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

Posts from the “1980s” Category

Janette Beckman: Raw Punk Streets UK 1979-1982

Posted on August 5, 2019

Ladbroke Grove, London 1979 © Janette Beckman

In the mid-1970s, British photographer Janette Beckman tells VICE, she left her home in London to pursue her dream of becoming an artist. “I decided, ‘I’m leaving home. I’m going to be an artist and take drugs!’” she says with a laugh, sitting in the kitchen of her Manhattan loft.

.

She moved into a semi-squat in Streatham filled with art students and rented a floor for the impressive fee of £5 a week from an eccentric professor who taught at London University. “He was a spiritualist and was in touch with his dead wife,” Beckman reveals, before going on to recount summers spent at the professor’s nudist camp just outside the city, where they grew weed in the backyard.

.

Beckman completed her studies at the London College of Printing, then got a job teaching photography to teens at the Kingsway Princeton School for Further Education in 1976 just as punk exploded on the scene. Entranced by the raw energy taking aim at the establishment, Beckman found the perfect subject to launch her four-decade photography career.

.

With the publication of Raw Punk Streets UK 1979-1982 (Café Royal Press), Beckman delves deep into her archives, unearthing never-before-seen images of the UK punk scene in its formative years. We catch up with Beckman to discuss the D.I.Y. ethos that became the basis for punk—and her life’s work, which includes photographs of everyone from the Sex Pistols, the Clash, and X to Debbie Harry, Dee Dee Ramone, and Siouxsie Sioux.

.

Read the Full Story at VICE Online

.

Punk Girl, London 1979 © Janette Beckman

The Islington Twins, London 1979 ©Janette Beckman

Categories: 1970s, 1980s, Art, Music, Photography, Vice

Karey Maurice Counts: Remembering Keith Haring

Posted on July 31, 2019

Joseph Szkodzinski Keith Haring Drawing Series January 1982 © Joseph Szkodzinski 2018

As a teen growing up in New Jersey during the 1980s, artist Karey Maurice Counts set his sights on the downtown New York art scene. “I was looking for Andy Warhol, just like everyone else,” he remembers.

.

Counts began travelling into Manhattan, following the nightclub and art gallery scene through publications like The Village Voice. While taking the subway around town, Keith Haring’s chalk drawings works soon caught his eye. In conjunction with the exhibition Keith Haring at the Tate Liverpool, Counts shares his memories of their first encounter, which would forever change his life.

.

After learning about Haring’s Pop Shop, Counts headed into the Village to search him out. Bipo, the store manager, tipped Counts off to a photo shoot for a song titled “Crack is Wack”, which was going to be shot in front of the famed Harlem mural on April 22, 1987. He told him to bring some photographs of his paintings to show Haring.

.

Read the Fill Story at Huck Online

.

Tseng Kwong Chi Keith Haring in subway car, (New York), circa 1983. Photo © Muna Tseng Dance Projects, Inc. Art © Keith Haring Foundation

Karey Maurice Counts, Self-Portrait

Categories: 1980s, 1990s, Art, Exhibitions, Huck

Shunk-Kender: Art Through the Eye of the Camera 1957–1983

Posted on July 30, 2019

Harry Alexander Shunk (1924-2006) and János Kender (1938-2009), Self-Portrait, Italy, 1956.

Between 1958 and 1973, German Harry Alexander Shunk (1924-2006) and his Hungarian partner János Kender (1938-2009) collaborated with nearly 300 European and American artists to document some of the most iconic moments in modern art.

.

Together, they produced some 190,000 images in collaboration with artists including Man Ray, Roy Lichtenstein, Lou Reed, Pablo Picasso, Marcel Duchamp, Carolee Schneemann, William Klein, and Yayoi Kusama — many of which have become an integral part of the history of art, and works worthy of veneration themselves.

.

“In the history of photography, ‘documents for artists’ exist in the shade, with a few rare exceptions,” writes Florian Ebner in an essay that appears in the new book, Shunk-Kender: Art Through the Eye of the Camera 1957–1983 (Éditions Xavier Barral), which accompanies the first exhibition of their work, now on view at the Centre Pompidou in Paris through August 5, 2019.

.

Read the Full Story at Feature Shoot

.

John Baldessari, Pier 18, New York, 1971 © Shunk-Kender

Categories: 1960s, 1970s, 1980s, Art, Books, Feature Shoot, Photography

Implicit Tensions: Mapplethorpe Now Part II

Posted on July 25, 2019

Grace Jones, 1984. Photography by Robert Mapplethorpe, Solomon R. Guggenheim Museum, New York, Gift, The Robert Mapplethorpe Foundation, 1998 © Robert Mapplethorpe Foundation. Used by permission

In the three decades after Robert Mapplethorpe’s death in 1989, artists and critics have grappled with the artist’s complex legacy, questioning the objectification of his sitters. In the second instalment of Implicit Tensions: Mapplethorpe Now, curators Lauren Hinkson, Susan Thompson, and Levi Prombaum explore the dialectic between subversion, transgression, and exploitation that has made Mapplethorpe a lightning rod for controversy – then and now.

.

Lauded and vilified for his depictions of homoerotic desire, the black male nude and the female figure, Mapplethorpe brought underrepresented communities to the forefront of the art world during the height of the Aids crisis, which eventually claimed his life. His formally rigorous approach to image-making helped elevate photography to the pantheon of fine art, while his choice of subject matter fuels the culture wars that raged in the late 1980s and early 1990s.

.

Where the first part of Implicit Tensions focused on Mapplethorpe alone, the new installment examines the artist’s legacy in a dialogue with six artists who use portraiture to examine our ideas about identity, visibility, and representation. The curators selected works by African, African-American, and white American LGBTQ artists including Rotimi Fani-Kayode, Lyle Ashton Harris, Glenn Ligon, Zanele Muholi, Catherine Opie, and Paul Mpagi Sepuya that offer expansive approaches to the agency of the subjects in their work.

.

Read the Full Story at AnOther Man

.

Siphe, Johannesburg (from Somnyama Ngonyama), 2018. Photography by Zanele Muholi, Solomon R. Guggenheim Museum, New York, Gift, Wendy Fisher, 2019 © Zanele Muholi, courtesy Stevenson, Cape Town/Johannesburg and Yancey Richardson, New York

Self Portrait, 1980. Photography by Robert Mapplethorpe, Solomon R. Guggenheim Museum, New York, Gift, The Robert Mapplethorpe Foundation, 96.4355 © Robert Mapplethorpe Foundation. Used by permission.

Categories: 1980s, AnOther Man, Art, Photography

Christine Osinski: Summer Days Staten Island

Posted on July 15, 2019

Two Girls with Matching Outfits © Christine Osinski

In 1982, photographer Christine Osinski and her husband experienced the first wave of gentrification that would come to destroy New York. A real estate developer bought the downtown Manhattan building that they called home and priced them out, forcing them to move to Staten Island – a place which has long been considered the city’s “forgotten borough.”

.

“When you take the ferry, it’s like you are leaving the city behind,” Osinski says. “Staten Island was a place you weren’t noticed and people left you alone. There was a sense of being surrounded by water and being far away from things.”

.

To acclimate to her new environment, Osinski set out to take photographs of locals on the streets during the summers of 1983 and ’84. The photographs, now on view in Summer Days Staten Island, capture a chapter in New York history that has all but disappeared.

.

Read the Full Story at Huck Online

.

Young Man Pulling a Go-Kart © Christine Osinski

Two Girls with Big Wheels © Christine Osinski

Categories: 1980s, Art, Exhibitions, Huck, Photography

Lee Stuart: Street Dreams – How Hip Hop Took Over Fashion

Posted on July 7, 2019

Jamel Shabazz. Young Boys, East Flatbush, Brooklyn, NYC 1981

“Rap is something you do! Hip hop is something you live!” KRS-One memorably said. Born in the Bronx in 1973, hip hop is not just music, dance, and art; it is a way of being in the world.

.

“I am a child of hip hop,” says Lee Stuart, Brand Director of Patta, a Dutch streetwear brand, who has curated the new exhibition Street Dreams: How Hip Hop Took Over Fashion. Organised chronologically, the exhibition presents the visual legacy of hip hop through a series of 30 songs and illustrates them with the art, fashion, and photography that defined the era.

.

“We’re not trying to be historians,” Stuart says. “We are trying to immerse people in these images, show them and make them part of this energy.”

.

To select the songs, Stuart did what all heads love: he gathered his team and debated the merits of each track. He then chose corresponding work by artists including Nick Cave, Kehinde Wiley, Jamel Shabazz, Janette Beckman, Dana Lixenberg, Hank Willis Thomas, Kambui Olujimi, and Earlie Hudnall.

.

Read the Full Story at Huck Online

.

Earlie Hudnall, Gucci Brothers, 3rd Ward, Houston, TX, 1990 Courtesy PDNB Gallery, Dallas, Texas

Jamel Shabazz. Rude Boy, Brooklyn, NYC 1981.

Categories: 1970s, 1980s, 1990s, Art, Exhibitions, Fashion, Music, Photography

Zak Ové: Get Up, Stand Up Now

Posted on June 27, 2019

Armet Francis, ‘Fashion Shoot Brixton Market’, 1973.

Jenn Nkiru, ‘Still from Neneh Cherry, Kong’, 2018.

“I was raised by a village,” says artist Zak Ové of his upbringing in West London. “It was a very outspoken black and West Indian community, [and I was] understanding how assertive one had to be to be seen.”

.

As the son of an Irish Socialist mum and acclaimed black filmmaker Horace Ové, the artist was raised with strong ideals that have guided him throughout his career: “Politics within the arts has always been very integral from my father’s generation onwards. [It helps us] attain equality, honesty, and perspective towards our own history.”

.

Now, Ové is honouring those who laid these foundations in Get Up, Stand Up Now, a new landmark exhibition which celebrates 50 years of Black creativity in the UK. The exhibition features historic artworks, new commissions, and never-before-seen work by 100 artists working in art, film, photography, music, literature, design and fashion. This includes the Black Audio Film Collective, Chris Ofili, David Hammons, Ebony G. Patterson, Linton Kwesi Johnson, Lubaina Himid, Althea McNish, Steve McQueen, and Yinka Shonibare.

.

Read the Full Story at Huck Online

.

Ajamu, from ‘Circus Master Series’, 1997

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

Urban Impulses: Latin American Photography from 1959 to 2017

Posted on June 26, 2019

Pablo Ortiz Monasterio. Flying low, Mexico City, 1989 © Pablo Ortiz Monasterio Courtesy of the artist

“I am not a liberator,” said Ernesto “Che” Guevara in 1958, just one year before the Cuban Revolution transformed the landscape of Latin America. “Liberators do not exist. It exists when people liberate themselves.”

.

This historic movement for independence from western imperialism marks the starting point of the new exhibition Urban Impulses: Latin American Photography from 1959 to 2017. Curated by María Wills Londoño and Alexis Fabry, the show features more than 200 works by over 70 artists; including masters of the medium Alberto Korda, Graciela Iturbide, Sergio Larrain, as well as lesser-known artists such as Enrique Zamudio, Beatriz Jaramillo, and Yolanda Andrade.

.

“The purpose of the show is to bring a counterpoint to Latin American photography beyond gazes that have an exoticising point of view,” says Londoño. “We want to introduce new perspectives focusing on the chaos and crisis of utopian models of modernity.”

.

Read the Full Story at Huck Online

.

Álvaro Hoppe. Calle Alameda, Santiago, 1983

Categories: 1960s, 1970s, 1980s, 1990s, Exhibitions, Huck, Latin America, Photography

Roger Gastman: Beyond the Streets

Posted on June 20, 2019

Lil’ Crazy Legs during shoot for Wild Style. Riverside Park NY, 1983. Photo Martha Cooper

Graffiti first emerged on the streets of New York and Philadelphia half a century ago as marker tags by young teens with a desire to make their mark. A new art form emerged, and from it styles bloomed, transforming the age-old desire to mark our territory in the most literal way.

.

Graffiti hit like a bomb, leaving cities covered with the most electric kind of public art: one done for love, not money, at the risk of arrest, fines, and imprisonment. It spread from city to city like a virus through movies like Wild Style and Style Wars, books like Subway Art, and art exhibitions dating back to 1973. It inspired generations of artists from all around the globe to create, innovate, and leave their mark on society in a manner that was nothing short of in your face.

.

Although New York has largely been scrubbed clean of the art form it unleashed upon the world, “it is still considered the number one graffiti tourism destination,” says Roger Gastman, curator of Beyond the Streets. The exhibition features hundreds of large scale works by over 150 contemporary artists, including Charlie Ahearn, Jean-Michel Basquiat, Henry Chalfant, Martha Cooper, the Guerilla Girls, Eric HAZE, Jenny Holzer, Barry McGee, and Dash Snow.

.

Read he Full Story at Huck Online

.

Style Wars car by NOC 167 with door open, man reading newspaper. 96th Street Station, New York, NY, 1981. Photo Martha Cooper

Categories: 1970s, 1980s, 1990s, Art, Exhibitions, Graffiti, Huck, Photography

Motherward, 1985: Photographs by Elbert Howze

Posted on June 14, 2019

© Elbert D. Howze

A few months after Elbert D. Howze died in 2015, his widow Barbara Howze paid a visit to the Houston Centre for Photography. The photographer had requested that his archive was donated to the centre, and she wanted to honour his final wishes.

.

Director and curator Ashlyn Davis remembers Mrs. Howze’s distress after learning that the Centre was not a collecting institution. “She said, ‘But I have a whole trunk full!’ So we went and got six portfolio boxes with hundreds of photos,” Davis recalls.

.

That summer, Davis went through the boxes and discovered a spiral-bound maquette for a photo book Howze had titled Fourth Ward. The book featured a collection of portraits made 1985 of the residents of Freedmen’s Town, a historically black community founded in 1866 by people finally liberated from the shackles of chattel slavery.

.

Rather than move north, residents built at least 558 settlements that formed the heart and soul of black Houston. Originally built on swamps no one wanted, Freedmen’s Town occupied prime real estate in the centre of the city – and in due time began attracting developers and gentrifiers who wanted a stronghold downtown as the city began to rapidly expand during the 20th century.

.

Read the Full Story at Huck Online

.

© Elbert D. Howze

Categories: 1980s, Art, Exhibitions, Huck, Photography

Barry Blinderman: The Downtown Art Scene

Posted on June 11, 2019

Kenny Scharf, Keith Haring, Futura 2000. Courtesy of Barry Blinderman

The Director of Semaphore Gallery in Soho, Barry Blinderman was also a freelance writer for Arts Magazine, where he wrote very early articles on Keith Haring and Robert Longo, among others. In the fall of 1981, he curated a very popular exhibition called The Anxious Figure, reflecting the new figuration by artists like John Ahearn, Jedd Garet, Ed Paschke, Longo, Haring, and others. He speaks with NYC, 1981 about the art scene as it was happening on the streets and in the galleries, in the studios and the clubs.

 .

Miss Rosen: Please talk about the art scene, as it was downtown in 1981. I am very interested in the relationship between the street and the gallery, and the way in which outsider artists migrated into the mix of curators, collectors, and critics. Could you speak about how the door was opened to this new generation of artists?

.

Barry Blinderman: In 1980-81, some of the most vanguard art being created in New York wasn’t on view within the white-walled sanctuaries of SoHo. At lower Manhattan nightspots such as Mudd Club or Club 57, young artists, musicians, filmmakers, poets and other performers congregated to collaborate on one- or two-evening events. I first met Keith Haring at Club 57, which occupied a church basement on St. Mark’s Place, and a few years later I met Martin Wong at Danceteria on the West Side. It was a time when you could keep up with what was going on by scanning the layers of posters that decorated walls and construction sites downtown. New Wave rock bands, many featuring art school dropouts, were exhibiting some of the most innovative artwork in the form of concert announcements. Cryptic messages by SAMO and other graffiti poets began to appear at regular intervals between the East Village and Tribeca.

.

In addition to the clubs, guerrilla art spaces and organizations flourished: ABC No Rio on Rivington Street, Group Material, Colab (Collaborative Projects), and Fashion Moda in the South Bronx, organized theme exhibitions and performances that were open to virtually any artist. It was at Fashion Moda that I first saw the work of the charismatic trickster Rammellzee, the progenitor of “Iconoclast Panzerism,” and his young disciple A-1.

.

The Times Square Show, organized by Colab in a former Midtown massage parlor, brought together over 100 artists. Some were art-school trained, like Jenny Holzer, Keith Haring, John Ahearn, Tom Otterness, and Jane Dickson, and others got their training on the streets and subways, such as Fab 5 Freddy, Lee Quinones, and Jean-Michel Basquiat. Museums like the New Museum (Events: Fashion Moda, December 1980-January 1981) and P.S.1 (New York/ New Wave, February-April, 1981) soon followed suit with large, well-publicized exhibitions mixing the talents of “studio” artists and street artists. Graffiti artists first shown at Fashion Moda and the Times Square Show were within a year or so offered exhibitions at Fun Gallery, named by Kenny Scharf and run by Bill Stelling and underground film star Patti Astor. Fun showed Dondi, Futura 2000, Fab 5 Freddy, and many other graffiti artists, along with Haring, Basquiat, and Jane Dickson. European collectors showed up to Fun’s openings in limousines and snapped up plenty of work, and seasoned American collector Hubert Neumann, who later held a symposium on graffiti art, visited and bought there as well.

.

The more established galleries soon followed suit, most notably Tony Shafrazi Gallery and Barbara Gladstone in SoHo, and Sidney Janis on 57th Street. A little later, in 1985, we showed Lady Pink at Semaphore EAST on Tompkins Square, and then Futura 2000 at Semaphore Gallery, Soho, in 1986.

.

Keith Haring’s championing of graffiti artists, both through exhibitions he curated at clubs and his public acknowledgment of their influence upon his own art, was also a factor in their greater acceptance by the art world. For example, in his first exhibition at Shafrazi in 1982, he showed work he had co-created with LAll, a teenager at the time. When I watched Keith paint a frieze a few hundred feet long at P.S. 22 on the Lower East Side in the summer of 1981, I felt it was one of the most important exhibitions of the year. I still have a video of him drawing some of this monumental project with a refillable marker. On the walls below this frieze were spray-paintings by Lady Pink, Futura, Lee, Dondi, and several others.

nstallation shot of Keith Haring and Tseng Kwong Chi at Semaphore EAST, October, 1984. Photograph courtesy of Barry Blinderman.

Miss Rosen: Keith Haring is an excellent example of this confluence between public to private space. Can you speak about why you think Haring best exemplified the spirit of the times, and why his work resonated so deeply with people from all walks of life?

.

Barry Blinderman: Keith Haring was, quite simply, a phenomenon, the kind of artist that comes around just once in a great while. From the very start, he was driven to share his art with as many people as possible. While a student at School of the Visual Arts in 1978-79, he opened his first-floor studio on 23rd Street to passersby as he painted huge drawings on photo backdrop paper on the floor. Performance was of the essence to him, and not long after, in December 1980, he carried this impulse into the greatest uncommissioned public art project New York had ever seen—the chalk drawings on covered-over ad spaces in subway stations.

.

When I saw the very first of these: space ships looking like sombreros zapping babies, dogs, and pyramids, I was living on the Upper East Side, taking the #6 train downtown every day to my gallery in SoHo. There would be new ones every day, as others got covered up by new ads. I had no idea who was doing them, and at first thought it was some secret campaign—and in essence it was. I got hooked, traveling the subway sometimes for no other reason than to see his latest drawings.

.

Here, for perhaps the first time, was sophisticated contemporary art that could be understood by anyone—much more accessible even than Warhol, whose appeal did not extend to children, minorities, and everyman straphangers. And, unlike standard graffiti, it was meant to be impermanent, ever-changing, and done right out in the open, not covertly in deserted train yards after dark. And unlike just about any other artist, he never had to show his slides to a dealer. They all came to him. It was nothing short of brilliant, and there has never been anything like it since.

.

Haring’s interest in promotion began with the “crawling baby” buttons he carried with him at all times, handing them to anyone expressing interest while he was drawing in the stations. This eventually grew into the idea for the Pop Shop, which granted him access to audiences barely reached by a fine artist. You could wear a Haring tee shirt or hat, put colored magnets on your refrigerator, grab a poster. Some said he’d sold out, but these days so many artists have followed in his footsteps in the area of marketing.

Martin Wong in front of the billboard for his first show at Semaphore, 1984. Photograph courtesy of Barry Blinderman.

Miss Rosen: As a writer for Arts Magazine, you had the opportunity to speak directly with some of the most dynamic figures of the era. At the same time, as Director of Semaphore Gallery, you had the opportunity to show their work, and engage directly with the public. How did being a director and a critic inform and shape your understanding of the artists you engaged with

.

Barry Blinderman: I really have to thank Richard Martin, the late editor of Arts magazine for taking a chance and opening the door for me and other young critics at the time like Dan Cameron and Peter Halley. He imposed little or no control over what I wanted to submit, and offered nothing but encouragement. One of the first reviews I published, on Warhol’s Ten Jews series at the Jewish Museum (February 1981), led to my interview with Warhol published in October 1981. Between those two articles, I got to write an essay on Robert Longo, which became his first cover story, Keith Haring’s first art magazine interview, and an interview with Roger Brown. Meeting Warhol, and being able to get responses from him about his influences and working process, was one of the most exciting encounters I’ve ever known. And that interview has made its way into an anthology of selected Warhol interviews edited by Kenneth Goldsmith.

.

In the same year, 1981, I’d published the pieces on Longo and Haring, I curated my first theme exhibition at Semaphore Gallery in SoHo, called The Anxious Figure. It was one of the first exhibitions to address the new figuration appearing in the work of Jedd Garet, John Ahearn, Longo, Haring, Mike Glier, and others, mixed in with paintings by artists of the preceding generation like Alice Neel, Robert Colescott, and Peter Dean. So basically I was showing for a brief time some of the work I was writing about, getting to work with artists from different angles, and getting to know them pretty intimately. The Anxious Figure got a lot of publicity, including a feature article in the Village Voice by Peter Schjeldahl entitled “Anxiety as a Rallying Cry,” a nod to my exhibition title. As my gallery became more prominent, and we began advertising our own exhibitions in Arts, I was faced with a potential conflict of interest as someone who was both a critic and a dealer. So by the end of 1982, it was time to stop publishing in the magazine.

.

At Semaphore, and later at Semaphore EAST, I began exhibiting several emerging artists on a regular basis, including Martin Wong, Tseng Kwong Chi, Duncan Hannah, Walter Robinson, Robert Colescott, Nancy Dwyer, and Mark Kostabi. I also included Donald Baechler, Joseph Nechvatal, Mimi Gross, Cara Perlman, and Jane Dickson in two- or three-person exhibitions. Annie Herron, later a pioneer in Williamsburg, became director of Semaphore EAST and organized early one-person shows for Lady Pink, Ellen Berkenblit, Felix, Lori Taschler, and Bobby G. The opening show at Semaphore EAST, by the way, in October 1984, was a two-person show with Keith Haring and Tseng Kwong Chi. Kwong Chi exhibited light boxes with color transparencies of Keith’s subway drawings in situ, and Keith had us paint the entire gallery black so he could fill every inch of the gallery with chalk drawings interacting directly with the installation of light boxes. For some reason, the show received very little critical attention, but for me it was an amazing moment. I wish we could have preserved it somehow.

.

In 1987, I closed Semaphore and took the position of Director of University Galleries of Illinois State University, in Normal, Illinois, where I’ve been ever since. I’ve had the privilege of organizing large traveling exhibitions for many of the artists I worked with in New York, including Jane Dickson, Duncan Hannah, Martin Wong, Keith Haring, and just last fall, Walter Robinson, the first show in our brand new space off campus. My writing these days consists mostly of catalogue essays for either our publications or those by other museums and galleries.

.

First published at NYC, 1981 in 2015

.

Barry Blinderman in front of billboard for our summer 1984 exhibition. Photograph courtesy of Barry Blinderman.

Categories: 1980s, Art, Manhattan, Painting

« 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