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Posts from the “Crave” Category

Neil Leifer: Relentless

Posted on June 6, 2016

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

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

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

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

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

Kwame Brathwaite: Black is Beautiful

Posted on June 2, 2016

Photo: Untitled (Sikolo with Carolee Prince Designs). 1968, printed 2016Chromogenic print (C-print), matted and framed 11.25 x 11.25 in, 28.575 x 28.575 cm (image)

Photo: Untitled (Sikolo with Carolee Prince Designs). 1968, printed 2016Chromogenic print (C-print), matted and framed 11.25 x 11.25 in, 28.575 x 28.575 cm (image). ©Kwame Brathwaite Photo Credit: Ruben Diaz Courtesy of Cherry and Martin, Los Angeles.

“There shall be no solution to this race problem until you, yourselves, strike the blow for liberty,” Marcus Garvey (1887-1940) advised, reminding us that the power lies within. A political leader, publisher, writer, and orator, Garvey understood that words could change the world. “The pen is mightier than the sword, but the tongue is mightier than them both put together,” he rightfully observed.

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Garvey’s ideas inspired generations to embrace a Pan-African perspective of the world, invoking the spirit of the Black Power movement decades in advance. The seeds he planted took hold after his death, finding their way on to the global stage in full glory.

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Photographer Kwame Brathwaite was born in Brooklyn in 1938, to a politically active family hailing from Barbados. Together he and his brother Elombe Brath, now deceased, joined the African Nationalist Pioneer Movement (ANPM) in the late 1950s. By 1961, they created the South-West Africa Relief Committee in the South Bronx to support the fight for independence in Southern Africa. At the same time, the brothers were producing jazz concerts at legendary locales including Club 845 in the Bronx and Small’s Paradise in Harlem. Brathwaite began photographing the concerts, promoting them, and organizing cultural activities like art shows and African dance performances in tandem, dedicating himself to serving the cause.

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Photo: Untitled (Nomsa with Earrings). 1964, printed 2016Selenium tone silver gelatin print, matted and framed 15 x 15 in., 38.1 x 38.1 cm (image)

Photo: Untitled (Nomsa with Earrings). 1964, printed 2016Selenium tone silver gelatin print, matted and framed 15 x 15 in., 38.1 x 38.1 cm (image). ©Kwame Brathwaite Photo Credit: Ruben Diaz Courtesy of Cherry and Martin, Los Angeles.

Categories: 1960s, 1970s, Art, Crave, Exhibitions, Photography

Attitude: Portraits by Mary Ellen Mark, 1964–2015

Posted on May 31, 2016

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

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

 

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

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

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

Steven Hirsch: Gowanus Waters

Posted on May 26, 2016

Asteria (2014), Photo by Steven Hirsch.

Asteria (2014), Photo by Steven Hirsch.

 

The Gowanus Canal of Brooklyn is named for Gouwane, the chief of the local Lenape tribe called the Canarsee, who lived on the shorelines in the 1630s. Back then it consisted of a saltwater marshland and meadows filled with fish and wildlife, making it an ideal location for locals to live. The locale was well situated within the New York Bay, which is located snuggly between Brooklyn, Manhattan, Staten Island, and New Jersey. The newly arriving Dutch colonists immediately seized the opportunity to take ownership of their “discovery”; the Dutch government issued the first land patents in Breukelen for the area in the early 1630s, and by 1639, in one of the city’s earliest recorded real estate deals, the area was purchased for the construction of a tobacco plantation.

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Over the intervening centuries, the Gowanus Bay grew into an economic hub. In 1849, the Gowanus Canal was constructed, transforming the creek into a 1.8-mile-long commercial waterway, making it a center for maritime and commercial shipping. The neighborhoods of Carroll Gardens, Cobble Hill, and Park Slope sprang up to support the rapidly growing industrial development, including stone and coal yards, cement works, chemical plants, factories, gas plants, and sulfur producers­, all of which produced environmental pollution. The sewage in the new buildings drained downhill, directly into the Gowanus Canal, as well as being a waste channel for outside neighborhoods as well.

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Categories: Art, Books, Brooklyn, Crave, Photography

Con Cariño: Artists Inspired by Lowriders

Posted on May 25, 2016

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

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

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

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

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

Invisible Man: Gordon Parks and Ralph Ellison in Harlem

Posted on May 24, 2016

Photo: Gordon Parks. Untitled (Harlem, New York), 1952. Anonymous gift. © The Gordon Parks Foundation.

Photo: Gordon Parks. Untitled (Harlem, New York), 1952. Anonymous gift. © The Gordon Parks Foundation.

“I am an invisible man. 
No I am not a spook like those who haunted Edgar Allen Poe: 
Nor am I one of your Hollywood movie ectoplasms.
I am a man of substance, of flesh and bone, fiber and liquids
- and I might even be said to possess a mind. 
I am invisible, simply because people refuse to see me,” Ralph Ellison wrote in his 1952 novel, Invisible Man. A classic of twentieth century American literature, Ellison explores the complexity of being a black man living under Jim Crow laws in the United States.

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At the same time, one man was making visible previously unpublicized worlds, the world of African American experience. That man was photographer Gordon Parks, and the medium to reach the masses was LIFE magazine. Parks and Ellison were friends as well as comrades in the struggle, using art as a means to raise consciousness.

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Categories: Art, Crave, Exhibitions, Manhattan, Photography

Donna Ferrato: Tribeca 10013

Posted on May 23, 2016

Southern skyline of Tribeca, Tower 1, 2015.

Southern skyline of Tribeca, Tower 1, 2015.

Sometimes, the light is right and the Manhattan grid finds itself aligned with the rays of the sun as they shine down from the sky above on one tower standing alone. This is New York. Record scratch. Say what? It’s uncanny how absence becomes the presence of the erased. Once there was two. Then there was none. Now there’s one. It’s hard to know what to make of it.

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New York is a city that proves the only constant is change, and if you live here long enough, it becomes the height of surreal estate. Take the neighborhood of Tribeca, the triangle below Canal Street. By the mid-nineteenth century, it was a bustling commercial center for industrial business. But the 1960s, most businesses had left, and Tribeca emptied out into a gorgeous ghost town. Attracted to light and space, artists soon found themselves with incredible lofts for living and working. As with the path of gentrification, soon thereafter the wealthy capitalized on the developments made, turning Tribeca into downtown’s most exclusive zip code.

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Categories: Art, Crave, Exhibitions, Manhattan, Photography

Gideon Mendel: Drowning World

Posted on May 22, 2016

hoto: Francisca Chagas dos Santos, Taquari District, Rio Branco, Brazil, March 2015. From Submerged Portraits Series from Drowning World by Gideon Mendel.

hoto: Francisca Chagas dos Santos, Taquari District, Rio Branco, Brazil, March 2015. From Submerged Portraits Series from Drowning World by Gideon Mendel.

Climate change gets real when people bear witness to the facts, when stories are told and consciousness is raised, then and only then, can change take place. With an understanding of this, photographer Gideon Mendel has traveled the world for evidence. From Thailand, Nigeria, and Germany to the United Kingdom, Brazil, and the United States, Mendel has spent the past decade documenting the global magnitude of climate change.

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Using photography and video, Mendel travels the world to honor people who survived catastrophic floods. His works reveals what remains when the waters turn on you. With Mendel, survivors return to the deep flood waters that now occupy what once was their home, each one with a look of shock written on their face. So much is erased not only by the spaces, the objects, and the memories—but identity itself is submerged in the trauma of destruction.

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Categories: Art, Crave, Exhibitions, Photography

Christopher Makos: Portraits of An Era

Posted on May 21, 2016

Photo: Portraits of An Era, Polaroid Collage #1 (1975–1984), ©Christopher Makos, courtesy of Makos Studio, New York and Fahey/Klein Gallery, Los Angeles.

Photo: Portraits of An Era, Polaroid Collage #1 (1975–1984), ©Christopher Makos, courtesy of Makos Studio, New York and Fahey/Klein Gallery, Los Angeles.

Back in the early 1970s, Polaroid introduced the SX-70, a revolution in photography. Here was the medium at the height of modernity. Into a camera that snapped open and shut, film cartridges were inserted. Then the camera was aimed: point, click, and shoot—and a square-format image came sliding out. The film developed there, right before your eyes. People couldn’t hold back, they started shaking the print to make the image come in faster.

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Suddenly, a revolution was born. It was a party in a camera. It was instant gratification. And the colors—the colors were out of this world. They had nuance and depth, adding a certain touch and creating an instant patina of nostalgia, yet forever au courant.

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Categories: 1970s, 1980s, Art, Crave, Photography

Carl Strüwe: Microcosmos

Posted on May 20, 2016

Photo: Carl Strüwe. Plankton. Upper: Algae colony (Asterionella), lower: 2 Volvox colonies, 1952. Gelatin silver print, printed late 1950s 23 5/8 x 19 11/16 in. Edition 1 of 2; Titled and stamped by photographer verso. Courtesy of Steven Kasher Gallery, New York.

Photo: Carl Strüwe. Plankton. Upper: Algae colony (Asterionella), lower: 2 Volvox colonies, 1952. Gelatin silver print, printed late 1950s 23 5/8 x 19 11/16 in. Edition 1 of 2; Titled and stamped by photographer verso. Courtesy of Steven Kasher Gallery, New York.

Nearly a century ago, in 1926, the electron microscope was a brand new phenomenon that took the world by storm. With a beam of accelerated electrons, it can achieve magnifications up to 10M times in size, illuminating infinite worlds never known before. It was in that same year that German graphic designer Carl Strüwe made his first photograph through a microscope. With the eye of an artist rather than a scientist, Strüwe recorded the formal genius of Nature in all her glory, revealing the glorious rhythms, patterns, and shapes that are both biological in design and captivating in aesthetic.

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A self-taught photographer, Strüwe dedicated the next three decades of his life to Formen des Mikrokosmos (Forms of the Microcosmos), which resulted in a set of 280 microphotographs, and in a 1955 book of that name. His intensive study, which concluded in 1959, elevated microphotography to an art. In Strüwe’s work, we see a bridge to abstract art in a space mediated by Nature herself as order emerges from the chaos.

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arl Strüwe. Alga-Freshwater (Alge Spirogyra setiformis), 1928 Gelatin silver print, printed 1960s-1970s. 9 11/24 x 7 1/12 in. Edition 1 of 7; Stamped by photographer verso.

arl Strüwe. Alga-Freshwater (Alge Spirogyra setiformis), 1928 Gelatin silver print, printed 1960s-1970s. 9 11/24 x 7 1/12 in. Edition 1 of 7; Stamped by photographer verso.

Categories: Art, Crave, Exhibitions, Photography

Henry Horenstein: Tales from the 70s

Posted on May 18, 2016

Photo: “Chammie in Wool,” Newton, MA, 1974, Vintage gelatin silver print. © Henry Horenstein, Courtesy of ClampArt, New York City.

Photo: “Chammie in Wool,” Newton, MA, 1974, Vintage gelatin silver print. © Henry Horenstein, Courtesy of ClampArt, New York City.

Photographer Henry Horenstein remembers the 1970s well: “When we were in our early 20s, we didn’t have that much to do. I’d go out, drink beers with friends, I had girlfriends (or tried to get them), and I had a dog. I had a personal life. I don’t have that anymore. Life is too busy.”

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A student of Harry Callahan, Aaron Siskind, and Minor White, Horenstein has been making photographs since the early 1970s. He observes, “Over the years I’ve photographed many different types of subjects, even animals and the human form. But I’ve always returned to my roots as a documentary photographer. More than anything, I like a good story. And I try to tell one in a direct way, with humor and a punch line, if possible.”

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Read the Full Story at Crave Online

Categories: 1970s, Art, Crave, Exhibitions, Manhattan, Photography

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