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Posts from the “Art” Category

Revisiting “Minamata,” W. Eugene Smith’s Final Photo Series

Posted on June 3, 2021

Photo: W. Eugene Smith. © Aileen Mioko Smith

By 1971, American photographer W. Eugene Smith (1918–1978) had become a shadow of his former self, a shell-shocked recluse with a drinking problem who had retreated into the seclusion of his New York studio and home. Smith was alone, surrounded only by the remnants of his career as a world-renowned photojournalist.

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Under the red light of the darkroom bulb Smith’s photographs hung, mementos of the best and worst of humanity. After getting his start in 1939 for Newsweek, Smith began shooting for Life the following year, compiling a compendium of work that made him one of the most influential photojournalist of the twentieth-century. A master of the photo essay, Smith, who became a member of Magnum Photos in 1955, documented war and peace, poverty and beauty in equal part.

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In the 1960s, while Smith risked his life to bear witness to the destruction and salvation of humanity, halfway around the world the Chisso Corporation’s chemical factory was poisoning the fishing village of Minamata, Japan. Between 1932 and 1968, the factory released wastewater contaminated with toxic methylmercury, poisoning the water and sea life consumed by locals. As of 2001, 2,265 people were afflicted with Minamata disease, a neurological disorder that causes muscle weakness, damage to hearing, vision, and speech, as well as insanity, paralysis, coma, and death. The first case was reported in 1956; since then 1,784 have died as a result.

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Read the Full Story at Blind

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Photo: W. Eugene Smith. © Aileen Mioko Smith
Photo: W. Eugene Smith and Aileen Mioko Smith. © Watanabe Elichi

Categories: Art, Blind, Books, Japan, Photography

Thomas Holton: The Lams of Ludlow Street

Posted on June 3, 2021

Thomas Holton. Bath time, 2004.

As the son of travel photographer George Holton, who studied under Ansel Adams, Thomas Holton grew up surrounded by images of distant lands capturing people from New Guinea to Guatemala.  

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“I began to realise the magic photography has to transport the viewer elsewhere and tell new stories and share experiences,” Holton says. George Holton passed away in 1979 during his time working in the town of Lushan on the Yangtze River, while making a book about China, his wife’s native land.

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Two decades later, Thomas Holton embarked on a journey of his own: an 18-year odyssey into the life of a Chinese-American family, the Lams. He first encountered the family in 2003 while pursuing his MFA at The School of Visual Arts in his hometown of New York. 

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Read the Full Story at Huck

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Thomas Holton. After swimming, 2013
Thomas Holton. Drying Laundry, 2004
Categories: Art, Exhibitions, Huck, Manhattan, Photography

Safe/Haven: Gay Life in 1950s Cherry Grove

Posted on June 2, 2021

Young Man Posing for Polaroid, 1959, Cherry Grove Archives Collection, Gift of Don Steeple

ne of the very first gay beach towns in the United States, Cherry Grove on Fire Islandbecame a weekend and summer destination for the LGBTQ community in the years before the Stonewall riots, widely considered one of the most important events leading to the gay liberation movement. At a time when homosexuality was considered both a crime and a mental illness, Cherry Grove provided sanctuary from persecution, creating a space for the community to enjoy the pleasures of life on their own terms.

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In the new exhibition, Safe/Haven: Gay Life in 1950s Cherry Grove, curators Brian Clark, Susan Kravitz, and Parker Sargent of the Cherry Groves Archives Collection bring together 70 enlarged photographs and additional ephemera that offer a window into this extraordinary chapter of American history. Featuring images made at the beach, theater performances, art exhibitions, Duffy’s Hotel bar, the annual regatta, and end-of-season costume ball, where revelers could openly flout laws against cross-dressing, the exhibition celebrates the power of joy, love, and resilience just in time for Pride Month.

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“Hate and homophobia often forced homosexuals to live in secret in order to protect their own safety and reputations,” says Clark. “Salvaging our gay history is critically important to validate the ways we existed. We honor our gay elders and gay ancestors by telling the truth about their joys and struggles along with acknowledging their leading contributions to our world.”

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Read the Full Story at Blind

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End of Season APCG Ball, Community House, Woman with Headdress, September 1954, Cherry Grove Archives Collection, Gift of Harold Seeley
One Hundred Club Party, 1949, Cherry Grove Archives Collection, Gift of Harold Seeley
Categories: 1960s, Art, Blind, Exhibitions

Emily Sujay Sanchez: Stories of Trauma, Survival and Healing

Posted on May 31, 2021

Emily Sujay Sanchez

“My story is no different from women who look like me,” says Emily Sujay Sanchez, a Bronx-based photographer of Dominican heritage, who recounts a story of trauma, survival, and healing that first took root when she picked up the camera at the age of 23.

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“I had just moved back to Providence, Rhode Island, after having my son. It was a really rough time,” Sanchez says. “ I had this baby and separated from my son’s father, right away. I was suffering from postpartum depression, though at the time I didn’t know what it was. I couldn’t find work, and then when I did it was an overnight job one hour away from home, working in the coat checkroom at a casino. I was going through it.”

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But providence, as it were, intervened and Sanchez enrolled in a photography course being taught at a local school. “I took into to film and darkroom and I will never forget the feeling because I was able to quiet everything that was going on at the time,” Sanchez says, then stills herself, holding back the tears.

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“I still remember the first photographs I took. My instructor sent me out and said, ‘Take pictures of what attracts you and look at the lines’ — whatever the hell that meant!” Sanchez laughs. “The city is deserted, there’s nothing really going on. I was walking around this area and there was a diner. I saw a waitress outside smoking a cigarette on her break. Her eyes were glazed and she was completely in her own world. I asked if I could take her picture and she said, ‘Sure.’”

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Read the Full Story at Blind

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Emily Sujay Sanchez
Emily Sujay Sanchez
Categories: Art, Blind, Bronx, Latin America, Photography, Women

Miles Aldridge: Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020

Posted on May 30, 2021

Donatella Versace, 2007 © Miles Aldridge

Hailing from North London, photographer Miles Aldridge lived a charmed life as a young boy, his formative years spent within the inner circle that made the 1960s swing. His father, Alan Aldridge was an illustrator who got his start doing covers for Penguin Books before opening his own graphic design firm, INK, in the heart of Soho, where he worked with the Rolling Stones, the Beatles, the Who, and Elton John. “I grew up around my father’s psychedelic images and the rock and roll lifestyle ofSwinging London,” Aldridge says. “My sister Saffron and I would go backstage at Elton John concerts and see the incredible pageantry from behind the scenes.”

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But things fell apart when his parents divorced. “The family imploded,” he says. “I tried to put the pieces back together and of course they never do.” From the age of 10 until he went to art school in his 20s, Aldridge struggled to adapt as his mother fell into a depression and their once vibrant psychedelic home fell apart. When he found punk music in the 1970s, he discovered an outlet to release his pent up rage through music. He then formed a band called the X Men and played psychedelic-garage-punk music.

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Realizing his true talent laid in art, Miles Aldridge left the band to study illustration at Central St. Martins. After school, he worked in publishing doing book covers that stand up to this day but found this line of work was too solitary for his liking. “I wanted to do something more energized, collaborative, bigger, bolder and sexier,” he says. “Being a film director or a photographer were the two career options I toyed with. For a while I did both.”

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Read the Full Story at Blind

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Mystique #1, 2018 © Miles Aldridge
Categories: Art, Blind, Exhibitions, Photography

The Truth About Halston, According to People Who Knew Him

Posted on May 27, 2021

Liza Minnelli and Halston at Studio 54 circa 1982 in New York CityPhotography by Robin Platzer/Images/Getty Images

Halston lived the American Dream –  then fell victim to it. Born Roy Halston Frowick in Des Moines, Iowa, in 1932, Halston arrived in Chicago at the age of 20, opening a hat business the following year, with a clientele that included actresses such as Kim Novak, Gloria Swanson, and Deborah Kerr. In 1957, he began using the name Halston professionally and moved to New York, skyrocketing to fame when he designed the famous pillbox hat Jacqueline Kennedy wore to the 1961 Presidential inauguration.

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By the end of the decade, hats had fallen out of fashion but Halston continued his ascent, designing clothes and opening his first eponymous boutique on Madison Avenue in 1968. The following year Halston launched his first ready-to-wear line, adopting the chic minimalist silhouette that would become the hallmark of disco style. Celebrities including Bianca Jagger, Liza Minnelli, and Babe Paley flocked to Halston in droves, driving the worth of Halston’s line to $30 million. He sold his line in 1973, expanding to become a brand long before this kind of thing was done, stamping his name upon fragrance, luggage, menswear, and handbags, all while retaining creative control.

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The 1970s belonged to Halston as he defined decadence with a delicious blend of sex, glamour, and luxury. A fixture on the club scene, Halston brought the edge of night to the daytime world with “The Halstonettes,” a term fashion journalist André Leon Talley used to describe the jet-setting squad of supermodels who appeared together in Halston ads, editorials, and events including Pat Cleveland, Beverly Johnson, Angelica Huston, Karen Bjornson, and Alva Chinn.

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But like any mortal flying too close to the sun, Halston’s fall was harrowing. After signing a six-year, billion-dollar licensing deal with JC Penney in 1983 to produce Halston III, a line of affordable products starting at $24, high-end retailers retaliated, dropping his ready-to-wear line. That same year, Halston lost control over his namesake company and then, in 1984, he was banned from creating designs for Halston Enterprises. He barely made it through the decade, testing positive for HIV in 1988, before dying on 26 March 1990 at the age of 57.

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“Fashion is brutal,” says photographer Dustin Pittman, who knew Halston from the early 1970s. “People don’t realise the only designer still living from the American side at the Battle of Versailles is Stephen Burrows. That’s it. Oscar de la Renta, Bill Blass, Halston, and Anne Klein are all dead. Fashion goes up and down – a lot of designers go bankrupt.”

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In 1991, American journalist Stephen Gaines penned Simply Halston: The Untold Story, the biography that inspired Ryan Murphy’s new five-part Netflix biopic series about the designer’s life starring Ewan McGregor in the title role. In a statement released on 10 May 2021, Halston’s family derided the show as “an inaccurate, fictionalised account”, much in the same way the Versace family described Ryan Murphy’s 2018 American Crime Story: The Assassination of Gianni Versace as a “work of fiction.”

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Invariably, myth looms larger than fact, becoming a through line that shapes the historical record. To provide balance, we speak to Halston’s friends, colleagues and associates to provide insight into the character of a man who was larger than life.

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Read the Full Story at AnOther

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Liza Minnelli; Andy Warhol; Halston; Jack Jr. Haley [& Wife]; Mrs. Mick Jagger – Celebrities during New Year’s Eve party at Studio 54: (l-r) Halston, Bianca Jagger, Jack Haley, Jr. (bkgrd), Liza Minnelli (bkgrd), Andy Warhol.Photography by Robin Platzer/Twin Images/The LIFE Images Collection via Getty Images/Getty Images
Categories: 1980s, AnOther, Art, Fashion

Guzman: 90s Girls

Posted on May 27, 2021

Guzman. Total, Total, 1996.

On his first day at the studio in 1983, Constance Hansen remembers asking Russell Peacock to clean the stove. She laughs at the reversal of gender roles and then adds, “It was for a photo shoot. I remember asking Russell what photographers he liked and what he wanted to do and he started talking about riding his bicycle through Europe for six months and sculpture. Meanwhile I was in full commercial mode, working around the clock.”

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A bustling still life photographer, Hansen’s posh client roster included Bergdorf Goodman, Bonwit Teller, Lord & Taylor, and Balducci’s – but things began to change when Peacock began collaborating with her. Paging through the luxurious art book style catalogues for Yohji Yamamoto and Comme des Garçons, inspiration struck. “We thought fashion photography looked like fun, not knowing how difficult it was,” Peacock says.

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After business hours ended, they opened studio to the downtown scene, inviting club icons like Dianne Brill and Marilyn for portraits, styling them in clothes by emerging designers like Marc Jacobs and Isabel Toledo, and publishing in the Village Voice, aRude, Taxi, and Interview. To establish a distinct identity, they adopted the name Guzman.

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“There were no doubles in photography at that time and everyone was against it except Paula Greif,” Hansen says. As creative director at Barney’s, Greif got Guzman its first big music gig – shooting the cover of Rockbird, Debbie Harry’s 1986 solo album. “We worked with Stephen Sprouse, Andy Warhol, and Linda Mason. We were trying not to act blown away but we were,” Hansen says.

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By 1990, Guzman had opened a 3,000 square foot studio on 31st Street in Manhattan. They also secured a Los Angeles photo agent, who get them gigs in the music industry, bringing in an extraordinary line up of artists including Sting, the Neville Brothers, Digable Planets, Luther Vandross, and Dru Hill. “It was a golden era,” Hansen says. “Someone would call us up to do whatever we wanted.”

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Read the Full Story at Dazed

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Guzman. En Vogue, EC3, 1997.
Guzma. SWV, Release Some Tension, 1997.
Categories: 1990s, Art, Dazed, Fashion, Music, Photography, Women

Alex Christopher Williams: Black Like Paul

Posted on May 27, 2021

Alex Christioher Williams

“My father became ‘Black’ when I was in sixth grade,” American photographer Alex Christopher Williams remembers. Born to a white mother and a Black father, Williams, who presents as white, was raised by his mother in predominantly white suburban neighborhoods in Ohio. His father, Paul, who was 21 when Williams was born, chaperoned his sixth-grade class on a field trip to Washington D.C. “My father was much younger than many of the other kids’ parents so he was much cooler and more relatable to us,” Williams says. “I got to see my friends and everyone in my class communicate with my father and suddenly I became cooler because my father was Black — as though he were an accessory like a Gucci bag.”

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After Williams’ mother remarried, the family moved to Mississippi when he was 13. “I was fortunate to have my maternal grandfather take me aside and say, ‘Just get ready. Prepare yourself.’ I had no idea what he was talking about,” he remembers. Raised in a “white normative culture,” Williams learned to code switch, moving effortlessly between various white friend groups. He rarely mentioned his father’s identity among his friends, for when he did, it was met with stereotypes of race.

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“When I was in Mississippi, my friends never met my father but would identify certain characteristics about what they knew about Black culture in me and point that out,” Williams recalls. “We were in a band together and there was a moment when we would click. I’d be excited, jumping up and down yelling, and they would call it ‘Black Man Freak Outs.’ Or they wouldn’t even believe it, saying things like, ‘There’s no way Alex could be Black.’”

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Read the Full Story at Blind

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Alex Christioher Williams
Alex Christopher Williams
Categories: Art, Blind, Books, Photography

Allen Frame: NYC 1981

Posted on May 26, 2021

John West and Charlie Boone, NYC, 1981 © Allen Frame, courtesy Gitterman Gallery and Matte Editions

In the Deep South lies Greenville, Mississippi, a distinctly progressive town set amid a conservative landscape that gave birth to writers, musicians, and artists including photographer and filmmaker Allen Frame. Being LGBTQ was an unspoken fact of life; few like sculptor Leon Koury had the courage to come out. In the early 1970s, while on break from Harvard University and later Imageworks, Frame spent time at Koury’s studio, finding a source of connection that kept him from feeling like a complete outsider in hypermasculine world.

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Dying to escape, Frame moved first to Boston before arriving in New York in 1977 just as the Gay Liberation Movement was in full swing. In 1981, he got a place on Perry Street just blocks from the Stonewall Inn, the site of the historic uprising in the fight for LGBTQ rights. At a time when one could easily afford to live, work, and party in New York, Frame took a job cleaning apartments, which left him with plenty of time to revel in the city’s burgeoning downtown art scene. Frame hung out in the East Village amid a new crop of artists and photographers including Nan Goldin, David Armstrong, Kenny Scharf, Dan Mahoney, Peter Hujar, and Alvin Baltrop.

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At the same time, Frame was making his own body of work, which French critic Gilles Mora and photographer Claude Nori described as “photobiography.” Like Goldin and Armstrong, Frame created a journal of his personal life, one that evokes the warm intimacy of a family photo album. No longer an outsider, Frame was fully immersed among the avant garde but a penchant for mystery and suspense remained in his work, one that becomes all the more poignant in light of the catastrophe that would soon destroy the fragile world he loved.

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Read the Full Story at Blind

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Nan Goldin on her birthday, Allen Frame in the reflection, Nan’s loft on the Bowery. Courtesy of the artist and Gitterman Gallery © Allen Frame
Categories: 1980s, Art, Blind, Books, Exhibitions, Manhattan, Photography

Megan Doherty: Stoned in Melanchol

Posted on May 24, 2021

Megan Doherty

Growing up in Derry, Ireland, artist Megan Doherty first picked up the camera as a teen to make reference photos for paintings. Soon after, she became enthralled with the possibility of using photography to bring to life images that fueled her imagination. 

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Young and ambitious, Doherty felt confined by small-town life. “I was feeling trapped, unfulfilled, and seeking escape from reality by any means necessary,” she says.  “I got lost in films that gave me a glimpse into the possibilities outside of what I knew and also allowed me to observe how captivating mundanity could be if viewed through a new perspective.”

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Gradually, Doherty realised that she could turn the camera onto her world to transcend the limits of her environment. She began photographing intimate moments with friends, both staged and unfolding in real-time. The result is a collection of photographs titled Stoned in Melanchol (Setanta Books), a Rizla style box of 50 prints.

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Read the Full Story at Huck

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Megan Doherty
Megan Doherty
Categories: Art, Huck, Photography, Women

Janette Beckman: Downtown New York in the 1980s

Posted on May 20, 2021

Janette Beckman. Andre Walker, Robin Newland, and Pierre Francillon for Paper’s premier issue, June 1984.

After covering the first hip hop showcase in the UK for Melody Makermagazine in 1982, British photographer Janette Beckman became hooked to the newly emerging style and sound of New York street culture. That Christmas, she decided to see the scene for herself. 

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“I took the train from JFK airport and got off at West Fourth Street,” Beckman recalls of her first foray into the heart of downtown New York. “It was very exciting. Kids were carrying boomboxes on the train and people were breakdancing on the street. It was like everything I saw in the movies. I was a big Scorsese fan and here I was walking on those Mean Streets.” 

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Once she arrived, Beckman decided to call the city her home, settling down in the East Village and opening a photo studio on Lafayette Street. In 1984, Beckman got word that her good friend Kim Hastreiter and David Hershkovits were launching Paper, a black-and-white fold-out zine. “They asked if I wanted to take photos, and I did.”

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Read the Full Story at Huck

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Janette Beckman. Jose Extravaganza wit Keith Haring designed trophy, Susanne Bartsch’s Love Ball, 1989.
Categories: 1980s, Art, Fashion, Huck, Manhattan, Music, Photography

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