Archive for the 'New York' Category

25
Mar
20

Exhibition: ‘Dorothea Lange: Words & Pictures’ at the Museum of Modern Art, New York

Exhibition dates: 9th February – 9th May 2020

MoMA has closed temporarily due to the novel coronavirus (COVID-19) pandemic

#MuseumFromHome

 

Dorothea Lange (American, 1895-1965) 'Six Tenant Farmers without Farms, Hardeman County, Texas' 1937, printed 1965

 

Dorothea Lange (American, 1895-1965)
Six Tenant Farmers without Farms, Hardeman County, Texas
1937, printed 1965
Gelatin silver print
12 15/16 × 16 5/8″ (32.9 × 42.2 cm)
The Museum of Modern Art, New York. Purchase

 

 

This image appeared in Land of the Free and later in Lange and Paul Taylor’s documentary photobook An American Exodus: A Record of Human Erosion (1941), where Lange cropped out the sixth, smaller man, perhaps to simplify the idea of strength and virility conveyed there.

 

Dorothea Lange (American, 1895-1965) 'A Half-Hour Later, Hardeman County, Texas' 1937, printed 1965

Dorothea Lange (American, 1895-1965)
A Half-Hour Later, Hardeman County, Texas
1937, printed 1965
Gelatin silver print
12 1/8 × 15 3/16″ (30.8 × 38.6 cm)
The Museum of Modern Art, New York. Purchase

 

 

“All photographs – not only those that are so-called ‘documentary,’ … can be fortified by words.”

“And the assignment was… see what was really there. What does it look like, what does it feel like, what actually is the human condition.”

.
Dorothea Lange

 

“Lange took so many memorable photographs that it is challenging to shortlist them. One of the greatest is at the entrance to the MoMA show: “Migratory Cotton Picker, Eloy, Arizona” (1940). The farmworker’s hands are close to the lens of the camera. One hand is holding a wooden beam; it could be the implement of his impending crucifixion. The other hand, with its open palm and splayed fingers, covers his mouth. Unforgettably powerful, the photograph resembles self-portraits by Austrian expressionist painter Egon Schiele, who shared Lange’s interest in extremities – hands and feet, and also, wretched misery.”

.
Arthur Lubow

 

 

Closer and closer

While MoMA has closed temporarily due to the novel coronavirus (COVID-19) pandemic, I believe it is important to document and write about those exhibitions that would have been running during this distressing time, as a form of social inclusion, social connection if you like, in the virtual world. I know that I am feeling particularly isolated at the moment, fighting off depression, with a lack of my usual routine and coffee with friends.

Great art always inspires, engages me, makes me feel and care about the world around me. In these photographs by that most excellent of photographers Dorothea Lange, of another desperate time, The Great Depression, we can feel her sincerity and intensity, that resolute gift of seeing the world clearly, despite the abject misery that surrounds her. Fast forward future, and we see the lines of the newly unemployed, desperate, penniless, snaking around the block of the social security buildings here in Australia, this very day.

Lange’s photographs don’t need words. Words are never enough.

The faces weary, furrowed, parched under baking sun, rutted like the land, Tractored Out, Childress County, Texas (1938). Dark eyes pierce the marrow, astringent lines, heavy eyebrows, mirror, set above, tight, tight mouth, Young Sharecropper, Macon County, Georgia (July 1937). I feel what, his pain? his sadness? his despair? Hands, arms, feet, form an important part of Lange’s visual armoury, arm/ory, amour. The hand to chin of Migrant Mother, Nipomo, California (March 1936); the bony arms of Woman of the High Plains, Texas Panhandle (June 1938); hand obscuring face, steely gaze, Funeral Cortege, End of an Era in a Small Valley Town, California (1938); weathered, beaten hands, beaten, Migratory Cotton Picker, Eloy, Arizona (November 1940). These extremities are expressions not just of her subjects, but of herself. A virtual self-portrait.

“One of the greatest is at the entrance to the MoMA show: “Migratory Cotton Picker, Eloy, Arizona” (1940). The farmworker’s hands are close to the lens of the camera. One hand is holding a wooden beam; it could be the implement of his impending crucifixion. The other hand, with its open palm and splayed fingers, covers his mouth. Unforgettably powerful, the photograph resembles self-portraits by Austrian expressionist painter Egon Schiele, who shared Lange’s interest in extremities – hands and feet, and also, wretched misery.” (Press release)

Lange “is a key link in a chain of photographic history. From Evans, she learned how to frame precise images of clapboard churches. But unlike Evans, who usually preferred to keep a distance and capture a building’s architectural integrity, Lange always wanted, as she said when describing how she made “Migrant Mother,” to move “closer and closer”.” Moving closer, her photographs possess an un/bridled intimacy with troubled creatures. Moving closer, seeing clearly. Closer and closer, till death, parts.

Dr Marcus Bunyan

.
Many thankx to MoMA for allowing me to publish the photographs in posting. Please click on the photographs for a larger version of the image.

 

 

 

Dorothea Lange: Words & Pictures MoMA exhibition

 

Dorothea Lange introduction

 

Dorothea Lange: Words & Pictures introduction text

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 with at right, Migratory Cotton Picker, Eloy, Arizona November 1940
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Lange San Francisco Streets

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

San Francisco Streets

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 showing at left, White Angel Bread Line, San Francisco 1933
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'White Angel Bread Line, San Francisco' 1933

 

Dorothea Lange (American, 1895-1965)
White Angel Bread Line, San Francisco
1933
Gelatin silver print
10 3/4 x 8 7/8″ (27.3 x 22.6 cm)
The Museum of Modern Art, New York. Gift of Albert M. Bender

 

 

About this photograph, one of the first made outside her studio, Lange recalled, “I was just gathering my forces and that took a little bit because I wasn’t accustomed to jostling about in groups of tormented, depressed and angry men, with a camera.”

 

Lange Government Work

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

Government Work

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 showing at fifth from left bottom, Funeral Cortege, End of an Era in a Small Valley Town, California 1938; at fourth from left top, Grayson, San Joaquin Valley, California 1938; and at fifth from left top, Ex-Slave with Long Memory, Alabama c. 1937
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'Funeral Cortege, End of an Era in a Small Valley Town, California' 1938, printed c. 1958

 

Dorothea Lange (American, 1895-1965)
Funeral Cortege, End of an Era in a Small Valley Town, California
1938, printed c. 1958
Gelatin silver print
9 7/16 × 8″ (24 × 20.3 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'Grayson, San Joaquin Valley, California' 1938, printed 1965

 

Dorothea Lange (American, 1895-1965)
Grayson, San Joaquin Valley, California
1938, printed 1965
Gelatin silver print
10 3/8 x 16 15/16″ (26.3 x 43 cm)
The Museum of Modern Art, New York. Purchase

 

 

Regarding this picture, Dorothea Lange’s field notes report: “Grayson was a migratory agricultural labourers’ shack town. It was during the season of the pea harvest. Late afternoon about 6 o’clock. Boys were playing baseball in the road that passes this building, which was used as a church. Otherwise, this corpse, lying at the church, was alone, unattended, and unexplained.” The full negative she made there represents not just this doorway but the entire whitewashed gabled façade. The concrete steps in front of the entrance and foundation blocks are visible. Apparently the form in the doorway was what drew Lange to the scene, however; it has been suggested that she later realised this central feature was important enough to carry the composition and proceeded to concentrate on the portion of the negative with the shallow portal holding the body. She published an even more severely cut-down version in the 1940 US Camera Annual. Bearing the title Doorstep Document, it eliminates the three plain boards that frame the doorway, making the depth of the threshold less evident and the wrapped figure and worn double doors more prominent and funereal.

It is not known why Lange identified the form as a corpse rather than a homeless person. Today we are more inclined to think the latter, since such scenes are common. The relaxed, uncovered pose of the feet indicates a voluntary reclining position. Lange was also some distance away when she made the exposure. One of the playing children may have suggested the corpse idea to test its shock value, and perhaps Lange adopted it for future propaganda purposes. Grayson was just a small town southwest of Modesto, and this church was probably one of the few places of refuge it offered.

It would seem peculiar for the feet of a dead person to be exposed. Here they represent the life, the personality, of this anonymous citizen. Always sensitive to the appearance and performance of others’ feet, due to her own deformity, Lange made hundreds of photographs on the theme. This one is among the most melancholy.

Judith Keller, Dorothea Lange, In Focus: Photographs from the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2002), 40. © 2002 J. Paul Getty Trust

 

Dorothea Lange (American, 1895-1965) 'Ex-Slave with Long Memory, Alabama' c. 1937, printed 1965

 

Dorothea Lange (American, 1895-1965)
Ex-Slave with Long Memory, Alabama
c. 1937, printed 1965
Gelatin silver print
15 3/16 × 11 15/16″ (38.5 × 30.3 cm)
The Museum of Modern Art, New York. Purchase

 

Lange 'Land of the Free'

Lange 'Land of the Free'

 

Dorothea Lange (American, 1895-1965)
Archibald Macleish (American, 1892-1982)
Land of the Free
1938
Letterpress open: 9 7/16 x 13 1/8″ (24 x 33.4 cm)
The Museum of Modern Art Library, New York

Open at Lange’s Ditched, Stalled and Stranded, San Joaquin Valley, California February 1936

 

Lange Land of the Free

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

Land of the Free

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 with at left, Ditched, Stalled and Stranded, San Joaquin Valley, California February 1936; and at centre, Six Tenant Farmers without Farms, Hardeman County, Texas 1937
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

Land of the Free and An American Exodus

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020
© 2020 The Museum of Modern Art
Photo: John Wronn

 

 

FOR THE ENTIRE second half of Dorothea Lange’s life, a quotation from the English philosopher Francis Bacon floated in her peripheral vision: “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention.” She pinned a printout of these words up on her darkroom door in 1933. It remained there until she died, at 70, in 1965 – three months before her first retrospective opened at the Museum of Modern Art in New York and three decades after she took the most iconic photograph in the medium’s history.

 

Dorothea Lange (American, 1895-1965) 'Migrant Mother, Nipomo, California' March 1936

 

Dorothea Lange (American, 1895-1965)
Migrant Mother, Nipomo, California
March 1936
Gelatin silver print
11 1/8 x 8 9/16″ (28.3 x 21.8 cm)
The Museum of Modern Art, New York. Purchase

 

 

The captions used to describe Migrant Mother are as varied as the publications in which they appeared: “A destitute mother, the type aided by the WPA.” “A worker in the ‘peach bowl.'” “Draggin’-around people.” “In a camp of migratory pea-pickers, San Luis Obispo County, California.” Even in ostensibly factual settings such as newspapers, government reports, or a museum cataloguing sheet, no fixed phrase or set of words was associated with the image until 1952, when it was published as Migrant Mother.

 

Lange Migrant Mother / Popular Photography

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

Migrant Mother / Popular Photography

Installation views of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 with at left in the bottom photograph, Sunlit Oak c. 1957 (below)
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'Sunlit Oak' c. 1957, printed 1965

 

Dorothea Lange (American, 1895-1965)
Sunlit Oak
c. 1957, printed 1965
Gelatin silver print
30 7/8 × 41 1/8″ (78.4 × 104.5 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'Kern County, California' 1938

 

Dorothea Lange (American, 1895-1965)
Kern County, California
1938
Gelatin silver print
12 7/16 x 12 1/2″ (31.6 x 31.7 cm)
The Museum of Modern Art, New York. Purchase

 

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

Pictures of Words

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 with at left, Western Addition, San Francisco, California 1951 (below); at fifth from left, Kern County, California 1938 (above); at third from right, Crossroads Store, North Carolina July 1939 (below)
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'Western Addition, San Francisco, California' 1951, printed 1965

 

Dorothea Lange (American, 1895-1965)
Western Addition, San Francisco, California
1951, printed 1965
Gelatin silver print
7 3/16 × 6″ (23.8 × 17.4 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'Crossroads Store, North Carolina' July 1939, printed 1965

 

Dorothea Lange (American, 1895-1965)
Crossroads Store, North Carolina
July 1939, printed 1965
Gelatin silver print
9 11/16 × 13 9/16″ (24.6 × 34.4 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'Tractored Out, Childress County, Texas' 1938

 

Dorothea Lange (American, 1895-1965)
Tractored Out, Childress County, Texas
1938
Gelatin silver print
9 5/16 x 12 13/16″ (23.6 x 32.6 cm)
The Museum of Modern Art, New York. Purchase

 

 

Lange and Taylor’s captions in An American Exodus consider the human impact of environmental crises. The one for this image reads, “Tractors replace not only mules but people. They cultivate to the very door of the houses of those whom they replace.”

 

Dorothea Lange (American, 1895-1965) 'The Road West, New Mexico' 1938, printed 1965

 

Dorothea Lange (American, 1895-1965)
The Road West, New Mexico
1938, printed 1965
Gelatin silver print
9 5/8 × 13 1/16″ (24.5 × 33.2 cm)
The Museum of Modern Art, New York. Purchase

 

The image was memorialised later by Robert Frank

 

Dorothea Lange and Paul S. Taylor. 'An American Exodus. A Record of Human Erosion' New York: Reynal & Hitchcock, 1939

Dorothea Lange and Paul S. Taylor. 'An American Exodus. A Record of Human Erosion' New York: Reynal & Hitchcock, 1939

 

 

A seminal work in documentary studies, with powerful photographs of the Depression era made by the wife and husband team of Dorothea Lange and Paul Taylor. They were hired by the Farm Security Administration to document the 300,000 strong, Depression era exodus from rural America, and the struggles these migrant workers overcame in search of basic necessities. The documentary photographer and social scientist’s goal was to “use the camera as a tool of research. Upon a tripod of photographs, captions, and text we rest themes evolved out of long observations in the field. We adhere to the standards of documentary photography as we have conceived them. Quotations which accompany photographs report what the persons photographed said, not what we think might be their unspoken thoughts.” p. 6.

Text from the Abe Books website [Online] Cited 24/02/2020

 

Dorothea Lange (American, 1895-1965) 'Woman of the High Plains, Texas Panhandle' June 1938, printed 1965

 

Dorothea Lange (American, 1895-1965)
Woman of the High Plains, Texas Panhandle
June 1938, printed 1965
Gelatin silver print
29 3/4 × 24″ (75.6 × 61 cm)
The Museum of Modern Art, New York. Purchase

 

 

“IF YOU DIE, YOU’RE DEAD – THAT’S ALL”

When it was published in An American Exodus, this portrait was captioned “If you die, you’re dead—that’s all.” This line was taken from Lange’s field notes, which quote the woman at greater length: “‘We made good money a pullin’ bolls, when we could pull. But we’ve had no work since March. . . . You can’t get no relief here until you’ve lived here a year. This county’s a hard country. They won’t help bury you here. If you die, you’re dead, that’s all.’”

 

Lange 'An American Exodus'

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

An American Exodus

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 with at left, Young Sharecropper, Macon County, Georgia July 1937; at second left top, The Road West, New Mexico 1938; at centre Woman of the High Plains, Texas Panhandle June 1938; and second right, Jobless on the Edge of a Peafield, Imperial Valley, California February 1937
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'Young Sharecropper, Macon County, Georgia' July 1937, printed 1965

 

Dorothea Lange (American, 1895-1965)
Young Sharecropper, Macon County, Georgia
July 1937, printed 1965
Gelatin silver print
11 3/4 × 11 3/4″ (29.8 × 29.9 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'Jobless on the Edge of a Peafield, Imperial Valley, California' February 1937, printed 1965

 

Dorothea Lange (American, 1895-1965)
Jobless on the Edge of a Peafield, Imperial Valley, California
February 1937, printed 1965
Gelatin silver print
16 15/16 × 15 3/4″ (43 × 40.1 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange and Paul S. Taylor. 'An American Exodus. A Record of Human Erosion' New York: Reynal & Hitchcock, 1939

Dorothea Lange and Paul S. Taylor. 'An American Exodus. A Record of Human Erosion' New York: Reynal & Hitchcock, 1939

 

Dorothea Lange and Paul S. Taylor
An American Exodus. A Record of Human Erosion
New York: Reynal & Hitchcock, 1939
First edition. Hardcover
Letterpress open: 10 1/4 x 15 3/8″ (26 x 39.1 cm)
The Museum of Modern Art Library, New York

 

 

Empathy and Artistry: Rediscovering Dorothea Lange

John Szarkowski was about 13 when he saw an image by Dorothea Lange that “enormously impressed” him. After he had become the powerful director of photography at the Museum of Modern Art, he would recall that he took it to be a “picture of the hard-faced old woman, looking out of the handsome oval window of the expensive automobile with her hand to her face as if the smell of the street was offending her, and I thought, ‘Isn’t that marvellous?’ That a photographer can pin that specimen to the board as some kind of exotic moth and show her there in her true colours.”

A quarter of a century after his initial encounter with the photo, working in 1965 with Lange on his first one-artist retrospective at MoMA, he read her full caption for “Funeral Cortege, End of an Era in a Small Valley Town, California,” and realised that the fancy car belonged to an undertaker and that the expression he took for haughtiness was grief.

The wry confession of his mistake, which Szarkowski made in 1982 to an interviewer, is not mentioned in “Dorothea Lange: Words and Pictures,” which opened Sunday at MoMA. But it illustrates the curatorial theme: Lange’s pictures require verbal commentary to be read legibly.

Curiously, though, the strength of Lange’s photographs at MoMA undercuts the exhibition’s concept. With or without the support of words, Dorothea Lange (1895-1965), created some of the greatest images of the unsung struggles and overlooked realities of American life. Her most iconic photograph, which came to be called “Migrant Mother,” portrays a grave-faced woman in ragged clothing in Nipomo, Calif., in 1936, with two small children burying their faces against her shoulders, and a baby nestled in her lap. It is one of the most famous pictures of all time.

Yet Lange was not simply a Depression photographer. As this revelatory, heartening exhibition shows, she was an artist who made remarkable pictures throughout a career that spanned more than four decades. The photos she took in 1942 of interned Japanese-Americans (which the government suppressed until 1964) display state-administered cruelty with stone-cold clarity: One dignified man in a three-piece suit and overcoat is wearing a tag, like a steer, while disembodied white hands on either side examine and prod him. Her prescient photographs of environmental degradation portray the human cost of building a dam that flooded the Berryessa Valley near Napa. Her empathetic portraits of African-American field hands shine a light on a system of peonage that predated and outlasted the 1930s.

Nevertheless, her fame rests largely on the indelible images she made, starting in 1935, as an employee of the Resettlement Administration and its successor, the Farm Security Administration, both under the leadership of Roy Stryker. Lange endured a fractious relationship with Stryker, who seemed deeply discomfited by a strong-minded woman. He fired her in 1940, saying she was “uncooperative.” To his credit, however, he always acknowledged that “Migrant Mother” was the key image of the Depression.

Seeking a deeper understanding of the economic crisis, Lange and her collaborators in the field interviewed her subjects, and she incorporated their words into her captions. She was the first photographer to do that systematically. The show’s curator, Sarah Hermanson Meister, who drew from the museum’s collection of more than 500 Lange prints, includes many of the captions in the wall labels, in an installation that is patterned after Szarkowski’s 1966 Lange show. (The artist died of esophageal cancer before it opened.)

Lange took so many memorable photographs that it is challenging to shortlist them. One of the greatest is at the entrance to the MoMA show: “Migratory Cotton Picker, Eloy, Arizona” (1940). The farmworker’s hands are close to the lens of the camera. One hand is holding a wooden beam; it could be the implement of his impending crucifixion. The other hand, with its open palm and splayed fingers, covers his mouth. Unforgettably powerful, the photograph resembles self-portraits by Austrian expressionist painter Egon Schiele, who shared Lange’s interest in extremities – hands and feet, and also, wretched misery. …

Many wonderful Lange photographs are not overtly political. “Bad Trouble Over the Weekend” (1964) is a close-up of a woman’s hands folded over her face; one hand bears a wedding band and holds an unlit cigarette. (The subject was her daughter-in-law.) And Lange photographed multitrunked oaks with the same acuity as fingered hands.

The fame of “Migrant Mother” has cropped Lange’s reputation unfairly. She is a key link in a chain of photographic history. From Evans, she learned how to frame precise images of clapboard churches. But unlike Evans, who usually preferred to keep a distance and capture a building’s architectural integrity, Lange always wanted, as she said when describing how she made “Migrant Mother,” to move “closer and closer.” Her 1938 photograph, “Death in the Doorway, ” of a church entrance in the San Joaquin Valley reveals a blanketed corpse that someone, probably unable to afford a burial, has deposited. Evans would never have gone there.

In turn, Lange was revered by the documentary photographers who followed her. The greatest of them, Robert Frank, paid her direct homage in “The Americans,” shooting from the same vantage point the New Mexico highway that Lange had memorialized in “An American Exodus.”

But photography was heading off in a different direction. A year after his Lange exhibition, Mr. Szarkowski mounted “New Documents,” which introduced a younger generation of American photographers: Diane Arbus, Lee Friedlander and Garry Winogrand. Speaking to me in 2003, he explained that these photographers were “rejecting Dorothea’s attitude” that “documentary photography was supposed to do some good” and instead using the camera “to explore their own experience and their own life and not to persuade somebody else what to do or what to work for.” That notion was hardly foreign to Lange. In a picture of a lame person, “Walking Wounded, Oakland” (1954), she found, as did the New Documents artists, a real-life subject that mirrored her own life.

One happy consequence of our dismal political moment is a rediscovery of Lange. In 2018, a major exhibition from her archive was staged at the Barbican Center in London and the Jeu de Paume in Paris.

Perhaps now younger photographers will be inspired to pick up her banner. The need is all too apparent. Where is the photographer of cleareyed empathy and consummate artistry to depict the disquiet, hopelessness and desperate fortitude that riddle the American body politic of today? Who will bring us our “Migrant Mother”?

Arthur Lubow. “Empathy and Artistry: Rediscovering Dorothea Lange,” on The New York Times website Feb. 13, 2020 [Online] Cited 24/03/2020.

 

Dorothea Lange (American, 1895-1965) 'Migratory Cotton Picker, Eloy, Arizona' November 1940

 

Dorothea Lange (American, 1895-1965)
Migratory Cotton Picker, Eloy, Arizona
November 1940
Gelatin silver print
19 15/16 × 23 13/16″ (50.7 × 60.5 cm)
The Museum of Modern Art, New York. Purchase

 

Lange '12 Million Black Voices'

 

Dorothea Lange (American, 1895-1965)
Edwin Rosskam (American, 1903-1985)
Richard Wright (American, 1908-1960)
12 Million Black Voices: A Folk History of the Negro in the United States
1941
Offset lithography open: 10 1/4 x 14 1/2″ (26 x 36.8 cm)
The Museum of Modern Art Library

 

Lange 12 Million Black Voices

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

12 Million Black Voices

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'Richmond, California' 1942

 

Dorothea Lange (American, 1895-1965)
Richmond, California
1942
Gelatin silver print
9 ¾ x 7 11/16″ (24.7 x 19.5 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'Richmond, California' 1942

 

Dorothea Lange (American, 1895-1965)
Richmond, California
1942, printed 1965
Gelatin silver print
10 7/16 × 13 3/16″ (26.5 × 33.5 cm)
The Museum of Modern Art, New York. Purchase

 

 

During World War II, at the height of antiJapanese sentiment, Lange documented an explicitly racist billboard advertising the Southern Pacific railroad company. Rather than portraying the billboard in isolation, she disrupted the frame with a handmade sign that seems to undermine the commodification of such political sentiments.

 

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 with at second left top, One Nation Indivisible, San Francisco 1942 (below); and at second left bottom, Just About to Step into the Bus for the Assembly Center, San Francisco April 6, 1942 (below)
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'One Nation Indivisible, San Francisco' 1942

 

Dorothea Lange (American, 1895-1965)
One Nation Indivisible, San Francisco
1942
Gelatin silver print
13 1/8 × 9 13/16″ (33.4 × 25 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'Just About to Step into the Bus for the Assembly Center, San Francisco' April 6, 1942, printed 1965

 

Dorothea Lange (American, 1895-1965)
Just About to Step into the Bus for the Assembly Center, San Francisco
April 6, 1942, printed 1965
Gelatin silver print
10 3/8 × 9 13/16″ (26.3 × 25 cm)
The Museum of Modern Art, New York. Purchase

 

 

The Museum of Modern Art presents Dorothea Lange: Words & Pictures, the first major solo exhibition at the Museum of the photographer’s incisive work in over 50 years. On view from February 9 through May 9, 2020, Dorothea Lange: Words & Pictures includes approximately 100 photographs drawn entirely from the Museum’s collection. The exhibition also uses archival materials such as correspondence, historical publications, and oral histories, as well as contemporary voices, to examine the ways in which words inflect our understanding of Lange’s pictures. These new perspectives and responses from artists, scholars, critics, and writers, including Julie Ault, Wendy Red Star, and Rebecca Solnit, provide fresh insight into Lange’s practice. Dorothea Lange: Words & Pictures is organised by Sarah Meister, Curator, with River Bullock, Beaumont & Nancy Newhall Curatorial Fellow, assisted by Madeline Weisburg, Modern Women’s Fund Twelve-Month Intern, Department of Photography, The Museum of Modern Art.

Toward the end of her life, Dorothea Lange (1895-1965) remarked, “All photographs – not only those that are so-called ‘documentary,’ and every photograph really is documentary and belongs in some place, has a place in history – can be fortified by words.” Organised loosely chronologically and spanning her career, the exhibition groups iconic works together with lesser known photographs and traces their varied relationships to words: from early criticism on Lange’s photographs to her photo-essays published in LIFE magazine, and from the landmark photobook An American Exodus to her examination of the US criminal justice system. The exhibition also includes groundbreaking photographs of the 1930s – including Migrant Mother (1936) – that inspired pivotal public awareness of the lives of sharecroppers, displaced families, and migrant workers during the Great Depression. Through her photography and her words, Lange urged photographers to reconnect with the world – a call reflective of her own ethos and working method, which coupled an attention to aesthetics with a central concern for humanity.

“It seems both timely and urgent that we renew our attention to Lange’s extraordinary achievements,” said Sarah Meister. “Her concern for less fortunate and often overlooked individuals, and her success in using photography (and words) to address these inequities, encourages each of us to reflect on our own civic responsibilities. It reminds me of the unique role that art – and in particular photography – can play in imagining a more just society.”

The exhibition begins in 1933, when Lange, then a portrait photographer, first brought her camera outside into the streets of San Francisco. Lange’s increasing interest in the everyday experience of people she encountered eventually led her to work for government agencies, supporting their objective to raise public awareness and to provide aid to struggling farmers and those devastated by the Great Depression. During this time, Lange photographed her subjects and kept notes that formed the backbone of government reports; these and other archival materials will be represented alongside corresponding photographs throughout the exhibition. Lange’s commitment to social justice and her faith in the power of photography remained constant throughout her life, even when her politics did not align with those who were paying for her work. A central focus of the exhibition is An American Exodus, a 1939 collaboration between Lange and Paul Schuster Taylor, her husband and an agricultural economist. As an object and as an idea, An American Exodus highlights the voices of her subjects by pairing first-person quotations alongside their pictures. Later, Lange’s photographs continued to be useful in addressing marginalised histories and ongoing social concerns. Throughout her career as a photographer for the US Government and various popular magazines, Lange’s pictures were frequently syndicated and circulated outside of their original context. Lange’s photographs of the 1930s helped illustrate Richard Wright’s 12 Million Black Voices (1941), and her 1950s photographs of a public defender were used to illustrate Minimizing Racism in Jury Trials (1969), a law handbook published after Black Panther Huey P. Newton’s first trial during a time of great racial strife.

This collection-based exhibition would not be possible had it not been for Lange’s deep creative ties to the Museum during her lifetime. MoMA’s collection of Lange photographs was built over many decades and remains one of the definitive collections of her work. Her relationship to MoMA’s Department of Photography dates to her inclusion in its inaugural exhibition, in 1940 which was curated by the department’s director, Edward Steichen. Lange is a rare artist in that both Steichen and his successor, John Szarkowski, held her in equally high esteem. More than a generation after her first retrospective, organised by Szarkowski at MoMA in 1966, Dorothea Lange: Words & Pictures uses both historical and contemporary words to encourage a more nuanced understanding of words and pictures in circulation.

Press release from MoMA website

 

Dorothea Lange (American, 1895-1965) 'Richmond, California' 1942

 

Dorothea Lange (American, 1895-1965)
Richmond, California
1942
Gelatin silver print
7 3/8 x 6 5/8″ (18.8 x 16.9 cm)
The Museum of Modern Art, New York. Purchase

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

The Family of Man and World War II

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 with at left, Richmond, California 1942 (above)
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'Café near Pinole, California' 1956, printed 1965

 

Dorothea Lange (American, 1895-1965)
Café near Pinole, California
1956, printed 1965
Gelatin silver print
11 15/16 × 16 7/8″ (30.3 × 42.8 cm)
The Museum of Modern Art, New York. Purchase

 

 

Dorothea Lange (American, 1895-1965)
“Guilty, Your Honor,” Alameda County Courthouse, California
1955-57, printed 1965
Gelatin silver print
17 1/16 × 14 15/16″ (43.3 × 37.9 cm)
The Museum of Modern Art, New York. Purchase

 

Lange Public Defender

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

Public Defender and Late Work

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'The Defendant, Alameda County Courthouse, California' 1957

 

Dorothea Lange (American, 1895-1965)
The Defendant, Alameda County Courthouse, California
1957
Gelatin silver print
12 3/8 x 10 1/8″ (31.4 x 25.8 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'The Witness, Alameda County Courthouse, California' 1955-57, printed c. 1958

 

Dorothea Lange (American, 1895-1965)
The Witness, Alameda County Courthouse, California
1955-57, printed c. 1958
Gelatin silver print
10 5/16 × 8 1/2″ (26.2 × 21.6 cm)
The Museum of Modern Art, New York. Gift of the artist

 

Lange Late Work

 

Installation view of 'Dorothea Lange: Words & Pictures', The Museum of Modern Art, New York, February 9, 2020 - May 9, 2020

 

Late work

Installation view of Dorothea Lange: Words & Pictures, The Museum of Modern Art, New York, February 9, 2020 – May 9, 2020 with at left Man Stepping from Cable Car, San Francisco 1956, and at third left Walking Wounded, Oakland, 1954
© 2020 The Museum of Modern Art
Photo: John Wronn

 

Dorothea Lange (American, 1895-1965) 'Walking Wounded, Oakland' 1954, printed c. 1958

 

Dorothea Lange (American, 1895-1965)
Walking Wounded, Oakland
1954, printed c. 1958
Gelatin silver print
7 1/2 × 9 1/2″ (19 × 24.2 cm)
The Museum of Modern Art, New York. Gift of the artist

 

 

Lange’s choice of title for this image was almost certainly influenced by her own experience with disability. As a child she had contracted polio, which left her with a permanent limp. Toward the end of her life she reflected, “No one who hasn’t lived the life of a semi-cripple knows how much that means. I think it perhaps was the most important thing that happened to me, and formed me, guided me, instructed me, helped me, and humiliated me. All those things at once. I’ve never gotten over it and I am aware of the force and the power of it.”

 

Dorothea Lange (American, 1895-1965) 'Man Stepping from Cable Car, San Francisco' 1956

 

Dorothea Lange (American, 1895-1965)
Man Stepping from Cable Car, San Francisco
1956
Gelatin silver print
9 3/4 x 6 7/16″ (24.8 x 16.4 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'Woman in Purdah, Upper Egypt' 1963, printed 1965

 

Dorothea Lange (American, 1895-1965)
Woman in Purdah, Upper Egypt
1963, printed 1965
Gelatin silver print
12 7/16 × 15 15/16″ (31.6 × 40.5 cm)
The Museum of Modern Art, New York. Purchase

 

Dorothea Lange (American, 1895-1965) 'Bad Trouble Over the Weekend' 1964, printed 1965

 

Dorothea Lange (American, 1895-1965)
Bad Trouble Over the Weekend
1964, printed 1965
Gelatin silver print
7 3/16 × 5 3/4″ (18.2 × 14.6 cm)
The Museum of Modern Art, New York. Purchase

 

 

Lange grappled extensively with the titles of the photographs included in her 1966 MoMA retrospective. In a letter to the curator, John Szarkowski, she wrote, “I propose also to caption each print separately, beyond time and place, sometimes with two or three words, sometimes with a quotation, sometimes with a brief commentary. This textual material I shall be working on for some time, on and of.” Rather than identify the subject of this photo as her daughter-in-law, Lange’s title extends the image’s affective reach.

 

Dorothea Lange (American, 1895-1965) '“Guilty, Your Honor,” Alameda County Courthouse, California' 1955-57, printed 1965

 

 

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19
Feb
20

Photographs: Gordon Parks “The Atmosphere of Crime” 1957

February 2020

 

Gordon Parks (American, 1912-2006) 'Untitled, New York, New York' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, New York, New York
1957
Pigmented inkjet print, printed 2019
13 ¾ x 21″ (35 × 53.3 cm)
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

 

The photo essay as haunting and elegiac poem: “a richly-hued, cinematic portrayal of a largely hidden world: that of violence, police work and incarceration, seen with empathy and candour.”

Parks is one of my favourite photographers. He continues to astound me with his experimentation and percipience, his sensitive insight, into his subjects becoming: “a more nuanced view that reflected the social and economic factors tied to criminal behaviour and a rare window into the working lives of those charged with preventing and prosecuting it.” All captured by his probing camera – using natural light, flash, low depth of field, blur, high angles, low angles, perspective,  transience, informality and chiaroscuro.

Two photographs in the posting suffice to speak of the photographers art: pointing figure, veins, clenched first and revelation, the blue fairy of light, in the beautiful Narcotics Addict, Chicago, Illinois; and body carriage interior, overweight man, braced, shadow, fag hanging out of mouth, pulling – all dreams laid bare. The photographer crouching at the same level. Shooting Victim in Cook County Morgue, Chicago, Illinois.

Wonderful to see the layout of the Life Magazine photo essay as well. Notice how Raiding Detectives, Chicago, Illinois is cropped claustrophobically tight, giving little sense of the passage of the tenement. Similarly, the hand and cigarette in Untitled, Chicago, Illinois (cover for the new book about the series), is bound by the cropping and shadows. Other images from the shoots Drug Search, Chicago, Illinois and Untitled, San Quentin, California are also used, expanding the context of the scene.

His photographs “give shape to the ground against which poverty, addiction, and race become criminalised,” allowing “Life’s readers to see the complexity of these chronically oversimplified situations.” They also enable us to enter a liminal space, where we feel both the mundane horror and specular beauty of life in medias res.

Dr Marcus Bunyan

.
Many thankx to the Museum of Modern Art for allowing me to publish some of the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 x 17 15/16″ (30.1 x 45.6 cm)
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
13 ¾ x 21″ (35 x 53.3 cm)
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Raiding Detectives, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Raiding Detectives, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 x 17 15/16″ (30.1 × 45.6 cm)
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

 

MoMA Acquires 56 Photographs from Gordon Parks’s Groundbreaking 1957 Series “The Atmosphere of Crime”

The Museum of Modern Art has acquired 56 prints from American artist Gordon Parks’s series of colour photographs made in 1957 for a Life magazine photo essay titled “The Atmosphere of Crime.” The Museum and The Gordon Parks Foundation collaborated closely on the selection of 55 modern colour prints that MoMA purchased from the Foundation, and the Foundation has also given the Museum a rare vintage gelatin silver print (a companion to a print Parks himself gave the Museum in 1993). A generous selection of these prints will go on view in May 2020 as part of the first seasonal rotation of the Museum’s newly expanded and re-envisioned collection galleries. The collection installation Gordon Parks and “The Atmosphere of Crime” will be located on the fourth floor, with Parks’s work as an anchor for exploring representations of criminality in photography, with a particular focus on work made in the United States.

One of the preeminent photographers of the mid-20th century, Gordon Parks (1912-2006) left behind a body of work that documents American life and culture from the early 1940s to the 2000s. Born in Fort Scott, Kansas, Parks worked as a youth in St. Paul, Minnesota, before discovering photography in 1937. He would come to view it as his “weapon of choice” for attacking issues including race relations, poverty, urban life, and injustice. After working for the US government’s Farm Security Administration in the early 1940s, Parks found success as a fashion photographer and a regular contributor to Ebony, Fortune, Glamour, and Vogue before he was hired as the first African American staff photographer at Life magazine in 1948.

In 1957, Life assigned Parks to photograph for the first in a series of articles addressing the perceived rise of crime in the US. With reporter Henry Suydam, Parks traversed the streets of New York, Chicago, Los Angeles, and San Francisco, producing a range of evocative colour images, 12 of which were featured in the debut article, “The Atmosphere of Crime,” on September 9, 1957. Parks’s empathetic, probing views of crime scenes, police precincts, hospitals, morgues, and prisons do not name or identify “the criminal,” but instead give shape to the ground against which poverty, addiction, and race become criminalised. Shot using available light, Parks’s atmospheric photographs capture mysterious nocturnal activity unfolding on street corners and silhouetted figures with raised hands in the murky haze of a tenement hallway.

A robust selection from this acquisition will anchor a display within a fourth-floor collection gallery, titled Gordon Parks and “The Atmosphere of Crime.” Using Parks’s work as a point of departure, the installation will draw from a range of other works in the Museum’s collection, offering varied representations of crime and criminality. Since the 1940s, the Museum has collected and exhibited photographs of crime as represented in newspapers and tabloids, exemplified by the dramatic, flash-lit work of Weegee, complemented by 19th-century precedents such as mug shots, whose purported objectivity was expected to facilitate the identification of criminals, as well as acquisitions across media that point to subsequent investigations and more contemporary concerns.

While Parks’s work was first displayed at MoMA in 1948, and was included in the landmark exhibition The Family of Man in 1955, it wasn’t until 1993 that five of his photographs were approved for the Museum’s collection (including a large-scale gelatin silver print from the 1957 series on crime mentioned above). The Museum has since supported the acquisition of additional vintage prints in 2011 and 2014 (including Harlem Newsboy, currently on view on the Museum’s fifth floor).

“As an artist of the highest order and a passionate advocate for civil rights, Parks made iconic photographs that continue to speak poignantly to the complexity of cultural politics and racial bias in the United States,” said Sarah Meister, curator in MoMA’s Department of Photography. “This acquisition substantially improves the Museum’s holdings of Gordon Parks’s achievement, reflecting our commitment to the artist and fostering the possibility of situating his work within a broad range of contemporary concerns. His enduring impact on the history of photography and representation cannot be overstated.”

“MoMA’s acquisition reinforces the significance of Gordon Parks as an artist whose practice continues to inspire future generations,” said Peter W. Kunhardt, Jr., executive director of The Gordon Parks Foundation. “Parks knew that his camera could be a powerful weapon, more potent than violence, and that pictures and words could further social change. The Atmosphere of Crime series remains as timeless and relevant today as when the photographs were made more than 50 years ago.”

Sarah Meister has also collaborated on The Gordon Parks Foundation’s forthcoming publication Gordon Parks: The Atmosphere of Crime, 1957, to be published by Steidl in spring 2020. The book’s expansive selection of never-before-published photographs from Parks’s original reportage was selected and sequenced by Meister, and her illustrated text situates this critically important photo essay within both Parks’s career and historic representations of crime and criminality. Other contributors include Bryan Stevenson, founder of the Equal Justice Initiative and author of Just Mercy (Spiegel & Grau, 2014), and Nicole Fleetwood, Professor of American studies and art history at Rutgers University and author of Marking Time: Art in the Age of Mass Incarceration (Harvard University Press, 2020). The book also features a foreword by MoMA’s director Glenn D. Lowry and The Gordon Parks Foundation’s executive director, Peter W. Kunhardt, Jr.

Press release from MoMA

 

Gordon Parks (American, 1912-2006) 'Drug Search, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Drug Search, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 x 17 15/16″ (30.1 × 45.6 cm)
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) '"Wrong Place at the Wrong Time," Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
“Wrong Place at the Wrong Time” Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Untitled, San Quentin, California' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, San Quentin, California
1957
Pigmented inkjet print, printed 2019
11 7/8 x 17 15/16″ (30.1 x 45.6 cm)
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Detectives Grilling a Suspect, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Detectives Grilling a Suspect, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Knifing Victim I, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Knifing Victim I, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

 

When Life magazine asked Gordon Parks to illustrate a recurring series of articles on crime in the United States in 1957, he had already been a staff photographer for nearly a decade, the first African American to hold this position. Parks embarked on a six-week journey that took him and a reporter to the streets of New York, Chicago, San Francisco and Los Angeles. Unlike much of his prior work, the images made were in colour. The resulting eight-page photo-essay “The Atmosphere of Crime” was noteworthy not only for its bold aesthetic sophistication, but also for how it challenged stereotypes about criminality then pervasive in the mainstream media. They provided a richly-hued, cinematic portrayal of a largely hidden world: that of violence, police work and incarceration, seen with empathy and candour.

Parks rejected clichés of delinquency, drug use and corruption, opting for a more nuanced view that reflected the social and economic factors tied to criminal behaviour and a rare window into the working lives of those charged with preventing and prosecuting it. Transcending the romanticism of the gangster film, the suspense of the crime caper and the racially biased depictions of criminality then prevalent in American popular culture, Parks coaxed his camera to do what it does best: record reality so vividly and compellingly that it would allow Life‘s readers to see the complexity of these chronically oversimplified situations. The Atmosphere of Crime, 1957 includes an expansive selection of never-before-published photographs from Parks’ original reportage.

Co-published with The Gordon Parks Foundation and The Museum of Modern Art. Text by Nicole Fleetwood and Bryan Stevenson.

Text from the Steidl website [Online] Cited 16/02/2020

 

Gordon Parks (American, 1912-2006) 'Narcotics Addict, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Narcotics Addict, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Police Bring in Victim, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Police Bring in Victim, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks (American, 1912-2006) 'Shooting Victim in Cook County Morgue, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Shooting Victim in Cook County Morgue, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
The Museum of Modern Art, New York. The Family of Man Fund
© The Gordon Parks Foundation

 

Gordon Parks' photo essay 'The Atmosphere of Crime' in 'Life Magazine', September 9, 1957

Gordon Parks' photo essay 'The Atmosphere of Crime' in 'Life Magazine', September 9, 1957

Gordon Parks' photo essay 'The Atmosphere of Crime' in 'Life Magazine', September 9, 1957

Gordon Parks' photo essay 'The Atmosphere of Crime' in 'Life Magazine', September 9, 1957

Gordon Parks' photo essay 'The Atmosphere of Crime' in 'Life Magazine', September 9, 1957

 

Gordon Parks’ photo essay The Atmosphere of Crime in Life Magazine September 9, 1957

Gordon Parks (American, 1912-2006) 'Untitled, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Untitled, Chicago, Illinois
1957
Gelatin silver print
19 ¼ x 13″ (48.9 × 33 cm)
The Museum of Modern Art, New York. Gift of the Gordon Parks Foundation
© The Gordon Parks Foundation

 

'The Atmosphere of Crime, 1957' (cover)

 

The Atmosphere of Crime, 1957 (cover)
Text by Nicole Fleetwood and Bryan Stevenson
Series edited by Peter W. Kunhardt, Jr.
Edited by Sarah Hermanson Meister
168 pages, 70 images
Hardback / Half-linen
25 x 29 cm
English
ISBN 978-3-95829-696-1
Published Spring 2020

 

 

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27
Dec
19

Exhibition: ‘Peter Hujar: Speed of Life’ at Jeu de Paume, Paris

Exhibition dates: 15th October 2019 – 19th January 2020

Curators: Joel Smith and Quentin Bajac

 

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Installation view of the exhibition Peter Hujar: Speed of Life at Jeu de Paume, Paris

 

 

“I photograph those who push themselves to any extreme, and people who cling to the freedom to be themselves.”

.
Peter Hujar

 

 

Free your mind

A huge posting to finish what has been a bumper year on Art Blart: two book chapters published, a photographic research trip to Europe in which I saw some incredible exhibitions and took over 7000 photographs for my art work, lots of postings and writing and, sadly, the loss of two friends – my mother in Australia, the bohemian photographer and poet Joyce Evans and vision impaired photographer Andrew Follows.

I couldn’t think of a better posting to finish the year than with a photographer who put it all on the line: Peter Hujar. Not for him the world of Apollonian perfection, wishing for fortune and fame, relying on some big time backer to promote him. Hujar stuck to his craft, carving images, performances if you like, from dystopian contexts and Dionysian revellers. “Hujar was the instigator of the performances captured in his portraits, as much as a director as a photographer.”

Paraphrasing Mark Durant, we might say that Hujar was a poet of the urban nocturne, a photographer of subjective desire known for his gritty, erotic, sentimental yet (im)personal images. Philip Gefter observes that, “A hallmark of Hujar’s portraiture is the invisibility of technique – a kind of visual innocence – as if the camera were not present and the subject had been happened upon.” Richard Woodward says that Hujar, “observed his companions in this outlaw life with what might be called warm objectivity.” Photographer Duane Michals says that, “Hujar was a pioneer, years ahead of Mapplethorpe in his sexual candor, as well as an artist whose photographs are less swank and less affected.”

Ah! what a time it was to be an artist and to be gay in New York, with the likes of Hujar, Warhol, Mapplethorpe, Wojnarowicz, Haring, Arthur Tress, and Duane Michals, to name but a few. A time of sexual liberation, followed by a period of disease and death. Hujar pictures this “scene” – the flowering of gay life and then the AIDS crisis of the 1980s. He pictures the constellations as they swirl around him. He allows the viewer to enter his world without judgement, just showing it how it was – a world of avant-garde dance, music, art, and drag performance; “glowing skyscrapers, assorted rubble, discarded rugs, boys in drag, and girls passed out in his doorway.” This is it he is saying, this is how I live, this is who surrounds me, suck it up and breathe it in. He allows the viewer to enter his world of ideas and possible metaphors. No judgement is offered nor accepted.

As my appreciation of his photographs grows, I reflect on the skill that it takes to make these photographs look effortless. Hujar, “a student of Lisette Model, admirer of August Sander, and friend of Diane Arbus, made his photographs distinctly his own: a perfect and unmistakable mirror of his own body and milieu.” A mirror of strength and determination / of friendship / of love – his pictures gather, together, a feeling for – the freedom of people, and places, to be themselves. Do places have feelings? yes they do! (I remember visiting the Coliseum in Rome and having to leave after 20 minutes the energy of the place was so bad; and then visiting the Loretta Sanctuary in Prague and feeling, such calm and peace in that place, that I have rarely felt before).

Hujar’s photographs are memorable. Nan Goldin and Vince Aletti said that his work, “like that of so few photographers, can’t be forgotten and becomes even deeper and more compelling over time.” His work is so compelling it’s like you can’t take tear your eyes away from the photographs. They demand repeat viewing. They seem possessed of an awareness of their own making. That is Hujar’s music, his signature.

Like any great artist, his images reveal themselves over time, expounding his love of life and his intimate and free engagement with the world. Hujar was, is, and always will be… a watcher, a dreamer, a cosmic spirit.

Dr Marcus Bunyan

.
Many thankx to Jeu de Paume for allowing me to publish the photographs in the posting. Many thankx to David for the iPhone installation images. Please click on the photographs for a larger version of the image.

 

The life and art of Peter Hujar (1934-1987) were rooted in downtown New York. Private by nature, combative in manner, well-read, and widely connected, Hujar inhabited a world of avant-garde dance, music, art, and drag performance. His mature career paralleled the public unfolding of gay life between the Stonewall uprising in 1969 and the AIDS crisis of the 1980s.

In his loft studio in the East Village, Hujar focused on those who followed their creative instincts and shunned mainstream success. He made, in his words, “uncomplicated, direct photographs of complicated and difficult subjects,” immortalising moments, individuals, and subcultures passing at the speed of life.

 

 

What was Hujar’s truth, his photographic truth? Hujar understood and utilized photography’s tension between document and theatricality. In the act of photographing there is a performance, not only on the part of the subject, but for the photographer as well. For Hujar, to photograph was a balancing act between fierce observation and manifesting his devotion. As Jennifer Quick observes in her essay for the catalogue, This Will Have Been: Art, Love & Politics in the 1980s, “While Arbus and Mapplethorpe are known for their detached postures, Hujar’s silent, tacit presence pervades his work. Like Avedon, Hujar was the instigator of the performances captured in his portraits, as much as a director as a photographer.” That Hujar is considered in the same company of Avedon, Arbus, and Mapplethorpe, reminds us that the retrospective Speed of Life is long overdue.

Hujar’s restlessness led him to wander beyond the confines of the studio. Like Brassai, Hujar was a poet of the urban nocturne, prowling the streets with his camera as the day unraveled. Brassai’s Paris is gritty, erotic, sentimental, yet impersonal. Hujar’s photographs of New York’s streets at night embrace emptiness and furtive gestures, glowing skyscrapers, assorted rubble, discarded rugs, boys in drag, and girls passed out in his doorway. His nighttime images of the Hudson river are disquieting, suggesting powerful currents not fully understood by the dappled surfaces. The thrill and danger of an anonymous sexual encounter is manifested in the 1981 image, Man Leaning Against Tree. It is the moment for Hujar to surveille and assess, when the object of desire is seen but has not yet turned his head to return the gaze. There is a little bit of softness in the image, due, perhaps, to the dim light or the camera moving while the shutter remained open. This image is as much a document of Hujar’s habits of looking as it is about the man leaning against the tree. Despite claims of photography’s objectivity or passive observation, the photographer, consciously or not, visually manifests subjective desire, and Hujar was masterful in this regard. …

While all photographs are tethered to mortality, there is something exemplary in Hujar’s cool acceptance of our temporality. He was fully engaged with his moment yet unsentimental in his attachment. Whether he was photographing a lover or an abandoned dog as elegant as it is scruffy, we can sense that Hujar’s interest was intellectual and physical in equal measure. He may not have been comfortable with the world as it was, but he embraced and even loved what was in front of his camera. “My work comes out of my life, the people I photograph are not freaks or curiosities to me,” he said. “I like people who dare.”

Mark Alice Durant. “Peter Hujar’s Photographic Truth,” on the Saint Lucy website [Online] Cited 01/11/2019

 

Peter Hujar (American, 1934-1987) 'Public Garden, Taormina, Sicily' 1959

 

Peter Hujar (American, 1934-1987)
Public Garden, Taormina, Sicily
1959
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Sheep, Pennsylvania' 1969

 

Peter Hujar (American, 1934-1987)
Sheep, Pennsylvania
1969
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Gay Liberation Front Poster Image' 1970

 

Peter Hujar (American, 1934-1987)
Gay Liberation Front Poster Image
1970
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Gay Liberation Front poster image

Hujar put his art to political use in 1969. In late June, a police raid inspired fierce resistance from the patrons of the Stonewall Inn, in the West Village. Hujar’s boyfriend at the time, Jim Fouratt, arrived on the scene to organise for the Gay Liberation Front (GLF), the first political group to cite homosexuality in its name. Hujar agreed to make a photograph for a GLF poster. Early one Sunday morning that fall, members of the group assembled and ran back and forth past the photographer on Nineteenth Street, west of Broadway. The poster, bearing the slogan COME OUT!!, appeared in late spring 1970 in advance of the gay liberation march that marked the first anniversary of Stonewall.

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Gay Liberation Front Poster Image (installation view)
1970
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Candy Darling on her Deathbed' 1973

 

Peter Hujar (American, 1934-1987)
Candy Darling on her Deathbed
1973
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Candy Darling

In September 1973, transgender Warhol Superstar Candy Darling (born James Lawrence Slattery) was hospitalised for lymphoma. She asked Hujar to make a portrait of her “as a farewell to my fans.” Out of several dozen exposures, Hujar chose to print this languorous pose. As rendered in the print, Candy’s banal, fluorescent-lit hospital room looks as elegant as the studio props in a Hollywood starlet’s portrait. Hujar later wrote that his style cues came from Candy, who was “playing every death scene from every movie.” The image, first seen in print in the New York Post after Candy’s death six months later, became the most widely reproduced of Hujar’s works during his lifetime.

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Candy Darling on her Deathbed (installation view)
1973
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Fran Lebowitz at Home in Morristown, New Jersey' 1974

 

Peter Hujar (American, 1934-1987)
Fran Lebowitz at Home in Morristown, New Jersey
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Self-Portrait Jumping (1)' 1974

 

Peter Hujar (American, 1934-1987)
Self-Portrait Jumping (1)
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Self-Portrait Jumping (1) (installation view)
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Susan Sontag' 1975

 

Peter Hujar (American, 1934-1987)
Susan Sontag
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Susan Sontag (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Christopher Street Pier (2) (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Christopher Street Pier (2)' 1976

 

Peter Hujar (American, 1934-1987)
Christopher Street Pier (2)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Jeu de Paume presents a selection of 150 photographs of this singular artist from October 15th, 2019 to January 19th, 2020. The exhibition follows Hujar’s work from the beginnings mid 1950 until the 1980s, shaping a portrait of the underground New York City.

The life and art of Peter Hujar (1934-1987) were rooted in downtown New York. Private by nature, combative in manner, well-read, and widely connected, Hujar inhabited a world of avant-garde dance, music, art, and drag performance. His mature career paralleled the public unfolding of gay life between the Stonewall uprising* in 1969 and the AIDS crisis of the 1980s.

After graduating from high school in 1953, Hujar worked as an assistant to commercial photographers until 1968. Five years of contributing features to mass-market magazines convinced him that a fashion career “wasn’t right for me” and in 1973 he opted for an autonomous, near-penniless life as an artist. In his loft studio above a theater in the East Village, Hujar focused on those who obeyed their creative instincts and shunned mainstream success.

At age forty-two, he published his only monograph, Portraits in Life and Death, and opened his first solo gallery show. The searching intimacy he achieved as a portraitist carried over into unsentimental photographs of animals and plants, landscapes, buildings, and the unique features of nude bodies.

Hujar’s brief affair in 1981 with the young artist David Wojnarowicz evolved into a mentoring bond that changed both their lives. On their excursions to blighted areas around New York, Hujar crafted the portrait of a city in free fall, complementing Wojnarowicz’s dark vision of Reagan-era America.

Peter Hujar died of AIDS-related pneumonia in November 1987.

Press release from Jeu de Paume

 

Early years

In 1953, Peter Hujar finished high school in Manhattan, where he had studied photography. He then worked for some fifteen years as an assistant to commercial photographers. Punctuating those years were two long periods in Italy, buoyed by scholarships – a first one that was obtained by a boyfriend (1958-1959) and then his own (1962-1963). From 1968 to 1972, he tried to make it as a freelancer in the mass-market world of fashion, music, and advertising photography. The hustle “wasn’t right for me,” and he turned his back on the commercial mainstream. From this time on he lived on almost nothing, squeaking by on small jobs, taking paying jobs only when necessary and focusing on the subjects he found compelling. In 1973, he moved to the crumbling East Village, into a loft that would become the setting for his mature studio work, most notably the vast majority of his portraits.

 

Portraits

Portraiture was central to Hujar’s practice. The subjects of his art, Hujar wrote, were “those who push themselves to any extreme” and those who “cling to the freedom to be themselves.” “In a sense, I am still a fashion photographer. These people are chic but in a dark kind of way. Most of them are unknown or maybe known to just a few, but they have all been creative adventurers and possess a certain spirit.”

Most of his portraits were posed, but Hujar often expected his models to perform in front of the camera, which made many of the shoots truly collaborative ventures. Disguises and props were often incorporated, and his subjects were sometimes veiled, simultaneously revealing and masking themselves.

The reclining portrait is a photographic genre Hujar made his own. The pose features extensively in his 1976 monograph Portraits in Life and Death, and he continued to rely on it as a means of capturing something unique in his sitter: to face a camera lens from a reclining position is an unfamiliar and provoking experience.

 

New York

“The happiest times with Peter, when he wasn’t photographing, were walking around Manhattan, looking at the crowns of buildings, and the fantasies about ‘living there,'” remembers Gary Schneider, one of his close friends.

Born in New Jersey, Hujar spent all his life in New York, and more specifically in Manhattan, whose buildings, streets, and piers he started photographing more extensively in the second half of the 1970s. Divided between Downtown’s derelict areas and Midtown’s skyscrapers, Hujar’s New York is often a nocturnal city: a place of abandoned structures, night-time cruising, and early-dawn vistas. A few journeys outside New York, during the summer months, to the beaches of Fire Island in the Hamptons, and, in the early 1980s, to the countryside around Germantown, forty miles north of New York, along the Hudson River, offer other glimpses of Peter Hujar’s personal geography, testifying to the variety of subjects that he found worth photographing.

 

Bodies

Portraiture of bodies was another focal point of Hujar’s last decade of work. In 1978, some of his works were included in The Male Nude: A photographic Survey at the Marcuse Pfeifer Gallery in New York.

Bodies, he suggested, could be read as freely as faces for character, emotion, or life story.

He photographed bodies in the extremes of youth and old age, bodies displaying unique features, and bodies in transient states, notably pregnancy and arousal.

Whether photographing faces or bodies, Hujar was attentive to the characteristics conferred by time and experience, such as Manny Vasquez’s spinal tap scar and the imprint left by socks on Randy Gilberti’s ankles. “I want people to feel the picture and smell it,” he said of his nudes, which he contrasted to the idealised bodies in Robert Mapplethorpe’s work.

 

Gracie Mansion Gallery, 1986

When exhibiting his work, Hujar employed two distinct methods. He displayed prints either in isolation (notably in his loft, where just one photograph at a time was on view) or in large groupings, two images high, as on this wall. For the last exhibition during his lifetime, in January 1986 in New York, Hujar covered the walls of the Gracie Mansion Gallery with a frieze of seventy photographs in no apparent order. He fine-tuned the layout for days until no one type of image (portrait, nude, animal, still life, landscape, cityscape) appeared twice consecutively. Each of his subjects thus preserved its own identity and singularity rather than serving as a variation on an imposed theme.

The arrangement highlighted his inventive range, created echoes among seemingly unrelated images, and drew attention to preoccupations that had recurred throughout his career. The display in this room centres on images taken in the 1980s and is freely inspired by that 1986 exhibition.

 

Andy Warhol

In 1964 Peter Hujar was a regular visitor to The Factory, Andy Warhol’s studio at 231 East 47th Street in New York. He posed four times for Screen Tests, brief portraits filmed by Warhol and screened in slow motion. Together with his friend Paul Thek, Hujar was chosen as one of the “Thirteen Most Beautiful Boys”, whose film portraits were regularly shown at the Factory and at parties and events elsewhere. Among the other personalities figuring in the Screen Tests in 1964-1965 were the actor-directors Dennis Hopper and Jack Smith, together with writer-critic Susan Sontag and poet John Ashbery – both of whom would later pose for Hujar.

 

Peter Hujar (American, 1934-1987) 'From Rockefeller Center: The Equitable Building' 1976

 

Peter Hujar (American, 1934-1987)
From Rockefeller Center: The Equitable Building
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Reclining Nude on Couch' 1978

 

Peter Hujar (American, 1934-1987)
Reclining Nude on Couch
1978
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Boy on Raft' 1978

 

Peter Hujar (American, 1934-1987)
Boy on Raft
1978
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Surf (2)' Nd

 

Peter Hujar (American, 1934-1987)
Surf (2)
Nd
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Boys in Car, Halloween' 1978

 

Peter Hujar (American, 1934-1987)
Boys in Car, Halloween
1978
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Dana Reitz's Legs, Walking' 1979

 

Peter Hujar (American, 1934-1987)
Dana Reitz’s Legs, Walking
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Dana Reitz’s Legs, Walking (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Gary in Contortion (2)' 1979

 

Peter Hujar (American, 1934-1987)
Gary in Contortion (2)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'David Wojnarowicz Reclining (2)' 1981

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz Reclining (2)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz Reclining (2) (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

A hallmark of Hujar’s portraiture is the invisibility of technique – a kind of visual innocence – as if the camera were not present and the subject had been happened upon, discovered there, as Ludlam appears to be, in medias res.

Philip Gefter. “Peter Hujar’s Downtown,” on the NYR Daily website [Online] Cited 01/11/2019

 

Peter Hujar (American, 1934-1987) 'David Wojnarowicz' 1981

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

“Hermetic appeal and an identification with psychic damage came together in Hujar’s last important relationship, with the meteoric younger artist David Wojnarowicz, who was a ravaged hustler when they met at a bar in late 1980 and who died from AIDS in 1992. They were lovers briefly, then buddies and soul mates. Wojnarowicz said that Hujar “was like the parent I never had, like the brother I never had.” In return, he inspired fresh energies in Hujar’s life and late work. In a breathtakingly intimate portrait of Wojnarowicz with a cigarette and tired eyes, from 1981, the young man’s gaze meets that of the camera, with slightly wary – but willing and plainly reciprocated – devotion: love, in a way. Their story could make for a good novel or movie – as it well may, in sketched outline in your mind, while you navigate this aesthetically fierce, historically informative, strangely tender show.”

Peter Schjeldahl. “The Bohemian Rhapsody of Peer Hujar: Photographs at the crossroads of high art and low life,” on The New Yorker website January 29, 2018 [Online] Cited 01/11/2019

 

Peter Hujar (American, 1934-1987) 'Ethyl Eichelberger as Minnie the Maid' 1981

 

Peter Hujar (American, 1934-1987)
Ethyl Eichelberger as Minnie the Maid
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Greer Lankton' 1983

 

Peter Hujar (American, 1934-1987)
Greer Lankton
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Hujar observed his companions in this outlaw life with what might be called warm objectivity. Whatever the portrait subject – doll maker and transgender pioneer Greer Lankton, model Bruce St. Croix sitting naked on a chair and handling his huge erection, Warhol superstar Candy Darling on her death bed, or a pair of cows in a muddy field – he photographed them directly with his 2 1/4, often at close range, without props or gauzy lighting.

Richard B. Woodward. “Peter Hujar: Speed of Life @Morgan Library,” on the Collector Daily website February 21, 2018 [Online] Cited 01/11/2019

 

 

Peter Hujar (American, 1934-1987)
Gary Indiana Veiled
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Some iPhone installation photographs and others

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Woman and Girl in Window Italy
c. 1963
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Woman and Girl in Window Italy' c. 1963 

 

Peter Hujar (American, 1934-1987)
Woman and Girl in Window Italy
c. 1963
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Young Man and Boy, Italy (installation view)
1958
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

He began as a street photographer, on the prowl for unrehearsed gestures, as can be seen in a 1958 picture in Italy of a well-dressed young man touching his thick coif of dark hair and standing next to a pudgy boy in a cap who has his hands in his pockets.

Richard B. Woodward. “Peter Hujar: Speed of Life @Morgan Library,” on the Collector Daily website February 21, 2018 [Online] Cited 01/11/2019

 

Peter Hujar (American, 1934-1987) 'Young Man and Boy, Italy' 1958

 

Peter Hujar (American, 1934-1987)
Young Man and Boy, Italy
1958
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Peter Hujar. 'Palermo Catacombs (11)' 1963

 

Peter Hujar (American, 1934-1987)
Palermo Catacombs #11, Rows of Bodies
1963
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Man in Costume on Toilet, Backstage at Palm Casino Review (installation view)
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Nude Self-Portrait, Running / Nude Self-Portrait Series (Avedon Master Class) (installation view)
1966
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Group Picture (installation view)
1966
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Stephen Varble, Soho, Franklin Street (III) (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Stephen Varble, Soho, Franklin Street (III)' 1976

 

Peter Hujar (American, 1934-1987)
Stephen Varble, Soho, Franklin Street (III)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Beauregard Under Plastic (1) (installation view)
1966
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Beauregard Under Plastic (1)' 1966

 

Peter Hujar (American, 1934-1987)
Beauregard Under Plastic (1)
1966
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Bill Elliott (installation view)
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Bill Elliott' 1974

 

Peter Hujar (American, 1934-1987)
Bill Elliott
1974
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Dean Savard Reclining (installation view)
1984
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Dean Savard Reclining' 1984

 

Peter Hujar (American, 1934-1987)
Dean Savard Reclining
1984
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Chloe Finch (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Chloe Finch' 1981

 

Peter Hujar (American, 1934-1987)
Chloe Finch
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Skippy on a Chair (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Jackie Curtis and Lance Loud (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Zachy and Gamal Sherif (Twins) (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Zachy and Gamal Sherif (Twins)' 1985

 

Peter Hujar (American, 1934-1987)
Zachy and Gamal Sherif (Twins)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Ethyl Eichelberger, Dressed as a Man (installation view)
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Girl in My Hallway (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Girl in My Hallway' 1976

 

Peter Hujar (American, 1934-1987)
Girl in My Hallway
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Hujar’s indelible portraits of famous avant-garde artists and drag queens, and his curiously gothic landscapes and animal pictures, are so fastidiously exquisite, so fussily exact, so representative of a period past (“Speed of Life” is a very odd title) that they immediately summon the ratty hauteur, the necessary obsessions, and the cold-eyed dignity that helped most gay men survive, and not survive, in the early gay lib and AIDS years. …

… His portraits often combine the freakish curiosity of Arbus and the monumental candidness of his mentor Richard Avedon into something resembling momento mori portraits suitable for displaying atop a casket. They are unmistakably contemporary but they feel historic, as if burned to silver plates. (Not for nothing did Hujar make his own display prints.) That doesn’t mean there’s no life in those portraits; far from it, these are the essences of his subjects so well-distilled that there’s really no need to go on. We see nostalgia washing over the present.

Mark B. “Peter Hujar’s brilliant, too brilliant icons,” on the 48hills website October 22, 2018 [Online] Cited 01/11/2019

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
St. Patrick’s, Easter Sunday (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'St. Patrick's, Easter Sunday' 1976

 

Peter Hujar (American, 1934-1987)
St. Patrick’s, Easter Sunday
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Boy on a Park Bench (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Boy on a Park Bench' 1981

 

Peter Hujar (American, 1934-1987)
Boy on a Park Bench
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Mural at Piers (installation view)
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Mural at Piers' 1983

 

Peter Hujar (American, 1934-1987)
Mural at Piers
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Self Portrait (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Self Portrait in White Tank Top' 1975

 

Peter Hujar (American, 1934-1987)
Self Portrait in White Tank Top
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Gary in Contortion (1) (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Gary in Contortion (1)' 1979

 

Peter Hujar (American, 1934-1987)
Gary in Contortion (1)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Daniel Schook Sucking Toe (Close-up) (installation view)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Daniel Schook Sucking Toe (Close-up)' 1981

 

Peter Hujar (American, 1934-1987)
Daniel Schook Sucking Toe (Close-up)
1981
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Pascal Imbert Scarred Abdomen (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Pascal Imbert Scarred Abdomen' 1980

 

Peter Hujar (American, 1934-1987)
Pascal Imbert Scarred Abdomen
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Manny Vasquez (Back with Bullet Wound) (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Robert Levithan on Bed (installation view)
1977
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Robert Levithan on Bed' 977

 

Peter Hujar (American, 1934-1987)
Robert Levithan on Bed
1977
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Randy Gilberti, High Heels, Halloween (installation view)
1980
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Randy Gilberti, High Heels, Halloween' 1980

 

Peter Hujar (American, 1934-1987)
Randy Gilberti, High Heels, Halloween
1980
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Nina Christgau (2) (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Nina Christgau (2)' 1985

 

Peter Hujar (American, 1934-1987)
Nina Christgau (2)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Paul Hudson (Leg) (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Paul Hudson (Leg)' 1979

 

Peter Hujar (American, 1934-1987)
Paul Hudson (Leg)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Isaac Hayes (installation view)
1971
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Isaac Hayes' 1971

 

Peter Hujar (American, 1934-1987)
Isaac Hayes
1971
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
William S. Burroughs (1) (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'William S. Burroughs (1)' 1975

 

Peter Hujar (American, 1934-1987)
William S. Burroughs (1)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
David Warrilow (1) (installation view)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'David Warrilow (1)' 1985

 

Peter Hujar (American, 1934-1987)
David Warrilow (1)
1985
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Jerome Robbins at Bridgehampton (3) (installation view)
1977
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Jerome Robbins at Bridgehampton (3)' 1977

 

Peter Hujar (American, 1934-1987)
Jerome Robbins at Bridgehampton (3)
1977
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Hudson River (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Hudson River' 1975

 

Peter Hujar (American, 1934-1987)
Hudson River
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Paul Hudson (installation view)
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Paul Hudson' 1979

 

Peter Hujar (American, 1934-1987)
Paul Hudson
1979
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Rockefeller Center (2) (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Rockefeller Center (2)' 1976

 

Peter Hujar (American, 1934-1987)
Rockefeller Center (2)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Cat atop a cash register in a liquor store (1957)

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Louise Nevelson (2) (installation view)
1969
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Louise Nevelson (2)' 1969

 

Peter Hujar (American, 1934-1987)
Louise Nevelson (2)
1969
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Bill Rafford and Vince Aletti in Dresses Fire Island (installation view)
1971
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Bill Rafford and Vince Aletti in Dresses Fire Island' 1971

 

Peter Hujar (American, 1934-1987)
Bill Rafford and Vince Aletti in Dresses Fire Island
1971
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Robyn Brentano (1) (installation view)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar. 'Robyn Brentano (1)' 1975

 

Peter Hujar (American, 1934-1987)
Robyn Brentano (1)
1975
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Dog in the Street, Provincetown (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Dog in the Street, Provincetown' 1976

 

Peter Hujar (American, 1934-1987)
Dog in the Street, Provincetown
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Greer Lankton’s Legs (installation view)
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Greer Lankton's Legs' 1983

 

Peter Hujar (American, 1934-1987)
Greer Lankton’s Legs
1983
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Paul Thek (installation view)
1973
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Paul Thek' 1973

 

Peter Hujar (American, 1934-1987)
Paul Thek
1973
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Christopher Street Pier #4 (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Installation view of the exhibition 'Peter Hujar: Speed of Life' at Jeu de Paume, Paris

 

Peter Hujar (American, 1934-1987)
Bruce de Ste. Croix (installation view)
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

Peter Hujar (American, 1934-1987) 'Bruce de Ste. Croix' 1976

 

Peter Hujar (American, 1934-1987)
Bruce de Ste. Croix
1976
Tirage gélatino-argentique
The Morgan Library & Museum, achat en 2013 grâce au Charina Endowment Fund
© Peter Hujar Archive, LLC, courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Jeu de Paume
1, Place de la Concorde
75008 Paris
métro Concorde
Tel: 01 47 03 12 50

Opening hours:
Tuesday: 11.00 – 21.00
Wednesday – Sunday: 11.00 – 19.00
Closed Monday

Jeu de Paume website

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26
Oct
19

Exhibition: ‘Wolfgang Schulz and the Photography Scene around 1980’ at the Museum für Kunst und Gewerbe Hamburg

Exhibition dates: 14th June – 24th November 2019

Featured photographers: Wolfgang Schulz, Hans Christian Adam, Dörte Eißfeldt, Verena von Gagern, André Gelpke, Dagmar Hartig, Andreas Horlitz, Reinhard Matz, Angela Neuke, Heinrich Riebesehl, Wilhelm Schürmann, Holger Stumpf, Petra Wittmar, and Miron Zownir

 

 

Wolfgang Schulz (b. 1944) 'Michael' 1980

 

Wolfgang Schulz (b. 1944)
Michael
1980
Silbergelatine | Gelatin silver paper
24 x 30 cm
Privatsammlung | private collection
© Wolfgang Schulz

 

 

I love this gritty, inventive, subversive German photography from the late 1970s – early 1980s. Challenge me. Take me bleak places. Tell it like it is, baby…

Marcus

.
Many thankx to the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Wolfgang Schulz (b. 1944) 'Selbstportrait' | 'Self-Portrait, Riesweiler' 1978

 

Wolfgang Schulz (b. 1944)
Selbstportrait | Self-Portrait, Riesweiler
1978
Silbergelatine | Gelatin silver paper
24 x 30 cm
Privatsammlung | private collection
© Wolfgang Schulz

 

Wolfgang Schulz (b. 1944) 'Ohne Titel' | 'Untitled' um | c. 1980

 

Wolfgang Schulz (b. 1944)
Ohne Titel | Untitled
um | c. 1980
Silbergelatine | Gelatin silver paper
24 x 30 cm
Privatsammlung | private collection
© Wolfgang Schulz

 

 

As part of its exhibition series Reconsidering Photography, the Museum für Kunst und Gewerbe Hamburg is undertaking a survey of the German photography scene around the year 1980. The springboard for the examination is the journal Fotografie. Zeitschrift internationaler Fotokunst, published by Wolfgang Schulz (b. 1944) between 1977 and 1985. On the occasion of the exhibition, MKG is inviting photography experts Reinhard Matz (Cologne), Steffen Siegel (Folkwang University Essen), and Bernd Stiegler (University of Konstanz) to relate their research project on the 1980s to the historical photographs in the MKG collection. The aim of the collaboration is to create a historical archaeology of German photography around 1980 based on the example of the journal Fotografie and its protagonists. The exhibition will show some 150 photos by Wolfgang Schulz, Hans Christian Adam, Dörte Eißfeldt, Verena von Gagern, André Gelpke, Dagmar Hartig, Andreas Horlitz, Reinhard Matz, Angela Neuke, Heinrich Riebesehl, Wilhelm Schürmann, Holger Stumpf, Petra Wittmar, and Miron Zownir, together with the journal itself, accompanied by a series of interviews conducted with contemporary witnesses expressly for the exhibition.

Something remarkable happened in the field of photography between 1975 and 1985: important galleries were established and photography increasingly became a coveted item on the art market. Suddenly, collecting and exhibiting photographs in museums was no longer the exception. Photography really stepped into the limelight in style at the so-called Mediendocumenta in 1977. Basic academic reference books were published and a large number of journals were founded. These include both periodicals that since that time have dominated the scholarly discourse, such as History of Photography and Fotogeschichte, as well as magazines designed for the broader public with an interest in photography, including Camera Austria, European Photography, Volksfoto, and Fotokritik.

Among this second group was a journal that was published between 1977 and 1985 with a total of 40 issues, for which its editor, Wolfgang Schulz, who had studied physics and then taught himself photography, chose a name that was as concise as it was ambitious: Fotografie. Zeitschrift internationaler Fotokunst (later Fotografie: Kultur jetzt). Today, this journal seems to have been almost completely forgotten. And yet the achievements of the editor and the contributing authors and photographers surely deserve a closer look. The mix of images and texts they came up with is an important resource for exploring a photography scene that, around 1980, was working hard to establish the medium as an independent art form. At the same time, the 40 issues of Fotografie exude the charm of the open-ended and were shaped by the personal predilections of their editor. An in-depth study of the journal lets us return to the origins of recent photographic history in Germany, which today – surprisingly enough – seem largely to have been buried in the dust of the past.

The exhibition is divided into four sections. It pays tribute to the photographic work of Wolfgang Schulz from the period around 1980, presents works by photographers that for the most part found their way into the MKG collection during that era, displays all 40 issues of the journal Fotografie (unfurling an impressive creative panorama), and lets contemporary witnesses have their say in video interviews as a kind of “oral history.”

Wolfgang Schulz was not merely one of the first journal editors to set himself the task of presenting “a complete overview of contemporary photography with a focus on German photography” but also a notable photographer in his own right. In his photography, as in his editorial work, Schulz tried to evade established norms, while also trying his hand at different styles and subjects. In his Ireland pictures, for example, he followed the narrative tradition of pictorial reportage but simultaneously created a strictly documentary-seeming typology of barns and their various manifestations. With a series of shots of undergrowth, he turned his attention to the unspectacular, and he also portrayed the protagonists on the photography scene who crossed his threshold. For the first time ever, the exhibition is showing his photographic works from the period around 1980.

The images in the MKG collection give an idea of the broad scope covered by art photography in the 1980s. The selection is based on the photo spreads published in Fotografie and thus undoubtedly reveals the preferences of its editor, who seems to have been interested neither in the circle around Bernd and Hilla Becher nor in Michael Schmidt, and who deliberately set out to provoke his readers. Heinrich Riebesehl (1938-2010) explored the North German landscape in his documentary series Agrarlandschaften (Agricultural Landscapes). In a similarly factual style, Wilhelm Schürmann (b. 1946) devoted himself to a highly subjective theme: his childhood surroundings on Steinhammerstrasse in Dortmund. These images are supplemented by his photographs of urban landscapes and residential architecture. Riebesehl and Schürmann both sought their motifs in the realities of life in West Germany that confronted them everywhere they looked. André Gelpke (b. 1947) for his part explored Hamburg’s St. Pauli entertainment district for an independent series he called Sex Theater. He conveys here his view of erotic theatre as a mirror of society that tellingly reveals the audience’s double standards. Wolfgang Schulz also printed Miron Zownir’s pictures of New York’s underground SM, queer, and transsexual scene. These photo spreads reflect the editor’s interest in non-establishment subcultures and in people living on the margins of society.

The photography scene around 1980 was predominantly male: of 147 portfolios published in Fotografie, only 24 presented female photographers. One of the privileged few, Dörte Eißfeldt (b. 1950), combined in her work Große Liebe (True Love, 1980) photographic montage techniques with the serial principle, creating in the darkroom photograms with motifs from her own daily life. Her approach might be dubbed “poetic photography,” the term used by photographer Verena von Gagern (b. 1946) to describe the “representation of private realities.” Von Gagern made pictures in the late 1970s within the “emotional realm” of her own family, among them the image Barbara (1978). Petra Wittmar (b. 1955) pursued by contrast a stricter documentary concept. In her series Spielplätze (Playgrounds, 1979), she takes a critical look at the dreary world of the modern metropolis.

Press release from the Museum für Kunst und Gewerbe Hamburg

 

André Gelpke (b. 1947) 'Pulverfaß' | 'Powder Keg III' 1978

 

André Gelpke (b. 1947)
Pulverfaß | Powder Keg III
1978
Silbergelatinepapier | Gelatin silver paper
22 x 32.8 cm
Museum für Kunst und Gewerbe Hamburg
© André Gelpke

 

Miron Zownir (b. 1953) 'New York' 1983

 

Miron Zownir (b. 1953)
New York
1983
Silbergelatinepapier | Gelatin silver paper
23.2 x 15.4 cm
© Miron Zownir

 

Verena von Gagern (b. 1946) 'Barbara' 1978

 

Verena von Gagern (b. 1946)
Barbara
1978
Silbergelatinepapier | Gelatin silver paper
29 x 19.8 cm
Museum für Kunst und Gewerbe Hamburg
© Verena von Gagern

 

Reinhard Matz (b. 1952) 'Blutwurst' | 'Blood Sausage' 1981

 

Reinhard Matz (b. 1952)
Blutwurst | Blood Sausage
1981
Aus der neunteiligen Serie “Wurst” | from the nine-part series “Wurst”
Silbergelatinepapier | Gelatin silver paper
22.5 x 27 cm
© Reinhard Matz, Köln

 

Hans-Christian Adam (b. 1948) 'Unterwasser-Gruppenportrait' | 'Underwater Group Portrait' 1985

 

Hans-Christian Adam (b. 1948)
Unterwasser-Gruppenportrait | Underwater Group Portrait (Salzburg College Photo Students)
Vigaun bei | near Hallein, Salzburg, 1985
Silbergelatinepapier | Gelatin silver paper
19.2 x 26.5cm
© Hans Christian Adam

 

Angela Neuke (1943-1997) 'US President Ronald Reagan visiting Germany for the NATO Ministerial Conference in Bonn on June 9 and 10, 1982'

 

Angela Neuke (1943-1997)
Deutschlandbesuch von US-Präsident Ronald Reagan in Zusammenhang mit der NATO-Ministerkonferenz am 9. und 10. Juni 1982 in Bonn, 1982 | US President Ronald Reagan visiting Germany for the NATO Ministerial Conference in Bonn on June 9 and 10, 1982
Silbergelatinepapier | Gelatin silver paper
18,6 x 28 cm
LVR Landesmuseum Bonn
© L. Lutz, 2019

 

Andreas Horlitz (1953-2016) aus der Serie | from the series "Essen, Frühling 1981" 1981

 

Andreas Horlitz (1953-2016)
Aus der Serie | from the series “Essen, Frühling 1981”
1981
C-Prints
40.3 x 59.4 cm + 13.9 x 59.4 cm
Museum Folkwang, Essen
© VG Bild-Kunst, Bonn 2019

 

Dagmar Hartig (b. 1952) 'Ohne Titel' | 'Untitled' 1981

 

Dagmar Hartig (b. 1952)
Ohne Titel | Untitled
1981
Aus der Serie | from the series “Plastic World”
C-Print
20.3 x 30.2 cm
© VG Bild-Kunst, Bonn 2019

 

Dörte Eißfeldt (b. 1950) Aus | from "Dunkelrücken" 1986

 

Dörte Eißfeldt (b. 1950)
Aus | from “Dunkelrücken”
1986
Dia-Installation mit 170 Kleinbilddias und Tonspur | Slide installation with 170 35mm slides and soundtrack
© Dörte Eißfeldt

 

Holger Stumpf (b. 1953) 'Planetarium, Stadtpark' | 'city park Hamburg' 1979

 

Holger Stumpf (b. 1953)
Planetarium, Stadtpark | city park Hamburg
1979
Silbergelatinepapier | Gelatin silver paper
16 x 23.5 cm
Museum für Kunst und Gewerbe Hamburg
© Holger Stumpf

 

Heinrich Riebesehl (1938-2010) 'Schillerslage (Hannover), Okt. 78' 1978

 

Heinrich Riebesehl (1938-2010)
Schillerslage (Hannover), Okt. 78
1978
Aus der Serie | from the series “Agrarlandschaften” (Agricultural landscapes)
Silbergelatinepapier | Gelatin silver paper
22.6 x 35.9 cm
Museum für Kunst und Gewerbe Hamburg
© VG Bild-Kunst, Bonn 2019

 

Wilhelm Schürmann (b. 1946) 'Kohlscheid' 1978

 

Wilhelm Schürmann (b. 1946)
Kohlscheid
1978
Silbergelatinepapier | Gelatin silver paper
21.4 x 28 cm
Museum für Kunst und Gewerbe Hamburg
© Wilhelm Schürmann, Herzogenrath

 

Petra Wittmar (b. 1955) Aus der Serie | from the series "Spielplätze" 1979

 

Petra Wittmar (b. 1955)
Aus der Serie | from the series “Spielplätze” (playgrounds)
1979
Silbergelatinepapier | Gelatin silver paper
17 x 26 cm
© Petra Wittmar

 

 

Museum für Kunst und Gewerbe Hamburg
Steintorplatz, 20099 Hamburg

Opening hours:
Tuesday to Sunday 10 am – 6 pm
Thursday 10 am – 9 pm
Closed Mondays

Museum fur Kunst und Gewerbe Hamburg website

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14
Jun
19

Exhibition and auction, photographs and text: ‘The Gay Day Archive 1974-83’ – photographs by Hank O’Neal; text by Alan Ginsberg

Exhibition dates: 15th June – 20th June 2019

Auction: 20th June, 2019 at 1:30 pm

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Gay Daddies]
1974-83
From The Gay Day Archive
Gelatin silver print

 

 

“Born gay and free”

I was born in 1958 and came out as a gay man in 1975, six short years after the Stonewall uprising, the nominal (the UK had decriminalised homosexuality in 1967) but official start of Gay Liberation around the world, especially in the United States of America. I survived the plague that hit in the early 1980s. A lot of my friend’s didn’t.

These fabulous photographs and lilting prose make wonderful bedfellows, shining a light on those very early years of outness, campness, empowerment and sexual and personal freedom pre HIV/AIDS. From Gay Daddies to Gay Teachers, from being nowhere (in sight) … to being everywhere. As Ginsberg eloquently proposes, “wearing their hearts on a banner for nothing but love.” Gay youth, dignity and equality, proud of my gay son whoever he may be.

There is such a sense of joy, happiness and love contained in these photographs. The two lads in “Untitled [summery mouths]” are redolent of the era. Cute as a button: platform shoes, tight flared jeans, keys hanging, hands clasped around, small waists, tight singlets, sultry curly hair. Disco love is in the air. I could have been one of these men, memories of those days, those halcyon 70s days.

There are heroes too. Marsha P. Johnson, performance artist, drag mother, transgender, gender nonconforming survival sex worker political activist human… probably murdered by thugs after the 1992 pride parade. And Harvey Milk, that assassinated visionary who became a martyr to the cause, marching in spirit with the crowd. The man carrying a wreath with his name – head down, black armband, gay rights t-shirt – is such a poignant image of the loss of a hero. And then Ginsberg’s text, “Harvey Milk died for your sins.” (He had initially written “our” but crossed it out).

That erasure is so important. I remember working at Channel 7 as a set painter in Melbourne in the late 1980s to pay for university. It was a typical male only workplace at the time, all “blokes”, and I was confronted one day by one of them about being openly gay. My response: I’m quite happy being how I am, it’s you that obviously has the problem. Why don’t you look at yourself first before you start attacking other people.

This is why it is so important that Ginsberg crossed out “our” and wrote “your” sins. LGBTQI people have not sinned. There just are. They have nothing to forgive themselves for. It is the prejudice of others that leads them to fight for dignity and equality. As one of the posters in the photographs says, “People should love one another regardless of race, religion, age or sex.” A men to that.

Dr Marcus Bunyan for Art Blart

 

PS. The exhibition of these photographs is only on for a few days. Please see them if you can.

The photographs and text are used under “fair use” for the purposes of freedom of speech, research, education and informed comment. Please click on the photographs for a larger version of the image.

 

A festive visual compilation by the NY-based photographer and author O’Neal of the parade signifying the Gay Liberation Movement. Pictured are an array of fun-loving and politically-motivated participants, several openly displaying affection. With photographs of the transgender activist Marsha P. Johnson. Silver prints, various sizes, with most of the sheets 6×7 1/2 inches, 15.2×19 cm., or the reverse; each captioned by Ginsberg, and signed and dated by O’Neal on verso. 1974-83. AND – An additional group of approximately 165 photographs by O’Neal of the NYC parades, comprising 95 silver prints, various sizes but most 11 x 14 inches, 28 x 35.6 cm., and the reverse, 5 are signed and dated by O’Neal and contain Ginsberg’s captions; and 70 smaller silver prints, various sizes to 8 x 10 inches, 20.3 x 25.4 cm., and the reverse, a few with O’Neal’s hand stamp and notations and many are dated, in pencil, on verso; with duplicates and triplicates. 1974-83.

Estimate $70,000 – 100,000

Text for the Swann Auction Galleries website [Online] Cited 30/05/2019

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [WE ARE EVERYWHERE]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [WE ARE EVERYWHERE] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

We all look pretty normal,
boy next door, handsome punk,
ad man’s delight, daughters of the
American Revolution.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Hikin’ Dykes]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Hikin’ Dykes] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Black white brown boy girl what idealism! –
wearing their
hearts on a banner for nothing but love

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GAY YOUTH 1969-1979]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GAY YOUTH 1969-1979] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

They Guy in the right looks like my daddy when
he was young (and alive).

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Dominant/Submissive Love]
1974-83
From The Gay Day Archive
Gelatin silver print

 

 

Allen Ginsberg

Irwin Allen Ginsberg (June 3, 1926 – April 5, 1997) was an American poet, philosopher and writer. He is considered to be one of the leading figures of both the Beat Generation during the 1950s and the counterculture that soon followed. He vigorously opposed militarism, economic materialism, and sexual repression and was known as embodying various aspects of this counterculture, such as his views on drugs, hostility to bureaucracy and openness to Eastern religions. He was one of many influential American writers of his time who were associated with the Beat Generation, including Jack Kerouac and William S. Burroughs.

Ginsberg is best known for his poem “Howl”, in which he denounced what he saw as the destructive forces of capitalism and conformity in the United States. In 1956, “Howl” was seized by San Francisco police and US Customs. In 1957, it attracted widespread publicity when it became the subject of an obscenity trial, as it described heterosexual and homosexual sex at a time when sodomy laws made homosexual acts a crime in every U.S. state. “Howl” reflected Ginsberg’s own sexuality and his relationships with a number of men, including Peter Orlovsky, his lifelong partner. Judge Clayton W. Horn ruled that “Howl” was not obscene, adding, “Would there be any freedom of press or speech if one must reduce his vocabulary to vapid innocuous euphemisms?”

Ginsberg was a practicing Buddhist who studied Eastern religious disciplines extensively. He lived modestly, buying his clothing in second-hand stores and residing in downscale apartments in New York’s East Village. One of his most influential teachers was the Tibetan Buddhist Chögyam Trungpa, the founder of the Naropa Institute in Boulder, Colorado. At Trungpa’s urging, Ginsberg and poet Anne Waldman started The Jack Kerouac School of Disembodied Poetics there in 1974.

Ginsberg took part in decades of non-violent political protest against everything from the Vietnam War to the War on Drugs. His poem “September on Jessore Road”, calling attention to the plight of Bangladeshi refugees, exemplifies what the literary critic Helen Vendler described as Ginsberg’s tireless persistence in protesting against “imperial politics, and persecution of the powerless.”

His collection The Fall of America shared the annual U.S. National Book Award for Poetry in 1974. In 1979, he received the National Arts Club gold medal and was inducted into the American Academy and Institute of Arts and Letters. Ginsberg was a Pulitzer Prize finalist in 1995 for his book Cosmopolitan Greetings: Poems 1986-1992.

Full text “Alan Ginsberg,” on the Wikipedia website

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Miss Rollerind]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Miss Rollerind] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Miss Rollerind, queen of late 70s
disco world universe drama, observed by
a (gay??) black man on the asphalt.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [COME! DIGNITY + EQUALITY]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [COME! DIGNITY + EQUALITY] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Come all over the sky, look up!

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ADOLPH ANITA JOE – The REAL ThREAtS to HUMANITY!]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ADOLPH ANITA JOE – The REAL ThREAtS to HUMANITY!] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

What a pleasant conversation they are having under Hitler’s head,
guy with handsome bicep chest, holding the banner aloft
lightly, and the eye passed smiling inquirer.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GAY MEN’S HEALTH PROJECT]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GAY MEN’S HEALTH PROJECT] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

See anyone there you’d like to leave VD with?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Good tight dress]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Good tight dress] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Good tight dress, totally olive oil lady
from midtown, but the top’s a baseball
capped ruffian whistling at the whore

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [I’m PROUD of my Gay Son]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [I’m PROUD of my Gay Son] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Resolute parents that have gone thru the mill
& seen the skeleton in the closet & come out of the
gruesome fun house into the light – now they’re on their own feet
older + dignified; with house dresses + majestic walrus mustaches.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Look at her! Mad but actually handsome]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Look at her! Mad but actually handsome] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Look at her! Mad but actually handsome

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Cops with personal mustaches]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Cops with personal mustaches] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Cops with person mustaches, shun photogs, big tit guy in pancake suffering their own vision in the sun, and a thin socialist dyke

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Gay Rights]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Gay Rights] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

You mean all that hair + teeth is gay?

 

 

Hank O’Neal

Hank O’Neal (born June 5, 1940) is an American music producer, author and photographer.

Photography

He began taking photographs while a teenager, and began to pursue the field seriously in 1969, when he bought a professional camera and began documenting recording sessions and jazz concerts that he was producing. Long before Berenice Abbott admonished him to always have a project, he undertook his first, in rural East Texas during 1970-1973. These photographs led to his first exhibition in September 1973, at The Open Mind Gallery in New York City.

In the 1970s he associated with a diverse group of photographers, notably Walker Evans, André Kertész and most importantly, Berenice Abbott, with whom he worked for the last 19 years of her life.

From 1970 to 1999 (in addition to undertaking many photographic projects), O’Neal also published numerous books related to photography. In 1999, at the urging of gallery director Evelyn Daitz, he had a major retrospective of his work to that point at The Witkin Gallery. Since that time, he has focused his activities toward photography, and continues to mount exhibitions yearly throughout the U.S. and Canada. In 2003 his photographic career was summarised in a profile in The New York Times.

Books (text and illustrations)

  • The Eddie Condon Scrapbook of Jazz (St. Martin’s Press, 1973)
  • A Vision Shared (St. Martin’s Press, 1976)
  • Berenice Abbott – American Photographer (McGraw-Hill, 1982)
  • Life Is Painful, Nasty and Short … In My Case It Has Only Been Painful and Nasty – Djuna Barnes L 1978-81 (Paragon, 1990)
  • Charlie Parker (Filipacchi, 1995)
  • The Ghosts of Harlem (Filipacchi, 1997) French language edition
  • The Ghosts of Harlem (Vanderbilt University Press, 2009) English language edition
  • Hank O’Neal Portraits 1971-2000 (Sordoni Art Gallery, 2000)
  • Billie & Lester in Oslo (A Play with Music, 2005)
  • Gay Day – The Golden Age of the Christopher Street Parade (Abrams, 2006)
  • Berenice Abbott (Steidl, 2008)
  • The Unknown Berenice Abbott – Steidl (October 15, 2013)
  • A Vision Shared – 40th Anniversary Edition – Steidl (December 1, 2016)
  • Berenice Abbott – The Paris Portraits – Steidl (November 22, 2016)

Books (photographs only)

  • Allegra Kent’s Water Beauty Book (St Martin’s Press, 1976)
  • All the King’s Men (Limited Editions Club, 1990)
  • XCIA’s Street Art Project: The First Four Decades (Siman Media Works, 2012)

Portfolios

  • Berenice Abbott – Portraits In Palladium (Text Only, Commerce Graphics/ Lunn Limited, 1990)
  • Hank O’Neal – Photographs (Text and 12 gravure prints), Limited Editions Club, 1990)
  • The Ghosts of Harlem (Text and 12 photographs), Glenside Press, 2007)

Text from “Hank O’Neal,” on the Wikipedia website

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [MY SON IS GAY AND THAT’S OK]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [MY SON IS GAY AND THAT’S OK] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

She’s an old anarchist from the
30’s. She read Marcel Proust in the
slums of Barcelona. She used to be a movie
Star in Berlin in 1923. Now she lives
in Queens in disguise as a typical american
mother.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GOD is GAY]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [GOD is GAY] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

According to Barbelo Gnostic theory,
God reflected on himself (or herself) & thus shone Sophia,
the First Word-thought, who thereat made sex
with herself and birthed the first Aeon,
Laldabaoth

 

 

Barbēlō refers to the first emanation of God in several forms of Gnostic cosmogony. Barbēlō is often depicted as a supreme female principle, the single passive antecedent of creation in its manifoldness. This figure is also variously referred to as ‘Mother-Father’ (hinting at her apparent androgyny), ‘First Human Being’, ‘The Triple Androgynous Name’, or ‘Eternal Aeon’. So prominent was her place amongst some Gnostics that some schools were designated as Barbeliotae, Barbēlō worshippers or Barbēlōgnostics.

Gnosticism (from Ancient Greek: γνωστικός gnostikos, “having knowledge”, from γνῶσις gnōsis, knowledge) is a modern name for a variety of ancient religious ideas and systems, originating in Jewish Christian milieux in the first and second century AD. These systems believed that the material world is created by an emanation or ‘works’ of a lower god (demiurge), trapping the divine spark within the human body. This divine spark could be liberated by gnosis, spiritual knowledge acquired through direct experience. Some of the core teachings include the following:

  1. All matter is evil, and the non-material, spirit-realm is good.
  2. There is an unknowable God, who gave rise to many lesser spirit beings called Aeons.
  3. The creator of the (material) universe is not the supreme god, but an inferior spirit (the Demiurge).
  4. Gnosticism does not deal with “sin,” only ignorance.
  5. To achieve salvation, one needs gnosis (knowledge).

Laldabaoth is the demiurge (a heavenly being, subordinate to the Supreme Being, that is considered to be the controller of the material world and antagonistic to all that is purely spiritual) from Gnostic Christianity.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [a big crowd]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [a big crowd] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

a big crowd of boys + girls + …? – but
that tall girl looks worried, doesn’t she have a baloon?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [STONEWALL CHORALE]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [STONEWALL CHORALE] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Masculine & Feminine Sopranos!
marching on the Stone
floor on Manhattan, & pl…? Life

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [WHERE IS your HUSBAND TONIGHT?]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [WHERE IS your HUSBAND TONIGHT?] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

What pretty wives!
are they photocopies of men?
do they smoke cigars in secret?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [singing to skyscrapers]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [singing to skyscrapers] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

They’ve been meeting in secret + public
for years, & now sing to skyscrapers.

 

 

Today, at least a million spectators line the Pride parade route along Fifth Avenue. But, in its earliest days, the celebration was a much smaller event characterised by NY-style high energy, pithy signage, raucous crowd chants, extensive cruising and great music (remember disco?). Most of O’Neal’s photographs focused on NY’s West Village or Christopher Street, the epicenter of gaydom. A range of sub-cultures associated with the LGBTQ+ community are depicted: young and longhaired post-hippies, bare-chested muscle men, drag queens, fairies, leather-ites, Gay Daddies, protestors, pastors, parents of gays and the hikin’ dykes.

Some participants hold placards, including those protesting Anita Bryant, the once popular singer, who emerged as an strident anti-gay crusader in the late 1970s and teamed up with the divisive evangelical figure Jerry Falwell. A banner for the Gay Men’s Health Project is a harbinger of the tragic era to come.

Ginsberg first saw the photographs in 1982 and, according to O’Neal, was inspired to add his distinctive captions to the backs of the prints. His brief handwritten notes, which often reflect personal or historic observations, strike a wonderful tone. A caption that accompanies a picture of a group of men holding the banner WE ARE EVERYWHERE reads, “We all look pretty normal, boy next door, handsome punk, ad man’s delight, daughters of the American Revolution.” A shot depicting two men dressed in ancient Roman costume reads, “Clark Gable and Nero on a date, smiling for the 1920s Hollywood photogs.” His lengthy caption for the Johnson print (featured on the catalog cover) reads: “If I keep dressing up like this I’ll save the world from nuclear apocalypse. But will anyone love me for it? I’ll save the world anyway I know that looks good.” And still others honour the courageous and brave: one participant holds a wreath bearing the name Harvey Milk; Ginsberg wrote, “Harvey Milk died for your sins.” (He had initially written “our” but crossed it out).

O’Neal’s photographs were reproduced in the book, Gay Day: The Golden Age of the Christopher Street Parade, 1974-1983 (Abrams, 2006), with a Preface by William Burroughs. Interestingly during this same period Ginsberg had revisited his own Beat-era photographs, which were shot in the 1950s and processed at a local drugstore. He developed a unique hybrid picture-text style, adding detailed, handwritten mini-narratives to the lower margins of the prints, which captured his vivid, visual memories.

Text for the Swann Auction Galleries website [Online] Cited 30/05/2019

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [HARVEY MILK]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [HARVEY MILK] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Harvey Milk died for your sins

 

 

Harvey Milk

Harvey Bernard Milk (May 22, 1930 – November 27, 1978) was an American politician and the first openly gay elected official in the history of California, where he was elected to the San Francisco Board of Supervisors. Although he was the most pro-LGBT politician in the United States at the time, politics and activism were not his early interests; he was neither open about his sexuality nor civically active until he was 40, after his experiences in the counterculture movement of the 1960s.

In 1972, Milk moved from New York City to the Castro District of San Francisco amid a migration of gay and bisexual men. He took advantage of the growing political and economic power of the neighbourhood to promote his interests and unsuccessfully ran three times for political office. Milk’s theatrical campaigns earned him increasing popularity, and in 1977 he won a seat as a city supervisor. His election was made possible by a key component of a shift in San Francisco politics.

Milk served almost eleven months in office, during which he sponsored a bill banning discrimination in public accommodations, housing, and employment on the basis of sexual orientation. The Supervisors passed the bill by a vote of 11-1 and was signed into law by Mayor Moscone. On November 27, 1978, Milk and Mayor George Moscone were assassinated by Dan White, who was another city supervisor. White had recently resigned to pursue a private business enterprise, but that endeavour eventually failed and he sought to get his old job back. White was sentenced to seven years in prison for manslaughter, which was later reduced to five years. He was released in 1983 and committed suicide by carbon monoxide inhalation two years later.

Despite his short career in politics, Milk became an icon in San Francisco and a martyr in the gay community. In 2002, Milk was called “the most famous and most significantly open LGBT official ever elected in the United States”. Anne Kronenberg, his final campaign manager, wrote of him: “What set Harvey apart from you or me was that he was a visionary. He imagined a righteous world inside his head and then he set about to create it for real, for all of us.” Milk was posthumously awarded the Presidential Medal of Freedom in 2009.

Extract from “Harvey Milk,” on the Wikipedia website

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Blacks are most truthful]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Blacks are most truthful] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Blacks are most truthful,
it all goes back to
african religious ?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Judy Garland]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Judy Garland] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Judy Garland’s got big-veined
fists & activist boyfriends singing

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [PEOPLE SHOULD LOVE ONE ANOTHER]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [PEOPLE SHOULD LOVE ONE ANOTHER] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Well I’ll take 2 of these + 3 of those.
How old did you say you were?
Does that mean I have to sleep with 90 year old girls?

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [summery mouths]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [summery mouths] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Young meat Catholes (?)
appreciating each other’s
summery mouths

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ANITA SLEEPS WITH BIG BUSINESS]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ANITA SLEEPS WITH BIG BUSINESS] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

Anita O’Day is still singing.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ANITA DEAR SHOVE IT]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [ANITA DEAR SHOVE IT] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

I’ll bet Anita had affairs in
high school with her girlfriends.
Pretty Girl.

 

 

Anita Bryant

Anita Jane Bryant (born March 25, 1940) is an American singer and political activist. …

In the 1970s, Bryant became known as an outspoken opponent of gay rights in the US. In 1977, she ran the “Save Our Children” campaign to repeal a local ordinance in Dade County, Florida which prohibited discrimination on the basis of sexual orientation. Her involvement with the campaign was condemned by gay rights activists. They were assisted by many other prominent figures in music, film, and television, and retaliated by boycotting the orange juice which she had promoted. This, as well as her later divorce, damaged her financially.

Victory and defeat

On June 7, 1977, Bryant’s campaign led to a repeal of the anti-discrimination ordinance by a margin of 69 to 31 percent. However, the success of Bryant’s campaign galvanised her opponents, and the gay community retaliated against her by organising a boycott of orange juice. Gay bars all over North America stopped serving screwdrivers and replaced them with the “Anita Bryant Cocktail”, which was made with vodka and apple juice. Sales and proceeds went to gay rights activists to help fund their fight against Bryant and her campaign.

In 1977, Florida legislators approved a measure prohibiting gay adoption.The ban was overturned more than 30 years later when, on November 25, 2008, Miami-Dade Circuit Court Judge Cindy S. Lederman declared it unconstitutional.

Bryant led several more campaigns around the country to repeal local anti-discrimination ordinances, including campaigns in St. Paul, Minnesota; Wichita, Kansas; and Eugene, Oregon. In 1978, her success led to the Briggs Initiative in California, which would have made pro-gay statements regarding homosexual people or homosexuality by any public school employee cause for dismissal. Grassroots liberal organisations, chiefly in Los Angeles and the San Francisco Bay Area, organised to defeat the initiative. Days before the election, the California Democratic Party opposed the proposed legislation. President Jimmy Carter, governor Jerry Brown, former president Gerald Ford, and former governor Ronald Reagan – then planning a run for the presidency – all voiced opposition to the initiative, and it ultimately suffered a massive defeat at the polls.

In 1998, Dade County repudiated Bryant’s successful campaign of 20 years earlier and reauthorised an anti-discrimination ordinance protecting individuals from discrimination on the basis of sexual orientation by a seven-to-six vote. In 2002, a ballot initiative to repeal the 1998 law, called Amendment 14, was voted down by 56 percent of the voters. The Florida statute forbidding gay adoption was upheld in 2004 by a federal appellate court against a constitutional challenge but was overturned by a Miami-Dade circuit court in November 2008.

Bryant became one of the first persons to be publicly “pied” as a political act (in her case, on television), in Des Moines, Iowa, on October 14, 1977. Bryant quipped “At least it’s a fruit pie,” making a pun on the derogatory term of “fruit” for a gay man. While covered in pie, she began to pray to God to forgive the activist “for his deviant lifestyle” before bursting into tears as the cameras continued rolling. Bryant’s husband said that he would not retaliate, but followed the protesters outside and threw a pie at them. By this time, gay activists ensured that the boycott on Florida orange juice had become more prominent and it was supported by many celebrities, including Barbra Streisand, Bette Midler, Paul Williams, Dick Clark (Bryant had made several appearances on his shows, especially his namesake television show), Vincent Price (he joked in a television interview that Oscar Wilde’s A Woman of No Importance referred to her), John Waters, Carroll O’Connor, Linda Lavin, Mary Tyler Moore, Charles Schulz, Billie Jean King, and Jane Fonda. In 1978, Bryant and Bob Green told the story of their campaign in the book At Any Cost. The gay community continued to regard Bryant’s name as synonymous with bigotry and homophobia.

Extract from “Anita Bryant,” on the Wikipedia website

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [I deserve a cute boy’s kiss]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [I deserve a Cute boy’s kiss] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

I deserve a Cute
boy’s kiss for this truthful hat. And he’s
so sensitive, look at that
tiny white dog!

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [BORN GAY AND FREE]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [BORN GAY AND FREE] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

What a pretty mother! Brave
handsome courageous + true.

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Marsha P. Johnson]
1974-83
From The Gay Day Archive
Gelatin silver print

 

Hank O'Neal 'The Gay Day Archive' 1974-83

 

Hank O’Neal (American, b. 1940) (photographer)
Alan Ginsberg (American, 1926-1997) (writer)
Untitled [Marsha P. Johnson] (verso)
1974-83
From The Gay Day Archive
Gelatin silver print

 

If I keep dressing up like this
I’ll save the world from
Nuclear Apocalypse. But will anyone
love me for it? I’ll save the world
anyway. I know what looks good.

 

 

Marsha P. Johnson

Marsha P. Johnson (August 24, 1945 – July 6, 1992) was an American gay liberation activist and self-identified drag queen. Known as an outspoken advocate for gay rights, Johnson was one of the prominent figures in the Stonewall uprising of 1969. A founding member of the Gay Liberation Front, Johnson co-founded the gay and transvestite advocacy organisation S.T.A.R. (Street Transvestite Action Revolutionaries), alongside close friend Sylvia Rivera. A popular figure in New York City’s gay and art scene, Johnson modelled for Andy Warhol, and performed onstage with the drag performance troupe, Hot Peaches. Known for decades as a welcoming presence in the streets of Greenwich Village, Johnson was known as the “mayor of Christopher Street”. From 1987 through 1992, Johnson was an AIDS activist with ACT UP.

 

Performance work and identity

Johnson initially called herself “Black Marsha” but later decided on “Marsha P. Johnson” as her drag queen name, getting Johnson from the restaurant Howard Johnson’s on 42nd Street. She said that the P stood for “pay it no mind” and used the phrase sarcastically when questioned about her gender, saying “it stands for pay it no mind”. She said the phrase once to a judge, who was humoured by it and released her. Johnson variably identified herself as gay, as a transvestite, and as a queen (referring to drag queen). According to Susan Stryker, a professor of human gender and sexuality studies at the University of Arizona, Johnson’s gender expression may be called gender non-conforming in absence of Johnson’s use of transgender, which was not used broadly during her lifetime.

Johnson said her style of drag was not serious (or “high drag”) because she could not afford to purchase clothing from expensive stores. She received leftover flowers after sleeping under tables used for sorting flowers in the Flower District of Manhattan, and was known for placing flowers in her hair. Johnson was tall, slender and often dressed in flowing robes and shiny dresses, red plastic high heels, and bright wigs, which tended to draw attention.

Johnson sang and performed as a member of J. Camicias’ international, NYC-based, drag performance troupe, Hot Peaches, from 1972 through to shows in the 1990s. When The Cockettes, a similar drag troupe from San Francisco, formed an East Coast troupe, The Angels of Light, Johnson was also asked to perform with them. In 1973, Johnson performed the role of “The Gypsy Queen” in the Angels’ production, “The Enchanted Miracle”, about the Comet Kohoutek. In 1975, Johnson was photographed by famed artist Andy Warhol, as part of a “Ladies and Gentlemen” series of Polaroids. In 1990, Johnson performed with The Hot Peaches in London. Now an AIDS activist, Johnson also appears in The Hot Peaches production The Heat in 1990, singing the song “Love” while wearing an ACT UP, “Silence = Death” button.

 

Stonewall uprising and other activism

Johnson said she was one of the first drag queens to go to the Stonewall Inn, after they began allowing women and drag queens inside; it was previously a bar for only gay men. On the early morning hours of June 28, 1969, the Stonewall uprising occurred. While the first two nights of rioting were the most intense, the clashes with police would result in a series of spontaneous demonstrations and marches through the gay neighbourhoods of Greenwich Village for roughly a week afterwards.

Johnson has been named, along with Zazu Nova and Jackie Hormona, by a number of the Stonewall veterans interviewed by David Carter in his book, Stonewall: The Riots That Sparked the Gay Revolution, as being “three individuals known to have been in the vanguard” of the pushback against the police at the uprising. Johnson denied she had started the uprising, stating in 1987 that she had arrived at around “2:00 [that morning]”, and that “the riots had already started” when she arrived and that the Stonewall building “was on fire” after cops set it on fire. The riots reportedly started at around 1:20 that morning after Stormé DeLarverie fought back against the police officer who attempted to arrest her that night.

Carter writes that Robin Souza had reported that fellow Stonewall veterans and gay activists such as Morty Manford and Marty Robinson had told Souza that on the first night, Johnson “threw a shot glass at a mirror in the torched bar screaming, ‘I got my civil rights'”. Souza told the Gay Activists Alliance shortly afterwards that it “was the shot glass that was heard around the world”. Carter, however, concluded that Robinson had given several different accounts of the night and in none of the accounts were Johnson’s name brought up, possibly in fear that if he publicly credited the uprising to Johnson due to her well-known mental state and gender nonconforming, then Stonewall, and indirectly the gay liberation movement, “could have been used effectively by the movement’s opponents”. The alleged “shot glass” incident has also been heavily disputed. Prior to Carter’s book, it was claimed Johnson had “thrown a brick” at a police officer, an account that was never verified. Johnson also claimed herself that she was not at the Stonewall Inn when the rioting broke out but instead had heard about it and went to get Sylvia Rivera who was at a park uptown sleeping on a bench to tell her about it. However, many have corroborated that on the second night, Johnson climbed up a lamppost and dropped a bag with a brick in it down on a cop car, shattering the windshield.

Following the Stonewall uprising, Johnson joined the Gay Liberation Front and participated in the first Christopher Street Liberation Pride rally on the first anniversary of the Stonewall rebellion in June 1970. One of Johnson’s most notable direct actions occurred in August 1970 when she and fellow GLF members staged a sit-in protest at Weinstein Hall at New York University after administrators canceled a dance when they found out was sponsored by gay organisations. Shortly after that, she and close friend Sylvia Rivera co-founded the Street Transvestite Action Revolutionaries (STAR) organisation (initially titled Street Transvestites Actual Revolutionaries). The two of them became a visible presence at gay liberation marches and other radical political actions. In 1973, Johnson and Rivera were banned from participating in the gay pride parade by the gay and lesbian committee who were administering the event stating they “weren’t gonna allow drag queens” at their marches claiming they were “giving them a bad name”. Their response was to march defiantly ahead of the parade. During a gay rights rally at New York City Hall in the early ’70s, photographed by Diana Davies, a reporter asked Johnson why the group was demonstrating, Johnson shouted into the microphone, “Darling, I want my gay rights now!”

During another incident around this time, which landed Johnson in court, she was confronted by police officers for hustling in New York, and when they went to apprehend her, she hit them with her handbag, which contained two bricks. When Johnson was asked by the judge why she was hustling, Johnson explained she was trying to secure enough money for her husband’s tombstone. During a time when same-sex marriage was illegal in the United States, the judge asked her what “happened to this alleged husband”, Johnson responded, “Pigs killed him”. Initially sentenced to 90 days in prison for the assault, Johnson’s lawyer eventually convinced the judge to send her to Bellevue instead.

With Rivera, Johnson established the STAR House, a shelter for gay and trans street kids in 1972, and paid the rent for it with money they made themselves as sex workers. While the House was not focused on performance, Marsha was a “drag mother” of STAR House, in the longstanding tradition of chosen family in the Black and Latino LGBT community. Johnson worked to provide food, clothing, emotional support and a sense of family for the young drag queens, trans women, gender nonconformists and other gay street kids living on the Christopher Street docks or in their house on the Lower East Side of New York.

In the 1980s Johnson continued her street activism as a respected organiser and marshal with ACT UP. In 1992, when George Segal’s Stonewall memorial was moved to Christopher Street from Ohio to recognise the gay liberation movement, Johnson commented, “How many people have died for these two little statues to be put in the park to recognise gay people? How many years does it take for people to see that we’re all brothers and sisters and human beings in the human race? I mean how many years does it take for people to see that we’re all in this rat race together.

Extract from “Marsha P. Johnson,” on the Wikipedia website

 

 

Swann Galleries
104 East 25th Street
New York, NY 10010
Phone: (212) 254-4710

Exhibition opening times:
Saturday, June 15 – 12 pm to 5 pm
Monday, June 17 – 10 am to 6 pm
Tuesday, June 18 – 10 am to 6 pm
Wednesday, June 19 – 10 am to 6 pm
Thursday, June 20 – 10 am to 12 pm

Swann Auction Galleries website

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30
May
19

Exhibition: ‘Dave Heath: Dialogues with Solitudes’ at The Photographers’ Gallery, London

Exhibition dates: 8th March – 2nd June 2019

 

Dave Heath. 'California' 1964

 

Dave Heath (Canadian, born United States, 1931-2016)
California
1964
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

 

The master of what we see / visions of the self

In which the visions (ghosts?) in these haunting photographs live, breathe, and barely exist in a strange closed world. Where the subjects seem so vulnerable.

In which there is little sentimentality. The portraits emit a deep sense of melancholy in their re/pose, in the subjects temporal existence separated out from time. Heath photographs people as they are. He projects himself, not his ego, into this vision of vulnerable humanity.

In which this vision of truth illuminates the complex relationship between human nature and reality through emotional energy.

Dr Marcus Bunyan

.
Many thankx to The Photographers’ Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“… the conundrum of the title is a reference about how to navigate the terrain of solitude one wishes to experience (to be alone), but also how to make that extend into a conversation with the subjects in front of you that will eventually become a single body of work for many to view (to be of more than one). This is of course conditional to your position within the world at large and how you view your presence within the greater universal ether. You must carry your solipsism like a rusty bucket of dirty brown well water. In Heath’s case, the solitary monologue and the ramble of the flaneur become something of a mantra – an incessant need to repeat, to be part of the cacophony of the worship of modern life in which the self and the crowd / city are forced to adjust to one another, but at safe distance with impassioned and yearning eyes.”

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Extract from Brad Feuerhelm. “David Heath: “Dialogues With Solitudes”,” on the ASX website November 23, 2018 [Online] Cited 26/05/2019

 

“”A Dialogue with Solitude” is a self-portrait in which the artist himself never really appears, but is revealed and interpreted by every detail. Its revolt is alive with sympathy and acceptance of man’s modern placement in the world, mated with contradictory realization and resistance which deny and combat the absurdities of existence. This is expressed with a sincere poetry which is never shocked out of countenance by reality.”

.
Edwards, exh. label for A Dialogue of Solitude, 1963, on file in the Photography Department, Art Institute of Chicago quoted in Hugh Edwards. “Dave Heath,” on the Art Institute of Chicago website [Online] Cited 26/05/2019

 

 

The first major UK exhibition dedicated to the work of this hugely influential American photographer.

Heath’s psychologically charged images both reflect and respond to the alienation particularly prevalent in post war North American society. He was one of the first of a new generation of artists seeking new ways to try and make sense of the increasing sense of isolation and vulnerability that typified the age.

Predominantly self-taught, Heath was nonetheless extremely informed and versed in the craft, theory and history of photography and taught extensively throughout his life. Although greatly influenced by W. Eugene Smith and the photographers of the Chicago School, including Aaron Siskind and Harry Callahan, Heath cannot be neatly pigeonholed as either a documentary or experimental photographer. His work feels more at home within a narrative or poetic tradition, where an interior reality takes precedence.

Taking his masterwork and first publication, A Dialogue With Solitude, as a point of departure, this exhibition highlights Heath’s preoccupations with solitude and contemplation and further makes explicit the importance of sequencing in his practice. Heath was clear that “the central issue of my work is sequence” and held the belief that the relativity and rhythm of images offered a truer way of conveying a universal psychological state than a single image. He perfected a form of montage, often blending text and image to create visual poems, which captured the mood of the decade in a manner akin to a photographic protest song.

Heath’s photographs are shown in dialogue with cult American films from the 1960s similarly focused on themes of solitude and alienation. These include: Portrait of Jason by Shirley Clarke (1966); Salesman by Albert and David Maysles and Charlotte Mitchell Zwerin (1968); and The Savage Eye by Ben Maddow, Sidney Meyers and Joseph Strick (1960).

“The fact that I never had a family, a place or a story that defined me, inspired a need in me to join the community of mankind. I did so by inventing a poetic form linking this community, at least symbolically, in my imagination, through this form.” ~ Dave Heath

Curated by Diane Dufour, Director of LE BAL. Exhibition conceived by LE BAL with the support of Stephen Bulger Gallery (Toronto), Howard Greenberg Gallery (New York), Archive of Modern Conflict (London) and Les Films du Camélia (Paris).

Text from the Photographers’ Gallery website [Online] Cited 25/05/2019

 

Dave Heath. 'Sesco Corée' 1953-1954

 

Dave Heath (Canadian, born United States, 1931-2016)
Sesco, Corée
1953-1954
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Carl Dean Kipper, Korea' 1953-54

 

Dave Heath (Canadian, born United States, 1931-2016)
Carl Dean Kipper, Korea
1953-54
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath (Canadian, born United States, 1931) 'New York City, 1958-59'

 

Dave Heath (Canadian, born United States, 1931)
New York City
1958-59
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath (Canadian, born United States, 1931-2016) 'Janine Pommy Vega, Seven Arts Coffee Gallery, New York' 1959

 

Dave Heath (Canadian, born United States, 1931-2016)
Janine Pommy Vega, Seven Arts Coffee Gallery, New York
1959
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath (Canadian, born United States, 1931-2016) 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Erin Freed, New York City' 1963

 

Dave Heath (Canadian, born United States, 1931-2016)
Erin Freed, New York City
1963
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'New York City (Young Couple Kissing)' 1962

 

Dave Heath (Canadian, born United States, 1931-2016)
New York City (Young Couple Kissing)
1962
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

 

The Photographers’ Gallery, in collaboration with LE BAL Paris, presents Dave Heath: Dialogues with Solitudes; the first major UK exhibition dedicated to the work of this hugely influential American photographer (b. 1931 USA, d. 2016 Canada).

Heath’s psychologically charged images both reflect and respond to the alienation particularly prevalent in post war North American society. He was one of the first of a new generation of artists seeking new ways to try and make sense of the increasing sense of isolation and vulnerability that typified the age. Predominantly self-taught, Heath was nonetheless extremely informed and versed in the craft, theory and history of photography and taught extensively throughout his life. Although greatly influenced by W. Eugene Smith and the photographers of the Chicago School, including Aaron Siskind and Harry Callahan, Heath cannot be neatly pigeonholed as either a documentary or experimental photographer. His work feels more at home within a narrative or poetic tradition, where an interior reality takes precedence.

Heath was born in Philadelphia in 1931 and had a turbulent childhood, abandoned by his parents at the age of four and consigned to a series of foster homes before being placed in an orphanage. He first became interested in photography as a teenager, and joined an amateur camera club. He was fascinated by the photo essays in Life Magazine and cites one in particular as having a decisive impact on his future. Bad Boy’s Story by Ralph Crane, charted the emotional landscape of a young orphan. Not only did Heath identify with the protagonist, he immediately recognised the power of photography as a means of self expression and as a way of connecting to others. In the following years he trained himself in the craft, taking courses in commercial art, working in a photo processing lab, and studying paintings at the Philadelphia Museum of Art. While stationed in Korea with the US Army, he began to photograph his fellow soldiers, eschewing the drama of the battlefield for quiet and private moments of subdued reflection.

On his return, Heath dedicated himself to photography, continuing his interest with capturing an “inner landscape” and training his lens on anonymous strangers whom he identified as similarly lost or fragile. Although he photographed in mostly public spaces, on the streets of Chicago and New York (where he moved to in 1957), his subjects seem detached from their physical context, shot in close-up, articulated by their isolation. His frames possess an intensity of concentration, showing single figures or close-knit couples entirely wrapped up in their own world. An occasional sidelong glance conveys a momentary awareness of being photographed, but for the most part Heath is an unobserved, unobtrusive witness. By concentrating on the fragility of human connection, focusing on the personal over the political, Heath gave ‘voice’ to those largely unheard and joined a growing community of artists searching for alternative forms of expression. His work was pivotal in depicting the fractured feeling of societal unease just prior to the rise of the civil rights movement and opposition to the Vietnam War and his ground-breaking approaches to narrative and image sequence, his exquisite printing techniques, handmade book maquettes, multimedia slide presentations culminated in his poetic masterwork, A Dialogue with Solitude, 1965. This sensitive exploration of loss, pain, love and hope reveals Heath as one the most original photographers of those decades.

After 1970, Dave Heath devoted much of his time to teaching (in particular at Ryerson University, Toronto) in Canada, where he later became a citizen. He died in 2016.

Press release from The Photographers’ Gallery website [Online] Cited 25/05/2019

 

Dave Heath (Canadian, born United States, 1931) 'Philadelphia, 1952'

 

Dave Heath (Canadian, born United States, 1931-2016)
Philadelphia
1952
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Washington Square, New York City' 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath. 'Untitled' c. 1960

 

Dave Heath (Canadian, born United States, 1931-2016)
Untitled
c. 1960
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

Dave Heath (Canadian, born United States, 1931-2016) 'Elevated in Brooklyn, New York City' 1963

 

Dave Heath (Canadian, born United States, 1931-2016)
Elevated in Brooklyn, New York City
1963
Gelatin silver print
© Dave Heath / Courtesy of Howard Greenberg Gallery, New York, and Stephen Bulger Gallery, Toronto

 

 

The Photographers’ Gallery
16-18 Ramillies Street
London
W1F 7LW

Opening hours:
Mon – Sat: 10.00 – 18.00
Thursday: 10.00 – 20.00 during exhibitions
Sunday: 11.00 – 18.00

The Photographers’ Gallery website

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14
May
19

Exhibition: ‘The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day’ at ONE Gallery, West Hollywood, California

Exhibition dates: 1st March – 17th May 2019

Curator: David J. Getsy

 

 

Greg Day. 'Stephen Varble in the Suit of Armor' October 1975, printed 2018

 

Greg Day (American, b. 1944)
Stephen Varble in the Suit of Armor
October 1975, printed 2018
Digital print
© Greg Day 2019

 

 

“Varble’s total irreverence is no more evident than in his willingness to “cross party lines,” as he did when he wore his Suit of Armor, constructed with gold VO labels from Seagram’s boxes, to both the 1975 Easter Parade and to West Village leather bars! He was an equal opportunity offender, rubbing up against conformity in all forms.”

Bob Nickas. “Stephen Varble: Now More Than Ever,” on the Affidavit website [Online] Cited 10/04/2019

 

 

Confusing queen reigns, on parade

In an era of reactionary religious and right wing hypocrisy – Christian sleaze and paedophilia anyone, anti-Muslim and gay Facebook posts in the Australian election, murderous right wing rampage in New Zealand – now more than ever, we need artists like Stephen Varble.

I love doing these posts on artists that certainly I, and I suspect a lot of the readers of this website, would have never have heard of. Artists full of spunk, full of daring-do, artists who rise to challenge the patrons of patriarchy, and the colluders of capitalism (Varble became ever-more critical of commodification and capitalism). Artists who declaim the value of the individual, who shine a light on the plight of the downtrodden and discriminated against. Can you not once bring yourself to utter the word “AIDS” you bigoted president?

“Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances… [He] sought to make a place for himself outside of art’s institutions and mainstream cultures all the while critiquing them both.” Australian artists such as Leigh Bowery and Brenton Heath-Kerr have a lot to thank Varble for.

He might have risen from the gutter, but his intentions were full of stars.

Dr Marcus Bunyan for Art Blart

.
Many thankx to the ONE Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Varble’s work wasn’t drag in the conventional cross-dressing sense, or “gay art,” which was often defined from a predominantly masculine perspective in the immediate post-Stonewall years. His intention was to stretch and break down the very idea of binary identities, confuse the concept of gender, leave it optional. And this goal puts him well in the framework of queer and transgender thinking now. …

For a series of mid-1970s performances he called “Gutter Art,” he would arrive, elaborately dressed, by limousine (paid for by a Japanese patron, Miyazaki Morihiro) in front of luxury stores on the Upper East Side. Once parked, he unloaded old kitchen utensils from the trunk and started washing them with black ink, as if referring to the domestic life of sweatshop labor. He soon gained notoriety as a kind of cultural terrorist. (Tiffany’s hired guards to keep him out.) He turned up, uninvited, at red carpet events – film premieres, the Met’s Costume Institute gala – to dazzle and deride the guests.

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Holland Cotter. “Stephen Varble: The Street Was His Stage, the Dress Was His Weapon,” on The New York Times website January 10, 2019 [Online] Cited 10/04/2019

 

 

Greg Day. 'Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest)' 22 March 1976, printed 2018

 

Greg Day (American, b. 1944)
Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest)
22 March 1976, printed 2018
Digital print
© Greg Day 2019

 

 

“A chauffeured Rolls Royce glides glacially to the curb in front of the Chemical Bank at New York’s Sheridan Square. The uniformed driver, out in an instant, holds open the passenger door. Rather than a well-heeled person to which such a car would belong, a more hallucinatory sight will emerge, equally glamorous and ridiculous. Two legs appear, only one of which has a shoe. The full length of the body gradually appears, improbably covered in netting and not much else, the entwined nets adorned with crumpled bills. What seem to be bare breasts droop from the chest of a figure of otherwise unidentifiable gender, further confused by a toy fighter jet, poised for takeoff, at crotch level. While no words are spoken, a cartoon speech bubble overhead proclaims, cheerily but with a disgruntled undertow: Even Though You May Be Forged, Chemical Still Banks Best!”

Bob Nickas. “Stephen Varble: Now More Than Ever,” on the Affidavit website [Online] Cited 10/04/2019

 

The Chemical Bank Protest was Varble’s most notorious and widely reported disruption, and it encapsulated his disdain for commerce, capitalism, and propriety. To contest a forgery against him, Varble went to the Sheridan Square bank to demand his money returned. He created his Demonstration Costume with Only One Shoe from Christmas tree packaging, gold leaf wrappers, and fake money. His costumes often combined different signs of gender, and here he wore tow condoms filled with cow’s blood for breasts and a toy jet fighter as a codpiece. The toy referenced the plane ticket the forger purchase with the money, and one shoe was missing to “symbolise his economic loss.” Hovering over his head, a speech bubble touted, “Even Though You May Be Forged, Chemical Still Banks Best!”

Varble’s performances often affected an ironic enthusiasms for his targets (be it a bank, a boutique, a gallery, or a presidential candidate), and his insincere flattery was meant to provide cover for his disruption of business as usual.

Arriving in a borrowed limousine, Varble boldly entered to make his demands as the line of customers at the teller window gawked. On being told by the manager that he could not be helped, Varble punctured the blood-filled condoms and dipped a pen in the spilled blood to write checks (for “none-million dollars”) in his dramatic, mime-like movements before sweeping out to the sound of applause from the customers.

Wall text from the exhibition

 

“Varble began to truly set himself apart from other gender-focused 1970s performance artists with his outré 1976 performance at Chemical Bank in Sheridan Square. After hearing that someone had forged his signature and emptied out his bank account, Varble walked into the bank dressed in fake money, with breasts made out of condoms and filled with cow’s blood. He demanded his money back. When the bank teller could not comply, Varble punctured his condom-breasts, spilling blood all over the floor, and wrote checks in blood for “none-million dollars,” which he addressed to his companion at the bank, Peter Hujar. The exhibition includes a photograph Hujar took that day, evoking a time when the lax security in banks allowed artists to perform and express themselves, however outrageously (although Varble was then escorted out of the cow’s blood-filled bank by security).”

Extract from Michael Valinsky. “A Forgotten Precursor of Genderqueer Performance Art,” in Hyperallergic website [Online] Cited 14/05/219

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation views of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery showing, at left top, Greg Day’s Stephen Varble with the Enormous Pink Satin and baby Doll (1975); left below Stephen Varble Performing in a Garbage Can at his Loft on Franklin Street (1975); and at centre, Closing Party with Varble’s Enormous Pink Satin Skirt (1975)

 

 

Franklin Street Exhibition and Party Performance

in 1976, Varble organised an exhibition of his own work in the loft her share with Jim McWilliams on Franklin Street. He painted the interiors pink, built large decorations, and displayed all his costumes on cut-out mannequins mounted on the walls. The largest piece in the exhibition was a new work the Enormous Pink Satin Skirt, some fifteen feet in length. The object played a central role in the “Gala Ending” party that closed the exhibition, as can be seen in the photograph (main above). For this major event Varble enlisted the help of established gender non-conforming performers such as Mario Montez, Jackie Curtis, and Taylor Mead to act as living mannequins for his most iconic costumes. Modelling Varble’s art they paraded with his satin silhouette dolls through the crowd and did impromptu performances – such as when Agusta Machado enacted a campy drama of claustrophobia in Varble’s refrigerator. Day was there to capture the wild party, managing to take individual portraits of some of the major performers in attendance…

In the midst of the playful chaos, Varble gathered these Warhol stars and others (such as Paul Ambrose and New York drag personality Ruth Truth) inside the Enormous Pink Satin Skirt, and at a designated time they al burst forth dancing. As the exhibition gave attendees a retrospective view of his output the performance provided a testament to Varble’s place in the queer performance culture of New York. As the art critic Gregory Battock remarked, “It was the kind of event only Stephen Varble could have planned: chaotic, meandering, spurious and very New York […] Even though invitations were hard to come by, everybody was there.”

Wall text from the exhibition

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery with, from left, Greg Day’s Stephen Varble Destroying his Blue and Green Corrugated Paper Dress from the Camera (October 1975); Stephen Varble in the Elizabethan Farthingale; and Stephen Varble in the Suit of Armor

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery

 

'Stephen Varble, Gutter Art flyer' [recto] 1975

 

Stephen Varble, Gutter Art flyer [recto]
1975
Xerographic print on paper
Courtesy Greg Day and the Leslie-Lohman Museum
Photo: Courtesy Greg Day and the Leslie-Lohman Museum

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery

 

Greg Day. 'Stephen Varble in the Elizabethan Farthingale' October 1975, printed 2018

 

Greg Day (American, b. 1944)
Stephen Varble in the Elizabethan Farthingale
October 1975, printed 2018
Digital print
© Greg Day, 2019

 

 

In costumes made from street trash, food waste, and stolen objects, Stephen Varble (1946-1984) took to the streets of 1970s New York City to perform his “Gutter Art.” With disruption as his aim, he led uninvited costumed tours through the galleries of SoHo, occupied Fifth Avenue gutters, and burst into banks and boutiques in his gender-confounding ensembles. Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances. While maintaining he/him as his pronouns, Varble performed gender as an open question in both his life and his work, sometimes identifying as a female persona, Marie Debris, and sometimes playing up his appearance as a gay man. Only later would the term “genderqueer” emerge to describe the kind of self-made, non-binary gender options that Varble adopted throughout his life and in his disruptions of the 1970s art world.

At the pinnacle moment of Varble’s public performances, the photographer Greg Day (b. 1944) captured the inventiveness and energy of his genderqueer costume confrontations. Trained as an artist and anthropologist and with a keen eye for documenting ephemeral culture as it flourished, Day took hundreds of photographs of Varble’s trash couture, public performances, and events in 1975 and 1976. Varble understood the importance of photographers, and Day was his most important photographic collaborator. This exhibition brings together a selection of Day’s photographs of Varble performing his costume works and also includes Day’s photographs of Varble’s friends and collaborators such as Peter Hujar, Jimmy DeSana, Shibata Atsuko, Agosto Machado, and Warhol stars Jackie Curtis, Taylor Mead, and Mario Montez.

Varble sought to make a place for himself outside of art’s institutions and mainstream cultures all the while critiquing them both. The story of Varble told through Day’s photographs is both about their synergistic artistic friendship and about the queer networks and communities that made such an anti-institutional and genderqueer practice imaginable. Together, Varble and Day worked to preserve the radical potential of Gutter Art for the future.

The Gutter Art of Stephen Varble builds upon the 2018 retrospective exhibition of Stephen Varble’s work at the Leslie-Lohman Museum of Gay and Lesbian Art, New York, titled Rubbish and Dreams: The Genderqueer Performance Art of Stephen Varble, as featured in the New York Times on January 11, 2019. The new ONE Gallery exhibition, with its focus on the collaboration of Varble with the photographer Greg Day, will explore the ways in which Varble’s disruptive guerrilla performance art has lived on primarily through vibrant photographs that captured his inventive costumes, transformed trash, and public confrontations.

The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s photographs by Greg Day is curated by David J. Getsy, Goldabelle McComb Finn Distinguished Professor of Art History at the  School of the Art Institute of Chicago. The Gutter Art of Stephen Varble is organised by the ONE Archives Foundation, Inc. Generous support is provided by the City of West Hollywood.

About the ONE Archives Foundation, Inc.

The ONE Archives Foundation, Inc. is an independent 501(c)(3) dedicated to telling the accurate and authentic stories of LGBTQ people, history and culture through public exhibitions, educational projects and trainings, and community outreach programs. Our exhibitions, school programs, and community outreach programs are free. We depend entirely on members of the public and private foundations for support.

Press release from the ONE Gallery [Online] Cited 10/04/2019

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery showing, at left, a still from Stephen Varble’s video Journey to the Sun (1978-1983); and at right Greg Day’s Stephen Varble in the Piggy Bank Dress (1975)

 

Stephen Varble (American, 1946-1984)
Journey to the Sun
1978-1983
U-matic video transferred to digital, 2018
Courtesy David J. Getsy

 

 

Varble receded from the art world and from street performance around 1977, becoming ever-more critical of commodification and capitalism. As he told an interviewer that year, “This is the age of pornography and contempt. The dollar is good. […] The end of capitalism is coming.” Varble instead began to develop private performances and videos about his private mythologies and messianic dreams. His last five years were consumed with working on an epic, operatic work of video art: Journey to the Sun. It started in 1978 as a performance about the mythology of Greta Garbo, and Varble invited friends to his Riverside Drive apartment to view his monologues accompanied by project slides. His ambitions soon outgrew this format, and he turned to video for its ability to combine text, image and performance. He considered these videos to be revivals of illuminated Medieval manuscripts with their rich visual play between words and pictures, and he called his group of collaborators in the video the “Happy Arts School of Manuscript Illumination.” The aim of the “school” was to promote Varble’s vision of societal transformation through the making of modern fables in the form of videos, books, and prints. His “video books,” as he called the tapes, offered an “antidote to nature’s ruin on this heavenly globe.”

Journey to the Sun tells the story of a musician, the Grey Crowned Warbler, who undergoes tribulation and metamorphosis on a journey to transcendence. The tale is a loosely autobiographical fable of an artist who encounters a stern mystical teacher, Sage Purple Pythagoras (played by his partner, Daniel Cahill) who tests the Warbler. Many of Varble’s iconic costumes feature in the video, and he combined elements of his own history with references to literature, religion, and popular culture (notably, Garbo). Combining heavily scripted monologues with improvised performances. Journey to the Sun does not offer a tidy or easily understood narrative. Rather, it sketches a fantastic and surreal visual world in which dreams are realised through the transformations of everyday objects, popular imagery, and rubbish.

To make this “rodeo-paced” video, Varble filled his apartment with drawings and writings on the walls, blacked out the windows, and began filming scenes both scripted and improvised with collaborators. Journey to the Sun is remarkable for its time due to the complexity and density of the video editing – all of which was done by Varble in his apartment. He only completed about thirty percent of his planned work before his death from AIDS-related complications in January 1984. This screening copy presents a continuous segment of around 80 minutes that has been selected from the three surviving U-matic master tapes, but no changes have been made other than the choice of where to begin and end this combined excerpt. This is but a fragment of the much longer video epic Varble hoped would be his major contribution.

Wall text from the exhibition

 

Installation view of the exhibition 'The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day' at ONE Gallery

 

Installation view of the exhibition The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s, photographs by Greg Day at ONE Gallery showing Stephen Varble’s Blue Boy

 

 

“One afternoon, Stephen invited me to accompany him to a performance in midtown Manhattan. He bought Blue Boy with him. We took the F train uptown from Washington Square. Sitting on the subway car bench and wearing his Chemical Bank Protest attire. Stephen hugged, kissed, fondled and poked Blue Boy. He spoke to him in an affectionate and sometimes argumentative language of moans, “ohs” and clicks. I sat across from him and watched as people entered the car. They stared, laughed, gasped, and made disparaging remarks about his sanity before moving to another part of the subway car. Even riding the train was an opportunity for Stephen to shock.”

Greg Day
Wall text from the exhibition

 

Gutter Art: Stephen Varble and Genderqueer Performance on the Streets of 1970s New York with David J. Getsy from Leslie-Lohman Museum on Vimeo.

 

Gutter Art: Stephen Varble and Genderqueer Performance on the Streets of 1970s New York with David J. Getsy

 

Greg Day. 'Stephen Varble at the 12th Annual Avant-Garde Festival' 1975

 

Greg Day (American, b. 1944)
Stephen Varble at the 12th Annual Avant-Garde Festival
1975
Digital print
© Greg Day 2019

 

 

ONE Gallery, West Hollywood
626 N. Robertson Boulevard
West Hollywood, CA 90069

Opening hours:
Thursday – Sunday: 11.00 am – 2.00 pm and 3.00 pm – 6.00 pm
Closed Monday – Wednesday

ONE Archives website

ONE Gallery, West Hollywood website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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