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Posts from the “Exhibitions” Category

Meryl Meisler: Lost & Found: Bushwick

Posted on October 10, 2021

Meryl Meisler. The School Yard Fence Face to Face Palmetto St., Bushwick, May 1983.

When American photographer Meryl Meisler arrived in Bushwick, Brooklyn, for a job interview at I.S. 291 Roland Hayes in December 1981 she was shocked at the state of the neighborhood.

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“I got out of the subway and everything was boarded up or burned down. It looked like there was a war going on but this was a quiet time,” she recalls. “I thought to myself, ‘It’s a week before Christmas and there’s a job opening? Maybe the other art teacher was killed.’”

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Meisler, who had previously been a hostess in Manhattan’s famous go-go bars, arrived at the junior high school on Palmetto Street. The school stood at the edge of an area that had been destroyed by a devastating fire that wiped out 23 buildings that occurred just one week after the infamous 1977 blackout unleashed a wave of arson and looting across the community.

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Four years later, Bushwick remained in dire straights with 45% of the population living below the poverty level. “I later found out it had one of the highest vacancy rates in the city — people were leaving,” says Meisler.

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Read the Full Story at Huck

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Meryl Meisler. Boyz To Men Palmetto St., Bushwick, October 1982.
Meryl Meisler. Knickerbocker Ave., Bushwick, Brooklyn, June 1982
Categories: 1980s, Art, Books, Brooklyn, Exhibitions, Photography

Ruth Orkin: The Centennial

Posted on October 1, 2021

People lying on Tanglewood Lawn, Lenox, Massachusetts, 1948 © Ruth Orkin

At the age of 17, Ruth Orkin (1921–1985) decided to ride a bicycle from Los Angeles to New York in order to attend the 1939 World’s Fair. She made the trip in a matter of three weeks, photographing her journey along the way — a singular feat that spoke to Orkin’s ability to realize her greatest ambitions.

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“Ruth had a big personality. She was very charismatic,” says her daughter Mary Engel, Director of the Ruth Orkin Photo Archive, who is honoring the centennial of her mother’s birth with the new book Ruth Orkin: A Photo Spirit and exhibition “Ruth Orkin: Expressions of Life”. Working across genres, Orkin created a singular archive of mid-twentieth century life, capturing a feeling of optimism that defined the modern. Orkin’s empathic eye found its home whether photographing celebrities or strangers she encountered on the street.

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Although Orkin was an unconventional mother, telling her children Mary and Andy to call her “Ruth” so she could hear them in a crowd, she never put work above her family. Although she always carried a camera around her neck, Orkin brilliantly integrated her practice into every aspect of her life to avoid any sense of intruding upon those she loved.

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Read the Full Story at Blind

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Geraldine Dent, Cover of McCall’s, New York City, 1949 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2021
Famous Malted Milk, New York City, 1950 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2021
Categories: Art, Blind, Books, Exhibitions, Manhattan, Photography, Women

Gillian Laub: Family Matters

Posted on September 29, 2021

Gillian Laub, Grandpa helping Grandma out, 1999, from Family Matters (Aperture, 2021). © Gillian Laub

On a brisk winter afternoon in 1999, Jewish-American photographer Gillian Laub stepped onto the streets of New York’s Upper East Side to enjoy a cigarette in between classes at the International Center of Photography. As she stood there, a Norwegian classmate spotted a gaggle of older women adorned in lavish furs and brightly colored lipstick walking down the block. He found them vulgar and called them as much. Gillian nodded along — until recognition struck.

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“Gillian, oh my gawd, what are you doing up here?” her grandmother Bea screamed, the thick Bronx Yiddish accent filling the air like the full-bodied parfum of a potato knish served up piping hot from a sidewalk cart. Bea, accompanied by Gillian’s mother and her Aunt Phyllis, enveloped her with an effusive display of hugs and kisses, before rejoining a larger group of ladies making their weekly Upper East Side art crawl.

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Gillian felt embarrassed, then defensive, wanting the Scandinavian student to understand and perhaps empathize with her family’s rags to riches story; their exuberant show of wealth — like their extravagant displays of affection — was evidence of their fierce determination to overcome prejudice and discrimination. Gillian fought back the urge to explain how a series of anti-Semitic pogroms during the Russian Revolution of 1905 split both sides of her family apart. Her great-grandparents fled Ukraine and headed to distant shores, arriving in the US in the early 20th century to make a better life for themselves.

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Read the Full Story at i-D

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Gillian Laub, Chappaqua backyard, 2000, from Family Matters (Aperture, 2021). © Gillian Laub
Categories: 1990s, Art, Books, Exhibitions, i-D, Photography

DASHCAM – Dash Snow: Photographs of Life

Posted on September 24, 2021

Dash Snow. Untitled (Jade and Secret Nest), 2007.

A mythic figure in every sense of the word, Dash Snow evoked the romantic archetype of the rebel who sacrificed everything, including, ultimately, his own life. A member of the 27 Club, Dash died from a drug overdose in 2009, just as his star was on the rise. 

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Born Dashiell Snow on the 27th of July 1981, Dash was the great-grandson of French aristocrats and art collectors Dominique and John de Menil, founders of the Menil Collection museum and the Rothko Chapel, a chapel and work of modern art home to 14 paintings by Mark Rothko, both in Houston. An anti-authoritarian to the core, Dash rebelled against his parents and was sent away to a boarding school for troubled youth. After getting out, he fled to New York during the 1990s and 00s — the last gasp of the city’s once-legendary libertine age — and quickly fell in with the city’s demi-monde.  

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As a member of the legendary graffiti crew IRAK, Dash was an integral figure on the downtown scene. His exploits became the stuff of legend alongside a wild cast of characters. The quintessential renegade, Dash embodied the ethos of sex, drugs, and rock ‘n’ roll as he charted his way from the upper echelons of society to the streets, refusing to play by the rules. But the very world he disdained loved him for his insouciance, catapulting him to art star for his antics — like sperm and glitter-encrusted collages of Saddam Hussein or the “hamster nests” whereby rooms would be entirely destroyed, made ritualistically with friend Dan Colen in hotels and later galleries. 

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In what would have been his 40th year, Morán Morán and the Dash Snow Estate have organized DASHCAM – Dash Snow: Photographs of Life, the artist’s first posthumous gallery exhibition in the United States. Guest curated by Matthew Higgs, director and chief curator of White Columns, New York, the exhibition focuses on Dash’s lesser-known black-and-white 35mm photography.

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Read the Full Story at Blind

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Dash Snow. Untitled (Self-portrait in Bedroom), 2008.
Dash Snow. Untitled (Gang Gang Dance), 2006.
Categories: 1990s, Art, Exhibitions, i-D, Manhattan, Photography

Pat Kane: Here is Where We Shall Stay

Posted on September 21, 2021

Pat Kane. A dog walks near the Catholic Church of the Holy Family in Łutsël K’é, Northwest Territories. The church was built near the present day settlement in the 1930s and moved to its current location at the tip of the peninsula – one of the tallest and most recognizable structures in the community.

An Algonquin Anishinaabe member of the Timiskaming First Nation, Canadian photographer Pat Kane was raised in a mixed-race home. “My mother was born on a reservation in Quebec and my father grew up in an Irish immigrant family,” he says.

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“It wasn’t until I moved to Yellowknife [in the Northwest Territories] that I reconnected with my Indigenous side. The people here are so proud of their culture and their elders. That was a turning point for me.”

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Photography provided Kane with a path to explore his identity by documenting the lives of the local Indigenous community, who are related to the Dene people of the Navajo Nation. Although Kane isn’t from their nation, his work over the past 20 years has established a bond of trust, understanding and respect.

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Read the Full Story at Huck

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Pat Kane. Instant photos of Terri Enzoe, Jaysen Michel and Jennifer Michel cover an archive photo of students and missionaries of the Chief Julius residential school in Teet’lit Zheh (Fort McPherson). Terri, Jaysen and Jennifer are land and water protectors from Łutsël K’é, working as part of the Ni Hat’ni Dene Guardians to preserve their homelands.
Pat Kane. Sage burns in a smudging bowl on Lila Fraser Erasmus’ dining room table. “We’re connected to the land, it is part of who we are as people, we are inseparable from it,” she says. “Our traditional medicines have strong healing powers – sage, spruce tips, chaga, fireweed, rat root – all of these plants we find on the land can help us with common sicknesses to serious diseases. If you take something from the land, it has to be picked with good intentions or else it won’t work. This is a very spiritual process for us.”
Categories: Art, Exhibitions, Huck

Jill Freedman: Street Cops 1978-1981

Posted on September 8, 2021

NYPD Police officers stop and search a car in Midtown Manhattan, New York City, 1979. (Photo by Jill Freedman/Getty Images)

By 1975, New York City was $11 billion dollars in debt. Teetering on the brink of bankruptcy, the city could no longer afford to maintain basic municipal services. Enraged about proposed budget cuts, unions representing the New York Police Department (NYPD) and the New York Fire Department (FDNY) created a pamphlet titled “Welcome to Fear City: A Survival Guide for Visitors to the City of New York,” which they passed out at local airports and hotels. On the cover, a black hooded skull smiled menacingly; inside were a list of nine “safety” tips for tourists such as “Stay off the streets after 6 P.M.” and “Remain in Manhattan.” 

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Unsuspecting recipients had no idea they were caught in a propaganda war waged against Mayor Abe Beame, who took the battle to court and secured a temporary restraining order to protect the “economic well-being of the city”. But the image of New York had already taken a nosedive as Hollywood and the media capitalized on the gritty glamour of a city struggling to survive. 

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Taking a page from the new wave of neo-realist Hollywood films, including The French Connection and The Taking of Pelham 1 2 3, the Fear City pamphlet cast New York as a den of sin, doomed but for the heroism of the boys in blue. Copaganda, as it is popularly known, is a long-standing American trope, one which found increasing popularity with the arrival of television in the 1950s with shows like Dragnet, Naked City and Peter Gunn. 

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By the 1970s, copaganda was everywhere, slickly produced to package violence to the masses. American photographer Jill Freedman (1939–2019) was not impressed. “I hate the violence you see on TV and in the movies. I wanted to show it straight, violence without commercial interruption, sleazy and not so pretty without its make-up,” she wrote in the introduction to her 1982 monograph Street Cops, which is being republished and exhibited this month.

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Read the Full Story at i-D

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A group of boys sit on a police patrol car in Alphabet City, New York City, 1980. (Photo by Jill Freedman/Getty Images)
Two drug dealers are arrested on 42nd Street, New York City, 1979. (Photo by Jill Freedman/Getty Images)
Categories: 1970s, 1980s, Art, Books, Exhibitions, i-D, Manhattan, Photography

Ernest C. Withers: I’ll Take You There

Posted on August 30, 2021

Double Exposure of a Nighttime March © The Ernest C. Withers Family Trust; courtesy of Fahey/Klein Gallery, Los Angeles

Working at a time when mainstream American publications rarely hired Black photographers,Dr. Ernest C. Withers, Sr. (1922 – 2007) made a way. His work, on view in the exhibition “I’ll Take You There” and new book The Revolution in Black and White: Photographs of the Civil Rights Era by Ernest C. Withers (CityFiles Press) provides a look at Black life in the American South during the height of Civil Rights Movement.

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Hailing from Memphis, Tennessee, Williams became one of the first nine Black police officers to join the force in 1948 after serving in the Pacific Theater during World War II. Although Withers was given a uniform, patrol car, and gun, he was forbidden to patrol white communities or arrest white folks. His power was proscribed strictly within the confines of Black Memphis, during the height of segregation.

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Off duty, Withers photographed the same community, documenting the fabled Beale Street music scene, the birthplace of Memphis Blues icons like B. B. King. After getting caught selling liquor illegally, Withers left the force to work as a freelance photographer. He shot for the Tri-State Defender, the Memphis offshoot of Chicago’s famed Black newspaper and legendary photo magazines Ebony and Jet, while also working as Stax Records’ official photographer for 20 years.

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Withers’ business cards bore the slogan “Pictures Tell The Story” — a philosophy he used over the course of six decades to create more than one million images. But it wasn’t until years after his death that the bombshell dropped — documents revealed Withers worked as a paid FBI informant.

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Read the Full Story at Blind

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Ernest Withers’s Beal Street Studio © The Ernest C. Withers Family Trust; courtesy of Fahey/Klein Gallery, Los Angeles
Categories: 1960s, 1970s, Art, Blind, Books, Exhibitions, Photography

Hannah Wilke: Art for Life’s Sake

Posted on August 15, 2021

Hannah Wilke with Ponder-r-rosa 4, 1975

Long before the selfie came into vogue, American artist Hannah Wilke (1940–1993) understood the importance of harnessing the power of self-representation through photography. At the tender age of 14, the native New Yorker donned her mother’s mink stole, white pumps, and nothing else to pose for a self-portrait in front of a wall bearing her birth name, Arlene H. Butler — lest anyone not know exactly who she was.

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“I become my art, my art becomes me…. My heart is hard to handle, my art is too,” Wilke wrote in a letter published in the 1975 book, Art: A Woman’s Sensibility(California Institute of the Arts). With the understanding that a woman laying claim to her own body was a transgressive act, Wilke rose to prominence doing just that. Working as a photographer, sculptor, video artist, and performance artist who turned the female gaze on herself, Wilke’s art acted as a Rorschach Test — admiration and criticism revealing more about the viewer than the art itself.

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Emblematic of the revolutionary times in which she lived, Wilke emerged from the 1960s with a practice that reshaped the conversation about the relationship between feminism, art, and the role of women in society just as the Women’s Liberation Movement took off. She used her work to establish an iconography that centers the female body and pleasure at a time when such topics were taboo and largely excluded from the male-dominated provenance of art history.

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Read the Full Story at Blind

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Hannah Wilke: Intercourse with… audio installation cover, 1975
Categories: 1960s, 1970s, 1980s, 1990s, Art, Blind, Exhibitions, Photography

Stephan Erfurt: On the Road

Posted on August 6, 2021

Stephan Erfurt. New York Bridges, 1988.

German photographer Stephan Erfurt fell in love with photography in 1978 while exploring the streets of Paris with his father’s camera. Alone in the city and still learning French, the camera gave him courage and confidence, inspiring him to become what he describes as a “visual explorer”.

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Erfurt stayed true to this approach when he moved to New York City’s infamous Alphabet City in 1984. “Our back window faced a burned down house and our front window looked toward Tompkins Square Park where a lot of drug dealing was going on,” says Erfurt, who grew up in a small town in North Rhine-Westphalia. 

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Although it was quite a change of scenery, the photographer found an oasis nestled away in the building’s roof garden. “We spent many evenings there with friends, having barbecues, drinking gin and tonics, and with our heads in the clouds above New York,” Erfurt remembers. 

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Read the Full Story at Huck

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Stephan Erfurt. Wall Street New York, 1985.
Categories: 1980s, Art, Exhibitions, Huck, Manhattan, Photography

Roland L. Freeman: Portfolio

Posted on August 6, 2021

Roland Freeman. Community Elders, Mississippi, 1975

Now age 85, award-winning photographer Roland L. Freeman’s photography career began on August 28, 1963, when he borrowed a camera from a friend to photograph the March on Washington. 

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“I really wanted to say something about what was going on. I chose photography as my vehicle,” he says. The new exhibition, Roland L. Freeman: Portfolio, looks back at the artist’s extraordinary archive of work documenting Black America during the 1960s, ‘70s, and ‘80s.

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Born in Baltimore and raised in rural Maryland, Freeman grew closely involved in the Civil Rights Movement after he unexpectedly joined his first march while taking his grandmother to buy a new dress for Mother’s Day.“There were protests held outside a Baltimore department store because Black women weren’t allowed to try on dresses,” Freeman remembers. “My grandmother said, ‘Give me one of those signs. I’m sick of this crap!’ That started it, and I’ve never looked back.”

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Read the Full Story at Huck

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Roland Freeman. Hallway of Polk Home, Americus, GA, 1971
Categories: 1960s, 1970s, Art, Exhibitions, Huck, Photography

Rick Castro: Reformation

Posted on August 6, 2021

Rick Castro. Portrait of De’ Ephrim Manuel 2015.

Vincent van Gogh observed, “Art is to console those who are broken by life” — a sentiment befitting the struggles of the current moment, as people attempt to establish an approximation of normalcy while the pandemic continues to rage. For photographer Rick Castro — better known as “The Fetish King” — art has provided sustenance and stability during this devastating time that hit him hard when Los Angeles went into lockdown in March 2020. 

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As businesses shuttered, people panic-shopped and store shelves were left bare; searching for some semblance of understanding, Rick began perusing the web from the safety of his East Hollywood home. “I would go on the newly formed COVID map, and there were cases surrounding me,” Rick says. “I felt like I was living in that Vincent Price movie, The Last Man on Earth, which became I Am Legend. I felt like that was going to be our destination — the final result.”

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For many, 2020 was a period of collapse, of endings both literal and figurative. “I had no work,” recalls Rick, who had been organising a career retrospective at a Chinatown gallery that soon closed permanently. “In a week, everything I was working on that year came to an end. I applied for assistance and got turned down for most things; the few I got kept me going, but there was a time where I felt like I was going to lose my home.”

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Feeling trapped, Rick knew he needed to escape. He headed to a little cabin that his father built in the late 1960s on a 2.5-acre property in the high desert of San Bernardino County. “It was in the middle of nowhere,” he says. “It was very bare-bones: no air conditioning and no central heat. There was no wifi. I had to use my cell phone as a modem, but that ran out way too quickly. I was really in seclusion, but I loved it. It gave me respite to relax and repair. I immersed myself in writing a daily journal on my blog that I called The Plague Diary: This Is How the World Will End.”

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Read the Full Story at i-D

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Rick Castro. Apocalyptic Culture 2020.
Categories: 1980s, 1990s, Art, Exhibitions, i-D, Photography

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