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Posts from the “1970s” Category

Michael Gross: Focus

Posted on August 3, 2016

Richard Avedon © Adrian Panaro

 

Michael Gross has had his finger on the pulse of high society, documenting their luxurious lifestyles for more than three decades. With a chair in the front row of the fashion shows for a decade, Gross delved into the corners of the world that few had known with his seminal book, Model: The Ugly Business of Beautiful Women (William Morrow, 1995), exposing the underbelly of the industry at the height of the supermodel craze.

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The book had been Richard Avedon’s idea. Gross had a column in The New York Times and was writing long form pieces for New York magazine, including a cover story detailing the historic rivalry between Vogue and Harper’s Bazaar. Gross had been thinking of expanding the story into a book but Avedon, who had been a major source, thought no one cared about ancient beef between Carmel Snow and Diana Vreeland. Instead, he suggested a book on the modeling industry, which no one had ever done before.

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Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Fashion, Photography

London’s Burning: “PUNK” Returns to King’s Road

Posted on August 1, 2016

Photo: Steve Havoc, Siouxsie Sioux, ‘Debbie’, 1970s. © Ray Stevenson. Courtesy of Michael Hoppen Gallery.

Photo: Steve Havoc, Siouxsie Sioux, ‘Debbie’, 1970s. © Ray Stevenson. Courtesy of Michael Hoppen Gallery.

Picture it: King’s Road, London. 1971. Malcolm McLaren starts a shop called Let It Rock, featuring clothes designed by his then-girlfriend, Vivienne Westwood. It was a period piece. The pink signage and “Odeon” wallpaper was designed to put you in the mood to purchase drape jackets, tight pants, and creepers. Needless to say it was here today, gone by 1973, when the show as renamed Too Fast To Live, Too Young To Die, as the dynamic duo updated the look to early ‘60s rocker styles that came and went, until they found their truth living in the present tense: SEX.

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It got your attention. Loud and clear. The word “SEX” was written in pink foam letters that ran four feet high above the door, the walls covered in graffiti from SCUM Manifesto and chickenwire. Inside was another world, all red carpeting and rubber curtains, fetish and bondage gear. It was just the sort of affront that McLaren enjoyed, while also being a proper honey trap. The shop became the spot for London’s Blight Young Things.

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Categories: 1970s, Art, Crave, Exhibitions, Photography

Books | Ridinghouse Presents Linder

Posted on July 30, 2016

Linder Against Interpretation, 2012 Duratrans on lightbox 168.8 x 125.8 cm | 66 1/2 x 49 1/2 ins Edition of 3 plus 1 AP

Linder Against Interpretation, 2012 Duratrans on lightbox 168.8 x 125.8 cm | 66 1/2 x 49 1/2 ins Edition of 3 plus 1 AP

Linder Sterling makes some of the most extraordinary photomontages the world has ever seen, creating a delectable body of work exploring representations of female sexuality. Equal parts cheeky and chic, Linder puts the sexy back in soft focus centerfolds, while giggling all the way to the bank. By taking pre-existing soft-focus pornography and combining it with flora, fauna, food items (really anything of the sort that conveys the desire to acquire, to have and to hold), Linder reminds us that the image of women is very much a construction for consumption itself. What’s endlessly charming is the simple fact that Linder simultaneously indulges our consumption of this construction while simultaneously deconstructing it. In celebration of a career that spans four decades, the artist has released a sumptuous monograph with 270 pages of pure pleasure. Linder (Ridinghouse) features numerous series made throughout her career, along with a series of interviews that gives insight into mind behind the work.
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Categories: 1970s, 1980s, 1990s, Art, Books, Exhibitions

Stanley Kubrick: The Exhibition

Posted on July 26, 2016

Photo: Lolita, directed by Stanley Kubrick (GB/United States; 1960-62). Sue Lyon as Dolores “Lolita” Haze. © Warner Bros. Entertainment Inc.

Photo: Lolita, directed by Stanley Kubrick (GB/United States; 1960-62). Sue Lyon as Dolores “Lolita” Haze. © Warner Bros. Entertainment Inc.

In one of those random moments that made up so much of 1999, R.A. The Rugged Man dropped a track called “Stanley Kubrick” on Soundbombing II. And, like everything that is Kubrick, it was an exquisite fit, though the song had nothing to do with him. It was about life out in Suffolk County where, “Cops frisk us, their handcuffs never fit us. Our wrists turn purple, that’s why we act vicious. Plus if we die tomorrow, won’t nobody miss us.” But the Capital the Crimelord track, the murky yet alluring baseline to the beat that R.A. rode with those lyrics, had a pure “Stanley Kubrick” feel.

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And perhaps that is because the master understood. As Kubrick observed, “A film is—or should be—more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.”

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Kubrick understood the power of impact, of heightening the senses with the precision of the conductor of an orchestra, soaring to operatic crescendos and crashing from precarious heights, taking us along for the ride. The layers of experience, insight, and understanding in a Kubrick film require multiple viewings, or should you be so inclined, additional materials by which to consider his work from multiple points of view.

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The Shining, directed by Stanley Kubrick (GB/United States; 1978-1980). Jack Torrance (Jack Nicholson) at the hotel bar. © Warner Bros. Ent.

The Shining, directed by Stanley Kubrick (GB/United States; 1978-1980). Jack Torrance (Jack Nicholson) at the hotel bar. © Warner Bros. Ent.

Categories: 1960s, 1970s, 1980s, Art, Crave, Exhibitions

Raphael Albert: Miss Black and Beautiful

Posted on July 19, 2016

Raphael Albert (1935-2009) archive 1960 -1980, including beauty pageants such as Miss Black and Beautiful and Miss West Indies in Great Britain; as well as documentary photographs and family portraits of the local community in West London.

Photo: (unidentified) Miss Black & Beautiful with fellow contestants, London, Hammersmith Palais, 1970s. From the portfolio “Black Beauty Pageants”. Courtesy of © Raphael Albert/Autograph ABP.

Hailing from the Caribbean island of Grenada, photographer Raphael Albert (1935–2009) moved to London in 1953 where he became a freelance photographer working for black British newspapers. One of his earliest assignments changed the shape of his destiny, as he covered the Miss Jamaica beauty pageant for West Indian World.

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Inspired by the spirit of the times Raphael began hosting local beauty pageants for black women before packed crowds at the legendary Hammersmith Palais in West London, a tradition that continued for more than three decades, into the 1980s. With titles like Miss Black and Beautiful, Miss West Indies in Great Britain, and Miss Grenada, Albert cast aside the European standards of beauty in order to shine a spotlight on the inherent beauty of the African race, showcasing women of all skin tones, hair types, and facial features in the mix.

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Photo: Holley posing at Blythe Road, Hammersmith, London, early 1970s. From the portfolio "Black Beauty Pageants". Courtesy of © Raphael Albert/Autograph ABP.

Photo: Holley posing at Blythe Road, Hammersmith, London, early 1970s. From the portfolio “Black Beauty Pageants”. Courtesy of © Raphael Albert/Autograph ABP.

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 Photo: (unidentifed) Miss Black & Beautiful escorted by two men, Hammersmith Palais, London, 1970s. From the portfolio "Black Beauty Pageants". Courtesy of © Raphael Albert/Autograph ABP.

Photo: (unidentifed) Miss Black & Beautiful escorted by two men, Hammersmith Palais, London, 1970s. From the portfolio “Black Beauty Pageants”. Courtesy of © Raphael Albert/Autograph ABP.

Categories: 1960s, 1970s, 1980s, Art, Crave, Exhibitions, Photography, Women

Danny Lyon: Message to the Future

Posted on July 7, 2016

Artwork: Danny Lyon, “Tesca, Cartagena, Colombia,” 1966. Cibachrome, printed 2008. Image 25.7 × 25.7 cm (10 1/8 × 10 1/8 in.). Collection of the artist.

Artwork: Danny Lyon, “Tesca, Cartagena, Colombia,” 1966. Cibachrome, printed 2008. Image 25.7 × 25.7 cm (10 1/8 × 10 1/8 in.). Collection of the artist.

Danny Lyon does it like nobody else. Born in Brooklyn in 1942, he transformed photography into one of the most astounding arts of documentary possibilities. A self-described “dissenter in my own country,” Lyon took to the edges of American life to document the country from the inside out, removing the veils of appearance politics to reveal the truth about this country in black and white like no one before—or since.

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A self-taught photographer, filmmaker, and writer, Lyon’s work exemplifies the best aspects of New Journalism. Forsaking the industry’s so-called “objectivity” in favor of using the media as a means to an ends greater than the story itself. Whether on the front lines of the Civil Rights movement or behind the bars of the Texas State Penitentiary, Lyon used photography to bear witness to causes, movements, and historical moments that were happening in the here and now.

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

Mel Rosenthal: In the South Bronx of America

Posted on June 23, 2016

Photo: The daily domino game in front of the Social Club. 1976-1982. Gelatin silver print. Museum of the City of New York, Gift of Roberta Perrymapp, 2013.12.28. © Mel Rosenthal.

Photo: The daily domino game in front of the Social Club. 1976-1982. Gelatin silver print. Museum of the City of New York, Gift of Roberta Perrymapp, 2013.12.28. © Mel Rosenthal.

Politicians leave a paper trail by which we can reflect on the historic record as it was put into play by policy decisions that are criminal minded. In 1970, New York Senator Daniel Patrick Moynihan took a proposal to the Nixon White House that he described as “benign neglect.” Moynihan advocated for the government to withdraw from dealing with the systemic issues plaguing the African American community, and in doing so, services were suspended in neighborhoods where they needed it most. In its place Moynihan advocated for increased surveillance and “studies,” much like the nonsense he was pedaling here.

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But this being Tricky Dick Nixon, the message was warmly received, ushering in more than a decade of psychopathic patriarchy—which included the blind eye turned as landlords hired arsonists to burn down buildings in order to collect the insurance money, leaving neighborhoods in ruins. A war was being waged in plain sight, but there was nothing that could be done until the land was ravished completely. Between 1970 and 1980, 44 census tracts in the Bronx lost more than half of their buildings to fire and abandonment, with seven tracts losing a staggering 97%.

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Read the Full Story at Crave Online

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Life carries on in the War Zone. 1975-1981. Gelatin silver print. Museum of the City of New York, Gift of Roberta Perrymapp, 2013.12.1 Read more at http://www.craveonline.com/art/1002663-bearing-witness-south-bronx-america#AvPVsD6DLweheVSj.99. © Mel Rosenthal.

Life carries on in the War Zone. 1975-1981. Gelatin silver print. Museum of the City of New York, Gift of Roberta Perrymapp, 2013.12.1

Categories: 1970s, 1980s, Art, Bronx, Crave, Exhibitions, Photography

Bruce Davidson: Magnum Legacy

Posted on June 20, 2016

Photo: Bruce Davidson USA. New York City. 1980. Subway. ©Bruce Davidson/Magnum Photos, courtesy of Prestel.

Photo: Bruce Davidson USA. New York City. 1980. Subway. ©Bruce Davidson/Magnum Photos, courtesy of Prestel.

“When I was a kid, I played baseball and you heard the sound the bat made when it really connected with the ball; you knew you had a great hit. It’s the same with photography: sometimes you hear that click of the shutter and you know you’ve caught something really special,” observes American photographer Bruce Davidson (b. 1933).

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Davidson, a member of Magnum Photos since 1958, authored some of the most seminal monographs of the twentieth century including Brooklyn Gang, East 100 Street, and Subway. He is now the subject of a new book, Bruce Davidson: Magnum Legacy by Vicki Goldberg (Prestel), which explores the photographer’s life work in photography. Davidson speaks with Crave about his work and about the magic of photography that kept him hooked in a career that spans six decades.

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Categories: 1960s, 1970s, 1980s, Art, Books, Brooklyn, Crave, Manhattan, Photography

Antonio López: Future Funk Fashion

Posted on June 17, 2016

Artwork: Antonio Lopez, Carol Labrie, NYC, 1969, Marker and color overlay, 18” x 24”, Courtesy of the Estate of Antonio Lopez & Juan Ramos.

Artwork: Antonio Lopez, Carol Labrie, NYC, 1969, Marker and color overlay, 18” x 24”, Courtesy of the Estate of Antonio Lopez & Juan Ramos.

Antonio López is a Nuyorican legend. Born in Utado, Puerto Rico in 1943, he was just two years old when he began to sketch dresses from fabric his mother had given him. At the age of seven, his family moved to New York City, Spanish Harlem to be exact. Back in the days, the neighborhood was riddled with gangs as brilliantly depicted in Piri Thomas’s memoir, Down These Mean Streets. To keep her son off the streets, López’s mother, a seamstress, asked him to draw flowers for her embroideries. He also helped his father, a mannequin maker, to apply make-up an stitch wigs on to figures.

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Such home training portended beautifully, as López earned a scholarship to the prestigious Traphagen School of Fashion, which provided Saturday programming for children. From there he went on to attend the High School of Art and Design and the Fashion Institute of Technology. While at F.IT., he began an internship at Women’s Wear Daily, which lead to a position on staff. He left school, and that’s when everything began.

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Antonio Lopez, Dream Girls, American Vogue, 1977, Pencil & watercolor, 18” x 24”, Courtesy Estate of Antonio Lopez & Juan Ramos.

Antonio Lopez, Dream Girls, American Vogue, 1977, Pencil & watercolor, 18” x 24”, Courtesy Estate of Antonio Lopez & Juan Ramos.

Categories: 1960s, 1970s, 1980s, Art, Crave, Exhibitions, Latin America, Manhattan

Who I Am: Rediscovered Portraits from Apartheid South Africa

Posted on June 16, 2016

Photo: S. J. Moodley, [Boy with sunglasses in a chair], ca. 1978. Courtesy The Walther Collection.

Photo: S. J. Moodley, [Boy with sunglasses in a chair], ca. 1978. Courtesy The Walther Collection.

South African photographer Singarum “Kitty” Jeevaruthnam Moodley was born into an Indian family in the province now known as KwaZulu-Natal in 1922. At the age of 35, he left his job working as a machinist in a shoe factory to establish Kitty’s Studio, a family-run photographic studio in the mid-sized city of Pietermaritzburg, which he ran for three decades, until his death in 1987.

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After his death, many of the studio’s negatives were purchased by the Campbell Collections in Durban, now part of the University of KwaZulu-Natal. Those deemed incompatible with the historical collection were culled from the archive and some 1,400 negatives were ultimately acquired by Columbia University professor Dr. Steven C. Dubin—and thus a legacy has been cultivated and preserved.

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Dr. Dubin has co-organized a new exhibition of work, Who I Am: Rediscovered Portraits from Apartheid South Africa, now on view at The Walther Collection Project Space, New York, through September 3, 2016. The portraits were taken between 1972 and 1984, offering a new look at the history of South Africa. A passionate community activist and fervent opponent of apartheid, Kitty’s photographs speak to the love and high regard he held for his fellow wo/man.

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Read the Full Story at Crave Online

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S. J. Moodley, [Three men dancing in a line], 1975 Read more at http://www.craveonline.com/art/996071-secret-histories-real-south-africa-seen-man-called-kitty#TEp93rt5prHJ3TQa.99. Courtesy The Walther Collection.

S. J. Moodley, [Three men dancing in a line], 1975
Read more at http://www.craveonline.com/art/996071-secret-histories-real-south-africa-seen-man-called-kitty#TEp93rt5prHJ3TQa.99. Courtesy The Walther Collection.

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

Unruly Bodies: Dismantling Larry Clark’s Tulsa

Posted on June 13, 2016

Larry Clark, Untitled, 1963, from the series “Tulsa,” 1963-71. © Larry Clark; Courtesy of the artist and Luhring Augustine, New York.

Larry Clark, Untitled, 1963, from the series “Tulsa,” 1963-71. © Larry Clark; Courtesy of the artist and Luhring Augustine, New York.

In 1971, America photographer Larry Clark published Tulsa with Lustrum Press, owned by Ralph Gibson, sparking a wave of controversy across the nation. The book, which features fifty black and white photographs taken by Clark in 1963, 1968, and 1971, reveal the dark side of American youth culture in the heartland of America. Drugs, sex, and guns were front and center, as much the subject of the book as the people themselves with Clark a participant, rather than a voyeur. He brought a new level of authenticity to his work, and in doing so Tulsa changed the very nature of documentary photography itself.

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Forty-five years after the book’s release, a new exhibition of photographs adds a new layer of perspectives to the story of this work in Unruly Bodies: Dismantling Larry Clark’s Tulsa at the California Museum of Photography UCR ARTSblock, Riverside, now through January 28, 2017. Curated by graduate students from the History of Art and the Public History Program, Unruly Bodies speaks to the new generation reflecting on the past, reflecting on Clark’s watershed moment in contemporary photography, pairing his work alongside that of Danny Lyon, Bill Eppridge, and W. Eugene Smith to critical effect.

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Read the Full Story at Crave Online

Categories: 1960s, 1970s, Books, Crave, Exhibitions, Photography

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