Left: Joan Jett at the pool hall. Right: Laurie Anderson with her violin. © Marcia Resnick
Brooklyn-born photographer Marcia Resnick has documented New York City’s art communities for more than half a century. When she was in high school in the 1960s, she mingled with aging hippies at Greenwich Village clubs like Café Au Go Go and Café Wha? And in the 1970s, she shared a loft building in Tribeca with neighbors like Laurie Anderson.
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During the 70s and the city’s wildest years, Resnick spent most nights at CBGB, Max’s Kansas City, and the Mudd Club. Around this time, she also started photographing the “bad boys” of the art scene. Resnick wanted to see how powerful men like Jean-Michel Basquiat, Iggy Pop, and William S. Burroughs reacted when the tables were turned and a woman was behind the camera, subjecting them to the female gaze.
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Resnick was also enchanted by the gregarious women she lived, worked, and partied with who were simultaneously shaking up the scene. Though it’s less well-known than her Bad Boys series—which was later published as the book Punks, Poets and Provocateurs, NYC Bad Boys 1977-1982 (Insight Editions, 2015)—Resnick’s Wild Women series captures the revolutionary spirit and creative power of artists like Joan Jett, Debbie Harry, and Susan Sontag.
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Wild Women is a rarely-seen body of work that embodies the DIY ethos of the era, and VICE recently sat down with Resnick to talk about what it was like documenting her peers and how Women’s Liberation shook up the 70s and 80s.
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Pat Place with toy dragon. © Marcia Resnick
Lydia Lunch on all fours. © Marcia Resnick
