Posts tagged “Martha Cooper”

Running the Streets: Martha Cooper’s New York State of Mind

Posted on January 6, 2021

*Martha Cooper. Kids climbing fence, Lower East Side, Manhattan, 1978*

Freedom, creativity, and innovation — these are the hallmarks of Martha Cooper’s journey around the globe over the past 60 years. Hailing from a long line of strong, independent women dating back to her maternal great aunt, Henrietta Szold, a prominent activist inducted into the American Women’s Hall of Fame, Cooper grew up in a family of feminists empowered to follow their destinies.

At the tender age of five, Cooper was instilled with a profound sense of autonomy when her mother taught her to walk a mile to kindergarten on her own through hometown Baltimore. “My mother showed me the first day,” Cooper says. “The next day she followed behind to make sure I got it right, then that was that. I grew up very free.”

Cooper took her penchant for adventure to new heights in 1965. After completing her work in the Peace Corps to study ethnology at Oxford University, she went on the ride of her life, traveling from Bangkok to London by motorcycle alone. After graduating, she returned to the U.S. to catalogue artifacts at Yale’s Peabody Museum of Natural History. Soon bored working behind a desk, Cooper yearned to be back in the field.

Read the Full Story at Urban Nation Museum

Categories: 1970s, Art, Exhibitions, Manhattan, Photography

Martha Cooper: Taking Pictures

Posted on October 14, 2020

*Dondi’s Room Brooklyn, NYC 1979 © Martha Cooper*

Under the cover of night, Martha Cooper crept into train yards to document some of New York’s most legendary graffiti writers as they brandished spray cans, unfurling masterpieces on the outside of subway trains in 1981 and ‘82. The petite photographer slipped through a hole cute into the chain link fence, agilely maneuvering her way between the massive steel cars, quick to duck under one if a train worker came by, taking tremendous care not to touch the third rail, through which 600 volts of live electricity steadily coursed.

Cooper carefully took aim as writers like DONDI, DEZ, DAZE SKEME, MIN, SHY, and LADY PINK worked feverishly through the night, painting their names on the exterior of a single subway car, a “canvas” that was 50 feet long by 12 feet high. “It was so dark they couldn’t even see what color the paints were,” Cooper says. “They were lighting matches — where the whole can could explode — to see the color of the paint.”

To call graffiti “death defying” would not be an overstatement, for many writers have died or been badly injured in their quest to “get up.” Often teenagers, writers were willing to risk it all for what they loved. Though Cooper was nearing 40, she was no less daring. She just quit her job as the first woman staff photographer at the New York Post in 1980 so that she could have more time to document graffiti.

“I was ambitious and the Post wasn’t enough. I wanted to be a National Geographic photographer,” says Cooper, who was also the first woman photographer to intern for the fabled photo magazine in 1968. Cooper envisioned her portrait of New York’s artistic underground would catapult her to the top of the documentary photography scene but things didn’t work out quite like she planned.

Read the Full Story at Blind

*Skeme, Bronx, NYC, 1982 © Martha Cooper*

Categories: 1980s, Art, Blind, Graffiti, Photography

Martha: A Picture Story

Posted on October 15, 2019

Selina Miles’ new documentary film – Martha: A Picture Story

When Martha Cooper quit her job as a New York Post staff photographer to photograph graffiti full time, she did what all true believers must do: she sacrificed financial stability, status, and recognition from the establishment. All to pursue a passion rooted in the love and understanding for that which is universal and transcendent. When her first book, Subway Art (Henry Holt, 1984), co-authored with Henry Chalfant tanked upon release, Cooper was disappointed to discover her gamble did not pay off.

“I was shooting up until Subway Art got published, and I imagined it was going to be — maybe not a bestseller, but I did think there would be more of a reaction, but there was virtually no reaction,” Cooper says. “The trains kind of died off right then. They had cracked down right at that moment. Maybe it had to do with the book? I didn’t think so then.”

Unbeknownst to Cooper, the book took on a life of its own as it found its way into the hands of graffiti writers in every corner of the globe. It had become the “Graffiti Bible,” inspiring generations of artists to pick up a can of spray paint and leave their mark on society. Over the years, countless artists have studied the book with reverence, Cooper’s photographs providing not only a template of style but also a wealth of knowledge about the underground culture that birthed it.

Read the Full Story at The Luupe

Martha Cooper’s first book: Subway Art, with Henty Chalfant (Henry Holt, 1984)

Categories: 1970s, 1980s, Art, Books, Graffiti, Photography

City as Canvas: Graffiti Art from the Martin Wong Collection

Posted on October 27, 2017

The Death of Graffiti by LADY PINK, 1982, acrylic on masonite, 19×22.” Courtesy of the Museum of the City of New York.

DUMP KOCH painted by Spin, photograph by Martha Cooper, 1982.

It began in the stacks. Sean Corcoran, Curator of Prints and Photographs at the Museum of the City of New York, came across a collection of black books Martin Wong had donated to the Museum in 1994, just five years before he would die from AIDS in San Francisco. The black books were the site of sketches and drawings, works on paper that were passed from head to head, giving writers a look at what their contemporaries were doing with marker in hand and giving them a space to contribute to the conversation.

In total, Martin Wong (1946-1999) donated 55 black books and more than 300 mixed media paintings on canvas, cardboard, paper, and plywood. The work Wong collected includes early permutations of designs that would later appear on trains and buildings throughout New York City. And though those paintings are long gone, their legacy lives on.

Opening February 4 at the Museum of the City of New York, City as Canvas: Graffiti Art from the Martin Wong Collection presents 105 works by legendary writers DAZE. DONDI, FUTURA 200, Keith Haring, LADY PINK, LEE, and SHARP among others, alongside historical photographs by Charlie Ahearn, Henry Chalfant, Martha Cooper, Jon Naar, and Jack Stewart. Paired together, the paintings, drawings, and photographs take us back to a time and a place that, though not far away at all, no longer exists in our daily lives.

It is the photographs that create the context, a context that may be difficult to imagine for those who did not live it. Trains were bombed with spray paint and marker both inside and out, as masterpieces ran the entire length of whole cars and tags decorating the interiors. This was the era of an artistic impulse made manifest as by any means necessary, of going down to the yards after dark or walking through live and dead tunnels to paint. This period in New York City history marks the creation of a style and a culture that has swept the world with anti-authoritarian delight. It was here in these black books and paintings that a new world was born, and it is here in these photographs that this world remains forever more.

Graffiti Kids, photograph by Jon Naar, 1973. ©Jon Naar

Redbird (Stay High 149) photograph by Jon Naar, 1973. ©Jon Naar

Corcoran observes, “We decided to show the Martin Wong Collection because we thought it had real cultural significance to New York’s story over the last thirty, forty years. Graffiti was such an omnipresent part of life in New York. It was loved and hated, there was no in between. Whatever you thought of it, theirs is not doubt it had an affect on the culture in general. Style writing as it is known today was born in New York and became a worldwide phenomenon.”

Accompanying the exhibition is a catalogue of the same name, published by Skira Rizzoli with the Museum of the City of New York, featuring essays by Charle Ahearn, Carlo McCormick, Sacha Jenkins, Lee Quiñones, Chris “Daze” Ellis, Aaron “Sharp” Goodstone, and Sean Corcoran. The essays create a context for Wong’s obsession for the art, an obsession that adds intimacy and understanding to his need to collect, to document, to preserve. Twenty years ago, Wong knew, intuitively, that neither he nor the graffiti of the era would be with us today. And it is in this way that “City as Canvas” is more than an exhibition of art, but it stands as a monument to an era that has come and has gone. And era that is preserved forevermore in the photographs that show what had come of these preparations for masterpieces that once dotted the subway lines and crowned Kings.

For those who once witnessed the world that lives in these photographs, City as Canvas is like a teleportation device into the past. The raw, live energy of the letterform set against a backdrop of freedom at an cost beings us back to that old school D.I.Y. vibe of the 1970s and 80s New York. And for those who missed it, the Museum exists, as a place of honor and veneration to the legacy we as New Yorkers carry forth.

First Published in L’Oeil de la Photographie
March 20, 2014

Howard the Duck Handball Court photograph by Charlie Ahearn. Courtesy of the Museum of the City of New York.

Lion’s Den Handball Court photograph by Charlie Ahearn. Courtesy of the Museum of the City of New York.

Martin Wong, photograph by Peter Bellamy, 1985.

Categories: 1970s, 1980s, Art, Books, Exhibitions, Graffiti, Photography

Best Street Photography of the Last 20 Years

Posted on May 26, 2017

Photo: © Sean Maung

A great street photographer lives in the here and now. Their eyes are always attuned to the nuances of life, their awareness is heightened to suprasensory levels, their reflexes as quick as an athlete. They do more than see: they look, ever vigilant to the cast of light and shadow to create a mood, or the movement of people through the cityscape, careful to capture a fraction of a second forevermore. In celebration of the best street photography of the last 20 years, Crave showcases some of the best contemporary masters of the form.

Read the Full Story at Crave Online

Categories: Art, Crave, Photography

Martha Cooper at Steven Kasher Gallery, New York

Posted on May 16, 2017

Photo: Japanese girl with tattoo, Tokyo, 1970. © Martha Cooper.

Photographer Martha Cooper has always lived life on her own term. After graduating high school at 16 and Grinnell College at 19, the Baltimore-native decided to see the world so she joined the Peace Corps and traveled to Thailand, where she taught English for a spell. Then she hopped on a motorcycle and hightailed it from Bangkok to London, taking all along the way.

She received a diploma in anthropology from Oxford, which speaks to her truest sensibilities: her passion for documenting the creative fruits of the human experience. In her hands, the camera is not merely a tool to create an image for aesthetic pleasure, it does something more; it bears witness to a time and place that is inherently ephemeral: street art and culture, which is inherently urban folk art.

In 1970, Cooper found herself walking along a street in Tokyo when she spotted a man in a crowd. On his back was a Japanese tattoo, with figures drawn in the style of a woodblock print. Entranced, Cooper followed him until he disappeared, then began asking her friend about tattoos—a touchy subject. Tattooing had been outlawed in 1872, then legalized again in 1948, then quickly became a status symbol for the yakuza and the Japanese underworld. But Cooper is not one to give up when she has her sights set, and so she pursued her quest to completion: entrance to the studio of Horibun I, a tattoo master.

It is here, in his studio that Cooper made the photographs that comprise the earliest work in the exhibition Martha Cooper, currently on view at Steven Kasher Gallery, New York, through June 3, 2017.

Read the Full Story at Feature Shoot

Photo: Christopher Sawyer breaking, Upper West Side, NYC, 1983. © Martha Cooper.

Photo: Woman with white pants on 180th Street platform, Bronx, NYC, 1980. © Martha Cooper.

Categories: 1970s, 1980s, 1990s, Art, Bronx, Exhibitions, Feature Shoot, Graffiti, Manhattan, Photography

Martha Cooper & Henry Chalfant: Subway Art

Posted on August 29, 2016

Photo: “Midg” with yellow school bus, 1982. © Martha Cooper

During the early 1970s, graffiti made it way to the trains of New York, spreading across the city like a virus and capturing the imagination of a new generation of artists in every borough. Sneaking into the yards and walking through the tunnels in the dead of night, graffiti writers were on a mission like no one had seen before—or has seen since. Fame. Recognition. Renown. In the city that never sleeps, Kings were crowned.

But as quick as it came, it disappeared. Were it not for the photographs, there would be nothing left. Fortunately writers and artists share that same compulsion to document and to collect. As fate would have it, Martha Cooper and Henry Chalfant had both been documenting the same scene at the same time from distinctive vantage points.

Read the Full Story at Crave Online

Photo: Blade, 1980. © Henry Chalfant

Categories: 1970s, 1980s, Art, Books, Bronx, Brooklyn, Crave, Graffiti, Manhattan, Painting, Photography

Martha Cooper: Tattoo Tokyo 1970

Posted on May 18, 2012

In 1970, photographer Martha Cooper spotted a man in a crowd. On his back was a Japanese tattoo, figures drawn in the style of a woodblock print. Entranced by this vision, Cooper followed him until he disappeared, and soon thereafter began questioning her friends about the subject. It was a touchy topic—it had been outlawed in 1872 and legalized again in 1948 and as the decades intervened, tattoos became symbols of the yakuza, the gangsters and the underworld of Japan. This is because the images of tattoos were seen in films, and is all too common, what is constructed for entertainment is taken as truth.

Fortunately, Cooper delved deeper, and discovered an ancient art, the art of the ornamental flesh that has traditionally defined members of the working class. As Cooper explains, “Tattooing properly is a difficult skill and therefore to get tattooed has always been expensive. A bad tattoo artist could kill you by pricking your skin to deeply with poisonous inks. A laborer who as a full upper body tattoo has to earn a lot of money to pay for it. Thus the most beautiful and extensive tattoos are symbols of wealth and prestige.” And it was with this basis for understanding that Cooper visited tattoo master Horibun I in Tokyo and documented his world.

Tattoo Tokyo 1970 (Dokument Press) is a beautifully produced volume of this work. Tall, slim, and elegant, the book is as much an objet d’art as the work itself. This volume features two brief essays by Cooper describing her study, the writing as rare as the images themselves for Cooper usually allows her photographs to speak for her. Cooper’s essays add insight and context to the work, providing us with a stage and a setting for the scenes about to unfold.

As Cooper describes, “In the corner of the room say a young girl of about 18, who I assumed was Mr. Horibun’s daughter or assistant. She greeted me and we chatted, avoiding the subject of tattooing. Mrs. Horibun brought us tea and as we were sipping it, began making preparations. She moved aside the little table, rolled out a narrow mat and adjusted the overhead light. Mr. Horibun then walked into the room without ceremony and began to prepare the inks. To my surprise, I saw that the inks were nothing more than the usual ones used for calligraphy. As Mr. Horibun rubbed the ink stick in water on a stone, the young girl who had been sitting demurely beside me began to unbutton her blouse. I realized for the first time that she was the one to be tattooed but did my best to hide my amazement.”

And it is this young girl who receives a striking piece outlined upon her back, a girl kneeling while contemplating a branch in her hands. Cooper carefully documents the work of Horibun I, and we see how the master uses flesh as canvas for a drawing that has as many layers of work as it does symbolic importance. In Cooper’s photographs we also see the human as canvas themselves, and can consider the dialectic between ideas which are usually quite distinct. Through the process of creation artist and the artwork are forever fused with the owner themselves—for the act of wearing a tattoo is as much about adornment as it is about expressing the inner self.

This particular form of art is unlike any other, for it is permanent in the most temporal state, and just as the body does, it ages and changes over time. Tattoos last as long as life, and after this moment all that remains are the images themselves. The individually decorated body telling a story that is all their own, the style of design as distinctive as the face that wears it proudly. Cooper’s work for Tattoo Tokyo 1970 is a stunning document of a place and a time that brings together history and ritual, tradition and spectacle, expression and artifact in an eloquent volume.

Categories: 1970s, Art, Books, Fashion, Japan, Photography

Jianai Jenny Chen: Down by Law ~Party Photos~

Posted on August 17, 2010

Eric Firestone Gallery, East Hampton, Photograph © Jianai Jenny Chen

Photograph © Jianai Jenny Chen

Grandmaster Caz, Photograph © Jianai Jenny Chen

More Party Photos at simplychen.com

Categories: Art, Exhibitions, Graffiti, Music, Painting, Photography

Martha Cooper: Down by Law

Posted on August 2, 2010

Martha Cooper

MARTHA COOPER: DOWN BY LAW

Eric Firestone Gallery, East Hampton
August 14–September 26, 2010

Martha Cooper is a documentary photographer born in the 1940s in Baltimore, Maryland. She began photographing in nursery school after her father gave her a camera. She graduated from high school at the age of 16, and from Grinnell College with a degree in art at age 19. From 1963-65, she taught English as a Peace Corps volunteer in Thailand and then journeyed by motorcycle from Bangkok to England where she received an ethnology diploma from Oxford. She was a photography intern at National Geographic Magazine in the 1960s, and worked as a staff photographer for the Narragansett Times in Rhode Island and at the New York Post in the 1940s.

Martha is perhaps best known for documenting the New York graffiti scene of the late 1970s and early 80s. While working for the New York Post she began taking photos of creative play on the Lower Eastside in order to use up the remaining film in her camera each day before developing it. One day she met a young boy named Edwin who showed her his drawings and explained that he was practicing to write his nickname on walls. Edwin offered to introduce her to a graffiti king. This is how she met the great stylemaster, Dondi, who eventually allowed her to photograph him in the yards at night while he was painting. In 1984, with Henry Chalfant, she published Subway Art, a landmark photo book that subsequently spread graffiti art around the world.

In addition to publishing more than a dozen books, Martha’s photographs have appeared in innumerable magazines including National Geographic, Smithsonian and Vibe. She is the Director of Photography at City Lore, the New York Center for Urban Folk Culture. She still lives in Manhattan but is currently working on a photo project in Sowebo, a Southwest Baltimore neighborhood.

Cooper will be exhibiting four silver gelatin prints from her early b-boy documentary work in “Down by Law” at the Eric Firestone Gallery, East Hampton, opening on August 14, 2010. She has graciously agreed to speak about her work here.

New York in the 1970s and 1980s was a city bursting with originality, innovation, and experimentation. Please talk about how you see the relationship between your early work as a photographer and the environment in which it took hold.

I’ve long been drawn to anything made by hand perhaps because my parents always encouraged creative play. In 1977 I began working as a staff photographer for the New York Post and the job required that we cruise around the city all day in our cars with two-way radio contact to the news desk in case there was a breaking assignment. When not on assignment we were supposed to look for feature “weather” photos. My favorite neighborhood for photos was Alphabet City on the Lower Eastside where I could almost always find kids making something from nothing.

It has recently been suggested to me that the term “graffiti” is marginalizing, and loaded with negative connotations. How do you feel about the use of the word in general, as well as application to your work?

Writers probably enjoy being associated with “negative connotations”. Being bad can be cool. Of course the term graffiti has been around much longer than markers and spray paint. In NYC, it’s most fitting for tags but less appropriate for sophisticated spray painted walls. Words and their connotations change over time. Just let me know what you want me to call it and I’ll be happy to oblige. If you prefer the term aerosol art, I’ll go with that stilted though it may be.

As a working photographer over the past three decades, you have seen first hand how the art world—from galleries and dealers to museums and collectors—responds and reacts to contemporary American art. What are your thoughts on the differences (and similarities, if applicable) between the US, European, and Asian markets?

As a documentary photographer I’ve always been more interested in publishing my photos in books and magazines than showing them in galleries. I never paid much attention to the art market until very recently. Collectors in Europe and Japan seem more eager to collect “graffiti” (should I say aerosol?) related work. I’m just happy that people anywhere enjoy looking at my pictures.

Who are your artistic inspirations, and how have they influenced your ideas, aesthetics, and actions through the course of your career?

My dad was an amateur photographer and he used to take me on “camera runs” with the Baltimore Camera Club so my first experience with photography was just going out looking for pictures and that’s still my approach today…

I’m from a generation of street photographers who never studied photography. I grew up seeing photojournalism magazines like Look and Life and National Geographic and wanted to become a professional photographer so that I could travel the world. I was always more interested in thinking about what I wanted to photograph than how I was going to shoot it. It was never my intention to make art.

For “Down by Law” you will be exhibiting your silver gelatin prints of Rock Steady Crew members Frosty Freeze, Ken Swift, Crazy Legs, and Doze Green . Please talk about your work documenting the b-boy movement, and the way in which these photographs—in particular that of Frosty—have become historic markers of the culture.

I first encountered b-boys by chance in 1980 in Washington Heights and was so impressed that I contacted Sally Banes, a dance writer, to help me document them. It took us a year before we had enough material to publish a story. We asked Henry Chalfant to help us find dancers. He was organizing an event with graffiti, rapping and DJing and thought dance would be a great addition. Through his graffiti contacts, we met Crazy Legs.

The resulting story in the Village Voice in April 1981 with Frosty Freeze on the cover introduced breaking and Rock Steady to the world. Because NYC is a media town, magazines and film crews quickly covered the “new” dance. Henry filmed them for his movie Style Wars as did Charlie Ahearn for Wild Style. The words “Hip Hop” were not in general use at the time but as people became more aware of the culture, breaking was included as an integral part and the Rock Steady Crew became worldwide celebrities. As far as I know my photos are the earliest documentation of b-boying.

There has been a wide array of artists to emerge from the early graffiti and Hip-Hop movement. How have your earlier experiences documenting b-boys, young writers in the yards, and trains running along the lines influenced you ideas about art, and in what direction would you like to go?

I don’t think a lot about art. Still photography is a wonderful way to document. In a fraction of a second the camera can capture and preserve a million details. I’m interested in using photography for historic preservation. I want people to look at my photos and get a sense of what life was like at a specific time and place.

I’ve seen New York City change radically over the past 30 years and my photos are appreciated because they are a record of a different time. For the past 4 1/2 years I’ve been documenting a difficult neighborhood in Baltimore with a vibrant street life. My hope is that in thirty years these photos will similarly be enjoyed.

www.12ozprophet.com/index.php/martha_cooper

www.ericfirestonegallery.com

Categories: 1980s, Art, Bronx, Exhibitions, Graffiti, Manhattan, Music, Photography