Posts from the “Photography” Category

Marvin E. Newman: The XXL Collector’s Edition

Posted on September 4, 2017

Photo: Coney Island, 1953. © Marvin. E Newman 2017 Howard Greenberg Gallery / Courtesy of TASCHEN.

Photo: Wall Street, 1958. © Marvin. E Newman 2017 Howard Greenberg Gallery / Courtesy of TASCHEN.

Now in his 89th year, American photographer Marvin E. Newman is receiving his due as one of the finest street photographers of the twentieth century. His self-titled monograph, just released as a XXL Collector’s Edition from Taschen showcases his vibrant collection of cityscapes made in New York, Chicago, Las Vegas, and Los Angeles—as well as in the Heartland of the nation and the outskirts of Alaska between the years 1950 and 1983.

Born in the Bronx in 1927, Newman studied photography and sculpture at Brooklyn College with Walter Rosenblum. He joined the Photo League in 1948 before moving to Chicago the following year to study with Harry Callahan and Aaron Siskind at the Institute of Design. “They taught you to keep your mind open and go further, and always respond to what you are making,” Newman remembered.

It was here in Chicago that Newman began to shoot in color film, doing so at a time long before the medium was recognized. His comfort with color is evident throughout his work, as it becomes a harmonizing force and a whirlwind of energy and emotion as much as light itself.

After obtaining his degree in 1952, Newman returned to New York, which was undergoing a major change in the years immediately following the war. At the same time, the artist’s eye as developing and transforming his experience of life. He observed, “I was beginning to see the world in photographic terms. You start to see everything as a rectangle of some sort and see things that you feel are just made to be photographed.”

Read the Full Story at Feature Shoot

Photo: Broadway, 1954. © Marvin. E Newman 2017 Howard Greenberg Gallery / Courtesy of TASCHEN.

Photo: Broadway, 1954. © Marvin. E Newman 2017 Howard Greenberg Gallery / Courtesy of TASCHEN.

Categories: 1960s, 1970s, 1980s, Art, Books, Feature Shoot, Photography

Claudia Andujar: Tomorrow Must Not Be Like Yesterday

Posted on September 1, 2017

Claudia Andujar, Urihi-a, 1974 [2016], Inkjet print, 90 x 134 cm
Claudia Andujar / Courtesy Galeria Vermelho, São Paulo, Brazil

The Yanomami of Brazil live deep inside the rainforests of the Amazon. They have lived for thousands of years on their own, free from the imperialist forces that have punished the globe. But invariably, it was only a matter of time before they were invaded too.

They survived the slave-hunting expeditions of the Spanish and Portuguese made between 1630 and 1720 that decimated other complex tribes living along the river, continuing to inhabit some 9.6 million hectares, in what has become the largest forested indigenous lands in the world.

In 1955, Swiss photographer Claudia Andujar arrived in Brazil, unable to speak Portuguese but able to communicate with her pictures. She quickly began traveling into the interior, making contact with native groups. In 1971, she reached the Yanomami, and experience that changed her life.

She became an advocate and an activist, using her photography to communicate with the outside world, to tell the story of the Yanomami and their challenges in the face of imperialist policies threatens to destroy their way of life. Her photographs have been collected in Tomorrow Must Not Be Like Today, just released from Kerber.

In the book there is a curious sequence of portraits, called Maracados, where subjects were placards bearing numbers. Andujar explains, “The Yanomami do not use names. They have large families, and so everyone is referred to by their family relationship: father, mother, brother, and so on. We created health cards, and I took their pictures. We hung signs around their necks to be able to identify each of them on the health cards.”

But there was something more, something deeper and more haunting that speaks to the photographer’s personal investment in this truth. Andujar, who was born in 1931, recounts her childhood in Transylvania, when the Nazis invaded in 1944, “No one survived from my fathers side,” she reveals. “In the camps, numbers were tattooed on their arms. These were the marcados para morrer [marked to died]. What I was trying to do with the Yanomami was to mark them to live, to survive.”

For her efforts, the Brazilian government had her removed from the land in 1978, in order to prevent her advocating for Yanomami rights to the free world. It wasn’t until 1992 that the Yanomami’s right to their ancestral territories was recognized by the government.

Through it all, Andujar has continued along her path, working to bring the plight of the Yanomami to the public eye. She explains her mission as one that not only protects the people, but the planet as well, a poignant issue raised during a time where climate change is proving to be a global level extinction event.

“For at least the last 50 years, the Brazilian government, especially during the military dictatorship, has wanted to occupy the Amazonas region, cutting down trees to exploit the soil, the wood, and it is the same today. The government also discusses liberalizing mining, which would be a disaster,” she reveals.

“My work, my photography, addresses the problem. And I certainly strongly believe that you have to maintain a balance. You cannot develop a country at all costs. The biggest problem in the Yanomami territory is currently the invasion of their land, the extraction of minerals and gold, and I am opposed to felling trees to use the land for agriculture,” Andujar adds. “I am very concerned about all of this, and I pay a lot of attention to what the Yanomami say. They say we are approaching the end of the world. My work is all about how to prevent the end of the world.”

Godspeed.

Claudia Andujar, Metrópole, 1974 [2016], Inkjet print, 100 x 150 cm
Claudia Andujar / Courtesy Galeria Vermelho, São Paulo, Brazil

Categories: Art, Books, Photography

Olivia Locher: I Fought the Law

Posted on August 31, 2017

Photo: In Texas it is illegal for children to have unusual haircuts. Photography Olivia Locher, published by Chronicle Books 2017

“Hey, do you know it’s illegal to have an ice cream cone in your back pocket in Alabama?” The question, posed by a friend during a photoshoot, kept echoing in Olivia Locher’s mind for months. Eventually, she hit up the Internet to check it out for herself, only to discover that this law, made during the nineteenth century, extended to the states of Kentucky and Georgia as well. Word on the street had it that thieves pulled this stunt in order to lure horses away, then plead innocent by claiming, “I didn’t steal him. He followed me!”

Ahh, those crafty Southerners – what will they think of next? Locher launched an investigation, delving into the criminal codes across the United States, digging up the dirt for I Fought the Law: Photographs by Olivia Locher of the Strangest Laws from Each of the 50 States, a new book releasing from Chronicle on September 5, which will also be exhibited at Steven Kasher Gallery, New York, from September 14 through October 21, 2017.

Although many people would like to believe that laws are written to uphold moral, ethical principles, this is patently untrue. In many cases, they are written to reflect the biases of those who once wielded the power to write the rules. The USA, being a nation dedicated to states’ rights, has any number of bizarre, quirky, obscure laws on the books that few know about – as well as a host of urban legends that have captivated the public’s imagination.

For I Fought the Law, Locher compiled her favourite flagrant criminal codes and staged a series of charming photo shoots that embrace peculiar peccadillos from Arizona’s law against having more than two dildos in the house to Ohio, where it was once illegal to disrobe in front of a portrait of a man. Locher speaks with us about creating a tongue-in-chic portrait of the American outlaw.

Read the Full Story at Dazed Digital

Categories: Art, Books, Dazed, Photography

Leonard Freed – This Is the Day: The March on Washington

Posted on August 28, 2017

Photo © Leonard Freed

…and still the chills come as the words reverberate in the ear, Martin Luther King Jr.’s voice as clear as the call of the clarion. “I have a dream that one day this nation will rise up and live out the true meaning of its creed: ‘We hold these truths to be self-evident, that all men are created equal.’

“I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

“I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heart of oppression, will be transformed into an oasis of freedom and justice.

“I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but the content of their character.

“I have a dream today!”

King first spoke these unforgettable words on August 28, 1963, at the historic March on Washington, where he stood at the Lincoln Memorial before 250,000 people gathered at the National Mall in Washington, D.C., to mount a peaceful protest demanding Civil Rights, justice, and equality for African Americans nearly one hundred years after slavery was abolished in the United States.

In tribute to the fiftieth anniversary of one of the proudest days in this country’s history, Getty Publications has just released This Is The Day: The March on Washington by Leonard Freed, with texts by Julian Bond, Michael Eric Dyson, and Paul Farber. Most of the seventy-five photographs featured here have never been published before, and taken as a whole they offer a compelling, powerful, and uplifting vision of the day itself—before, during, and after the march.

As Dyson writes, “The moral beauty of Freed’s photographs bathes the aesthetics that guides his flow of images. The folk here are neat, dignified, well-dressed—in a word, sharp, with all the surplus meaning the word summons, since black dress can never be divorced from political consequence…. Freed captures the simple dignity and the protocols of cool—the ethics of decorum—that characterizes large swaths of black life. And when his camera swings wide to include a vision of America too rarely noticed in the mainstream press at the time, and in some cases even now, he records almost mundanely, and hence rather heroically, the everydayness of the encounters between white and black. He allows the images to steep in the crucible for American race. One can almost catch the subliminal suggestion: This is what it should always be like.”

Indeed, the legacy of this historic day is that it offered to not only America but to the world a vision of the power that healing brings. We return again and again to the day, not only for what King verbalized for us but for what Freed’s images say. We see in these images the American ideal: all power to the people, and for that we reflect with a quiet reverence and hopeful spirit that the dream shall be fulfilled.

First Published in L’Oeil de la Photographie
on June 28, 2013

Photo © Leonard Freed

Categories: 1960s, Photography

“Art in Ad Places” Transforms City Sidewalks into a Gallery

Posted on August 23, 2017

Photo: Hope and Promise by Jamel Shabazz. Photo by Luna Park. Courtesy of Art in Ad Places.

“People are taking the piss out of you every day. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are ‘The Advertisers’ and they are laughing at you,” Banksy wrote in his 2004 book, Cut It Out.

People intuitively sense this kind of neg, their egos becoming more increasingly defensive and critical while simultaneously entertaining the lengths advertisers will go to win them over. In the court of public opinion, the attention we are willing to give them serves as costs paid.

Art in Ad Places, a New York City public service campaign, understands this, and has taken the high road by transforming the landscape with public art. Every week throughout 2017, the organization partners with a contemporary artist, installing their works in payphone kiosks across the city in order to reimagine the way we see the world.

Read the Full Story at Crave Online

Photo: Caterpillar by Mab Graves. Photo by Luna Park. Courtesy of Art in Ad Places.

Photo: HOODED by Myles Loftin. Photo by Luna Park. Courtesy of Art in Ad Places.

Categories: Art, Crave, Painting, Photography

Tabloid Art History x Mythomania

Posted on August 21, 2017

Artwork: Rihanna at Crop Over 2017, Barbados // Plate from Ernst Haeckel’s ‘Kunstformen der Natur’ (‘Artforms of nature’), 1904. Courtesy of TabloidArtHistory.

“Everything has already been done,” Stanley Kubrick opined “Every story has been told. Every scene has been shot. It’s our job to do it one better.”

Perhaps this is true—perhaps it is not. It’s impossible to know that which has never existed until it takes form. But one thing is for sure, and that’s the power of myth, which speaks of human nature’s relentless desire to find a narrative that makes sense out of the chaos and complexities of existence.

We do not need to look all the way back to mythologies of yore, to the heroic, monstrous, and villainous archetypes that have inspired great art, music, and literature in all cultures across time. The classical ideals of god, mortal, and beast have so completely subsumed our conscious (and even unconscious) minds that we simply follow the script.

Read the Full Story at Crave Online

Artwork: Prince Harry at a pool in Miami, Florida, 2014// ‘Portrait of Nick Wilder’ (detail), by David Hockney, 1966. Acrylic on Canvas, 183 x 183 cm. Courtesy of TabloidArtHistory.

Artwork: A pregnant Beyoncé amongst flowers, Mother’s Day 2017 // ‘Mary Little, later Lady Carr’ by Kehinde Wiley, oil on canvas, 30” x 24”, 2012.Courtesy of TabloidArtHistory.

Categories: Art, Books, Crave, Painting, Photography

An Incomplete History of Protest: Selections From the Whitney’s Collection, 1940–2017

Posted on August 21, 2017

Carol Summers (1925-2016), Kill for Peace, 1967, from ARTISTS AND WRITERS PROTEST AGAINST THE WAR IN VIET NAM, 1967. Screenprint and photo-screenprint with punctures on board, 23 3/8 × 19 1/4 in. (59.4 × 48.9 cm). Whitney Museum of American Art, New York; purchase, with funds from the Print Committee 2006.50.14 © Alexander Ethan Summers

“Tyranny naturally arises out of democracy,” Plato observed in Republic, revealing the underlying paradox of humanity: the will of the masses will eventually lead to oppression in one form or another.

The Founding Fathers of the United States knew this better than most, perhaps knowing themselves well enough to understand that he corrupt seek power and will do whatever it takes to gain the upper hand, whether that means scripting blatant hypocrisies into The Declaration of Independence or advocating for armed rebellion in the Second Amendment.

Perhaps most telling above all was their insistence on protest, of “the right of the people to peaceably assemble and to petition the Government for a redress of grievances,” which closes out the First Amendment of the Constitution.

Undoubtedly, they understood that the nation, founded on stolen land using stolen people, was a ticking time bomb, one that could easily blow up lest any group gain advantage over the other. The will of the people, such as it were, is not inherently “good”—nor moral. It is merely self-serving and invested in appearance politics above all.

Within this space, the act of protest is designed to call attention to that which it perceives as wrong, using the power of the people to make its point in the most public manner possible. As we have seen from recent events in Charlottesville, protest is not intrinsically honest or honorable; it is simply the will of the masses to stand in their beliefs, however valid or flawed.

Hock E Aye VI Edgar Heap of Birds. Relocate Destroy, In Memory of Native Americans, In Memory of Jews, 1987 Pastel on paper Sheet: 22 × 29 13/16in. (55.9 × 75.7 cm). Gift of Dorothee Peiper-Riegraf and Hinrich Peiper 2007.91

But what protest does is let us know: those who will not be silenced and are compelled to have their words heard and their faces shown; that which we celebrate and that which we vilify are simply extensions of our own principles, character, and moral fiber.

In times of strife, artists often take to the frontlines, eager to use their skills in the service of the cause. As 2017 slogs along relentlessly, more and more artists, curators, galleries, museums, and organizations find themselves compelled to make a stand. To find a way to look to the lessons of the past to figure out solutions to the present day; to consider why we are doomed to repeat the wars of the past with new technological possibilities more horrific than ever before.

And, perhaps, inspired to energize and activate those who are simply overwhelmed, disinformed, or have lost their way. History recurs simply because the solutions we sought did not hold; they were simply tenuous measures used to placate the crisis at hand, and over the ensuing years easily wore thin. The solutions require a paradigm change, one that goes beyond shadowboxing with lies and debating disinformation. Solutions require truth, however gruesome it may be, about the corporate project that is the United States of America.

But first, before we ravage the deeply held dreams of the delusional, a little reflection on the past and the ways in which protest can be used to stand against legalized tyranny. The Whitney Museum of American Art, New York, presents An Incomplete History of Protest: Selections From the Whitney’s Collection, 1940–2017.

Guerrilla Girls (est. 1985), Guerrilla Girls Review the Whitney, 1987. Offset lithograph, 22 × 17 in. (55.9 × 43.2 cm). Purchase 2000.91 © Guerrilla Girls

The exhibition looks at the ways in which people have organized in resistance and refusal, strikes and boycotts, anti-war movements, equal rights actions, and to fight the AIDS crisis. The artworks selected span the gamut from posters, flyers, and photographs to ad campaigns, paintings, and screenprints.

Featuring works by artists including Richard Avedon, Larry Clark, Lous H. Draper, Larry Fink, Theaster Gates, Gran Fury, Guerilla Girls, Keith Haring, Barbara Kruger, Glenn Ligon, Toyo Miyatake, Gordon Parks, Ad Reinhardt, Faith Ringgold, Dread Scott, and Gary Simmons, among others—the exhibition is as much a study in politics as it is contemporary American art.

The more you look, the more you see how iconography informs our belief system and the ways in which propaganda can be used in the fight against exploitation. Simply put, it’s not enough to tell the truth. Reality is simply to terrifying, and most people would prefer to bury their heads in the sand than face the stark prospect of a revolution that is without beginning or end.

“All art is propaganda,” George Orwell deftly observed, leading by example with his novels, critical essays, and insights into the nature of wo/man as political animal. When taken as a whole, An Incomplete History of Protest offers more than just a look back at the past: it also shows us how to activate people by appealing to their emotions.

For above all, people react; action simply requires more effort than most are willing to put forth, but reaction—whew! Try to stop the avalanche once it starts. Art, in as much as it is perceived by the senses before it is understood by the mind, is one of the most primal, visceral paths to stir the heart. And so An Incomplete History of Protest reminds us: if you want to move the people, how you say it may be even more important than what you say—and there’s no use fighting it.

Toyo Miyatake (1895–1979), Untitled (Opening Image from Valediction), 1944. Gelatin silver print mounted on board, 9 7/16 × 7 5/16 in. (24 × 18.6 cm). Whitney Museum of American Art, New York; purchase with funds from the Photography Committee 2014.243 © Toyo Miyatake Studio

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

Jonny Kaye: The Other Side of the Camera

Posted on August 20, 2017

Photo © Jonny Kaye

The best part about writing is all the work that happens off the page: the conversations and connections, the looking and the listening, the simple act of engagement that occurs when you slowwww down to take in the eternal essence of the ever-changing world.

My determination to write comes from a fundamental desire to understand, to acknowledge and articulate the questions, the answers, and the ambiguities of life. I’ve long believed that you can’t ever known how you affect anyone; you simply do as you must, and in an ideal situation that need would better both your own and other people’s lives.

One of the greatest pleasures is recognition: that what you do matters to someone else, and so it was with great pleasure that I received an email from Jonny Kaye, model and photographer, who wrote, “I stumbled across your piece on DAZED and fell in love with your writing. It’s the first piece I’ve read from top to bottom in a long time.”

While many people believe that digital media is killing literacy, I’ve working in book publishing and the media for far too long to believe the hype. Most people don’t read much, if at all, and they never really did—because literacy is an aberration in the course of human history. For the better part of our existence, we have expressed ourselves through oral and visual traditions; digital existence erases the myths that people hold in their hierarchical hearts, and restores truth to the fore by revealing that fundamental way people are compelled to communicate.

While I love words, perhaps entirely too much, I’m not inclined to exalt them above other means: I see them as the complement. The mind has nine intelligences, and linguistics is but one, one that I love to use to reveal and expose, unwrap and explore, discover and dialogue with strangers, colleagues, and friends. But never let it be forgotten: a picture speaks all languages at the same time without ever saying a word.

And the drive to create images is not always something one chooses to explore or explain, until someone asks why. Perusing Kaye’s photos made in Milan while on assignment with a group of models, I was struck by the fact that though the circumstances may change, the human condition remains the same. No matter where we come from, and when we arrive, we all share a yearning for something that is beyond our immediate grasp yet resides deep in us, this half animal, half divine creation that is entirely familiar—yet peculiar.

Kate graciously agreed to share his work and discuss his work on the other side of the camera.

Photo © Jonny Kaye

Photo © Jonny Kaye

How did you get into photography?

Jonny Kaye: I started out as a model and from there I started doing other things like a T-Shirt brand. With that I was coming up with concepts for photo shoots, putting together shoots, and booking models and photographers. I think that sparked something inside of me to want to get more involved in the creative side of things.

I love modeling; its taken me around the world, I’ve met some really cool people but you’re never really involved in the creative process. You just turn up on set and do your thing, have a laugh, and go home. I felt like I wanted more from it all.

As a model, I imagine you’re used to being on the other side of the camera. How does this experience influence or inform your sensibility as a photographer?

Jonny Kaye: I think it helps when I’m giving direction. I remember how sometimes my anxiety would have an impact on me in front of the camera for at least the first hour or so, so I always bear this in mind when I’m shooting models myself.

When did you realize this was something you want to pursue beyond a casual hobby?

Jonny Kaye: Almost immediately. When work started getting in the way of shooting, all I would think about was ways to make money from photography so I could sack my day job off.

I’m fascinated by what it must be like to be born into the digital age. I’m interested in knowing what is it like coming up as a photographer in this world?

Jonny Kaye: When I first started, I was using digital because it’s all I really knew at the time. I think a lot of photographers use it because of cost and how fast paced we have become today. People want things done yesterday, at least in London anyway.

I shoot mostly on 35mm now. I find the images a lot more dense and real. I love shooting a roll of film and not actually knowing for certain what you’ve really got. It builds the suspense almost. When I get emailed my images from the lab, it feels like Christmas Day.

Oo nice! When I came up taking photos was a bit of a luxury because it cost money, you could only afford to make so many, and you didn’t see them til they came back a week later — so basically every photo was “an event.” What makes the situation special for you? Do you feel compelled to do something different or edgier because everyone is shooting?

Jonny Kaye: When I started out shooting digital, I found myself pushing the images so far in post-production to try and stand out. A lot of the stuff I’m shooting for magazines at the moment is staged so there’s quite a lot of planning that goes into the actual shoot from various people on the day, which makes it pretty special when it all comes together.

What’s your dream for photography?

Jonny Kaye: I love to use my photography to bring awareness to certain subjects that I feel need more attention in the media. i.e mental health, equality, and global warming.

For more information, visit
JK Pops | Jonny Kaye Photography

Categories: Photography

Juergen Teller: Enjoy Your Life!

Posted on August 16, 2017

If Juergen Teller had a theme song, it would be “My Way,” but not the Frank Sinatra version. No, he would make sure to subvert your expectations at every turn, and cue up the Sid Vicious cover. Like Sid, Juergen is so anti-glamour that he’s chic, always finding a peculiar beauty and joy in the uncomfortable.

His new book, Enjoy Your Life! (Steidl), published in conjunction with the recent exhibition at Martin-Gropius-Bau, Berlin, embraces the ethos the unexpected. Because what gives life a greater kick than catching you off guard with the curious and the absurd. Teller loves to hone in on things we usually ignore, or look at them from a new vantage point, demystifying their aura and allure. On the reverse, he finds a queer loveliness in things we might otherwise think a bit grotesque, savoring all of the pleasures of our strange and quixotic existence.

Read the Full Story at Crave Online

Categories: Art, Books, Crave, Photography

Dave Schubert: Photos from the Underground

Posted on August 11, 2017

When Dave Schubert was six years old, his father gave him a camera – and he hasn’t put it down since. As the son of a military man and an English mod, Schubert was drawn to anti-authoritarian subcultures. He started writing graffiti after watching The Warriors and skipping school to head up to New York, where he photographed the underground skate scene at the banks by City Hall.

He started shooting for Slap magazine and realised that doing commercial work made him lose his natural instincts. In the 90s, he moved out to San Francisco to go to school and returned to the art of street photography. In the 20 years since he’s been out west, he’s seen the city transform. Once upon a time, there were gun battles right outside his door; today, Silicon Valley computer nerds rock Star Wars t-shirts at the bar.

“I’m only staying here out of spite,” Schubert laughs. “I really want to go somewhere and get my own Unabomber cabin, not be around anyone, and make prints all day long.”

That day may come but until then, Schubert shoots and scores, living as an artist on his own terms. His photographs capture the essence of rebellion, the freedom to create and destroy, the pleasures of sex, drugs, and art, and the spirit of “never say die.” He speaks with us about the pictures he’s made – and the ones that got away.

Read the Full Story at Dazed

Categories: 1990s, Dazed, Graffiti, Photography

~~ A Tribute to Arlene Gottfried ~~

Posted on August 9, 2017

“Only in New York, kids, only in New York.”

American columnist Cindy Adams’ famed bon mot could easily caption any number of photographs in the archive of Arlene Gottfried. Whether partying in legendary 1970s sex club Plato’s Retreat, hanging out at the Nuyorican Poet’s Café with Miguel Piñero, or singing gospel with the Eternal Light Community Singers on the Lower East Side, Arlene was there and has the pictures to prove it.

“Arlene was a real New Yorker who thrived on the energy of the city, roaming the streets and recording everything she felt through a deeply empathetic and loving lens,” Paul Moakley, Deputy Director of Photography at TIME observes.

It was in her beloved city that Arlene Gottfried drew her final breath. She died the morning of August 8, after a long illness that may have taken from her body but never from her heart. In the final years of her life, she experienced a renaissance with the publication of her fifth final book Mommie (powerHouse, 2015), sell-out exhibitions at Daniel Cooney Fine Art, New York, and the 2016 Alice Austen Award for the Advancement of Photography – all of which she attended to with a style all her own.

I put together a tribute to the legendary lady who has always felt like family to me for today’s Dazed.

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