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Posts from the “Art” Category

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. 

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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. 

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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.

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Read the Full Story at Blind

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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

Andy Warhol. Love, Sex, and Desire. Drawings 1950–1962

Posted on October 27, 2020

Andy Warhol. Love, Sex, and Desire. Drawings 1950–1962. Courtesy of Taschen

During the summer of 1952, a rising commercial illustrator named Andy Warhol was preparing to make his debut on the New York art scene. He had been working on a series of elegant line drawings celebrating queer love – a style and subject that couldn’t be less fitting to the American audience. Enthralled by hypermasculine ideals and Abstract Expressionist aesthetics, galleries balked at Warhol’s efforts to show his work but the then 24-year-old artist would not be denied.

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“Throughout his life, Warhol refused to be defined by social conventions,” says Michael Dayton Hermann, editor of Andy Warhol. Love, Sex, and Desire. Drawings 1950–1962(Taschen, November 2020). “John Giorno, artist, poet and Warhol’s former lover, explained, ‘Andy was a gay man and worked with the homoerotic. In the homophobic 1950s, this was daring and heroic. A great risk.’”

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The book brings together over 300 drawings rendered primarily in ink on paper of men reveling in the pleasure of youth, beauty, and the flesh. Their defining characteristic is a palpable sense of unbridled sexuality, one made all the more alluring by its defiance against societal norms. At a time when homosexuality was illegal and full-frontal male nudity was considered “obscene,” simply looking at the male body was an act of liberation, defiance, and pure delight.

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Read the Full Story at AnOther

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Andy Warhol. Love, Sex, and Desire. Drawings 1950–1962. Courtesy of Taschen
Categories: AnOther, Art, Books

Alex Majoli: Magnum Artists – Great Photographers Meet Great Artists,

Posted on October 27, 2020

Alex Majoli Wall in the studio of artist Ellsworth Kelly.(Photo by Alex Majoli and Daria Birang.) Spencertown, NY. USA. 2012. © Alex Majoli | Magnum Photos

At 15, Alex Majoli joined the F45 bottega in Ravenna, Italy, working as an apprentice under Daniele Casadio. “I grew up in the studio, which specialized in art reproduction,” Majoli recalls. “Many times my master asked me to go to the studios of the artists while they were working to complete the catalogues. I learned that the place where one should take a picture of an artist is in their studio.”

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The wisdom that an artist might best be understood situated within the environs in which they create has served Majoli extraordinarily well over the years. Although not primarily a portrait photographer, Majoli’s sensitivity to the complex interplay between his subjects’ inner worlds and outer lives has made him a gifted portraitist of leading contemporary artists.

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In the new book Magnum Artists: Great Photographers Meet Great Artists, the title’s author and editor Simon Bainbridge brings together portraits by Magnum members of more than 100 of the most innovative artists of the past century. From Edward Steichen, Man Ray, and Marcel Duchamp to William Eggleston, Nan Goldin, and Naim June Paik,Magnum Artists offers an intimate look at a diverse array of men and women who have transformed the course of Western art.

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Read the Full Story at Magnum Photos

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Alex Majoli Shirin Neshat, an Iranian visual artist, she is known primarily for her work in film, video and photography. In her house in NYC. NYC. USA. 2009. © Alex Majoli | Magnum Photos
Categories: Art, Magnum Photos, Photography

Judah Passow: Divis Flats Belfast 1982

Posted on October 25, 2020

Judah Passow

The Troubles reached a fever pitch in 1982, as the Irish National Liberation Army (INLA) struck hard, killing more British security forces than ever before. The grievous harm to the innocent was made plain on Thursday, September 16, when the INLA exploded a bomb hidden inside a drain pipe along a balcony in Cullingtree Walk, Divis Tower, Belfast.

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Though aimed against a British Army foot patrol, the blast had the unintended effect of killing two local children, Stephen Bennet, 14, and Kevin Valliday, 12, along with soldier Kevin Waller, 20. Three other civilians and one soldier were also injured in the explosion. 

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It just so happened that earlier that year, Israeli photojournalist Judah Passow spent a couple of weeks documenting Divis Flats for the Observer magazine to create a portrait of a people and a place. These photographs have been published in Divis Flats Belfast 1982 (Café Royal Books). 

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Read the Full Story at Huck

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Judah Passow
Categories: 1980s, Art, Books, Huck, Photography

Danny Lyon: The Destruction of Lower Manhattan

Posted on October 22, 2020

Barmen on the walls, 1967. From The Destruction of Lower Manhattan (Aperture, 2020) © Danny Lyon, courtesy Aperture

In 1966, Danny Lyon, then 23, returned to his native New York City an emerging star on the photography scene. He spent the first half of the decade documenting the Civil Rights Movement as the official photographer for the Student Nonviolent Coordinating Committee; at the same time he was a member of the Chicago Outlaws motorcycle club, making what would become The Bikeriders (1968), a landmark monograph that exemplified the emerging school of New Journalism.

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Lyon moved to Lower Manhattan just as the neighborhood was about to be torn apart to make way for the construction of the World Trade Center, under the auspices of David Rockefeller, founder of the Downtown Manhattan Association and brother of then-governor of New York, Nelson Rockefeller. The Rockefellers decided to launch of a program of “urban renewal,” which wholesale erased a neighborhood dating back over a century. Recognizing this historic moment, Lyon set to work, creating the portrait of a world that would soon disappear in the landmark 1969 book, The Destruction of Lower Manhattan, just reissued by Aperture.

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“I came to see the buildings as fossils of a time past,” Lyon wrote in the book’s introduction. “These buildings were used during the Civil War. The men were all dead, but the buildings were still here, left behind as the city grew around them. Skyscrapers emerged from the rock of Manhattan like mountains growing out from the earth. And here and there near their base, caught between them on their old narrow streets, were the houses of the dead, the new buildings of their own time awaiting demolition.”

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Read the Full Story at Blind

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Beekman Street and the Brooklyn Bridge Southwest Project Demolition Site, 1967; from The Destruction of Lower Manhattan (Aperture, 2020) © Danny Lyon, courtesy Aperture
Huey and Dominick, foremen. Both men have brought down many of the buildings on the Brooklyn Bridge site. Dominick directed the demolition of 100 Gold Street., 1967; from The Destruction of Lower Manhattan (Aperture, 2020) © Danny Lyon, courtesy Aperture
Categories: 1960s, Art, Blind, Books, Manhattan, Photography

The Campaign

Posted on October 19, 2020

Bobby Kennedy campaigns in Indiana during May of 1968, with various aides and friends: former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones © Bill Eppridge / Monroe Gallery of Photography

“Politics is theater. It doesn’t matter if you win. You make a statement. You say, ‘I’m here, pay attention to me,’” said Harvey Milk, the first openly gay elected official in California. Invariably photography, with its paradoxical ability to convey fact and fiction at the same time, has long played a major role in shaping political messages without ever saying a word.

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The new exhibition, The Campaign, looks at how photographers have documented the race for the most powerful office in the world — that of the U.S. Presidency — over the past 80 years from the campaign trail to inauguration day. The exhibition, which features work by Cornell Capa, Bill Ray, John Leongard, Alfred Eisenstaedt, Neil Leifer, Brooks Kraft, and Nina Berman, among others, dates back to Thomas E. Dewey’s run in 1948, which resulted in one of the greatest upsets in election history.

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Irving Haberman’s vibrant crowd scene shows just how influential the photograph was, as countless members of the crowd bear placards with Dewey’s confident visage gazing intently at us, emoting the perfect blend of assurance and artifice Americans have grown to know and love.

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Read the Full Story at Blind

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1948 Republican Convention, Philadelphia, PA © Irving Haberman / Monroe Gallery of Photography
John F. Kennedy, on-set monitor at the first-ever televised Presidential debate in 1960 © Irving Haberman
Categories: Art, Blind, Photography

Martha Cooper: Taking Pictures

Posted on October 14, 2020

Dondi’s Room Brooklyn, NYC 1979 © Martha Cooper

Under the cover of night, Martha Cooper crept into train yards to document some of New York’s most legendary graffiti writers as they brandished spray cans, unfurling masterpieces on the outside of subway trains in 1981 and ‘82. The petite photographer slipped through a hole cute into the chain link fence, agilely maneuvering her way between the massive steel cars, quick to duck under one if a train worker came by, taking tremendous care not to touch the third rail, through which 600 volts of live electricity steadily coursed.

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Cooper carefully took aim as writers like DONDI, DEZ, DAZE SKEME, MIN, SHY, and LADY PINK worked feverishly through the night, painting their names on the exterior of a single subway car, a “canvas” that was 50 feet long by 12 feet high. “It was so dark they couldn’t even see what color the paints were,” Cooper says. “They were lighting matches — where the whole can could explode — to see the color of the paint.”

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To call graffiti “death defying” would not be an overstatement, for many writers have died or been badly injured in their quest to “get up.” Often teenagers, writers were willing to risk it all for what they loved. Though Cooper was nearing 40, she was no less daring. She just quit her job as the first woman staff photographer at the New York Post in 1980 so that she could have more time to document graffiti.  

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“I was ambitious and the Post wasn’t enough. I wanted to be a National Geographic photographer,” says Cooper, who was also the first woman photographer to intern for the fabled photo magazine in 1968. Cooper envisioned her portrait of New York’s artistic underground would catapult her to the top of the documentary photography scene but things didn’t work out quite like she planned. 

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Read the Full Story at Blind

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Skeme, Bronx, NYC, 1982 © Martha Cooper
Bronx, NYC 1982 © Martha Cooper
Categories: 1980s, Art, Blind, Graffiti, Photography

Alfie White x Andre D. Wagner in Conversation

Posted on October 14, 2020

Alfie White

Street photographers are in a class of their own. Working off instincts honed to precision, they are in possession of the profound gift of capturing the moment as it unfolds. Photographers Andre D. Wagnerand Alfie White are firm proponents of traditional street photography, shooting exquisite scenes of New York City and London, respectively, on black and white film to create a timeless portrait of modern life.

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Hailing from Omaha, Nebraska, Wagner moved to New York to practice social work, fell in love with photography, and never looked back. Currently a Public Artist in Residence with the NYC Commission on Human Rights, Wagner brings an understanding of the underlying political, social, and economic dynamics to his study of community, along with the knowledge that a photographer is not an “objective” observer but rather a participant with a moral responsibility to respect and support the rights of those in the pictures.

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White is a London-based photographer and long-time fan of Wagner’s. He is currently working on two projects supported by a grant from the 2020 Dazed 100 Ideas Fund in partnership with Converse: a photo essay on the experiences of people affected by the UK Government’s handling of the COVID-19 pandemic, and a collaborative document, where he will engage other young photographers around the world to create an international portrait of the lives of young people in 2020.

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“Andre’s work was what really opened photography to me as an art form and tool,” White says. “(His) work is beautifully intimate, thought provoking, and political. But most importantly, it’s real. In a photographic world (that often) leads the viewer away from reality, Andre takes you straight there, showing life for what it is through his lens, with an emphasis on the nuanced moments (that) not only mark the current time, but will stand the test of it.”

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As part of his Dazed 100 takeover week, White speaks with Wagner for the first time in a conversation about the importance of staying true to your vision through thick and thin, the power of social media to build your own platform, and what to do when you see Beyoncé at a star-studded Hollywood party.

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Read the Full Story at Dazed

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Alfie White
Categories: Art, Dazed, Photography

Meryl Meisler: 1970s New York Go-Go Bars

Posted on October 2, 2020

Meryl Meisler

In spring 1978, photographer Meryl Meisler accompanied her friend Judi Jupiter to an interview to work the bar at the Playmate, a new go-go bar opening on 49th Street and Broadway in New York.

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“It was a topless-bottomless bar,” Meisler remembers. “There was disco music playing and girls were dancing on stage. It was fascinating. I asked if I could get a job there as a hostess, and was hired.” 

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During the late 1970s, Meisler led a double life. By day she worked as a CETA photographer documenting Jewish New York for the American Jewish Congress, exploring her ethnic roots. By night, she was partying at nightclubs like Studio 54 and working at the Playmate, where she soon began making photographs, a selection of which have been published inPurgatory & Paradise SASSY ‘70s Suburbia & The City (Bizarre).

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Meisler was required to wear a bathing suit or leotard, stockings, high heels, and makeup, and as hostess, she’d greet customers at the door, seating them by the stage, and serving them $4 “near-beers,” as the bar didn’t have a liquor license. She received a dollar tip for every drink, plus a $10 tip whenever she brought customers to the back rooms for private dances and a $40 bottle of “champagne” (Martinelli’s sparkling cider).

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Read the Full Story at Huck

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Meryl Meisler
Meryl Meisler
Categories: Art, Huck, Manhattan, Photography

Mimi Plumb: The White Sky

Posted on October 1, 2020

Mimi Plumb

Growing up beneath the shadow of Mount Diablo in the 1960s, photographer Mimi Plumb witnessed the explosion of strip malls and tract homes with raw dirt yards lining treeless streets of Walnut Creek, a suburb of Berkeley, California.

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“To me and my teenage friends, they were the blandest, saddest homes in the world,” Plumb recalls of the predominantly white middle-class hamlet set amid the rolling hills and valleys of Northern California. “The town had a mixture of conservative to liberal adults. My parents were progressive, but I often felt like we were outsiders – tolerated but not embraced by the community. I never understood why we lived there.”

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With the Haight Ashbury counterculture scene flourishing less than 20 miles away, Plumb decamped for San Francisco in 1971 at the age of 17. “By then, the idealism of the early to mid-60s was eroding, particularly with the assassinations of Martin Luther King and Bobby Kennedy in 1968. There was no longer the belief within the youth movement that we could change the world.”

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Read the Full Story at Huck

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Mimi Plumb
Mimi Plumb
Categories: 1970s, Art, Books, Huck, Photography

Sunil Gupta: Lovers – Ten Years On

Posted on September 30, 2020

Sunil Gupta. Dylan and Gerald.

In summer 1978, New Delhi-born, Montreal-raised photographer Sunil Gupta arrived in London. “I was following a guy,” Gupta tells AnOther from his home in south London. The two had first met in Canada while enrolled in business school. After graduating, Gupta’s boyfriend took a job that required him train in New York City before sending him to London to work.

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Just entering his twenties, Gupta went along for the ride, thinking he would get a job when he arrived. Things didn’t quite work out as he had planned. “We started out at a similar footing as students but working at the bank he got settled quickly and became relatively well off,” Gupta says. “I had gone the other way. I made no money at all and had become completely dependent. It didn’t seem to matter. We were together and in the gay world, ten years seemed like a long time especially back then.”

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After Gupta received him MA in Photography from the Royal College of Art in 1983, the Home Office sent him back to Montreal until he as able to get a visa to live and work in the UK. Once things had finally stabilized, the relationship came to an end – much to Gupta’s surprise. “My life changed quite dramatically: not only was I single but I had to fend for myself. I left with a suitcase. I had no rights at all. Although the UK legalized the sex act in the late 60s, they didn’t legalize [gay] marriage until the 2010s. It took them 50 years to get around to that part of things,” he says.

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Read the Full Story at AnOther

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Sunil Gupta. Eddie and Jeff.
Categories: 1980s, AnOther, Art, Books, Photography

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