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Posts from the “Huck” Category

Collier Schorr: Stonewall at 50

Posted on June 26, 2019

Chella Man © Collier Schorr, courtesy of the Alice Austen House

In the early hours of June 28, 1969, homeless LGBTQ teens, trans women of color, lesbians, drag queens, gay men, and allies faced down the police during a raid at New York City’s Stonewall Inn – kicking off a rebellion on the streets of Greenwich Village and igniting the global Gay Liberation Movement.

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Half a century after this historic uprising, American photographer Collier Schorr pays homage to 15 leading intergenerational LGBTQ activists and artists – including Eileen Myles, Zackary Drucker, and Judy Bowen – in a series of black and white portraits now on view in Stonewall at 50.

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Native New Yorker Karla Jay was an early member of the Gay Liberation Front (GLF). “Stonewall came along in this age of rebellion against societal norms,” she says. “There were so many things happening in 1969: the Civil Rights Movement, the Black Panthers, the Young Lords, and the Women’s Movement. I was a radical feminist and belonged to a group called Redstockings. We didn’t invent rebellion, but we ran with it because we were sex radicals.”

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Read the Full Story at Huck Online

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Agosto Machado © Collier Schorr, courtesy of the Alice Austen House

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

Urban Impulses: Latin American Photography from 1959 to 2017

Posted on June 26, 2019

Pablo Ortiz Monasterio. Flying low, Mexico City, 1989 © Pablo Ortiz Monasterio Courtesy of the artist

“I am not a liberator,” said Ernesto “Che” Guevara in 1958, just one year before the Cuban Revolution transformed the landscape of Latin America. “Liberators do not exist. It exists when people liberate themselves.”

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This historic movement for independence from western imperialism marks the starting point of the new exhibition Urban Impulses: Latin American Photography from 1959 to 2017. Curated by María Wills Londoño and Alexis Fabry, the show features more than 200 works by over 70 artists; including masters of the medium Alberto Korda, Graciela Iturbide, Sergio Larrain, as well as lesser-known artists such as Enrique Zamudio, Beatriz Jaramillo, and Yolanda Andrade.

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“The purpose of the show is to bring a counterpoint to Latin American photography beyond gazes that have an exoticising point of view,” says Londoño. “We want to introduce new perspectives focusing on the chaos and crisis of utopian models of modernity.”

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Read the Full Story at Huck Online

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Álvaro Hoppe. Calle Alameda, Santiago, 1983

Categories: 1960s, 1970s, 1980s, 1990s, Exhibitions, Huck, Latin America, Photography

Roger Gastman: Beyond the Streets

Posted on June 20, 2019

Lil’ Crazy Legs during shoot for Wild Style. Riverside Park NY, 1983. Photo Martha Cooper

Graffiti first emerged on the streets of New York and Philadelphia half a century ago as marker tags by young teens with a desire to make their mark. A new art form emerged, and from it styles bloomed, transforming the age-old desire to mark our territory in the most literal way.

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Graffiti hit like a bomb, leaving cities covered with the most electric kind of public art: one done for love, not money, at the risk of arrest, fines, and imprisonment. It spread from city to city like a virus through movies like Wild Style and Style Wars, books like Subway Art, and art exhibitions dating back to 1973. It inspired generations of artists from all around the globe to create, innovate, and leave their mark on society in a manner that was nothing short of in your face.

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Although New York has largely been scrubbed clean of the art form it unleashed upon the world, “it is still considered the number one graffiti tourism destination,” says Roger Gastman, curator of Beyond the Streets. The exhibition features hundreds of large scale works by over 150 contemporary artists, including Charlie Ahearn, Jean-Michel Basquiat, Henry Chalfant, Martha Cooper, the Guerilla Girls, Eric HAZE, Jenny Holzer, Barry McGee, and Dash Snow.

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Read he Full Story at Huck Online

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Style Wars car by NOC 167 with door open, man reading newspaper. 96th Street Station, New York, NY, 1981. Photo Martha Cooper

Categories: 1970s, 1980s, 1990s, Art, Exhibitions, Graffiti, Huck, Photography

Motherward, 1985: Photographs by Elbert Howze

Posted on June 14, 2019

© Elbert D. Howze

A few months after Elbert D. Howze died in 2015, his widow Barbara Howze paid a visit to the Houston Centre for Photography. The photographer had requested that his archive was donated to the centre, and she wanted to honour his final wishes.

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Director and curator Ashlyn Davis remembers Mrs. Howze’s distress after learning that the Centre was not a collecting institution. “She said, ‘But I have a whole trunk full!’ So we went and got six portfolio boxes with hundreds of photos,” Davis recalls.

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That summer, Davis went through the boxes and discovered a spiral-bound maquette for a photo book Howze had titled Fourth Ward. The book featured a collection of portraits made 1985 of the residents of Freedmen’s Town, a historically black community founded in 1866 by people finally liberated from the shackles of chattel slavery.

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Rather than move north, residents built at least 558 settlements that formed the heart and soul of black Houston. Originally built on swamps no one wanted, Freedmen’s Town occupied prime real estate in the centre of the city – and in due time began attracting developers and gentrifiers who wanted a stronghold downtown as the city began to rapidly expand during the 20th century.

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Read the Full Story at Huck Online

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© Elbert D. Howze

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

Vivien Goldman: Revenge of the She-Punks

Posted on May 29, 2019

Debbie Harry, London 1979. © Janette Beckman

Vivien Goldman still remembers what it was like to be the only woman in the room when she began working as a music journalist in London during the early 1970s. “My whole generation was very into music and there was a very vibrant music press known as ‘the inkies,’” Goldman recalls.  “It’s a relic now, but it was started by young rebels.”

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“There were hardly any women in the field. When you look back it’s insane. I remember big battles at editorial meetings. There was real hostility to my ideas of covering more women and encouraging women. People would say things like, ‘Women don’t make music. Women aren’t into music.’ I was like, ‘Look at me! I’m here in front of you!’ But it was a phalanx of the patriarchy.”

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For Goldman, punk was and forever will be a liberating force for women – one which she explores across time and around the globe in the captivating new book Revenge of the She-Punks: A Feminist Music History from Poly Styrene to Pussy Riot (University of Texas Press). Taking a lateral approach, Goldman weaves a fascinating tapestry that threads together themes of identity, money, love, and protest over five decades.

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Read the Full Story at Huck Online

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Poison Ivy, The Cramps © Janette Beckman

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

Jerry Hsu: The Beautiful Flower is the World

Posted on May 28, 2019

© Jerry Hsu, courtesy of Anthology Editions

Back in 2006, skateboarder Jerry Hsu got a Blackberry. He began taking notes, snapping visual one-liners, jotting down locations and references that he’d send by BBM to friends.

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“By today’s standards, those photos are really bad but back then it was like, ‘Ohh these are pretty good!’” Hsu remembers. “It was a fun new technology. Many of the photos are personal messages for specific people or a specific group of people. It’s that shorthand language of photos that we use now.”

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Three years later, Hsu started his blog, NAZI GOLD, a chronological feed of work curated from the thousands of photographs he was taking on his phone. He has no clue exactly how many there are in all: “On the phone I’m holding right now there are 45,000 photos. Over a 10-year period, it might be double that, or more.”

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From this vast archive, a vision emerged, one that became shaped into the new book, The Beautiful Flower Is the World (Anthology Editions). The publication takes its name from a photograph of a t-shirt made in Asia. “The t-shirt is obviously mistranslated,” Hsu says.

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Read the Full Story at Huck Online

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© Jerry Hsu, courtesy of Anthology Editions

© Jerry Hsu, courtesy of Anthology Editions

Categories: Art, Books, Huck, Photography

Kim Gordon: Lo-Fi Glamour

Posted on May 22, 2019

Sound for Andy Warhol’s Kiss LP cover

At age 13, Kim Gordon and her best friend would put “Heroin” by the Velvet Underground on the turntable and give it a spin. Pretending to be high, they’d start to nod, moving in slow motion until the choreography left them lying on the floor.

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Restless in West LA, Gordon looked east to Andy Warhol’s Silver Factory – the artist’s famous New York City studio – for inspiration while growing up. She was unaware of the future that was to come, which included, among other things, an invitation to re-score Warhol’s 1963–64 silent film Kiss, which features appearances by Jane Holzer, Gerard Malanga, Marisol, and Pierre Restaney.

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The project became the centrepiece for a new exhibition, titled Kim Gordon: Lo-Fi Glamour. Featuring paintings, drawings, and never-before-seen female figurative works, the show highlights Gordon’s lifelong love of the artist.

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Read the Full Story at Huck Online

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Categories: 1960s, 1970s, 1980s, 1990s, Art, Exhibitions, Huck, Music

Thee Almighty & Insane: Chicago Gang Business Cards From the 1960s & 1970s

Posted on May 15, 2019

Brandon Johnson, Courtesy Almighty & Insane Books

Long before digital media took hold, people built their reputations through business cards. Offering the perfect balance of professionalism and panache, these cards communicated the holder’s identity to friends, associates, and enemies with bold, blackletter typefaces.

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On Chicago’s North and West Sides during the 1960s and 70s, business cards were one of the ultimate status symbols for gangs like the Royal Capris, the Almighty Playboys, and the Imperial Gangsters, who used these discreet slips of paper to rep their set.

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“The practice carried over from membership cards of social athletic clubs in Chicago that many gangs evolved from,” says Brandon Johnson, author of Thee Almighty & Insane: Chicago Gang Business Cards From the 1960s & 1970s – his second in-depth volume documenting the long-underground culture. “In my opinion, these cards offered the gangs a sense of validation as official organisations.”

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Read the Full Story st Huck Online

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Brandon Johnson, Courtesy Almighty & Insane Books

Brandon Johnson, Courtesy Almighty & Insane Books

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

Lebohang Kganye: Ke Lefa Laka – Her-story (2012-2013)

Posted on May 3, 2019

© Lebohang Kganye, courtesy of Afrinova Gallery

© Lebohang Kganye, courtesy of Afrinova Gallery

South African artist Lebohang Kganye was just 20 years old when her mother died in 2010. A couple of years later, Kganye was looking through family photo albums in their Johannesburg home and realised that many of the clothes her mother wore in the pictures were still in her wardrobe.

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Kganye became intrigued. Most of the snapshots were made before she was born in 1990, at her grandmother’s house and on the lawn. Up until then, Kganye explains, the photos and albums were never really all that significant. “I’d go to my grandmother’s house and we’d look at the photos every now and then, and laugh about how they’d aged, the different periods they had gone through,” she says. “We had never gone over individual photos, the history, and the narrative of each.”

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Read the Full Story at Huck Online

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© Lebohang Kganye, courtesy of Afrinova Gallery

© Lebohang Kganye, courtesy of Afrinova Gallery

Categories: 1980s, Africa, Art, Huck, Photography, Women

Catherine Lord and Richard Meyer: Art & Queer Culture

Posted on April 17, 2019

Charles ‘ Teenie’ Harris, Group portrait of four cross-dressers posing in a club or a bar in front of a piano, including Michael ‘Bronze Adonis’ Fields, on left, and possibly ‘Beulah’ on right, 1955. Collection, Carnegie Museum of Art, Pittsburgh.

“I am your worst fear. I am your best fantasy.”

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New York artist and activist Donna Gottschalk memorably penned those words on a placard during the first Gay Liberation event on June 28, 1970 – the first anniversary of the Stonewall riots. The moment was captured in a photograph by Diana Davies, and published in the back page of Ecstasy magazine Issue 2, becoming a touchstone of the new age.

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It was a statement of bold confidence, a reclamation of self from a society that had been actively criminalising and pathologising homosexuality since the word appeared in English for the first time in Richard von Krafft-Ebing’s Psychopathia Sexualis (1892).

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Born from a repressive, regressive regime, queer art became a channel into which people could connect and express themselves. It sparked a new bohemia, one that continues to grow and bloom, which inspired the revised, updated paperback edition of Catherine Lord and Richard Meyer’s epic survey Art & Queer Culture (Phaidon).

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Read the Full Story at Huck Online

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Jamil Hellu; Zulfikar Ali Bhutto (a.k.a. Faluda Islam) grew up in Pakistan. In Arabic poetry, a deer often symbolizes an effeminate young man. In Brazil, the word deer (‘veado’) is commonly used as slang to insult gay men, 2017. © the artist

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

Ryan Vizzions: No Spiritual Surrender – A Dedication to Standing Rock

Posted on April 3, 2019

“Defend the Sacred”: Standing Rock, Cannon Ball, North Dakota, 2016 © Ryan Vizzions

From April 2016 until March 2017, one of the largest protest movements in American history took place on the plains of North Dakota at Standing Rock reservation. Over 15,000 people, including members of more than 300 recognised tribes, gathered at resistance camps to protect the water supply of more than 17 million people from the construction of the Dakota Access Pipeline (DAPL).

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Like many outsiders, photographer Ryan Vizzions first became aware of the movement that September when Democracy Now! broadcast video of the DAPL attacking unarmed Native Americans with dogs and pepper spray. “Being from Atlanta, it echoed the Civil Rights era, so I wanted to understand more,” Vizzions says.

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After visiting Oceti Sakowin camp, Vizzions made the decision to quit his job and dedicate himself to the cause that October. Later that month, there was talk of a police raid on 1851 Treaty Camp, just one mile north. At 10:30 on the morning of October 27, they finally arrived. Vizzions rushed up to the front lines where he just in time to photograph a peaceful protester on her horse, watching the full display of US militarization in support of DAPL.

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Read the Full Story at Huck Online

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Milky Way and Tipi, Standing Rock, 2016 © Ryan Vizzions

Categories: Art, Books, Huck, Photography

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