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

Posts from the “Books” Category

Hiro, Celebrated Fashion Photographer, Dies at 90

Posted on August 20, 2021

Jerry Hall, Saint Martin, 1975 © HIRO

Yasuhiro Wakabayashi, the Japanese-born American photographer known as Hiro died August 15, 2021, at the age of 90 in his country home in Erwinna, Pennsylvania. Best known for his fashion and still life work, Hiro’s surreal vision of glamour established him among giants of the industry including his mentor Richard Avedon. 

.

“Hiro is no ordinary man,” Avedon said. “He is one of the few artists in the history of photography. He is able to bring his fear, his isolation, his darkness, his splendid light to film.” Avedon’s words are a testament to Hiro’s extraordinary life, one turned upside down as a child born in Shanghai on November 3, 1930, just one year before Japan invaded Manchuria. One of five children of a Japanese linguist who may have been involved in espionage, Hiro lived a protected life during the better part of World War II, until the battles in the Pacific Theater came to an end. 

.

After being interned for five months in Peking (now Beijing), the family was repatriated to occupied Japan in 1946. A stranger among his own people, Hiro became intrigued by elements of American pop culture in postwar Japan. While paging through glossy fashion magazines at hotels, Hiro discovered the work of Richard Avedon and Irving Penn, and soon acquired a camera of his own. In the ruins of imperial Japan, Hiro realized a vision all his own — one that brought the luxurious and quotidian together to create a phantasmagoric spectacle of opulence.

.

Read the Full Story at Blind

.

Marisa Berenson, Hat by Halston, Harper’s Bazaar, February 1966, cover © HIRO
Categories: 1960s, 1980s, Art, Blind, Books, Fashion, Photography

Syd Shelton: The Battle of Lewisham August 13th 1977

Posted on August 19, 2021

Syd Shelton

In the wake of global independence movements following World War II, the British Empire collapsed, the economy declined, and the extreme-right began to reassert itself on the national stage. During the late 1960s, the National Front (NF) rose to prominence by fanning the flames of racism and xenophobia to expand its power base. 

.

The NF began targeting South London – home to Afro Caribbean and South Asian immigrants – to make their stand. They announced plans for an “Anti- Mugging March” from New Cross to Lewisham on August 13, 1977. 

.

The march was precipitated by the arrest of young Black men and women known as the Lewisham 21. On May 30, the police raided their homes at dawn and charging them in connection with a series of muggings over a period of six months. 

.

Read the Full Story at Huck

.

Syd Shelton

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

Patrick D. Pagnano: The Streets of New York

Posted on August 18, 2021

Patrick D. Pagnano. Twin young women leaning on car; taken in NYC in the 1970s
Patrick D. Pagnano. Two men relaxing on park bench; New York city; Early 1970s

“I was going to begin my tales of this city with a statement about how long I’ve been here, but the phone rang,” the Italian-American photographer Patrick D. Pagnano (1947-2018) wrote in a notebook on April 16, 1974 — just six weeks after he and his new wife, Kari, arrived in New York City for their honeymoon.

.

After spending their first week at the Times Square Motor Lodge, Pat and Kari found a cosy apartment on Thompson Street in the heart of Greenwich Village, which was then home to the bustling Italian-American community. “He loved the neighbourhood,” Kari says. “The Italian ladies in our building brought chairs down to sit on the stoop. There were a number of mafia-related characters that we always talked about. There was a guy on the next block, Sullivan Street, always walking up and down the sidewalk in his bathrobe.”

.

Pat was in his element. “The building we live in is practically all Italians,” he wrote in his notebook. “On Sunday you can smell the garlic and tomato floating from floor 1 to 6.” Undoubtedly the scent of Italian food evoked memories of home. A second-generation Italian-American, Pat was raised in a multi-generational home in Chicago’s South Side during the 1950s and 60s.

.

His family faced the horrors of ‘urban renewal’ twice in Pat’s youth: first when the government seized his father’s store to build the notorious Cabrini-Green housing projects where the movie Candyman was based, and then a second time when the family home was razed to build the University of Illinois in Chicago. These experiences shaped Pat’s outlook, building a firm sense of solidarity with the working class.

.

Read the Full Story at i-D

.

Patrick D. Pagnano. Young man at Lunch Counter; taken in NYC in the 1970s
Patrick D. Pagnano. Four Guys Setting Up; taken in New York City in early 1970s
Categories: 1970s, 1980s, Art, Books, i-D, Manhattan, Photography

Douglas Corrance: New York 1970-1980s

Posted on August 17, 2021

Douglas Corrance
Douglas Corrance

By 1975, New York City teetered along the edge of bankruptcy, some $11 billion in debt. By October the situation had reached dire straits when President Gerald R. Ford refused a federal bailout, prompting the infamous Daily News front page: “FORD TO CITY: DROP DEAD”. 

.

The headline cost Ford re-election the following year, and haunted him for the rest of his life – a fitting turn of events for the man who dared to turn his back on the city that never sleeps. New Yorkers, on the other hand, had no choice but to soldier on. 

.

Despite the crumbling infrastructure and economic decline further exacerbated by the Nixon White House of “benign neglect,” which systematically denied government services to Black and brown communities nationwide, and landlord-sponsored arson that reduced city blocks to rubble at record speed, New Yorkers proved to be resilient.

.

Read the Full Story at Huck

.

Douglas Corrance
Douglas Corrance
Categories: 1970s, 1980s, Art, Books, Huck, Manhattan, Photography

Two Fingas & James T Kirk: The Junglist

Posted on August 11, 2021

Eddie Otchere
Eddie Otchere

Picture it: South London, 1994. Local writer Andrew Green and photographer Eddie Otchere adopt the pseudonyms Two Fingas and James T Kirk, respectively, and use their lived experiences as the departure point for Junglist, a fictional coming-of-age tale that follows the exploits of Meth, Biggie, Q, and Craig over a weekend set in the city’s burgeoning jungle scene. Moving at the speed of sound, the 20 year-olds completed the book in just two months, crafting a mesmerising pulp fiction novel that is equal parts music, poetry, and film.

.

As the lovechild of UK rave and sound system culture, jungle was the sound of the world at the edge of a new era about to reveal itself. Driven by breakbeats – the rhythms that Jamaican DJs like Kool Herc used when he invented hip hop in the early 1970s – microengineered to twist time into a sonic blaze, jungle drew from and remade techno, rave, electro, dancehall, dub, hip hop, and house into an Afrofuturistic sound. The burgeoning culture quickly took the city by storm, maintaining its own DIY feel via an interconnected web of nightclubs, white label pressings, and pirate radio shows. 

.

“Jungle burst out of the underground and for a brief period (it) was everywhere – you couldn’t watch TV or listen to the radio without hearing elements of it,” says Green. “Jungle was the first electronic music I connected with; it felt like it was just for me, my crew, and my peers. We were making the scene appear out of nowhere. At the time, there were no clubs in the centre of London that played music for Black audiences so you had to be on the outskirts to find clubs. It was a mission to go out.”

.

Read the Full Story at Dazed

.

Eddie Otchere
Eddie Otchere

Categories: 1990s, Art, Books, Dazed, Music

David Hurn: Isle of Wight Festival 1969

Posted on August 11, 2021

David Hurn

Now age 87, Magnum Photos member David Hurn remembers the fateful day in February 1954 that first brought photography into his life. While on break, the young army cadet training at Sandhurst Military Academy was paging a copy of Picture Post magazine and stumbled upon a photograph of a Russian army officer buying his wife a hat in a Moscow department store. 

.

“I started to cry – not something one normally did in the officers mess,” says Hurn, who describes how the picture triggered a memory of his father who he hardly saw during World War II. “One of the first acts he did at the war’s end was to take my mother, me in tow, to Howells, a department store in Cardiff, to buy her a hat: my first recollection of their love for each other.”

.

Suddenly understanding the power of the photography, Hurn decided in that moment to become a photographer despite knowing nothing about the medium. “Thinking back, I have no recollection of ever having taken any pictures,” he says. “To give up a firm profession for a total abstract one was reckless.”

.

Read the Full Story at Huck

.

David Hurn
Categories: 1960s, Art, Books, Huck, Music, Photography

Lorraine O’Grady: Both/And

Posted on August 4, 2021

Lorraine O’Grady, Mlle Bourgeoise Noire celebrates with her friends, 1980–83/2009. Courtesy of Alexander Gray Associates, NY © Lorraine O’Grady/Artists Rights Society (ARS), New York

At the age of 45, Lorraine O’Grady emerged as an artist fully formed when she made her first public appearance as “Mlle Bourgeoise Noire” in 1980 at Just Above Midtown, the center of New York’s Black avant-garde run by revolutionary gallerist Linda Goode Bryant. Dressed in a handmade gown comprised of 180 pairs of white gloves, a sparkling tiara, and beauty queen sash, O’Grady entered the gallery bearing flowers and a cat-o’-nine-tails whip.

.

The flowers were for the audience, the whip she saved for herself in a performance that decried the respectability politics that consumed the Black American middle class desperately striving to find some semblance of protection from the horrors of systemic racism. But O’Grady, the daughter of Jamaican immigrants, knew such ideas were illusions at best. As she whipped herself, she spoke verse, her poem ending in a firm declaration: “Black Art Must Take More Risks!”

.

O’Grady wasn’t wrong, and she wasn’t afraid – even if it meant her work would go without proper recognition for more than 40 years. Now 86, the artist is finally being given her proper due with her first museum solo exhibition at the Brooklyn Museum, entitled Both/And and which just ended, and the publication of two collections of her work from Duke University and Dancing Foxes Press.

.

Read the Full Story at Blind

.

Lorraine O’Grady, Rivers, First Draft: The Woman in the White Kitchen tastes her coconut, 1982/2015. Courtesy of Alexander Gray Associates, NY © Lorraine O’Grady/Artists Rights Society (ARS), New York
Lorraine O’Grady, Art Is . . . (Girlfriends Times Two), 1983/2009. Courtesy of Alexander Gray Associates, NY © Lorraine O’Grady/Artists Rights Society (ARS), New York
Categories: 1980s, 1990s, Art, Blind, Books, Exhibitions, Photography

Barkley L. Hendricks: Photography

Posted on August 1, 2021

Untitled, 1982 © Barkley L. Hendricks

Version:1.0 StartHTML:0000000350 EndHTML:0000004663 StartFragment:0000002943 EndFragment:0000004627 SourceURL:file://localhost/Users/sararosen/Documents/%20SR%20/JOURNALISM/BLIND/%202021/JUNE%202021/BARKLEY%20HENDRICKS/Exploring%20Barkley%20L.%20Hendricks%E2%80%99%20Little%20Known%20Photography%20Practice%20:%20Miss%20Rosen%20for%20Blind.doc

An American original, Barkley L. Hendricks (1945-2017) established himself as one of the foremost painters of Black life. His luminous portraits capture the hypnotic energy and effervescent attitude of a people whose style and flair has been often imitated but never duplicated. Coming of age during the Black Power movement, Hendricks recognized the resounding absence of Blackness from the canon of Western art and sought to redress it by creating a pantheon of life-size portraits of friends, relatives, and strangers he met on the street.

.

Using the techniques of Old Masters, Hendricks would go on to create portraits with more bounce to the ounce than the average masterpiece. Never one to fear going against the grain, Hendricks crafted his own lane, working in figurative art at a time when abstraction, minimalism, and conceptual art dominated the contemporary art world. A year before his death Hendricks told the Brooklyn Rail, “I didn’t care what was being done by other artists or what was happening around me. I was dealing with what I wanted to do. Period.”

.

While setting the art world ablaze with his paintings, Hendricks also worked as a photographer, strapping the “mechanical sketchbook” to his neck before leaving home and using the camera to record sources of inspiration. The new book Barkley L. Hendricks: Photography (published by Skira), offers an extraordinary look into the artist’s little known photography practice, providing a vital look at the ways in which picture making informed his work.

.

Read the Full Story at Blind

.

Untitled, 1982 © Barkley L. Hendricks
Categories: 1980s, 1990s, Art, Blind, Books, Photography

Chris Miles: Notting Hill Carnival 1974

Posted on July 28, 2021

Chris Miles
Chris Miles

By 2019, the last year it was held before the Covid-19 pandemic,Notting Hill Carnival brought an estimated 2.5 million people to the streets of Ladbroke Grove, London, to celebrate Caribbean culture and community. Held over two days in August, the extraordinary event stands as a testament to the vision of Trinidadian journalist and activist Claudia Jones, who brought Carnival to London in 1959, following the Notting Hill race riots the previous year.

.

Televised by the BBC, the first edition was held indoors and featured live music, dance, and a beauty contest. In 1966, the Notting Hill Carnival moved outdoors, reclaiming the neighborhood formerly the stronghold of fascist Oswald Mosley’s Union Movement and neo-Nazi Colin Jordan’s White Defence League. In 1973, Carnival director Leslie Palmer introduced costume bands, steel bands, and stationary sound systems to draw the new generation coming up on reggae music.

.

That same year, British photographer Chris Miles moved to London to study at the London School of Economics. “The social and physical challenges of the inner cities were major issues of concern at the time and I helped run a youth project in a deprived area near Waterloo,” he says.

.

By the mid ‘70s, the UK was struggling with widespread unrest in the face of inflation, lost wages, frequent power outages, and increasingly overt racism with the growth of the National Front. Groups began to organize against fascism and for equal rights.

.

Read the Full Story at Huck

.

Chris Miles
Chris Miles
Categories: 1970s, Art, Books, Huck, Music, Photography

Judy Chicago: The Flowering

Posted on July 23, 2021

Boxing-ring advertisement, Artforum, 1971, Jack Glenn Gallery, Corona Del Mar, CA

“I had a singular vision from very early on and for a long time I didn’t understand why I kept encountering so much resistance in the word,” legendary feminist artist, educator, and activist Judy Chicago tells Dazed. As a white, cis, middle-class, Jewish-American woman coming of age in the mid-twentieth century, Chicago was not content to allow society to dictate the trajectory of her life. She learned from an early age that the only way forward was to craft her own identity and path – a lesson that served her throughout her trailblazing career.

.

To call Chicago “prolific” would be an understatement; her output is monumental, her mediums as varied and all encompassing as womanhood itself, her style and subject matter a one-woman revolution in the history of art. Now, with her first-ever career retrospective opening on August 28 at San Francisco’s de Young Museum, Chicago brings together works from her groundbreaking projects including The Dinner Party (1974-1979), The Birth Project (1980–1985), PowerPlay (1982–1987), Holocaust Project: From Darkness into Light (1985–1993), and The End: A Meditation on Death and Extinction (2015–2019, which broke through the boundaries proscribed around gender in the contemporary art world.

.

Although Chicago is outspoken and fearless when it comes to challenging sexism and misogyny, she is no extrovert; public appearances are simply a necessary part of her work. It is in the studio alone with her work where she draws energy and builds strength, her dedication and determination necessary to play the long game. Her projects are like icebergs: massive in scope, though what the public sees is only the pinnacle of years of research and development.

.

Such could be said of The Flowering: The Autobiography of Judy Chicago (Thames & Hudson), the extraordinary 416-page memoir that she penned while in social isolation. Releasing July 20, Chicago takes us on an intimate tour of her development as an artist, sharing the challenges, struggles, and triumphs to make space for women in the male dominated art world, which established false hierarchies that continue to this day. Refusing to play along, Chicago subverted the system from within, using her work to call out established notions of art, history, and gender, restoring the Divine Feminine to its rightful place in the pantheon.

.

Read the Full Story at Dazed

.

Judy Chicago on a Doublehead bronze at the Shidoni Foundry, Santa Fe, NM, 1986 Photograph © Donald Woodman/Artists Rights Society (ARS), NY
Judy Chicago. Rainbow Pickett, 1965 (re-created 2004). Latex paint on canvas-covered plywood, 118.79 × 119.79 × 132 in Collection of David and Diane Waldman.
Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Dazed, Painting, Women

Erwin Olaf: Strange Beaurt

Posted on July 23, 2021

“Palm Springs”, American Dream, Self-Portrait with Alex I, 2018 © Erwin Olaf

eality — like nature — is a wild, savage, and beautiful force, a truth so grand as to be sublime that we can never truly fathom it, though we most certainly may try. Art, in its most exalted form, transports us into an ineffable realm, a space where understanding lays beyond the word itself. “We all know that Art is not truth,” Pablo Picasso famously said. “Art is a lie that makes us realize truth at least the truth that is given us to understand. The artist must know the manner whereby to convince others of the truthfulness of his lies.”

.

These sentiments speak to the work of Dutch photographer and multimedia artist Erwin Olaf, whose carefully staged images occupy the liminal space between fact and fiction. In the new exhibitions “New Series: April Fool and In the Forest” and “Strange Beauty“, on view in Munich, Germany along with a catalogue, Olaf revisits his archive, looking back over his 40-year career that explores meditative aspects of human emotion, motivation, and thought as well as pressing social and political issues facing women, people of color, and the LGBTQ+ community.

.

“I always have to be a little bit angry otherwise I don’t work,” Olaf says with a frankness that underlies the heart of a true revolutionary. A rebellion is driven by love, and a desire to tear down false truths propped up by our current world. “I always get the question, ‘Is it real or unreal?’ With photography, why are we thinking we are looking at reality? Olaf asks.

.

“For me, the camera is an instrument to register my imagination and to translate the things in my mind into an image. When we see a painting, we accept that it is from the mind and the spirit of the painter. It’s the same with music, literature, and film. You can go to the cinema in the afternoon, watch a movie, and cry your heart out when you know it’s totally artificial. But when it’s photography, it should be part of the ‘real world.’ I don’t think so.”

.

Read the Full Story at Blind

.

“Palm Springs”, The Kite, 2018 © Erwin Olaf
Categories: 1980s, 1990s, Art, Blind, Books, Exhibitions, Photography

« 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