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

Posts from the “1970s” Category

Guzman: Newark in the 1970s

Posted on January 12, 2021

Newark, 1970s © Guzman
Newark, 1970s © Guzman

Newark in the 1970s was synonymous with urban despair. During the “Long Hot Summer of 1967,” Newark became the site of one of the race riots sweeping across some 159 American cities. The four-day uprising, sparked by police brutality against Black cab driver John William Smith, resulted in 26 dead, 15,000 wounded, 1,600 arrested, and $10 million in property damages. 

.

Soon thereafter, the Nixon White House instituted a policy of “benign neglect,” denying basic government services to Black and Latinx communities as a means to further systemically oppress the poverty-stricken underclass. By the mid-1970s, Newark had fallen on hard times. The January 1975 issue of Harper’s Magazine ranked the 50 largest American cities in 24 categories, from parking space to crime. The article concluded, “The city of Newark stands without serious challenge as the worst city of all… Newark is a city that desperately needs help.”

.

Despite it all, Newark maintained a style and identity all its own, perfectly exemplified by Arts High School, a public school dedicated to nurturing the talents of inner city youth. Established in 1931, Arts High School was the first visual and performing arts high school in the United States, and counts Black Panther’s Michael B. Jordan, Pose’s MJ Rodriguez, jazz icons Sarah Vaughan and Wayne Shorter, and Broadway stars Melba Moore and Savion Glover among its alumni.

.

At the outset of her career, Constance Hansen, now one half of the husband and wife photography team Guzman, arrived at Arts High School after graduating from Pratt Institute with an art education degree in art therapy in 1971. Hansen remembers, “Newark was still fresh from the riots. It was pretty rough. Everything was falling apart. The city was underfunded, as was the school. There was a recession, money was tight, but I never thought about any of that.”

.

Read the Full Story at Blind

.

Newark, 1970s © Guzman
Newark, 1970s © Guzman
Categories: 1970s, Art, Blind, Photography

Running the Streets: Martha Cooper’s New York State of Mind

Posted on January 6, 2021

Martha Cooper. Kids climbing fence, Lower East Side, Manhattan, 1978
Martha Cooper

Freedom, creativity, and innovation — these are the hallmarks of Martha Cooper’s journey around the globe over the past 60 years. Hailing from a long line of strong, independent women dating back to her maternal great aunt, Henrietta Szold, a prominent activist inducted into the American Women’s Hall of Fame, Cooper grew up in a family of feminists empowered to follow their destinies.

.

At the tender age of five, Cooper was instilled with a profound sense of autonomy when her mother taught her to walk a mile to kindergarten on her own through hometown Baltimore. “My mother showed me the first day,” Cooper says. “The next day she followed behind to make sure I got it right, then that was that. I grew up very free.”

.

Cooper took her penchant for adventure to new heights in 1965. After completing her work in the Peace Corps to study ethnology at Oxford University, she went on the ride of her life, traveling from Bangkok to London by motorcycle alone. After graduating, she returned to the U.S. to catalogue artifacts at Yale’s Peabody Museum of Natural History. Soon bored working behind a desk, Cooper yearned to be back in the field.

.

Read the Full Story at Urban Nation Museum

.

Martha Cooper
Martha Cooper
Categories: 1970s, Art, Exhibitions, Manhattan, Photography

The Best Photo Stories of 2020: Portrayals of Sex and Identity

Posted on December 23, 2020

Andy Warhol (1928-1987), Ladies and Gentlemen (Easha McCleary), 1974. Unique polaroid print

“I am large. I contain multitudes,” American poet Walt Whitman famously wrote in “Song of Myself,” a profound work of humanism written more than a century before the nation would ride up demanding civil rights for all. Identity is not a singular thing but a kaleidoscopic expression of self. Like DNA, identity connects us across time and space to bridge the past, present, and the future of humanity. 

.

Yet in a world where many have been marginalised or erased, we are charged to set the record straight, righting the wrongs of the past by telling stories that honour the legacy of our ancestors. Here, we showcase ten artists who explore ideas of sexuality, race and ethnicity in their work, revealing a shared love for that which unites us across generations.

.

Andy Warhol (1928-1987), Sex Parts and Torsos, 1977. Unique polaroid print

Andy Wathol: Sex Parts and Torsos and Ladies & Gentlemen

.

As the Gay Liberation Movement took off during the 1970s, Andy Warhol embraced the LGBTQ community, creating two seminal bodies of work, “Sex Parts and Torsos” and “Ladies & Gentlemen.” He began making tightly framed Polaroids of the torsos, buttocks, and penises of men recruited from hay bathhouses, though he largely kept these works hidden for years, describing them as “landscapes” in an effort to distinguish them from the recent influx of pornographic works.

.

At the same time, Warhol photographed trans icons including Marsha P. Johnson, Vicki Peters and Wilhelmina Ross for a portrait series titled Ladies & Gentlemen. Amanda Hajjar, Director of Exhibitions at Fotografiska New York, observes: “What makes Warhol’s series special is that he captured Black trans women in a way that celebrated their identities and provided them with space to express themselves freely and fully.”

.

Luke Gilford. National Anthem: America’s Queer Rodeo.

Luke Gilford: National Anthem – America’s Queer Rodeo

American photographer Luke Gilford inherited his love of rodeo from his father, a champion and judge who filled their home with memorabilia of the sport. In 2016, Gilford discovered the International Gay Rodeo Association and began to make portraits of LGBTQ riders collected in the book “National Anthem: America’s Queer Rodeo” (Damiani).

.

“One of my close friends in the rodeo community is a Black, gender-nonconforming bull rider. They said to me simply, ‘If I show up, I’m a cowboy.’ And they’re accepted as such, with no questions asked,” Gildford says. “This series is my way of holding up each person with dignity and respect, and showing a beauty, strength, glamour, or tenderness that they may not have seen before.” 

.

Sunil Gupta, Untitled #22, 1976. From the series Christopher Street

From Here to Eternity: Sunil Gupta. A Retrospective

.

With “From Here to Eternity: Sunil Gupta. A Retrospective,” a major solo exhibition currently on view at The Photographers’ Gallery and accompanying book, Sunil Gupta looks back at works from 16 series made over the past 45 years that explore how the Delhi-born, Montreal-raised, London-based artist has used photography as a form of activism to address his experiences as a gay Indian man living with HIV.

.

“I photograph what’s around me, what’s happening to me, and this central question of, ‘What does it mean to be a gay man of Indian origin?’ That’s what stuck with me most of my life and it’s never really gone away,” Gupta tells Indian-American photographer Nick Sethi in a cross-generational conversation about art.

.

Patch, Amsterdam, April 22, 1992 © The Remsen Wolff Collection, Courtesy of Jochem Brouwer 2020

Remsen Wolff: Amsterdam Girls

.

In 1990, American photographer Remsen Wolff (1940–1998) embarked on the creation of “Special Girls – A Celebration”, creating more than 100,000 portraits of over 125 trans and genderfluid models from New York and Amsterdam. Wolff, who described himself as a “faux transsexual” made annual month-long pilgrimages to Amsterdam between 1990–1992 to photograph nightlife luminaries as well as anonymous trans women struggling with their gender identity – an issue the artist understood all too well. Like his subjects, Wolff was determined to shine – even if it took him a lifetime of wandering to find his way home.

.

Paul Smith, Apartheid, 1985

Paul Smith: The Human Curve

.

An integral part of the downtown New York art scene in the 1980s, American artist Paul Smith began making using a homemade pinhole camera to create “Bodily Fluids” a series of black and white landscapes and sensuous scenes of sexual self-discovery made during the height of the Aids crisis.

.

“It wasn’t so common then for people to exhibit sexually intimate and frank work then,” Smith says. “I wanted to depict sex from a participant’s point of view, rather than from a voyeur’s. I would set up a shot but it was pretty improvisatory; I suppose I was just operating out of my libido.”

.

Read the Full List at AnOther

.

Sunil Gupta, Untitled #9, 2010. From the series Sun City
Categories: 1970s, 1980s, AnOther, Books, Exhibitions

Nico: The Femme Fatale of Bohemian Moderne

Posted on December 17, 2020

Nico in Andy Warhol’s Chelsea Girls.

A statuesque blonde whose otherworldly voice inspired a generation to come, Nico embodied the bohemian spirit of the distant past, a Romantic heroine whose greatest regret, she admitted in 1981, was that, “I was born a woman and not a man.” Hers was a tragedy that haunted her soul, one forged in the horrors of war that ravaged her from within, destroying her redolent beauty while revealing itself through song. 

.

Born Christa Päffgen in Cologne, Germany, in 1938, Nico spent her formative years in shelters while the British dropped bombs overhead, bearing witness to the Soviet conquest of German troops and losing her father to either a concentration camp or shellshock following the war. Bearing a passport stamped “ohne festen Wohnsitz” (no fixed address), Nico traveled between Germany, France, and Italy, picking up seven languages along the way. 

.

German fashion photographer Herbert Tobias discovered Nico, then 16, modeling in a KaDeWe fashion show in Berlin, fell madly in love, and bestowed upon her the legendary one-word name. “Modeling is such a dull job,” Nico later told The New York Times, indicating her deeper desire for something more. After starring in a few television commercials, Nico landed small roles in a couple of films before receiving an invitation to the set of La Dolce Vita in 1959. Invariably, the leggy libertine caught the eye of Federico Fellini who gave her a minor role in the film as herself, recognizing a diva in the making.

.

Read the Full Story at Jacques Marie Mage

.

Nico and the Velvet Underground
Categories: 1960s, 1970s, Art, Jacques Marie Mage, Music, Women

Janette Beckman: The MashUp 2: Punk Photographs Remixed

Posted on December 14, 2020

Tim Kerr – Don’t let your heroes get your kicks for you © Janette Beckman

Many people associate graffiti with hip hop because of Charlie Ahearn’s 1982 film,Wild Style, which brought the underground art to the global stage for the very first time. Fab 5 Freddy, who starred in the film, understood the importance of introducing a codified culture to the world. In a series of vibrant tableaux, Wild Style presents what is now referred to as the “four elements of hip hop”: DJs (music), MCs (literature), B-boy (dance), and graffiti writers (visual art).  

.

But true graffiti heads know the art predates the advent of hip-hop by half a decade, developing in tandem with but often times separate from rap music, Early graffiti writers were huge fans of rock and funk music. Some fell in love with the emerging punk scene of the mid-70s, as it encapsulated the same raw, anti-establishment ethos that graffiti required of its practitioners.

.

By the late 1970s, graffiti transformed the New York City landscape as writers painted masterpieces across the side of an entire subway car, simultaneously filing the insides with marker tags, turning every bare surface into a page from an autograph book. Meanwhile across the pond, British photographer Janette Beckman was getting her start at the Kingsway Princeton School for Further Education, teaching photography to a group of teen just a few years younger than she was. The year was 1976 and a student named John Lydon had just left the school and joined the Sex Pistols. Change was in the air.

.

Read the Full Story at Blind

.

Cey – Boy George © Janette Beckman
Categories: 1970s, 1980s, Art, Blind, Graffiti, Music, Photography

Celebrating the Overlooked Legacy of Downtown Artist Jimmy DeSana

Posted on November 27, 2020

Diego Cortez, Anya Phillips, 1977 © Jimmy DeSana. Courtesy of Daniel Cooney Fine Art.

By the late 1970s, New York’s downtown avant garde rejected the corporate efforts to capitalize on the rebellious spirit of punk rock. Desperate to distance themselves from the horrific death of the Sex Pistols groupie Nancy Spungen at the hands of Sid Vicious at Chelsea Hotel, music industry executives attempted to rebrand the anarchistic music as “New Wave.”

.

In turn, art radicals adopted the moniker “No Wave” to assert the independence and integrity of the movement. No Wave became an integral part of the burgeoning East Village art scene that emerged in the 1980s as a new generation came of age. Intoxicated by the sweet elixir of fresh blood, MoMA PS1 opened New York/New Wave, a landmark group show organized by Diego Cortez showcasing the work of 118 artists including Jean-Michel Basquiat, Keith Haring, Stephen Sprouse, FUTURA 2000, and DONDI in February 1981.

.

As soon as that show came down, Couches, Diamonds and Pie went up. Curated by Carol Squiers, the exhibition embraced the emerging photography movement known as the Pictures Generation. Featuring Robert Mapplethorpe, Duane Michals, Sheila Metzner, Richard Prince, William Wegman, Cindy Sherman, and Laurie Simmons, the show also included the work lesser-known artists like Nan Goldin and Jimmy DeSana, both of whom were name checked by Andy Grundberg in his review for The New York Times. 

While most of the artists would go on to international success, Jimmy DeSana (1949-1990) never quite received his proper due. Described as “anti-art,” DeSana’s work was extremely classical at a time when such a style had become démodé among vaunted members of the Pictures Generation. 

.

Read the Full Story at Blind

.

Ronnie Cutrone, 1979 © Jimmy DeSana. Courtesy of Daniel Cooney Fine Art.
Eric Mitchell, 1978 © Jimmy DeSana. Courtesy of Daniel Cooney Fine Art.
Categories: 1970s, 1980s, Art, Blind, Photography

Alan Lodge: Stonehenge

Posted on November 26, 2020

Alan Lodge

The Free Festival Movement of the 1970s took the UK by storm, offering a mélange of music, arts, and cultural activities at no cost. Beginning with Woodstock in 1969, the possibility of creating a mini utopia became a dream come true – that was until they became too popular, and the state got involved.

.

“’Free Festivals’ developed from people being fed up with the exploitation, rules, squalor and overall rip-off that so many events had become. They discovered something… a powerful vision,” says British photographer Alan Lodge, author of the new book Stonehenge (Café Royal Books). 

.

“People lived together: a community sharing possessions, listening to great music, making do, living with the environment, consuming their needs and little else,” Lodge says. “Life on the road in an old £300 1960s bus, truck or trailer seemed like a bloody good option, weighed against the prospect of life on the dole in some grotty city under the Tory Government.”

.

Read the Full Story at Huck

.

Alan Lodge
Alan Lodge
Categories: 1970s, 1980s, Art, Books, Huck, Photography

Ming Smith: An Aperture Monograph

Posted on November 24, 2020

Ming Smith, America Seen through Stars and Stripes (Painted), New York, 1976, from Ming Smith: An Aperture Monograph (Aperture/Documentary Arts, 2020) © Ming Smith, courtesy the artist and Aperture

Throughout her extraordinary life, Ming Smith has blazed a trail, becoming a pioneering figure in front of and behind the camera. Hailing from Columbus, Ohio, Smith grew up amid the horrors of Jim Crow and the Ku Klux Klan. Her high school guidance counselor discouraged her to attend college, advising Smith her future lay as a domestic, scrubbing floors. Undeterred, Smith enrolled in Howard University and received a BS in microbiology before moving to New York City in 1973. 

.

To pay the rent, Smith took up modeling and worked alongside Grace Jones, B. Smith, and Toukie Smith as part of the first generation of Black models in beauty and fashion. But the limelight held no particular charm for Smith. Possessed with acute sensitivity to joy and pain, she found solace in being alone, camera in hand, guided by a desire to bearing witness to the spirit made flesh. Whether on the streets of Harlem or Dakar, making portraits of photographer Gordon Parks, writer James Baldwin, and musician Sun Ra, or photographing a field of sunflowers in West Germany, Smith used the camera to preserve the fleeting and fragile beauty of the world.

.

“When I’m shooting, I usually have a sense: ‘This is the photograph that I’m going to print. This is the moment,’” Smith says in the new book, Ming Smith: An Aperture Monograph. “I like catching the moment, catching the light, and the way it plays out…The image could be lost in a split second. I go with my intuition.”

.

Read the Full Story at Blind

.

Ming Smith, Amen Corner Sisters, Harlem, New York, 1976, from Ming Smith: An Aperture Monograph (Aperture/Documentary Arts, 2020) © Ming Smith, courtesy the artist and Aperture

Categories: 1970s, 1980s, 1990s, Art, Blind, Books, Photography, Women

Martine Barrat: Harlem in the 1970s and 1980s

Posted on November 10, 2020

Martyine Barrat. Mabel Albert (Harlem), 1982.

Hailing from France, Martine Barrat got her start as a dancer working with Pink Floyd and Soft Machine. After travelling to Edinburgh for the International Dance Festival, she met Ellen Stewarr – director of La MaMa Experimental Theater on New York’s Lower East Side.  

.

“She offered me a ticket to come to the city, with my son, to dance with her company,” Barrat recalls. In June 1968, she arrived and made the city her home, settling into Harlem before moving to the South Bronx during the height of white flight.

.

With a group of jazz musicians, Barrat co-created the Human Arts Ensemble – a collective working with children staging street performances and running video and music workshops.

.

“I wasn’t trying to be a photographer,” Barrat says. “Two incredible philosophers Gilles Deleuze and Felix Guattari gave me a video camera saying we should document the events we were creating at La Mama every day with the kids from all over the city. This, I loved.”

.

Read the Full Story at Huck

.

Martine Barrat. Love on her way to the Rhythm Club (Harlem), 1993.
Martine Barrat. Eric Williams, the dominoes champion (Harlem), 1983.
Categories: 1970s, 1980s, Art, Exhibitions, Manhattan, Photography

Honky Tonk: Portraits of Country Music 1972-1981 – Photographs by Henry Horenstein

Posted on October 30, 2020

Lovers, Tootsie’s Orchid Lounge, Nashville, TN, 1975 © Courtesy of Henry Horenstein
Ponderosa, Near Pikesville, KY, 1974 © Courtesy of Henry Horenstein

In the 1970s, country music reached stratospheric heights by seamlessly weaving itself into the fabric of American culture by blending elements of folk and rock music into its Southern honky-tonk roots. Songs of love and loss, booze and gambling, family and country — the triumphs and struggles of everyday folks trying to make it through life — fueled a new generation of artists who reveled in a compelling mix of nostalgia, heartbreak, and pride. 

.

The ‘70s brought talents like Loretta Lynn, Tammy Wynette, Reba McEntire, and Emmylou Harris into the ranks, their raw talent and star power shining alongside luminaries like Johnny Cash, Conway Twitty, John Denver, and Charley Pride. Throughout the decade, country music could be heard on popular television shows like Hee Haw as well as on local radio from coast to coast, the stars of the Grand Ole Opry were seen as national icons — with breakout performers like Dolly Parton, Kris Kristofferson, Willie Nelson, and Marie Osmond going Hollywood. 

.

Photographer Henry Horenstein, a dyed in the wool Yankee, began photographing the country music scene as part of a final assignment for his history professor, the famed British writer and socialist E.P. Thompson, who helped Horenstein understand the importance of recording, studying, and documenting the people who were going to disappear from history unless someone preserved their role in it. He did just that, amassing an extraordinary archive of the images now on view in the new exhibition,Honky Tonk: Portraits of Country Music 1972-1981 – Photographs by Henry Horenstein.

.

Read the Full Story at Huck

.

Dolly Parton, Symphony Hall, Boston, MA, 1972 © Courtesy of Henry Horenstein
Drunk Dancers, Merchant’s Cafe, Nashville, TN, 1974 © Courtesy of Henry Horenstein
Categories: 1970s, Art, Blind, Exhibitions, Music, Photography

A Brief Story of Homoerotic Photography in America, Part I

Posted on October 28, 2020

Tom Bianchi. Fire Island Pines. Polaroids 1975-1983 (Damiani)

It wasn’t until 2003 — nearly 40 years after the Civil Rights Act of 1964 was passed — that the US Supreme Court (SCOTUS) gave LGBTQ people their Constitutional rights, ruling in Lawrence v. Texas that intimate consensual conduct is a liberty protected by the Fourteenth Amendment. For the better part of American history, same-sex activity was treated as a crime to be persecuted under the law, for which citizens could be denied healthcare, housing, education, employment, and access across the board. 

.

The American Psychiatric Association deemed it a pathology, dedicating more than 20 years to formalizing a language to describe and behaviors to treat what they erroneously deemed a form of mental illness until the egregious diagnosis was removed from the DSM-III-R in 1973. That same year, the Supreme Court modified its definition of obscenity in the landmark case Miller v. California from the of “utterly without socially redeeming value” to that which lacks “serious literary, artistic, political, or scientific value,” providing protections to previously censored works of art and culture under the First Amendment. 

.

Much as same-sex activity was criminalized, so was any expression of — a practice dating back to the 1873 Comstock Laws, a set of federal acts for the “Suppression of Trade in, and Circulation of, Obscene Literature and Articles of Immoral Use,” which criminalized sending “obscene” materials, contraceptives, abortifacients, sex toys, personal letters with sexual content, or any information related to their topics through the U.S. Postal Service (USPS). In brief, to be LGBTQ in America posed life-threatening risk.

.

Read the Full Story at Blind

.

Men in Showers Series – Plastic Series, Jean Eudes Canival, Paris, 1975 © The Estate and Archive of Antonio Lopez and Juan Ramos
Categories: 1960s, 1970s, Art, Blind, Photography

« 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