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Posts from the “1980s” Category

Jean-Michel Basquiat: Words Are All We Have

Posted on December 19, 2016

Artwork: Jaean-Michel Basquiat, Jack Johnson, 1982 © The Estate of Jean-Michel Basquiat / ADAGP, Paris / ARS, New York 2016.

Brooklyn’s finest Jean-Michel Basquiat first came to fame writing SAMO© on the streets of New York between 1977 and 1980. He came up with the name one day while he and high school friend Al Diaz (BOMB 1) were smoking weed they called “the same old shit.” They shortened to “Same Old,” which easily became “SAMO” and a character was born.

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SAMO© found his way on to the streets, a provocateur with a pithy yet poetic sense of humor. The name would appear alongside aphorisms, multiple-choice questions, or other turns of phrase that mocked the world at large. Anthony Haden-Guest reports in his book True Colors (1998) that Basquiat had told him, “Samo was sophomoric. Same old shit. It was supposed to be a logo like Pepsi.”

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Perhaps this is why it caught on and stood out from the flourishing graff scene that dominated to New York. Basquiat did not participate in the glorious “Wild Style” of the day; no masterpieces of color and line that made heads turn and tongues wag. Instead, he kept to simple, clean block letters and went about his day, dropping bon mots that captured the attention of the Downtown art scene as it was taking shape.

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Read the Full Story at Crave Online

Categories: 1970s, 1980s, Art, Books, Crave, Painting

Toyo Tsuchiya: Invisible Underground

Posted on December 12, 2016

Photo: © Toyo Tsuchiya. From the series No Se No 99 Nights, 1983.

Picture It: New York City, summer of 1983. For 99 nights in a row, at a little spot called No Se No (Spanish for “I don’t know nothing”) down on the Lower East Side hosted a cabaret unlike anything that would ever see the light of day. It was strictly underground, for those in the know, a raw artistic explosion of anything goes.

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On any given night, you could have wandered in only to discover Warhol Superstar Jackie Curtis performing Ripping Off Layers to Find Roots, the one-act play James Dean wrote for his audition at The Actors Studio. Another night you stumble upon Yugoslavian artist Dragan Ilic with power tools duct-taped to his biceps and back, furiously hammering pencils into the bar. Still another night could see girls from around the way jump on the bar and dance to Michael Jackson ‘cause Thriller was everything back in the days.

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99 Nights, as the performance art festival was known, was a pure, unbridled New York phenomenon featuring a melange of song and dance, poetry and beyond. It was unlike anything the city had ever seen before—or since—and were it not for the photographs of Japanese artist Toyo Tsuchiya, most of us would have missed it entirely. Tsuchiya was there nearly every night, camera in hand, documenting the scene with casual insouciance. His photographs are simple straightforward affairs that embrace the edge wholeheartedly, never gawking or gaping but rather making the extraordinary and amazing a regular part of life.

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Read the Full Story at Crave Online

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Photo: © Toyo Tsuchiya. From the series No Se No 99 Nights, 1983.

 

Categories: 1980s, Art, Books, Crave, Exhibitions, Manhattan, Photography

Tastemakers & Earthshakers: Notes from Los Angeles Youth Culture, 1943-2016

Posted on November 22, 2016

Photo: Humberto Sandoval, Still from Sr. Tereshkova, 1975, sepia tone photograph on paper. Courtesy of the artist.

Photo: Humberto Sandoval, Still from Sr. Tereshkova, 1975, sepia tone photograph on paper. Courtesy of the artist.

“One thing is certain: the arts keep you alive. They stimulate, encourage, challenge, and, most of all, guarantee a future free from boredom,” American actor Vincent Price (1911-1993). Best known for his distinctive voice, a somber and thrilling timber, and his performances in horror films, Price was also an aficionado of the arts, a collector and historian who donated 90 pieces from his personal collection to establish the first “art teaching collection” housed at a community college—East Los Angeles College, to be exact—in 1957. In recognition of his gift, the college renamed the art gallery the Vincent Price Museum.

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Over the past 50 years, the collection has grown to include 9,000 objects and showcased more than 100 exhibitions designed to serve the community of some 35,000 students who enroll each year. Five months ago, Pilar Tompkins Rivas took up the mantle as Director of the Museum, and decided to create an exhibition that would speak to the history of the community over the past eight decades.

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Read the Full Story at Crave Online

 

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

Legendary DJ and Club Innovator David Mancuso Dies at 72

Posted on November 15, 2016

Photo: American nightclub owner David Mancuso, owner of the Loft disco on Prince Street in SoHo, meets with the SoHo Artists’ Association to discuss their complaints, New York, New York, October 14, 1974. (Photo by Allan Tannenbaum/Getty Images)

Photo: American nightclub owner David Mancuso, owner of the Loft disco on Prince Street in SoHo, meets with the SoHo Artists’ Association to discuss their complaints, New York, New York, October 14, 1974. (Photo by Allan Tannenbaum/Getty Images)

With every passing, 2016 solidifies its place as one of the greatest times of transition in recent memory. Most recently, legendary New York City DJ and club innovator David Mancuso (October 20, 1944-November 14, 2016) died. His death marks the end of an era in many respects, reminding us that downtown New York has long ceased to be the hub of innovation and creativity.

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Mancuso pioneered the “private party” at his home at 647 Broadway at Bleecker Street. Back then, the neighborhood was filled with raw, desolate space that was once the site of a bustling industrial companies. Into the void, artists came, willing to live and work in spaces that were not zoned for residential use nor up to code. The Do-It-Yourself of ethos of the time was taking shape, as visionaries worked with what they had, and in doing so, created an entirely new world.

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Mancuso took up residence in 1965, throwing about half a dozen rent parties over the next five years. On February 14, 1970, he hosted an invitation-only party called “Love Saves the Day,” which he marks as the official beginning of The Loft, by which the space would later be known.

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Read the Full Story at Crave Online

Categories: 1970s, 1980s, 1990s, Crave, Manhattan, Music

Empire: An Arturo Vega Retrospective

Posted on November 10, 2016

Artwork: Arturo Vega, Empire, 1989 Acrylic and Silkscreen on Canvas. 80 1/4 x 132 1/4 x 1 1/2 inches, Individual panels: 80 1/4 x 20 1/4 and 80 1/4 x 30 1/4 and 80 1/4 x 31 1/4 and 80 1/4 x 25 1/4

Artwork: Arturo Vega, Empire, 1989 Acrylic and Silkscreen on Canvas. 80 1/4 x 132 1/4 x 1 1/2 inches, Individual panels: 80 1/4 x 20 1/4 and 80 1/4 x 30 1/4 and 80 1/4 x 31 1/4 and 80 1/4 x 25 1/4

Arturo Vega: you may not know his name but you assuredly know his work, as the Ramones logo is one of the most replicated images on earth. The mastermind behind it all was a tireless workhorse who toured with the band for more than two decades and nearly 2,263 live shows as the art and lighting director. And when he wasn’t on tour he could be found in his loft at 6 East 2nd Street at Bowery in the East Village, producing artwork of his own, or on the scene, out supporting fledgling artists with advice, a place to work, or straight up purchasing their pieces to put money in their pocket.

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Vega, who died in 2013 at the age of 65, hailed from Chihuahua, Mexico, where he was an artist and activist until the 1968, when he fled the country after being arrested en masse with 148 of the country’s most notable artists, poets, and intellectuals including filmmaker Alejandro Jodorowsky. With the government carrying out disappearances, torture, and extralegal executions, Vega fled to New York, which he had already visited a few times, establishing a network with prominent figures including music publicist Jane Friedman.

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Read the Full Story at Crave Online

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Photo by Miss Rosen

Photo by Miss Rosen

 

Categories: 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Manhattan, Painting

Jamel Shabazz: Pieces of a Man

Posted on November 8, 2016

Photo: Untitled, East Flatbush, 1990. © Jamel Shabazz

Photo: Untitled, East Flatbush, 1990. © Jamel Shabazz

Pieces of a Man (Art Voices Art Books), the newest monograph by legendary photographer Jamel Shabazz, is a tremendous undertaking, bringing us around the world and across time, yet always able to center on what we all share as human beings. The title speaks to the way in which each of us are so many things in this life and on this earth, with each photograph capturing a facet of our infinite complexity. The book, like the individual, proves that the sum of the parts is greater than the whole, and yet sometimes we feel fragmented, or must only reveal one part of ourselves, and still remain authentic to our souls.

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Pieces of a Man is a story of love and loss, of joy and pain, of life and death and rebirth with each page. It’s like listening to a classic album like What’s Going On—absolutely overwhelming and yet, you want to listen to it over and over. Shabazz talks with Crave, providing us with a treasure trove of insight and inspiration.

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Read the Full Story at Crave Online

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Photo: Waiting, Brownsville, Brooklyn, 2012. © Jamel Shabazz

Photo: Waiting, Brownsville, Brooklyn, 2012. © Jamel Shabazz

Categories: 1970s, 1980s, 1990s, Art, Books, Brooklyn, Crave, Photography

Willy Spiller: Hell on Wheels

Posted on November 7, 2016

SUBWAY NEW YORK, 1977-1984 © by Willy Spiller 2016

SUBWAY NEW YORK, 1977-1984 © by Willy Spiller 2016

Warm and faded colors of yesterday, oversaturated with blues and yellows, create a nostalgic haze enveloping with a warm embrace, reminding us of a time that has come and gone in just about every single way.

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Willy Spiller’s photographs of the New York City subway system circa 1979 capture the feeling of the city at a crucial time. Two years after the brink of bankruptcy, the city struggled to come back from abject neglect and abuse under the federal government’s policy of benign neglect. As white flight took hold and the city was abandoned en masse, what remained with the True Yorkers who would not—or could not—leave the city that never sleeps.

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Read the Full Story at Crave Online

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SUBWAY NEW YORK, 1977-1984 © by Willy Spiller 2016, courtesy of Sturm & Drang.

SUBWAY NEW YORK, 1977-1984 © by Willy Spiller 2016, courtesy of Sturm & Drang.

 

SUBWAY NEW YORK, 1977-1984 © by Willy Spiller 2016, courtesy of Sturm & Drang.

SUBWAY NEW YORK, 1977-1984 © by Willy Spiller 2016, courtesy of Sturm & Drang.

Categories: 1970s, 1980s, Art, Books, Crave, Photography

Yayoi Kusama: In Infinity

Posted on October 31, 2016

© Courtesy of Ota Fine Arts, Tokyo/ Singapore; Victoria Miro Gallery, London; David Zwirner, New York, © Yayoi Kusama.

© Courtesy of Ota Fine Arts, Tokyo/ Singapore; Victoria Miro Gallery, London; David Zwirner, New York, © Yayoi Kusama.

“I, Kusama, am the modern Alice in Wonderland,’ Japanese artist Yayoi Kusama declares. At the age of 87, Kusama is one of the most famous living artists on earth, becoming known the world over for her mindblowing installations of the infinite.

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With the polka dot as the basis for her work, Kusama has taken the most finite form and rendered it limitless. She explains, “A polka-dot has the form of the sun, which is a symbol of the energy of the whole world and our living life, and also the form of the moon, which is calm. Round, soft, colourful, senseless and unknowing. Polka-dots can’t stay alone; like the communicative life of people, two or three polka-dots become movement… Polka-dots are a way to infinity.”

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Read the Full Story at Crave Online

Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Japan, Women

Edward Burtynsky: Essential Elements

Posted on October 30, 2016

Photo: Thjorsà River #1, Southern Region, Iceland, 2012. © Edward Burtynsky 2016. Courtesy Flowers Gallery, London / Metivier Gallery, Toronto

Photo: Thjorsà River #1, Southern Region, Iceland, 2012. © Edward Burtynsky 2016. Courtesy Flowers Gallery, London / Metivier Gallery, Toronto

We have entered the Anthopocene Era, marked by the turning point when human activities began to make a significant global impact on the Earth’s geology and ecosystems. Many place the starting point with the Industrial Revolution, when mass production became the norm, and the machine rose to prominence as evidence of humankind’s ability to dominate nature—without thought or concern to the long term.

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We’ve been riding this train for two centuries, quick to ignore evidence to the contrary, lest it cause us any intellectual or physical discomfort. The human impact on the planet is marginalized or excused while the changes to climate are carefully swept under the rug. The increase in extinctions and the decline in biodiversity go unremarked.

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As Alduous Huxley observed in Vanity Fair in 1928, “”The colossal material expansion of recent years is destined, in all probability, to be a temporary and transient phenomenon. We are rich because we are living on our capital. The coal, the oil, the phosphates which we are so recklessly using can never be replaced. When the supplies are exhausted, men will have to do without…. It will be felt as a superlative catastrophe.”

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Read the Full Story at Crave Online

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

The World Famous “Afghan Girl” Makes Headlines as Refugee Arrested in Pakistan

Posted on October 30, 2016

Photo: Fair use/NADRA

Photo: Fair use/NADRA

The “Afghan Girl” became a worldwide phenomenon when she appeared on the June 1985 cover of National Geographic. Just 12 years old, she had searing green eyes that pierced the soul, speaking of knowledge and wisdom untold. Photographed by Steve McCurry in the Nasir Bagh refugee camp in Pakistan, the girl was stripped of her name and her history, reduced to a symbol of propaganda in the Cold War.

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The “Afghan Girl” became “the most recognized photograph” in the history of the magazine, catapulting McCurry to new heights of fame. Described as “The First World’s Third World Mona Lisa,” the portrait became emblematic of the West’s approach to the refugee crisis, using beauty and suffering to drive newsstand sales.

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The identity of the “Afghan Girl’ was unknown until 2002, when a National Geographic team traveled to Afghanistan to locate her. She was found in a remote region of her native land after leaving a refugee camp in 1992, where she was identified as Sharbat Gula, then age 30. There she saw the photograph for the very first time.

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Read the Full Story at Crave Online

Categories: 1980s, Crave, Photography

The Peter Tosh Museum Opens on the Legend’s 72nd Birthday

Posted on October 25, 2016

Photo: Peter Tosh © GAB Archive/Redferns.

Photo: Peter Tosh © GAB Archive/Redferns.

Nearly thirty years after his tragic death, reggae legend Peter Tosh is being honored with a museum in his native Jamaica. The Peter Tosh Museum opened in Kingston on October 19, on what would have been his 72nd birthday, to commemorate the fortieth anniversary of his solo album Legalize It.

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The museum features a collection of artifacts and memorabilia from Tosh, including his legendary custom-built guitar, which was shaped like an M16 assault rifle, and his beloved unicycle, which was his preferred means for transportation.

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Born Winston Hubert McIntosh in the rural parish of Westmoreland, Jamaica, in 1944, Peter Tosh moved to the notorious slum Trench Town at the age of 16. He first picked up a guitar after watching a man play, memorizing everything his fingers were doing and playing it back to the man.

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Read the Full Story at Crave Online

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peter-tosh-legalize-it-cover

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

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