Barbara Kruger, Wojnarowicz used art as a form of resistance and to unravel the mythical image of America.

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Wojnarowicz came of age in New York City, where he was the victim of shockingly brutal childhood abuse. Pushed to the margins, he became a street hustler in his teens in order to survive. By the late 1970s, as a new avant-garde street culture came into vogue, propelled by the DIY ethos of punk, hip hop, No Wave, and graffiti, Wojnarowicz began to create art as a vehicle for political activism, rebellion, and rage against the institutions that oppressed and exploited the vulnerable.

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Over a period of about 15 years, Wojnarowicz produced a body of work that was innovative as it was excoriating, working across a range of media – including photography, painting, collage, music, film, sculpture, writing, and performance – using art as a tool of exploration and a weapon to fight the power structure. An AIDS activist until his dying day, Wojnarowicz posed some challenging questions about American culture and history, tearing apart the respectability politics of polite society in search of the truth.

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His death on July 22, 1992, which was caused by AIDS-related illness, cut short the life of one most incendiary artists of our time – he was just 37. Now, in celebration of his legacy, the Whitney Museum of American Art, New York, presents David Wojnarowicz: History Keeps Me Awake at Night (July 13 – September 30, 2018), which will be accompanied by a catalogue of the same name published by Yale University Press. Here, we spotlight everything you need to know about David Wojnarowicz.

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Read the Full Story at AnOther Man

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David Wojnarowicz, History Keeps Me Awake at Night (For Rilo Chmielorz), 1986

Categories: 1970s, 1980s, 1990s, AnOther Man, Art, Exhibitions

Flint Gennari: Inside Art & Design

Posted on July 9, 2018

© Flint Gennari

© Flint Gennari

In 1936, four art teachers banded together to create what would become New York’s High School of Art & Design inside a former WPA Federal Theatre Project. Although the walls were ripped apart and there was no school furniture, a little ingenuity transformed orange crates and plywood into student desks and cupboards.

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Over the past century, Art & Design has become one of the most pre-eminent public schools in New York, with a list of distinguished alumni that includes fashion designers Marc Jacobs and Calvin Klein, photographers Peter Hujar, Steven Meisel, and Sheila Metzner, artist Lorna Simpson, supermodel Pat Cleveland, Andy Warhol Factory denizens Jackie Curtis and Gerard Malanga, downtown icon Fab 5 Freddy, and a host of graffiti legends including Lee Quiñones, Lady Pink, and Roberto “FLINT” Gennari.

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Gennari began writing graffiti in 1965, after his social studies teacher introduced him to the famed World War II doodle “Kilroy Was Here” in class one day. Inspired in equal parts by advertising slogans, psychedelic artist Peter Max, and the ability to be famous yet anonymous at the same time, Gennari began tagging “FLINT” on walls and trains around his native Brooklyn. He added pithy phrases like “For Those Who Dare” and “For Ladies Only” to let the public know just what was on the menu.

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Read the Full Story at Huck Online

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© Flint Gennari

© Flint Gennari

Categories: 1970s, Art, Huck, Manhattan, Photography

Marc H. Miller and Bettie Ringma: Paparazzi Self-Portraits

Posted on July 3, 2018

Angela Davis, c. 1975-79, from ‘Bettie’s FemmeFolio’ © Marc H. Miller and Bettie Ringma

Dictators from ‘Bettie Visits CBGB, 1976-87’ © Marc H. Miller and Bettie Ringma

In the mid-70s, the term “paparazzi” was beginning to seep into the cultural consciousness through a dazzling combination of art and life. While Federico Fellini’s 1961 film La Dolce Vita introduced the word “paparazzi” (Italian for “mosquito”), it was not until American photographer Ron Galella showed the world just what a paparazzo was willing to do to get the shot that it truly become part of everyday parlance; in 1973, Marlon Brando broke his jaw with a single punch; one year later Jackie Onassis sued him, managing to secure an order of protection that did not stop Galella from getting his most famous image.

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Intrigued by this new phenomenon coming into its own, American artist Marc H. Miller and Dutch artist Bettie Ringma started making Paparazzi Self-Portraits in 1975. Here, they posed for snapshots alongside personal heroes including Angela Davis, Susan Sontag, William S. Burroughs, and Patti Smith, as well as bands from the emerging punk scene at CBGB including Talking Heads, the Dead Boys, and Richard Hell and the Voidoids.

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The project reached new heights in 1978 when Curt Hoppe, their downstairs neighbor, offered to create a large format photorealistic painting of Ringma with the Ramones, which was unveiled in Punk Art, the first exhibition to showcase the visual artists of the scene. Miller looks back at the sweet spot where pop culture and conceptual art met, and pays tribute to Ringma, who died on March 8 of this year.

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Read the Full Story at AnOther Online

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Richard Hell and Voidoids from ‘Bettie Visits CBGB, 1976-87’ © Marc H. Miller and Bettie Ringma

Patti Smith from ‘Bettie Visits CBGB, 1976-87’ © Marc H. Miller and Bettie Ringma

Categories: 1970s, AnOther Man, Art, Manhattan, Photography

Jean Pigozzi: The Unofficial Creator of the Selfie

Posted on June 20, 2018

ME with Ai WeiWei and Maurizio Cattelan, 2016. Copyright Jean Pigozzi

Photographer and philanthropist Jean “Johnny” Pigozzi was a student at Harvard University in 1973 when he spotted actress Faye Dunaway at a party and asked to take a picture with her. “Every year the Hasty Pudding, a Harvard theater club, invites a famous movie star [to visit],” Pigozzi explained to VICE. “Everyone wanted an autograph, but I felt autographs can be fake.”

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So when Dunaway said yes to a photo, Pigozzi did something extraordinary (for the time). He stood beside her, held his arm forward, pointed the camera back at the two of them, and pressed the button—snapping a selfie with a celebrity decades before the invention of Instagram. “Now, you have an iPhone and a screen and you can look at yourself and take many photographs. But when I started doing selfies, I only had the chance to take one picture, so I had to get it right,” Pigozzi said.

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After college, Pigozzi became an insider in a rarefied world. In 1974, he exhibited photographs in the Musée d’Art Moderne in Paris. Soon after, his close friend Bianca Jagger helped him land a small part in a film (though it was never released). One night, Jagger invited Pigozzi to an intimate dinner with Liza Minelli, who told him about a new nightclub in New York called Studio 54. Nights at the club yielded selfies with celebrities like Grace Jones, Andy Warhol, Helmut Newton, and Ai Weiwei. Then in the 80s, Pigozzi began throwing lavish pool parties at his house in Cannes and turned his lens on his guests, capturing candid moments between famous friends.

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Ahead of an exhibition of Pigozzi’s work at IMMAGIS Fine Art Photography in Munich from June 22 to August 4, VICE caught up with the photographer to gripe about modern selfie culture and chat about using a camera to collect mementos of his glamorous life.

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Read the Full Story at VICE Online

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Naomi Campbell, Villa Dorane, Antibes, 1993. Copyright Jean Pigozzi

Categories: 1970s, 1980s, 1990s, Art, Exhibitions, Photography, Vice

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.

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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.

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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.

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Read the Full Story at Huck Online

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

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

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