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Posts from the “Huck” Category

Janette Beckman & Cey Adams: The Mash-Up

Posted on November 27, 2018

Top: Janette Beckman | LADY PINK. Queen Latifah, New York City, 1990/2016

In the years leading up to the birth of hip hop, graffiti was sweeping the streets of New York and Philadelphia, reinventing itself on the cusp of a new millennium. No longer was it mere inscriptions from anonymous hands, but an emerging world filled with charismatic characters who took style to a level never before seen.

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As tags hit the street and masterpieces appeared on the trains, graffiti’s vibrant style, innovative aesthetics, and transgressive nature made it the natural visual expression of a new DIY culture coming into its own. In the 45 years since Kool Herc began spinning breaks, graffiti and hip hop have linked up to collaborate in countless ways; perhaps most famously in the culture first feature film, Wild Style. The film starred some of the scene’s most influential writers at the time, including Lee Quinoñes, LADY PINK, ZEPHYR, and CRASH – each of whom were recently invited by artist and graphic designer Cey Adams to bring their talents to The Mash Up: Hip-Hop Photos Remixed by Iconic Graffiti Artists (Hat and Beard Press).

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The Mash-Up is the brainchild of Adams, the former Creative Director of Def Jam, and British photographer Janette Beckman, whose portraits of hip hop’s greatest stars have graced countless album covers, magazines, and newspapers since she first encountered the artists in 1982. Here, some of the finest to ever wield spray can and marker remake Beckman’s classic images of everyone from Run DMC, Slick Rick, and Salt-N-Pepa to Grandmaster Flash, Queen Latifah, and Big Daddy Kane.

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Read the Full Story at Huck Online

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Janette Beckman | Claw Money. Salt-N-Pepa, New York City, 1987/2014

Categories: 1980s, 1990s, Art, Books, Graffiti, Huck, Music, Photography

Nathan Benn: A Peculiar Paradise

Posted on November 25, 2018

Sugar cane cutters from Jamaica prepare to go home after harvest season, Miami International Airport. © Nathan Benn

The image of Florida is a curious mélange of palm trees and sandy beaches, gators and golfers on the green, and something darker lying in wait, ready to take the bait — best known to in the headlines as “Florida Man.” Peel back the cheerful veneer of “the happiest place on earth,” and what you find is something far more unusual.

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Perhaps it is the draw of living in the Sunshine State that has cast Florida as the dream destination for people living across the Americas. “Whether they were snowbirds moving from the north into retirement or whether they were refugees, economic or political, from the Caribbean, Florida has always had this allure as a place of opportunity,” says Florida native Nathan Benn, who is showing photographs from his new book A Peculiar Paradise (powerHouse) at HistoryMiami Museum this winter.

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“This is not like any other celebration of the state: other Florida picture books have sunsets, palm trees and beaches, and pink stucco,” Benn adds. Here, we have everything from Dundee’s 5th Street Gym, where Muhammad Ali famously trained, to Benn’s work with Frank White (a.k.a. “Dirty Harry”) at the Drug Enforcement Agency during the early days of the Drug War.

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Drawing from an archive of more than 27,000 photographs taken of his home state while photographing for National Geographic Magazine over a period of 20 years, A Peculiar Paradise is a love letter to a most unusual land.

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Read the Full Story at Huck Online

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Sully Emmett collected the gym’s membership dues. 5th Street Gym, Miami Beach, 1981. © Nathan Benn

Fountainbleau Hotel, Miami Beach. © Nathan Benn

Categories: 1980s, Art, Books, Exhibitions, Huck, Photography

Marisa Scheinfeld: The Borscht Belt

Posted on November 25, 2018

Postcard, The Concord Hotel, Kiamesha Lake, NY, Undated.

The Borscht Belt, otherwise known as the Jewish Alps, was America’s premier getaway during the 20th century. Established in response to abject displays of anti-Semitism nationwide, the Borscht Belt consisted of resort hotels bungalow colonies, summer camps, and boarding houses nestled into the Catskill Mountains of New York state.

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At its height, the Borscht Belt was the height of a glamour all it’s own — an all-inclusive vacation replete with indoor and outdoor pools, golf, tennis, skiing, ice-skating, dance, and live entertainment from no less than Mel Brooks, Joan Rivers, Billy Crystal, and Rodney Dangerfield. While many Jewish-Americans born before the ’80s know the area well, the 1987 film Dirty Dancing became the cultural touchstone for all who had never lived it for themselves.

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But like the Rust Belt, the Borscht Belt has disappeared, lost to the massive socioeconomic shifts that have taken place in recent years. For photographer Marisa Scheinfeld, the shift quite literally hit home.

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Read the Full story at Huck Online

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Lobby, Grossinger’s Catskill Resort and Hotel, Liberty, New York. © Marisa Scheinfeld

Poker chips and cards, Grossinger’s Catskill Resort and Hotel, Liberty, New York. © Marisa Scheinfeld

Categories: 1960s, 1970s, 1980s, Art, Books, Huck, Photography

Adrian Boot: Bass Culture 70/50

Posted on November 14, 2018

Sound System – DJ’s at Notting Hill Carnival – 1979

Notting Hill Carnival 1979. © Adrian Boot

“I didn’t start life as a photographer,” Adrian Boot says with a laugh. “I stayed at university as long as I could – as everyone else did in those days – and then I went to Jamaica to teach physics for about three years. I took up photography as a hobby, and ran into people like Bob Marley and Burning Spear.”

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Boot got his first paying gig when the Rolling Stones were in town to record Goats Head Soup at Dynamic Sounds Studios, through his friend Michael Thomas. When Boot returned to the UK, he collaborated with Thomas once again on the 1977 book Jamaica: Babylon on a Thin Wire, now in its fourth printing.

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The book was a powerful document of Jamaica in the early ’70s, showing the emergence of reggae music within the larger landscape of politics, violence, and poverty. Suddenly the media took notice, and editors from NME, The Melody Maker, Sounds, Rolling Stone, and the Village Voice were on the phone, giving Boot assignments to shoot the emerging reggae scene in the UK.

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“I decided to delay going back into teaching and have a sabbatical just taking photographs — and I am still having that sabbatical,” Boot says. “Now I am 72. I have been doing it for a lifetime, and I always expected it to fade out but it didn’t. Then I started to work for Island Records, and then Bob Marley came along and started to have success. The rest is history.”

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Read the Full Story at Huck Online

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Specials Live in Montreux 1980. © Adrian Boot

Coxsone International Sound System – Clement Dodd with the microphone. © Jean-Bernard Sohiez

Categories: 1970s, Art, Exhibitions, Huck, Music, Photography

Ryan McGinley: Mirror Mirror

Posted on November 7, 2018

Dick, 2018. © Ryan McGinley, Mirror Mirror (Rizzoli Electa)

The self that we present to the world is groomed, clothed, and adorned. In the mirror, we preen and pose– much in the same way we might do a for a photograph. But what if all that frippery was stripped away?

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This is the question American photographer Ryan McGinley explores in his new conceptual book Mirror Mirror (Rizzoli Electa). Over a two year period that began in Spring 2016, McGinley invited 100 friends to participate in a project that would require them to take nude self-portraits taken inside their New York City homes. He provided 15 door-sized mirrors, a camera and five rolls of film, and let them run free. As the project progressed, McGinley reviewed the contact sheets, refining the instructions to bring out his subjects’ best, before making the final selection of images for the book.

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The self-portraits, titled only by first name (and last initial at times), take anonymity and intimacy to newfound heights. Viewers feel a sense of exploration, experimentation, and discovery that lead to the moment these images were made.

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Read the Full Story at Huck Online

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Jade, 2018. © Ryan McGinley, Mirror Mirror (Rizzoli Electa)

Categories: Art, Books, Huck, Photography

Down These Mean Streets: Community and Place in Urban Photography

Posted on November 2, 2018

John M. Valadez, Brooklyn and Soto, from the East Los Angeles Urban Portrait Portfolio, ca. 1978

In the years following World War II, America’s Latinx communities were becoming increasingly marginalised and misrepresented. The Latinx immigrants joined African Americans who fled the South during the Great Migration, one of the largest, most rapid movements in history. Cities became the point of arrival for millions of migrants, who entered into established communities where their cultures took root, such as Spanish Harlem, the South Bronx, and East Los Angeles.

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Many of their stories have largely gone untold, and E. Carmen Ramos, Smithsonian American Art Museum’s deputy chief curator and curator of Latino art, aims to correct this. In Down These Mean Streets: Community and Place in Urban Photography, Ramos has organised the work of 10 Latinx photographers – Manuel Acevedo, Oscar Castillo, Frank Espada, Anthony Hernandez, Perla de Leon, Hiram Maristany, Ruben Ochoa, John Valadez, Winston Vargas, and Camilo José Vergara – who documented their communities as insiders.

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Read the Full Story at Huck Online

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John M. Valadez, Couple Balam, from the East Los Angeles Urban Portrait Portfolio, ca. 1978

Camilo José Vergara, 65 East 125th Street, Harlem, 1977

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

Stephane Raynor: All About the BOY

Posted on October 25, 2018

BOY Poster designed by Peter Christopherson 1978

In 1976, Stephane Raynor opened BOY on King’s Road, and it quickly became the Mecca for the punk scene that was taking London by storm. The store created a cohesive brand identity long before anyone was thinking on those terms, drawing its name from provocative tabloid headlines like “Boy Stabs PC” and “Boy Electrocuted at 30,000 Volts,” which had been clipped and hung as décor.

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“The ‘70s were awesome. I didn’t know what the fuck I was doing, but the world knew I’d arrived,” recalls Raynor. “Imagine a wasteland of a city like London where we could do whatever we wanted. There was no capitalism and that was fine for a small bunch of renegades like us.”

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“I was an art anarchist. I didn’t believe in much. I wanted to create and destroy at the same time. I was living in a bubble, taking everything in around me but not knowing if I would succeed or crash and burn —and for some reason, it didn’t matter. I had no fear of consequences.”

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Read the Full Story at Huck Online

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Punks at the Roxy, London, 1977 Photo by Derek Ridgers

Categories: 1970s, 1980s, 1990s, Books, Fashion, Huck, Music, Photography

Mike Miller: California Love

Posted on October 18, 2018

Tupac, 1994. © Mike Miller

A fourth generation native of Los Angeles, photographer and director Mike Miller has been repping the West Side since the early ’70s. His story reads like a Hollywood film: a young upstart who went on to find his calling in art – with no less than supermodel Linda Evangelista gifting him his first camera, a Nikon F2, formerly owned by Peter Lindbergh.

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Yet it’s not the gloss of high fashion for which Miller is best known. Instead, it’s the grit, glory and glamour of the LA hip hop scene – a legacy that’s being celebrated in new exhibition California Love, currently on view at M+B Photo in Los Angeles.

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Growing up in Hollywood, Miller and his brothers got into enough trouble for his mother to pack the family up and head out to Santa Monica when he was 12. Living on the beach changed his life. “I wanted to be a director, with no clue how to get there,” he recalls. “Some of my neighbours were big producers and they put me on at Warner Brothers and Fox Studios when they started as 20th Century Fox. My friends from the beach were 50, 60 years old and I was like 15 but they were my bros. We connected on different levels because back in the day, that’s the way it was.”

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Read the Full Story at Huck Online

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Amazing Grace, 2011. © Mike Miller

Categories: 1980s, 1990s, Art, Exhibitions, Huck, Music, Photography

Guadalupe Rosales: Legends Never Die, A Collective Memory

Posted on October 15, 2018

Photographer unknown, Mind Crime Hookers party crew on 6th Street Bridge, Boyle Heights, 1993. Courtesy Guadalupe Rosales.

“The word legend means to create stories we have to tell,” observes Chicanx artist Guadalupe Rosales. “When I think about my ancestors, this is something that has passed on as someone who is Mexican. We keep these people and loved ones close to us through their stories and legends.”

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Passing down stories, traditions, and hard-won lessons from one generation to the next, Rosales has built a vernacular archive of ’90s Chicanx culture and history – selections of which are currently on view in Legends Never Die, A Collective Memory at Aperture Gallery, New York, as well as in Los Angeles (Aperture Magazine, Fall 2018).

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Her story begins when, at the age of eight, Rosales and her family moved to a home in East Los Angeles that faced The Boulevard, a historic street where teens had been linking up since the ’60s. Rosales fondly recalls, “hanging out, watching from the window when I was 11 or 12 before I was allowed to do these things – and seeing the beautiful cars, the men and women getting to know each other, exchanging phone numbers. As I got older and was able to go out that was something that got passed down to me and my sisters.”

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Read the Full Story at Huck Online

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Photographer unknown, Guadalupe Rosales’s cousin, Ever Sanchez (right), and unidentified woman, East Los Angeles, 1995

Shrine to Ever Sanchez, Guadalupe Rosales’s studio, 2018; Photograph by Mike Slack for Aperture

Categories: 1990s, Art, Exhibitions, Huck, Photography

Deana Lawson

Posted on October 10, 2018

Deana Lawson, Oath , 2013; from Deana Lawson: An Aperture Monograph. © Deana Lawson / courtesy Rhona Hoffman Gallery and Sikkema Jenkins & Co.

Deana Lawson’s photographs embody the realm of myth, a space where the divine and mortal realms merge. They centre around the subjects of family, spirituality, sexuality, and intimacy within the black experience, in the US, the Caribbean, and Africa. She credits Carrie Mae Weems and Renee Cox for piquing her interest in documenting issues of race and identity, as well as cultivating a nuanced conversation around black aesthetic in both art and daily life.

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Now living in Brooklyn, Lawson draws inspiration from everything – from vintage nudes, juke joints and acrylic nails, to fried fish, lace curtains, the Notorious B.I.G. and thrift shops. Her large-scale photographs are extremely formalist and meticulously staged, but they’re also profoundly intimate studies of black life around the globe today.

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Her first monograph, Deana Lawson (Aperture), presents 40 key works made over the past decade in the US, the Caribbean, and Africa. A selection of 13 photographs and a new film will be on view in Deana Lawson, the new exhibition opening at the Underground Museum in Los Angeles on October 12, 2018.

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Read the Full Story at Huck Online

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Deana Lawson, Nikki’s Kitchen , 2015; from Deana Lawson: An Aperture Monograph. © Deana Lawson / courtesy Rhona Hoffman Gallery and Sikkema Jenkins & Co.

Categories: Africa, Art, Books, Exhibitions, Huck, Photography

Dawoud Bey: Seeing Deeply

Posted on October 8, 2018

Three Women at a Parade, Harlem, NY, 1978. © Dawoud Bey

Martina and Rhonda, Chicago, IL, 1993. © Dawoud Bey

Ar the age of 16, New York native Dawoud Bey traveled from his home in Queens to see Harlem on My Mind: Cultural Capital of Black America, 1900–1968, the controversial exhibition that opened at the Metropolitan Museum of Art in 1969.

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As he gazed upon the portraits that James Van Der Zee made during the Harlem Renaissance, Bey recognised the profound power of the photograph to become both a repository for communal memory and a portal into another era – one that informs the way we live and think today.

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This innate understanding of the portrait at a young, formative age, provided the foundation upon which he has built a tremendous, transformative body of work. Over the past half a century, Bey’s photographs have become both art and artifact, evidence and testimony, document of the moment and letter to the future.

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Read the Full Story at Huck Online

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A Boy in Front of the Loew’s 125th Street Movie Theatre, Harlem, NY, 1976. © Dawoud Bey

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Huck, Photography

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