Posts from the “Books” Category

Nicola Lo Calzo: Obia

Posted on October 18, 2015

Photo: Banai Meklien, from Kourou in French Guiana, with a parrot, participant in Gaama’s funeral in Asindoopo, Suriname. © Nicola Lo Calzo/L’agence à paris.

Nicola Lo Calzo has dedicated himself to Cham, a long-term photographic project exploring the living memories of colonial slavery and anti-slavery struggles around the world. From this larger undertaking, Lo Calzo has just released Obia (Kehrer Verlag), a powerful study of the Maroon peoples of Suriname and French Guiana.

Maroons (from the Latin American Spanish word cimarrón: “feral animal, fugitive, runaway”) were African refugees who escaped from slavery in the Americas and formed independent settlements on both continents. The Maroon people of Dutch Guiana (now Suriname) escaped plantations and settled in the forests, surviving against the odds. They defended themselves against armed troops sent by the government, defying colonial order and the system of slavery. Maroons who were captured suffered dire consequences, yet despite the repression, the Maroon communities retained their sovereignty and signed their first treat in 1760.

The history of the Maroon peoples remains one hidden from public view, yet they flourished across the Americas with communities in Louisiana, Jamaica, Cuba, Haiti, Colombia, and Brazil. The word Obia is originally an Akan word, specifically attributed to the Fanti, and points to a belief system of the Maroon peoples since their arrival from West Africa. With Obia, Lo Calzo considers the relationship between the past and the present, exploring the magical-religious legacy of the culture and the new challenges that stem from modernity.

Read the Full Story at Crave Online

Photo: Ndyuka Maroon girl shows off her Marilyn Monroe t-shirt. Maroon Day celebrations, October 10, 2014, Albina, Suriname. © Nicola Lo Calzo/L’agence à paris.

Categories: Art, Books, Crave, Latin America, Photography

Jamel Shabazz: The Book That Changed My Life

Posted on October 14, 2015

In the Brooklyn home where Jamel Shabazz grew up, his father kept a signed copy of Leonard Freed’s book, Black in White America, on the coffee table. The book, which was first published in 1968, opens with a photograph of an African American solder standing in front of the Berlin Wall in 1962. Freed was struck by the fact that the solder was willing to defend America abroad while back in the United States, they were subject to systemic racism, oppression, and exploitation under Jim Crow laws.

Freed returned to the United States and began to document the everyday black life during the battle for civil rights in New York, Washington, D.C., and throughout the South. The result of his efforts was a landmark book that changed the life of photographer Jamel Shabazz when he was nine years old.

The original edition of the book did not have a photo. It just had the words: BLACK IN WHITE AMERICA. Shabazz remembers opening the book, and stopping at the first image of the solider taken in 1962. His father and two uncles were military, on of who was still stationed in Germany. From the very beginning, Freed’s work became a profound source of knowledge, wisdom, and understanding for Shabazz.

He recalls, “The book moved me to time travel outside of my community. It allowed m to escape the projects to North Carolina, South Carolina, Georgia, and Mississippi. I was seeing the places for the first time. After I looked at the pictures, I went back to read the book. There were so many words I didn’t understand. I saw ‘nigger’ for the first time in my life, so I went to a dictionary to look it up. I looked up ‘segregation’ and ‘integration.’ The first time I saw the word ‘rape’ was in this book. I didn’t understand what that word meant. It goes beyond the photos. I was learning horrible new words and it set my mind in a way that school wouldn’t. I was rereading the book, imaging myself at nine and ten years old, trying to decipher what is going on. I fell in love with photography and used the dictionary to unlock the mystery of this book.”

Photo: Leonard Freed

Photo: Jamel Shabazz

Shabazz recalls, “Growing up, there was only one television in the house, so I only got bits and pieces of what was going on in the outside world, especially regarding the civil rights movement. I saw a beautiful photograph of Dr. Martin Luther King, Jr. for the very first time in Freed’s book, thus helping me better understand what was happening in both the northern and southern cities. Through the artistry of Leonard Freed, I was introduced to the power of documentary photography and the art of visual story telling. Freed’s book enlightened me to the harsh world of inequality, segregation, and struggle. In essence, Black in White America, became an essential study guide introducing me to the real world I would soon have to face, as a boy growing into manhood.“

Shabazz picked up a camera while he was in high school during the 1970s, but it wasn’t until he came home from a tour in the military in 1980 that his passion was revealed. His father, a military photographer himself, saw the that fire in his son, and gave him Freed’s book as an instrumental guide. Shabazz recalls, “He gave me the book so I could study lighting, composition, and black and white photography. Some of the most compelling photographs I made were shot almost right away. The seed had been planted in my mind at nine years old. I see things that people have a tendency to walk by. I take my time to observe what is going on around me.”

Photo: Leonard Freed

Photo: Jamel Shabazz

Freed taught Shabazz how to be a storyteller by virtue of mastering the craft. The greatest teachers lead by example and Freed was no exception to this fact. In the spirit of revolution, the circle spins round once again. Now on the cover of the book is a photograph of a young boy, flexing his bicep. Shabazz observes, “He’s the same age I was when I first picked up this up this book. I was building my mental through this book.”

In the works of Leonard Freed and Jamel Shabazz, we can see the way in which the commitment to truth, justice, and honor is more than a career, it is a spiritual quest, a calling to honor the people of this earth through the creation of the book. I am honored to present the works of Leonard Freed and Jamel Shabazz side by side here.

Photo: Jamel Sbahazz

For More Information, Please Visit
Black in White America
Leonard Freed
Jamel Shabazz

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Brooklyn, Manhattan, Photography

Training Days: The Subways Artists Then & Now

Posted on October 5, 2015

Photo: Bil Rock, Min, and Kel in the City Hall lay-up at night, 1983 ©Henry Chalfant

Graffiti is like a virus of the best kind. It resides deep in the heart and it makes its presence known in ways large and small. It travels from writer to writer around the world, bringing different handstyles, letterforms, color combinations, and placements to life. It is here today, gone tomorrow, one of the most ephemeral of all the arts.

Were it not for the photograph, some of the greatest masterpieces of graffiti would be unknown, and so it is with great fortune that Henry Chalfant began taking pictures of New York City trains between the years of 1977-1984. In total he amassed of 800 photographs of full trains from some of the greatest writers working during those years. “I have always been attracted to youthful rebellion and mischief,” Chalfant observes with a gentle laugh.

In order to photograph a full car when it arrived in the station, Chalfant stood on the platform on the opposite side, so that he could have enough distance to get 15-foot sections of the train inside his viewfinder. Using a 50mm lens, Chalfant took four or five photographs of each car, and then spliced them together using a razor and adhesive tape. As a sculptor, Chalfant’s hand was flawless, as he was able to translate the scale of each train to the photographic image. But the skill needed to get these shots? That was like stalking big game.

Read the Full Story at Crave Online

Categories: 1970s, 1980s, Art, Books, Bronx, Brooklyn, Crave, Graffiti, Manhattan, Photography

The Lost Tribes of Tierra Del Fuego: Selk’nam, Yamana, Kawésqar

Posted on August 21, 2015

Ulen is a clown-like male spirit, whose role is to entertain the audience of the Hain. © Anthropos Institute, Sankt Augustin, Germany.

Tierra del Fuego, Spanish for “Land of Fire” is an archipelago located off the southernmost tip of the South American mainland, across from the Strait of Magellan. The nomadic tribes native to the islands, including the Selk’nam, Yamana, and Kawésqar, have lived there for more than 10,000 years, creating cultures and ways of life that have all but disappeared, due to both the endemic infectious diseases carried by Westerners, as well as by the militias paid by Europeans to erase the native population on well-organized human hunts.

It was not uncommon for white men to kidnap tribal natives and bring them to the capitals of Europe (including Paris, Berlin, and Zurich), where they were exhibited in zoos and parks, as well as held in universities to be studied. No less than Charles Darwin described his first meeting with the native Fuegians as being “without exception the most curious and interesting spectacle I ever beheld: I could not have believed how wide the difference between savage and civilized man: it is greater than between wild and domesticated animal, in as much as in man there is a greater power of improvement.”

Such extraordinary hubris seems pathological of the race that declared for itself the “white man’s burden” of “civilizing” native populations by employing their long-held foreign policies of genocide, pestilence, and psychological warfare. We are deeply fortunate that Martin Gusinde, a German priest and ethnologist, took an entirely different approach. In 1919, Gusinde was sent as a missionary to Tierra del Fuego, with the aim to convert the natives to Christianity. Instead, the opposite took place: Gusinde was one of the first Westerners to be initiated into the sacred rites of the native people.

Read the Full Story at CRAVE ONLINE

Categories: Art, Books, Crave, Photography

Flurina Rothenberger: Just as Dandy As You Are

Posted on August 6, 2015

Photograph by
Flurina Rothenberger

I have as yet to meet Flurina Rothenberger in person, but from her photographs I feel as though I know something of her. Through her eye, I have see the way she looks at the world, the way she raises her camera to capture a fraction of a moment in time for us to consider at our leisure. From her photographs, I have a sense of style, grace, and poise alongside a wit that gently enjoys the beauty of life, a sensibility that gives one a feeling of being at home in the world, wherever she may go. When I first received her book, project I love to dress like I am coming from somewhere and I have a place to go (Edition Patrick Frey), I was absolutely beside myself. What better than a pocket paperback of Africa to gaze at all day? The people, the landscape, the streets, the style, the feeling of art, culture, and life. Flurina’s photographs are about a sense of being as just as dandy as you are.

Miss Rosen: Can you please speak about your early experience in art, and some of the early influences that inspired you to create art ? How did growing up in Africa influence your aesthetic sensibilities?

Flurina Rothenberger: I grew up in Côte d’Ivoire, in an hybridized environment driven by the genuine remix of tradition and contemporary. The skills, crafts and creative inventions I was exposed to weren’t of self-fulfilling beauty, they beared witness to a specific art of life. Nothing was meaningless and in spite of the high aesthetic value served a practical benefit. Be it the toys my friends fabricated from scratch or the enigmatic result of a specific weaving technique, the beauty always emerged from a thought materialized in a unique practical shape of expression. It may be a coincidence but my sisters and I all ended up in similar fields of activity and each one of us has remained strongly influenced in her design by references from West Africa. Most likely our visual perception was sensitized by growing up in a surrounding infiltrated by the genuine presence of someone always inventing and crafting something. I don’t consider myself an artist. I’m simply a photographer attracted to places where people don’t operate within a single, but a quadruple consciousness.

Was there a point where you realized that making art would be your life’s calling? We love to know the moment when artists realized there was no turning back, and they were committed to pursuing art.

I never had a sudden strike of insight but there was a sort of turning point. After moving back to Switzerland I had trouble settling in. I felt lost and disconnected. A short introduction to the photo lab triggered something. The particular atmosphere shook my senses wide awake. It became a place of comfort, wild experiments and most importantly of crucial awareness that a certain image is one choice among endless other options. I guess in a sense the darkroom sparked both: my first real commitment to visual expression and the belief that images can challenge thoughts.

Can you speak about your work in Africa: how does working as a photographer give you access to people, places, and perspectives you might not otherwise reach as a “civilian” (so to speak)? What do you find to be the most rewarding aspect of traveling with a camera?

As a photographer I have my individual way of looking into things. This naturally also determines the nature of access I reach out for. I tend to seek and find a welcoming door if people understand my motif and commitment to sharing life. In my experience every photograph and every project begins with trust, insight and integrity. As for what I love about traveling with a camera in Africa, is that my ideas aren’t triggered by life in theory. They wash up almost physically in the bus, on the street, in a conversation, handed out like a palpable invitation. In most places people have a strong opinion about images and it’s far from uncommon to communicate issues visually. Considering this background both is true: approaching people and situations as a photographer often results in opportunities of close proximity, the camera though also exposes my incentive to critical questioning. I appreciate both of these aspects in Africa very much. If the former is the palpable invitation, the latter is the reality check of my intention and approach.

Can you speak about the challenges of photographing in various nations?

I see two main challenges when I photograph in other nations than my own: One, the fear that my pictures could create a simplistic distorted reflection of the place, the situation or the individual. Second, finding the appropriate balance between familiar and exotic, a visual language which stirs something inside the viewer all the while remaining unpretentious. I keep those two aspects in mind as a guideline while I choose work, photograph and edit. It’s a high set bar and in some terms idealistic. Another thing I’ve learned from portraying the fates of very different people : no matter how committed I remain to the task of showing lives and subjects in their legitimate complexity, it’ll always result in a perspective tainted by my own cultural mentality and story, be this conscious or not.

Photograph by
Flurina Rothenberger

How do you, as a photographer, work to avoid the more obvious visual tropes and reductive narratives that the Western media often associates with third world nations?

I wish my work was fully free of the kind of images Binyavanga Wainana labeled as “poverty pornography”. It certainly isn’t. I’ve fallen into that trap just like most Western photographers. Mass media operates in terms of which message sells fastest and cheapest to the widest audience possible. Obviously this isn’t the best equipped vessel to explain a context from a place with great diversity and complexity. Yet it is mass media which has significantly shaped our collective and increasingly global visual memory. A a photographer I’m aware that the viewer assigns a certain message to a descriptive clue and will prioritize this one from the overall picture. The devastating aspect though is that the audience grows bored and sated by topics due to the way they’re pictured, when just these should urgently stir us to take action.

I try to follow a working style and ethics which considers this fait acompli. If I get carried away in the excitement of the moment, I’ll censor those images later in the edit. At times it’s frustrating since I submit the actual content in which the photograph was created to precisely those very rules I question in their legitimacy to condition how we perceive things.

There is a photograph in my recent book showing a four year-old girl in Moçambique. Sent to help her sisters fetch water from the well, she marches down a long empty road. In my consciousness this image elicits a chuckle and reflects the amazing maturity, singular determination, flexibility and courage I’ve experienced countless times with children deprived of certain opportunities. On the counterpart this image belongs to the risky ones. It embeds several of the earlier mentioned indications, a large audience is conditioned to associate with poverty, struggle and vulnerability. It’s not an easy decision which one to give in to: the origin context of the image or the general public’s eye.

I solve the struggle by getting advise from someone who understands my motive but doesn’t share the specific story of the pictures origin. For my latest project I love to dress like I am coming from somewhere and I have a place to go, I chose a tight collaboration with Hammer, a graphic design studio founded by my sister Sereina Rothenberger and David Schatz. I handed them a large chunk of my archive and they curated the final selection along with the edit and illustrations of quotes. Sometimes it’s best to let others kill a few darlings in the benefit of a fresh and fair view.

What do you think that the photograph does that no other medium can do? How do you find people respond to your interest in photographing them?

Photography is a medium of great generosity. It can easily stretch it’s boundaries between dream and reality giving up neither one nor the other. It suggest optional views on a complex, yet unpretentious level. It is both, humble and powerful. A photograph sets our thoughts into motion by taming life to stand still. Most cultures and societies have their own popular imagery which also influences how people respond to the medium. In a way by taking a picture of someone in this context, the portrait is reciprocal, tainted by both backgrounds. Mine and the subjects. I enjoy that for my deep belief that how we want to be seen, points out the reality we’re shaped by. I make my presence and intentions obvious and in exchange, with few exceptions, people respond with positive and active complicity. I love the intimate moment of unspoken consent, when the other suggests a pose, changes the setting with small arrangements or simply agrees by addressing the camera with an assertive presence.

What did you find to be the most inspiring aspects of photographing the people and places of Africa ?

The diversity of scenarios and the relationship people generally entertain with the medium, exhausts the whole range of photography’s pliable and enigmatic nature. It’s all there woven into the pattern of every day life: the flickering of value and meaning, the shift of visual boundaries, the remix of traditional and contemporary, the fusion of carefully arranged and incredibly improvised. In Africa, my wrestling thoughts are put at ease, my fears untangled and my senses wide awake. This alone is very inspiring!

I like that in most areas and African countries I’ve been to, images act in a different and in a way stronger narrative context than I experience in Europe. A response to this is the individual ownership people tend to take on, when being portrayed. Even now in times of social media there is a particular poised nature of self-perception most Africans I meet from very different backgrounds seem to share. I rarely experience fidgeting, restlessness or any other lack of confidence. If someone agrees to be photographed, regardless the scenario, they will meet me and the camera with doubtless presence. Intuitively or consciously adding their intention and vision to mine. It’s one of the many stimulating aspects I love, admire and at times envy a bit.

Visit FLURINA ROTHENBERGER

Photograph by
Flurina Rothenberger

Categories: Africa, Art, Books, Fashion, Photography

Meryl Meisler: Purgatory & Paradise

Posted on August 1, 2015

Plaid Suit and Cadillac in Chelsea, NY, NY, May 1978.

The 1970s was an age of innocent decadence, the time before the fall, a time where the country cracked open and out of it came creatures with big hair and vibrant personality, the kind of characters that have that old school je ne sais quoi that makes their shenanigans a delight to watch.

Take Judi Jupiter as she weighs the situation in the new book by Meryl Meisler, Purgatory & Paradise: SASSY ‘70s Suburbia & The City (Bizarre Publishing). It was July 1977, Westhampton, NY, and Miss Jupiter was taking her top off as she weighed big nuggets of weed on a triple beam balance scale. She looks at the camera through a thicket of bangs all but obscuring her eyes. She’s but one of hundreds of subjects Meisler came upon in her travels across Long Island and NYC, subjects that were outrageously stylish and sexy.

As Meisler writes in the introduction, “This book encapsulates my coming of age: The Bronx, suburbia, The Mystery Club, dance lessons, Girl Scouts, the Rockettes, the circus, school, mitzvahs, proms, feminism, Disco, Go-Go, Jewish and LGBT Pride, the New York streets, friendship, family and love. I had to photograph it to make sense of it all. To hold onto the time, to release and share it, to put it in perspective and move on. It was sassy, but also sweet, and so was I.”

Read the Full Story at CRAVE ONLINE

Judi Jupiter Weighs the Situation, Westhampton, NY, July 1977.

Street Ventriloquist, NY, NY, July 1979.

Categories: 1970s, Art, Books, Brooklyn, Fashion, Manhattan, Photography

Christopher Makos: White Trash Uncut

Posted on July 30, 2015

Debbie Harry. Photo by Christopher Makos

New York, 1977. It began with a book, a paperback with black and white photographs of the punk scene. The book was titled White Trash and it featured the boldest of the boldface names: Patti Smith, Richard Hell, Debbie Harry, Halston, Andy Warhol, Alice Cooper, Iggy Pop, David Bowie, Divine, and John Waters. Add to that a splash of Man Ray, Tennessee Williams, and Marilyn Chambers, and you’ve nailed it. White Trash, Christopher Makos’ photography book, is the place where pop meets pulp, perfectly defining the D.I.Y. ethos of the times. The book has become a seminal volume of the times and now sells for upwards of $500.

However, the original edition is a paperback, and paperbacks are not designed to last. They’re disposable (like, say, white trash). And if you crack the spine too wide, the entire thing might fall apart in your hands. We are fortunate, then, that Glitterati Incorporated has released a revised and expanded edition in hardcover.

White Trash Uncut, Makos’ updated monograph, is a lavish affair. This tall, slim volume features the photographs uncropped (unlike the 1977 edition). It also features a selection of never-before-published photographs of Grace Jones, among others. Included throughout the book is the use of silver, making the pages come alive. Everything about the book is luxurious, and in that way it becomes a statement of the times. Punk has passed; that New York is long gone. But what lives in its place are photographs, memories, and stories.

Read the Full Story at CRAVE ONLINE

David Croland and Grace Jones wearing a Le Jardin shirt. New York. Photo by Chrostopher Makos

Categories: 1970s, Art, Books, Crave, Fashion, Manhattan, Photography

Danny Clinch: Still Moving

Posted on July 17, 2015

Photograph: Bruce Springsteen, 2007 (©Danny Clinch).

“Still is still moving to me,” Willie Nelson said, a beautiful sentiment befitting the photograph itself. A fraction of a second frozen in time, forevermore, is the ephemeral made eternal. This is a kind of magic, something more than art. It is an artifact, a document, witness to history as it unfolds. The photograph must stand the test of time; it must endure so that it can speak to future generations.

Music photography is a beautiful paradox: the silence is deafening, yet enveloping. That which is sound is now purely visual, distilled in a single moment that delivers all the highs and lows, all the rhythm and blues, as the crowd goes wild and we becomes one. It is this intensity that the photographer seeks, this moment when we are lost and found that we are truly present.

Danny Clinch is a master of the form, seamlessly moving on and off stage with his instrument, the camera guiding his way. More than 200 of his seminal photographs are collected in Still Moving (Abrams Books), along with an essay by Bruce Springsteen, who explains, “When Danny Clinch and I clicked as photographer/subject, it was because somewhere deep inside we had he same points of reference—the same songs and movies dancing in our heads. With each click of the shutter he was scrolling through my record collection, referencing my influences, searching for the same magic. I could feel he’d been mesmerized by the same images of our heroes that made me want to be a musician and that made me, during our shoots, tilt my head down a little (like Elvis), or move to the left into a half shadow (like Dylan) or out into light (like, like…?).”

Read the Full Story at CRAVE ONLINE.

Categories: 1980s, 1990s, Art, Books, Crave, Music, Photography

Arlene Gottfried: Mommie

Posted on July 3, 2015

Photograph by Arlene Gottfried

Photographs by Arlene Gottfried

Last summer I had the great pleasure of speaking with Arlene Gottfried at length, well, listening mostly, listening and asking questions and then listening again as Arlene spoke of her life behind the camera. A second generation New Yorker, Arlene has born witness to the people that have made this city one of the greatest places on earth. Her photographs never fail to delight and astound with their distinctive blend of compassion, style, and grace, with a knowing nod, a giggle, and a wink. This is New York, after all.

Arlene is unassuming yet powerful. The intensity of her presence can best be felt when looking at her photograph or listening to her sing gospel. I remember hearing her in church on several occasions, overwhelmed and overjoyed by the spirit she channels. It is this spirit, this very soul, that makes Arlene one of the most compelling artists I know. And so it was with great honor that last summer I interviewed Arlene about her life, her family, and her work for her forthcoming book, Mommie (powerHouse Books).

I remember seeing the mock up for Mommie at powerHouse years ago, once again overwhelmed by the depth and profundity of her work. To be honest, I was not ready for this level of truth, this intense bond between generations of women, all flowers from the same root. Mommie is Arlene’s fourth book with powerHouse, and perhaps the most personal of an incredibly intimate body of work.

As I listened to Arlene speak, I realized she was a woman who has kept a great many private matters just so, and with Mommie she was sharing more than her memories, she was baring witness as the family historian. As time passes, we come to terms with the eternal circle of life and death and birth once more. With Mommie, we quietly observe, we feel, and we think; Arlene’s photographs have the cumulative effect of softly sinking into your body and changing the very nature of your being.

In that same way, the book is an object unto itself, an object to be held, much like a family album. powerHouse would like to use real upholstery fabric to wrap the book’s boards (the front cover, spine, and back cover) and has decided to create a Indie GoGo account to support the production costs. In order to share Arlene’s story, they asked me to interview her a couple of months ago, and this time, Arlene sang “Amazing Grace,” a moment that be stilled my soul.

The video is now live, and the Indie GoGo campaign has begun. We invite you to visit the campaign at MOMMIE, and support the project. Among the rewards offered are Arlene’s first three powerHouse Books: Bacalaitos & Fireworks, Midnight, and Sometimes Overwhelming, each one a treasury of New York City history, street photography, and style, each one a love letter from the bottom of her heart.

Photograph by Arlene Gottfried

Photograph by Arlene Gottfried

Categories: 1970s, 1980s, 1990s, Art, Books, Manhattan, Photography, Women

Andy Warhol: The Complete Commissioned Record Covers 1949-1987

Posted on July 1, 2015

Melodic Magic, Vol 1, 1953. All images © 2015 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

The album cover is an icon of the past, of an age when vinyl was something to be collected. The 12 x 12 inch surface was a canvas ripe for exploration, the square format offering infinite interpretations. The album cover, such as it was, provided a space for the artist to put us in the mood, to seduce us with images, words, ideas. It offered a space for contemplation, as the record spun round, creating a delicious interplay between audio and visual experience of the work. As a result, album covers, in certain cases, have become icons themselves.

ndy Warhol designed his first record cover in 1949; clearly he sensed the value of the medium, for he launched his career phoning record companies and soliciting them. Over the years, until his death in 1987, he created more than fifty covers which are presented beautifully in Andy Warhol: The Complete Commissioned Record Covers 1949-1987, Catalogue Raisonné, 2nd Edition by Paul Maréchal (Prestel). Produced at nearly actual size, with photographs of the original works, along with entries detailing the story of each album, this catalogue is a compendium of sumptuous delight.

Warhol’s gift for blurring the lines between high and low art and be felt in each and every illustration he created. His best known works, the covers of The Velvet Underground and Nico (1967) and the Rolling Stones’ Sticky Fingers (1971), appear alongside lesser known works such as Monk featuring Thelonious Monk with Sonny Rollins and Frank Foster (1954) Giant Size $1.57 Each, released in conjunction with the exhibition The Popular Image at the Washington Gallery of Modern Art (1963). Taken together as a group, we can follow the thread of Warhol’s transformation from illustrator to artist, his visual vocabulary becoming more exact and extreme as his ideas take hold.

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Monk, 1954. All images © 2015 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

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

The Way We Wore: Black Style Then

Posted on June 19, 2015

1978, Newark, New Jersey. Douglas Says.

Style is a statement of individuality, of identity, and of pride. Style is the great art of living manifest by our desire to beautify, to adorn, and to express a great inner being in tangible form. Style most readily finds itself expressed through fashion, hair, and makeup, though it is also evident in the very act of documenting one’s self. To have style is to give unto the world, to share it not only in the present tense but to capture it for future generations to enjoy.

In The Way We Wore: Black Style Then (Glitterati Incorporated), Michael McCollom chronicles African-Americans fashion from the 1940s through today. Featuring snapshots of over 150 black men and women’s most unforgettable “style moments”, The Way We Wore includes personal photographs taken from the author’s own family and circle of friends, a circle of 100 fashion insiders, outsiders, and beautiful people that includes Oprah Winfrey, James Baldwin, Carmen de Lavallade, Iman, Naomi Campbell, Tyra Banks, Tracy Reese, Patrick Kelly, Kimora Lee, Bobby Short, Bethann Hardison, Tookie Smith, and Portia LaBeija, among others.

The late, great Geoffrey Holder eloquently observes in the book’s foreword, “One should not enter a room and expect ambiance; one should enter a room and become it. Those that grace the pages of The Way We Wore took that concept and ran with it. Through the reader will witness the evolution—and, in some cases, the faux pas—of fashion and design, it is in the personal flair that an individual bestows to each outfit that creates the look…. Like a yearbook, you will come back to this work again and again. Though you may not know the people personally, you will recognize them. Michael has carefully chosen pictures and people that exhibit the historical framework of African-American influence on fashion, design, and culture.”

Read the Full Story at CRAVE ONLINE

1978, Newark, New Jersey. Linwood Allen, Designer.

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Crave, Fashion, Manhattan, Music, Photography