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Posts from the “1990s” Category

Art AIDS America

Posted on September 2, 2016

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There is something terrifying about the speed at which people forget a genocide that swept the globe and wiped away a generation. Perhaps it is the nature of trauma itself; once the emergency lets up, the mind just wants to forget. You want to move on, you want to breathe, you want to live—because so many no longer do and there’s no way to make sense of it. Why him? Why her? Why not me? These questions cannot be answered in the moment. We simply need to be.

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In 1981, the public reports began to hit the United States. A new disease was ravaging immune systems, causing violent, early deaths—but what was it? The U.S. Centers for Disease Control did not have a name; they referred to it by the various manifestations the virus took in those grueling early days. The CDC thought they were clever in calling it “the 4H disease,” since the syndrome was most commonly observed in heroin users, male homosexuals, hemophiliacs, and Haitians. But that failed miserably. Not only was it stigmatizing already marginalized groups but it was steeped in ignorance.

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Categories: 1980s, 1990s, Art, Bronx, Crave, Exhibitions, Painting, Photography

Stephen Dupont: Generation AK

Posted on August 28, 2016

Photo: Kabul, 2005. A body building gym new Shah do Shamshira Mosque. © Stephen Dupont, courtesy of Steidl.

Photo: Kabul, 2005. A body building gym new Shah do Shamshira Mosque. © Stephen Dupont, courtesy of Steidl.

Stephen Dupont is a warrior. Ready for battle, on the field, armed with a camera and nerves of steel. For twenty years, he has braved the harsh and unforgiving landscape of Afghanistan, after being inspired by the Mujahideen rising to defend their nation from a Soviet invasion in the 1980s. The Afghani never say die, and they sent the Soviets home, just as they drove back the British during the height of the Empire.

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In 1895, Rudyard Kipling famously penned a little ditty that goes: When you’re wounded and left on Afghanistan’s plains, And the women come out to cut up what remains, Just roll to your rifle and blow out your brains, And go to your God like a soldier.

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A century later, ain’t a damn thing changed.

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Categories: 1990s, Art, Books, Crave, Photography

Kerry James Marshall: Mastry

Posted on August 24, 2016

Artwork: Kerry James Marshall, Untitled, 2009. Acrylic on PVC panel. 61 1/8 x 72 7/8 x 3 7/8 in. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, B.A. 1979.

Artwork: Kerry James Marshall, Untitled, 2009. Acrylic on PVC panel. 61 1/8 x 72 7/8 x 3 7/8 in. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, B.A. 1979.

Artist Kerry James Marshall’s life traces the course of American history over the second half of the twentieth century. Born in Birmingham, Alabama, in 1955, Marshall spent his earliest years deep in the heart of Dixie where Jim Crow laws were enforced with a vengeance. In 1963, his family moved to South Central Los Angeles, where the Watts riots would pop off just two years later.

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While the Civil Rights and Black Power movements took hold of national consciousness, Marshall focused his talents of the depiction of African American identity, experience, and consciousness. Deftly translating the unique space that Black America holds, Marshall is driven by passion to render what has been erased visible. In doing so, he sets the record straight, restoring to not only America but the to the world what had been taken from it.

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Kerry James Marshall, Better Homes, Better Gardens, 1994. Denver Art Museum Collection: Funds from Polly and Mark Addison, the Alliance for Contemporary Art, Caroline Morgan, and Colorado Contemporary Collectors: Suzanne Farver, Linda and Ken Heller, Jan and Frederick Mayer, Beverly and Bernard Rosen, Annalee and Wagner Schorr, and anonymous donors. © Kerry James Marshall. Photo courtesy of the Denver Art Museum.

Kerry James Marshall, Better Homes, Better Gardens, 1994. Denver Art Museum Collection: Funds from Polly and Mark Addison, the Alliance for Contemporary Art, Caroline Morgan, and Colorado Contemporary Collectors: Suzanne Farver, Linda and Ken Heller, Jan and Frederick Mayer, Beverly and Bernard Rosen, Annalee and Wagner Schorr, and anonymous donors. © Kerry James Marshall. Photo courtesy of the Denver Art Museum.

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

“Made You Look” at The Photographers’ Gallery

Posted on August 10, 2016

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Sartorial style and splendor is synonymous with black culture. No matter where you go on this earth, rest assured the men and women of African descent have are freshly dressed, so much so others are quick to knock it off, as though copying was not a cardinal sin. Such are the perils of creativity: not everyone can be an originator or a pioneer. But for those who are, one thing is clear. The attention never stops. The heads will turn, the jaws will drop, and the tongues with clack because invariably style dominates.

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The Photographers’ Gallery, London, understands this and present Made You Look: Dandyism and Black Masculinity now through September 25, 2016. Curated by Ekow Eshun, the exhibition features works from taken from artists working around the world over the course of the past century, Starting with a rare series of outdoor studio prints made in 1904 from the Larry Dunstam Archive, thought to be taken in Senegal. Taken more than a century ago, the young men are nattily dressed in the latest European clothes, belying a love for the three-piece suit and accessories.

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

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

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

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

Neil Leifer: Relentless

Posted on June 6, 2016

Photo: Photo: Neil Leifer (United States, b. 1942). Muhammad Ali reacts after his first round knockout of Sonny Liston during the 1965 World Heavyweight Title fight at St. Dominic’s Arena in Lewiston, Maine, May 25, 1965.

Photo: Photo: Neil Leifer (United States, b. 1942). Muhammad Ali reacts after his first round knockout of Sonny Liston during the 1965 World Heavyweight Title fight at St. Dominic’s Arena in Lewiston, Maine, May 25, 1965.

It was one of the most controversial fights in boxing history: Muhammad Ali vs. Sonny Liston, for the 1965 title of WBC Heavyweight Champion. It was a hotly anticipated rematch, one made all the more fervent by recent history. Just a year earlier, Cassius Clay beat Liston and taken the title with a technical knockout. Two days later, Clay publicly announced he was a member of the Nation of Islam and adopted the name Cassius X before taking the name that would make him one of the most famous men on earth on March 6, 1964.

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When the rematch came along, it was more than a boxing match. It was an epic vision of self-liberation. By aligning himself with the practices and politics of the NOI, Ali was vilified. Perhaps that’s why the only thing they could do was deny the facts. Two minutes and twelve seconds. That’s all it took. Midway through the first round, Liston through a left and Ali countered with a right, an “anchor punch” he learned from actor Stepin Fechit, of all folks. Liston went down on his back, rolled over, tried to rise, and fell back again. It was a wrap for Sonny. But you couldn’t tell his fans nothin’. They called it “Phantom Punch Fight” and yelled, “Fix!” sounding like a 1960’s version of Donald Trump.

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

Attitude: Portraits by Mary Ellen Mark, 1964–2015

Posted on May 31, 2016

Photo: Gloria and Raja, Great Gemini Circus, Perintalmanna, India, 1989. ©May Ellen Mark, courtesy Howard Greenberg Gallery.

Photo: Gloria and Raja, Great Gemini Circus, Perintalmanna, India, 1989. ©May Ellen Mark, courtesy Howard Greenberg Gallery.

 

“I’m most interested in finding the strangeness and irony in reality. That’s my forte,” American photographer Mary Ellen Mark (1940–2015) observed, very much aware of the gift she brought to the world. Her passion for the camera and the way in which it captured the curious sides of life can be seen in her life’s work. For five decades, Mark was a singular figure in the medium, producing a series of work that speaks to her love for humanity in its infinite forms.

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Attitude: Portraits by Mary Ellen Mark, 1964–2015, now on view at Howard Greenberg Gallery, New York, through June 18, 2016, presents nearly 40 works from the artist’s singular archive. Melissa Harris, editor-at-large at Aperture Foundation, curated the show, selection works from Mark’s famous series, each of them sparkling with life and revealing an intense curiosity about the nature of our days and nights.

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

Con Cariño: Artists Inspired by Lowriders

Posted on May 25, 2016

Photo: Meridel Rubenstein. The Medina Family, Bad Company, ’68 Chevy Impala, Chimayó, New Mexico. 1980. Chromogenic print. Courtesy of the artist. © Meridel Rubenstein.

Photo: Meridel Rubenstein. The Medina Family, Bad Company, ’68 Chevy Impala, Chimayó, New Mexico. 1980. Chromogenic print. Courtesy of the artist. © Meridel Rubenstein.

Santa Fe Mayor Javier Gonzales has declared 2016 “Lowrider Summer” with Sunday, May 22 the first official Lowrider Day, kicking off a series of exhibitions and events citywide including Con Cariño: Artists Inspired by Lowriders, on view at the New Mexico Museum of Art, now through October 10, 2016.

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Featuring more than fifty works from the 1970s to the present, Con Cariño features photographs, paintings, sculptures, and videos from contemporary New Mexico artists including Lawrence Baca and Ron Rodriguez, Justin Favela, El Moisés, Meridel Rubenstein, Rose B. Simpson, Luis Tapia, and Don Usner, among others.

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The beauty of the lowrider lies in the love for the automobile and the ability to customize it to become the ultimate personal driving experience. The first lowriders appeared in Los Angeles during the 1940s and ‘50s, as post-war prosperity swept through Los Angeles, finding itself in pockets of Mexican-American neighborhoods. The kids had style, and they had finesse. And they were going to cruise as low and slow as they could get.
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Categories: 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Photography

Chris “Daze” Ellis: The City is My Muse

Posted on February 18, 2016

Chris “Daze” Ellis, The Odyssey, 2015, Oil and spray paint on canvas, Courtesy of the Artist

Chris “Daze” Ellis, The Odyssey, 2015, Oil and spray paint on canvas, Courtesy of the Artist

The New York City of Chris “Daze” Ellis’s world is a beautiful, hypnotic siren singing the softest of lullabies or just as quickly drop a beat and rhyme on top of it. She’s demanding, but she gives as good as she gets. She’s the queen befitting a king, and has found herself the subject of Chris “Daze” Ellis: The City is My Muse, on view at the Museum of New York, NY, now through May 1, 2016. Ellis observes, “This exhibition is a testament to my love affair with New York as my muse. It is an endless source of subject matter and an inspiration for many years. A muse is someone or something that captures your attention and imagination in a way that presents endless possibilities. New York is like that for me.”

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

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