Posts Tagged ‘American street photography

13
Jun
21

Exhibition: ‘The Human Cost: America’s Drug Plague’ at the Bronx Documentary Center, New York

Exhibition dates: 5th June – 5th July 2021

Curators: Michael Kamber and Cynthia Rivera

Artists: James Nachtwey; Jeffrey Stockbridge; Mark Trent

*PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF DRUG USE – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

 

James Nachtwey (American, b. 1943) 'A woman, who goes by Jen, struggling to inject herself in the freezing cold in Boston on Jan. 14. 2018' 2018

 

James Nachtwey (American, b. 1943)
A woman, who goes by Jen, struggling to inject herself in the freezing cold in Boston on Jan. 14. 2018
2018
James Nachtwey for TIME 

 

 

Nature ∞ nurture

Last year, over 81,000 men, women and children were lost to drug overdoses in America. Visualise that number of people if you can… nearly 4/5ths capacity of the Melbourne Cricket Ground (MCG) in Australia.

According to medical doctors (see quotation below), the causes of addiction “may involve an interaction of environmental effects – for example, stress, the social context of initial opiate use, and psychological conditioning – and a genetic predisposition in the form of brain pathways that were abnormal even before the first dose of opioid was taken.” So both nature and nurture.

Through experience, I understand both strands that lead to possible addiction: a genetic, psychological illness within family members coupled with the need for escape, the need for pleasure, peer group activity and the desire to loose oneself from the world. Luckily, I do not have a personality that easily becomes addicted, but the possibility within people is always there, no matter their background or social position in the world. While the photo stories in this posting concentrate on human beings from lower socio-economic backgrounds, addiction can affect anyone at anytime. Again through experience, I know that lots of high performing professional people suffer from chronic addiction but keep the fact well hidden from the community.

Addiction occurs when dependence interferes with daily life… when independence, that much searched for freedom from outside control or support (you don’t need or accept help, resources, or care from others), morphs into ‘in dependence’ – where the independence of the self, in addiction, opposes the autonomy of the self (meaning that you have free will and that you can stand behind your actions and their values while still exchanging support and care with others). In autonomy, no one is forcing you to do something you disagree with; in addiction, ‘in dependence’, those actions can no longer be justified. These are just my thoughts… but they can be seen to be linked to Self-Determination Theory (STD). “The interplay between the extrinsic forces acting on persons and the intrinsic motives and needs inherent in human nature is the territory of Self-Determination Theory.” Nature and nurture.

The word addicted (adjective) arises in the “mid 16th century: from the obsolete adjective addict ‘bound or devoted (to someone’), from Latin addict- ‘assigned’, from the verb addicere, from ad- ‘to’ + dicere ‘say’.” Its use has diminished from the 18th century until now. Conversely, the word addiction (noun) comes from the same root, but was unknown until 1900 with the use of the word skyrocketing since the 1950s onwards (with a particular spike in the use of the word in the 1960-70s, the era of free love). Perhaps this says a lot about the pressure of living in a high intensity, 24 hour world, a world where the gods of capitalism can write off 81,000 people in a year, in one country, without the blink of an eye.

What all three photo stories in this posting have ad- ‘to’ + dicere ‘say’ is this: every human being has a story worth listening to.

By embedding themselves in the communities they were photographing (instead of being “snatch and grab” photojournalists), all three photographers give their participants an opportunity to have their voice heard. To tell their stories in their own words and have those stories told with dignity and respect, through images and text. (I have linked all three segments to the full stories online).

As Jeffrey Stockbridge comments, “Everyone’s wading through problems that are unique to them, and I think it’s important to tell these stories… Hearing people discuss their past in their own words is something that you can’t ignore. It’s very powerful. I want the general public to forget what they thought they knew about prostitution, drug addiction, homelessness and poverty, and just listen to an actual person explain what they’ve been through. It’s important to remember that life is unpredictable!” James Natchwey observes, “Photography can cut through abstractions and rhetoric to help us understand complex issues on a human level.”

This is the crux of the matter: photography helps us understand these complex issues on a human level.

Every human being is a life, has a life, and is valuable as such. Every story, every breath, every death is connected to Mother Earth. In their indifference, what capitalism and society do to others, we do to ourselves.

Dr Marcus Bunyan

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

 

 

“Brain abnormalities resulting from chronic use of heroin, oxycodone, and other morphine-derived drugs are underlying causes of opioid dependence (the need to keep taking drugs to avoid a withdrawal syndrome) and addiction (intense drug craving and compulsive use). The abnormalities that produce dependence, well understood by science, appear to resolve after detoxification, within days or weeks after opioid use stops. The abnormalities that produce addiction, however, are more wide-ranging, complex, and long-lasting. They may involve an interaction of environmental effects – for example, stress, the social context of initial opiate use, and psychological conditioning – and a genetic predisposition in the form of brain pathways that were abnormal even before the first dose of opioid was taken. Such abnormalities can produce craving that leads to relapse months or years after the individual is no longer opioid dependent.”

.
Thomas R. Kosten, M.D. and Tony P. George, M.D. “The Neurobiology of Opioid Dependence: Implications for Treatment,” in Science & Practice Perspectives. 2002 Jul; 1(1), pp. 13–20.

 

“Photography can cut through abstractions and rhetoric to help us understand complex issues on a human level. Never is photography more essential than in moments of crisis. To witness people suffering is difficult. To make a photograph of that suffering is even harder. The challenge is to remain open to very powerful emotions and, rather than shutting down, channel them into the images. It is crucial to see with a sense of compassion and to comprehend that just because people are suffering does not mean they lack dignity.”

.
James Natchwey

 

 

James Nachtwey (American, b. 1943) 'Holly, detoxing in the Montgomery County Jail in Dayton, Ohio, on July 3, 2017' 2017

 

James Nachtwey (American, b. 1943)
Holly, detoxing in the Montgomery County Jail in Dayton, Ohio, on July 3, 2017
2017
© Photograph by James Nachtwey for TIME

 

 

Last year, America lost 81,000 men, women and children to drug overdoses. Driven primarily by the opioid crisis – and abetted by the pill-pushing of pharmaceutical companies – millions of individuals and countless families were devastated by addiction.

The war on drugs has failed: from sea to shining sea, fentanyl, heroin, K2, crystal meth, cocaine and other drugs are available in nearly every town and city. Drug-related violence has endangered many of our streets, including Courtlandt Avenue, home to the Bronx Documentary Center.

After decades of ever changing anti-drug strategies, we are still left with familiar and yet unanswered questions: how to stop the overdoses; how to keep our youth from addiction; how to stop drug-related violence; how to offer humanitarian treatment.

The Bronx Documentary Center’s upcoming photo exhibition, The Human Cost: America’s Drug Plague, explores these issues and portrays the human toll of America’s drug scourge. The deeply personal stories told here – of losing children, families and freedom – provide a stark but compassionate look at a very complex dynamic.

James Nachtwey, the dean of American conflict photographers, reports with visual journalist and editor, Paul Moakley, from New Hampshire, Ohio, Boston, San Francisco and beyond. Jeffrey Stockbridge documents Philadelphia’s Kensington neighbourhood over the course of 6 years. And Mark Trent follows a tight-knit group of friends in West Virginia through cycles of substance abuse and tragic death. The BDC hopes this exhibition will lead to productive discussions about an intractable American problem.

Exhibition curated by Michael Kamber and Cynthia Rivera.

Press release from the Bronx Documentary Center

 

James Nachtwey (American, b. 1943) 'Dorothy Onikute, 33, a deputy sheriff with the Rio Arriba County sheriff's office, responding to an overdose call on Feb. 4, on the side of the road in Alcalde, N.M.' Nd

 

James Nachtwey (American, b. 1943)
Dorothy Onikute, 33, a deputy sheriff with the Rio Arriba County sheriff’s office, responding to an overdose call on Feb. 4, on the side of the road in Alcalde, N.M.
Nd
© Photograph by James Nachtwey for TIME

 

 

‘This sort of thing happens so often, it’s sad to say it’s on to the next once they are out of our care.’

~ Dorothy Onikute

 

 

The Opioid Diaries – James Nachtwey and Paul Moakley

The opioid crisis is the worst addiction epidemic in American history. Drug overdoses kill more than 64,000 people per year, and the nation’s life expectancy has fallen for two years in a row. But there is a key part of the story that statistics can’t tell. In 2017, for over the course of a year, photographer James Nachtwey set out to document the opioid crisis in America through the people on its front lines. Alongside TIME‘s deputy director of photography, Paul Moakley, the pair traveled the country gathering stories from users, families, first responders and others at the heart of the epidemic. Here, Nachtwey’s images are paired with quotes from Moakley’s interviews, which have been edited. The voices are a mix of people in the photos and others who are connected to them. The Opioid Diaries is a visual record of a national emergency – and it demands our urgent attention.

Text from the Bronx Documentary Center website

The full text and more images from the series can be found on the TIME website

 

James Nachtwey (American, b. 1943) 'Chad Colwell' 2017

 

James Nachtwey (American, b. 1943)
Chad Colwell, 32, being revived by EMS workers after overdosing in his truck in Miamisburg, Ohio, on July 4, 2017. He says this, his fourth overdose, led him to seek treatment
2017
© Photograph by James Nachtwey for TIME

 

 

‘Heroin grabs ahold of you, and it won’t let go. It turned me into somebody I never thought I would be.’

~ Chad Colwell

 

James Nachtwey (American, b. 1943) 'Billy' Nd

 

James Nachtwey (American, b. 1943)
Billy, 31, right, preparing to use drugs in Boston on Jan. 14
Nd
© Photograph by James Nachtwey for TIME

 

James Nachtwey (American, b. 1943) 'Cheryl Schmidtchen, 67, being consoled at the funeral for her granddaughter Michaela Gingras in Manchester, N.H., on September 17th, 2017. Gingras, a heroin user, was 24' 2017

 

James Nachtwey (American, b. 1943)
Cheryl Schmidtchen, 67, being consoled at the funeral for her granddaughter Michaela Gingras in Manchester, N.H., on September 17th, 2017. Gingras, a heroin user, was 24
2017
© Photograph by James Nachtwey for TIME

 

 

‘After Michaela died, I saw it clear as day. They’re not only destroying themselves, they’re destroying us.’

~ Cheryl Schmidtchen

 

 

What I Saw

James Natchwey

Like most people, I’d heard about the opioid epidemic. It was especially hard to get my mind around a statistic from 2016: almost as many deaths from drug overdoses as in all of America’s recent wars combined. But numbers are an abstraction. I had no idea what it looked like on the ground. The only way to make real sense of it, I told my editors, was to see what happens to individual human beings, one by one.

Photography can cut through abstractions and rhetoric to help us understand complex issues on a human level. Never is photography more essential than in moments of crisis. To witness people suffering is difficult. To make a photograph of that suffering is even harder. The challenge is to remain open to very powerful emotions and, rather than shutting down, channel them into the images. It is crucial to see with a sense of compassion and to comprehend that just because people are suffering does not mean they lack dignity.

Over the past 35 years, my work as a photojournalist has taken me to other countries to document wars, uprisings, natural disasters and global health crises. In revisiting my own country I discovered a national nightmare. But the people living through it aren’t deviants. They are ordinary citizens, our neighbors, our family members. I don’t think I met one user whom I would consider to be a bad person. No one wants to be an addict.

I also saw signs of hope, particularly from the people who are dealing with the crisis at the street level. Some of them are former users who have lifted themselves up and are using their experience to help others. They are refusing to allow our country to be defined by this problem. Instead, they are helping us define ourselves by finding solutions. We must join them.

James Natchwey

 

Jeffrey Stockbridge (American, b. 1982) 'Bobby' 2010

 

Jeffrey Stockbridge (American, b. 1982)
Bobby
2010
© Jeffrey Stockbridge

 

 

Kensington Blues – Jeffrey Stockbridge

Kensington Blues by Jeffrey Stockbridge is a decade-long documentary project about the opioid crisis in Philadelphia, Pennsylvania. Featuring large-format photography, audio interviews, journal entries and video Stockbridge utilises a combination of styles and formats to humanise those suffering from addiction.

“During the 19th century the neighbourhood of Kensington in North Philadelphia was a strong working-class district, a national leader of the textile industry and home to a diverse population of immigrants. Like many rust belt cities, industrial restructuring of the mid twentieth century led to a sharp economic decline including high unemployment and a significant population loss.

Today, half of Kensington residents live at or below the poverty line. The neighbourhood has become an epicentre of the opioid crisis and is infamous for open air drug use, prostitution and violent crime. With the roaring El train overhead, Kensington Avenue (the major business corridor in the neighbourhood) is in a state of perpetual hustle. Heroin, Fentanyl, K-2, Crystal, Crack, Xanax, Subs – just about any drug that exists in the modern world is bought and sold in Kensington. Women, some as young as twenty years old, and others who’ve been working the Avenue for decades, populate the neighbourhood in great numbers. Prostitution has become a social norm. Drug users sell clean packaged needles for a dollar a piece – five needles equals a bag of dope.

Working with a large-format film camera, I chose a slow photographic process in order to literally slow down the rapid speed of life as it happens along the Ave. The focus of my photographic work is portraiture. I want to tap into the state of mind of those who are struggling to survive their addiction. Together my subjects and I have entered into a collaboration of sorts. Through audio recordings, journal entries and video, we are working to highlight the voices of those with lived experience. This work would not be possible without their trust and guidance. By sharing the intimate details of their plight, those I photograph are taking a stand to effectively humanise addiction and challenge the stigma that all drug addicts are morally corrupt. As the opioid crisis has taught us, addiction can happen to anyone.”

Text from the Bronx Documentary Center website

 

Jeffrey Stockbridge (American, b. 1982) 'Jamie' 2012

 

Jeffrey Stockbridge (American, b. 1982)
Jamie
2012
© Jeffrey Stockbridge

 

Jeffrey Stockbridge (American, b. 1982) 'Carol' 2010

 

Jeffrey Stockbridge (American, b. 1982)
Carol
2010
© Jeffrey Stockbridge

 

 

LC: Drug addicts, prostitutes and the homeless are often seen as “the other” in our society. Your photos show a different side of this – a side that people can relate to and empathise with. Can you say more?

JS: There are a million different reasons why people become homeless to begin with. You dehumanise people by lumping them into the lowest common denominator. By looking down on them and saying, “You’re all homeless because you couldn’t get your lives together” – that doesn’t help anybody. Everyone’s wading through problems that are unique to them, and I think it’s important to tell these stories. Alongside the photographs I feature a short bio or quotes; sometimes I’ll also incorporate diary entries written by my subjects, and I’ve recorded audio interviews that I post on my Kensington Blues blog.

Hearing people discuss their past in their own words is something that you can’t ignore. It’s very powerful. I want the general public to forget what they thought they knew about prostitution, drug addiction, homelessness and poverty, and just listen to an actual person explain what they’ve been through. It’s important to remember that life is unpredictable! I could end up on Kensington Avenue if certain circumstances occurred – anybody could.

LC: The images are “still” and considered. They communicate a feeling of respect and consent. You don’t seem to shoot from the hip or take the “fearless flashgun” approach like many street photographers. Can you talk about your process?

JS: I shoot with a 4 x 5 view camera. For these photographs to work, there has to be consent! My subjects have to hold still – if they move an inch forward or an inch back, they’ll be out of focus. It’s a slow-moving, old-looking camera, so it’s automatically a topic of conversation. People look at it and think, “Woah, what is that?” But it has certain limitations – you can’t photograph quickly. It takes time. I have to set it up, I have to focus, use the dark cloth, take a meter reading … It’s at least five minutes until I’m ready to go. Meanwhile, my subject has to stand around waiting. So consent is fairly important!

I’m not looking at the back of an LCP screen when I shoot; I’m in the moment. I’m connecting entirely with my subject, not just communicating with a computer. The camera is a trusted friend that’s standing there by my side. In the Kensington project it really grounded me in the neighbourhood. I think it put people at ease, because they knew I wasn’t going to take a photo and run off – I was stuck with a tripod and a big heavy camera!

Jeffrey Stockbridge, interviewed by Francesca Cronan. “Kensington Blues,” on the LensCulture website 2016 [Online] Cited 03/06/2021.

The full text and more images from the series can be found on the LensCulture website.

 

Jeffrey Stockbridge (American, b. 1982) 'Kevin' 2011

 

Jeffrey Stockbridge (American, b. 1982)
Kevin
2011
© Jeffrey Stockbridge

 

 

Surviving Kensington: behind the photos of ‘Kensington Blues’

What used to be a proud blue-collar neighbourhood in Philadelphia is now a deteriorating haven for drugs, crime, and prostitution. Kensington is famous for the place to get your fix; and for the place you end up stuck when you’ve let your vices get the best of you.

For the last five years, Philly-based photographer Jeffrey Stockbridge has been taking intimate portraits of current residents (‘survivors’) in Kensington. But the stories he finds here aren’t just about Philly: Jeffrey’s photographs and raw interviews show a side of the desperation, hopelessness, and broken dreams that plague America’s addicts across the country.

Through a walk with Jeffrey on the Avenue, we get a glimpse of what it’s like to survive on Kensington.

 

Jeffrey Stockbridge (American, b. 1982) 'Krysta' 2009

 

Jeffrey Stockbridge (American, b. 1982)
Krysta
2009
© Jeffrey Stockbridge

 

Mark E. Trent (American) 'Allie in traffic after losing a close friend in her recovery group to an overdose' Nd

 

Mark E. Trent (American)
Allie in traffic after losing a close friend in her recovery group to an overdose
Nd
© Mark E. Trent

 

 

Despair, Love and Loss – Mark E. Trent

None of us knew what was happening or how destructive this would be. We began seeing more and more overdoses and suicides in our community. The details were scarce and the stigma that came with drug abuse masked the early deaths until it was so common it didn’t phase us anymore; the word pillhead began being used to describe those people on drugs. This was long before it touched nearly everyone in West Virginia and across the country.

With the help of friends I travelled to interview small time dealers, addicts and local law enforcement in an attempt to understand the scope of it all. I never did. This body of work started taking shape when I was at a softball game with a long time friend. Her name is Allie. I told her what I was trying to do and she said “Stick with me and I will show you what’s going on.”

From there it was a matter of seeing what was right in front of me. I documented Allie and her friends and lovers as they struggled in active addiction and slowly lost themselves and each other. This group of women let me into their lives behind closed doors and gave me access to make this work possible. They didn’t have to. They are the reason this work exists. They were star basketball players, young mothers, and individuals that held jobs and had real dreams. One day a knee injury supplied the prescription opiate that led to the addiction that spread through their group of friends and community.

My goal with this project was longevity. I wanted to follow it through until the end. My hope is that these photographs will tell a story about a small group of individuals that suffered through a crisis few saw coming. Today Allie is six years sober. Peakay is working toward sobriety with medical assisted treatments. Barbie died of an overdose in her bed alongside her lover Kim. Jessie tells me she is “going good,” but to be honest I never know the truth with her.

Text from the Bronx Documentary Center website

 

Mark E. Trent (American) 'Allie freebasing a prescription opioid' Nd

 

Mark E. Trent (American)
Allie freebasing a prescription opioid
Nd
© Mark E. Trent

 

 

There were times whenever I was really strung out and I didn’t realise how bad I was. What you always say is, ‘Well at least I’m not doing it to anyone else. At least I’m not hurting anyone. I’m just hurting myself. I’m not sticking needles in anyone else. It’s just me.’ But I didn’t realise how much I’d hurt my family, and my mom.

I don’t know how many people died in the house I was living in, I can’t even – three off the top of my head, because of drugs, overdoses.

But it just didn’t, it just didn’t hit me that way, I didn’t think – I wasn’t ready to see it that way I think. I feel like I had to go through everything I went through to be where I am.

 

Mark E. Trent (American) 'Jessie injecting Barbie with morphine' Nd

 

Mark E. Trent (American)
Jessie injecting Barbie with morphine
Nd
© Mark E. Trent

 

 

Barbie really was like my big sister.

She told me a year before she died she had to go to the doctor for something. They couldn’t find a vein and she had to make them put it in her neck. And they asked about the scarring on her neck.

They asked her, ‘Do you shoot in your neck? Jesus.’ And she was like, ‘Yeah.’ And they were like, ‘You’re going to be dead in a year anyway.’ But I sort of didn’t believe it. Barbie really was invincible.

 

Mark E. Trent (American) 'Cooking pills for injection next to dinner' Nd

 

Mark E. Trent (American)
Cooking pills for injection next to dinner
Nd
© Mark E. Trent

 

Mark E. Trent (American) 'Allie crying, facing jail time and missing Barbie who died of an overdose, after a long night of using' Nd

 

Mark E. Trent (American)
Allie crying, facing jail time and missing Barbie who died of an overdose, after a long night of using
Nd
© Mark E. Trent

 

 

Sometimes I thought it was fine; other times I thought, ‘How did I get here? What did I do?’ I was supposed to be somebody. I was supposed to do something great with my life. I was supposed to go places. I wanted to travel. I wanted to play basketball. I wanted to be all these things.

And instead I was living in a house with no electricity, crying in the bathroom because I can’t find a vein, miserable. Absolutely miserable.

It took me getting sober and being sober for a while to look back and be like, ‘That was all really low, man. That was all really low.’

“Allie Rambo tells her story below in her own words” in ‘Despair, Love and Loss: A Journey Inside West Virginia’s Opioid Crisis’ on the NY Times website Dec. 13, 2018 [Online] Cited 03/06/2021

The full text and more images from the series can be found on the NY Times website.

 

Mark E. Trent (American) 'Allie and Regina catching snowflakes after a close friend's funeral' Nd

 

Mark E. Trent (American)
Allie and Regina catching snowflakes after a close friend’s funeral
Nd
© Mark E. Trent

 

 

Bronx Documentary Center Annex Gallery
364 E 151st St, Bronx, NY 10455

Opening hours:
Wednesday – Friday 3-7pm
Saturday – Sunday 12-5pm

Bronx Documentary Center website

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20
Dec
20

Exhibition: ‘Bruce Davidson: Brooklyn Gang’ at Cleveland Museum of Art

Exhibition dates: 25th October 2020 – 28th February 2021

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

For a few brief moments, rebels with a cause

This is one of my favourite photo essays of all time. The story Davidson tells of this male-orientated Brooklyn gang and its culture through his photographs is one of brotherhood, friendship, rivalry, love, longing, agony, depression and death at a time of utter poverty and rock ‘n roll rebellion. He produced “unflinchingly honest images of these American youths.” Now, all these years later, the photographs possess a powerful nostalgia for the era mixed with the desolation of destroyed lives and lost youth.

Davidson gets under the skin of his subjects, embeds himself firmly in their milieu. The subjects allow him to photograph their most intimate moments, seemingly free from worry or anxiety. There is an insouciance to their attitude, a knowing insouciance. In one photograph inside Helen’s Candy Store, Bob Powers stares directly and disarmingly at the camera while the girl playing with the yo-yo and the youth in the background also stare directly into the lens, forming a strong compositional triangle of the gaze. Powers said he was voted “most likely to die before I was 21 years old.” He lived with his seven siblings and alcoholic parents in a three-bedroom apartment that had a coal-powered cookstove and no hot water or central heating.

There is a dark undertone to the narrative. While there are moments of joy and happiness, you can sense the isolation and despair of these disaffected youths. Cathy O’Neal, seen in front of a cigarette machine at Coney Island, committed suicide by shotgun. Jimmie and his family were wiped out by drugs. Junior Rice became a heroin dealer. Lefty od’d in bed at 19. “He was the first in the group to die from a drug overdose… within a few years, drugs would claim the lives of many in the gang and in the neighbourhood.” In picturing their lives, the photographs gather moments (in time), enunciating how the gang members railed against the conformity and materialism of 1950s America whilst imbibing its rebellious iconography. Only occasionally does the artist pull back to show us the wider picture, the context of the action, with photographs of New York skyscrapers seen in the distance and the Statue of Liberty.

Davidson does not let his spontaneity slip. He is informed, aware, absent (but present) in all of these photographs waiting for that special moment. In the photograph above, a bird-like creature swoops down on something invisible on the ground. In informal yet tightly focused photographs – of sunbathing or walking the boardwalks of Coney Island, gang members fixing their hair, rolling up their sleeves, dead beat(s) in the back of the bus, making out in the back seat of a car, walking in the park or hooning around on the Metro – Davidson is there to capture the off-beat moments of gang existence and the members relationship to each other.

Through a superb eye, a feeling, a sensibility and connection towards the gang members desperation and isolation, universally acknowledged by the photographer himself, Davidson sets them all on the path to immortality. Do not forget, these photographs seem to be saying. For a few brief moments these people did exist, their lives were valuable, these rebels with a cause.

Dr Marcus Bunyan

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

 

One of Davidson’s best-known series, Brooklyn Gang was inspired by a news story he read about a teenage gang called the Jokers.

Davidson contacted the Jokers, one of Brooklyn’s roughest gangs, through their social worker. In the summer of 1959, Davidson roamed the streets of New York with these teens, loitered in stores that the Jokers called their own, and sunbathed with them on the beach at Coney Island. Eventually they allowed him to photograph even their most intimate, private moments. He responded by producing unflinchingly honest images of these American youths.

Gang membership was exclusively male, but the members’ girlfriends appear frequently in Davidson’s photographs. Some of the pictures depict the teenagers exploring lust and love and the boys struggling to define and prove their masculinity. Looking back at the series in 1998, Davidson said that he felt “the reason that body of work has survived is that it’s about emotion. That kind of mood and tension and sexual vitality, that’s what those pictures were really about.”

 

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The pleasures and agonies of teenage romance are captured in Bruce Davidson’s photographs of the gang’s dance parties, which were held variously in Brooklyn’s Prospect Park, at a neighbourhood school, and in members’ homes. The basement wallpaper seen here – with its fairy-tale figures, including horses, queens, knights, marionettes, and jokers – suggests a domestic setting. The event could have been a farewell party for an older gang member going off to join the army, which was a common occurrence.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 16 x 23.9cm (6 5/16 x 9 7/16 in.)
Paper: 20.3 x 25.2cm (8 x 9 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

This rooftop view in Park Slope, Brooklyn, was taken from a building in the gang’s “turf,” which was a block anchored by the intersection of 17th Street and 8th Avenue. Davidson spent the summer hanging out with the gang and photographing them. Describing his process, the artist said, “I stay a long time. … I am an outsider on the inside.” Park Slope, now one of New York’s most desirable neighbourhoods, was then a poor, mostly Irish area.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 21.9 x 14.6cm (8 5/8 x 5 3/4 in.)
Paper: 25.1 x 20.2cm (9 7/8 x 7 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Davidson contacted the Jokers, one of Brooklyn’s roughest gangs, through their social worker. In the summer of 1959, Davidson roamed the streets of New York with these teens, loitered in stores that the Jokers called their own, and sunbathed with them on the beach at Coney Island. Eventually they allowed him to photograph even their most intimate, private moments. He responded by producing unflinchingly honest images of these American youths.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The pleasures and agonies of teenage romance are captured in Bruce Davidson’s photographs of the gang’s dance parties, which were held variously in Brooklyn’s Prospect Park, at a neighbourhood school, and in members’ homes.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 16.1 x 24.1cm (6 5/16 x 9 1/2 in.)
Paper: 20.2 x 25.3cm (7 15/16 x 9 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Childhood pastimes like playing yo-yo were a thing of the distant past for 15-year-old Bob Powers, a Joker seen here leaning against a fixture in Helen’s Candy Store. He had already been in and out of the court system numerous times by 1959. Powers stabbed someone when he was 12 and had been incarcerated for bringing zip guns (homemade firearms) and chains to school, where, Powers said, he was voted “most likely to die before I was 21 years old.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The gang members, most of whom were 15 or 16 years old, thought tattoos made them look older and might help them get served at bars. Tattoos were also a demonstration of masculinity and a rite of passage. Bob Powers, seen here at age 15 displaying his first tattoo, recalled years later that “the first time you get a tattoo it’s scary. I was sitting back with a cigarette like it’s nothing. Meanwhile, it was killing me. … I got ‘Bobby’ with stars around it. … They said, ‘Get your name.’ … I hated it forever.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 61 x 50.8cm (24 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

One of the gang members – Bob Powers – suggested that Davidson follow him to a rooftop on the gang’s block. “I remember thinking,” said Davidson, “‘This kid’s going to throw me off the roof and then rob me,’ but he’s pointing down at the stickball game (an informal form of baseball played in the street) and saying, ‘Get that,’ and saying: ‘Oh, there’s the Statue of Liberty. You can see it through all these television antennas.'”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The gang members were very concerned with their appearance, although they did not have much money to spend on grooming or clothes. “If you see a picture of me,” said former gang member Bob Powers, “the broken tooth, my teeth were green because I didn’t go to the dentist. We never had any money even though my father worked. … We used Vaseline petroleum jelly to make our hair stick like iron in a pompadour. We combed our hair constantly, wore sunglasses, and all thought we were Marlon Brandos.”

The Jokers’ slicked-back pompadours … and their clothing echoed the greaser style, a rebellious youth subculture that was promoted by cinematic antiheroes of the era. Role models included Marlon Brando’s portrayal of a motorcycle gang member in The Wild One (1953) and James Dean as a troubled teen in Rebel without a Cause (1955). The “bad boy” image flouted the aspirational role model of the time, the upwardly mobile white-collar worker in a business suit and short haircut.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Petey, a Jokers member who looks out the second-story window here, was injured in that fight. Petey’s best friend, fellow Jokers member Bob Powers, walks by the house. Housing in the gang’s neighbourhood, the then-impoverished Park Slope, Brooklyn, was overcrowded and rundown. Powers lived with his seven siblings and alcoholic parents in a three-bedroom apartment that had a coal-powered cookstove and no hot water or central heating.

 

 

One of the most highly respected and influential American documentary photographers of the past half century, Bruce Davidson spent several months photographing the daily lives of a teenage street gang for his 1959 series Brooklyn Gang. A new exhibition in the Cleveland Museum of Art’s Mark Schwartz and Bettina Katz Photography Gallery, Bruce Davidson: Brooklyn Gang features 50 black-and-white photographs from that series, which are part of a recent anonymous gift to the museum of extensive selections from the artist’s archives. The exhibition is on view now through February 28, 2021.

Brooklyn Gang was Davidson’s first major project after joining the distinguished photo agency Magnum and was the fruit of several months spent immersing himself in the daily lives of the Jokers, one of the many teenage street gangs worrying New York City officials at the time. He recorded the teenagers’ pleasures and frustrations as they attempted to define masculinity and mimic adult behaviour. The photographs reflect the group’s camaraderie but also their alienation from societal norms. While many officials and commentators at the time saw the gangs as evidence of social deterioration resulting from poverty, others regarded them as the most visible manifestations of a socially disengaged generation of males – rebels without a cause.

“Bruce Davidson: Brooklyn Gang presents an intimate portrayal of the teens’ lives,” said William Griswold, director of the Cleveland Museum of Art. “Davidson was an outsider, but one who spent so much time with the gang that he became, as he liked to say, ‘an outsider on the inside.’ Davidson offered an independent look at the lives of these disadvantaged youths; this view of society was quite different from the age of visual and social homogenisation of the 1950s presented in mainstream magazines such as Life and Look and predicts the social turmoil of the 1960s.”

The images reflect the time Davidson spent with the teens hanging out on street corners and in the local candy store and accompanying them to the beach at Coney Island with their girlfriends. Included are several sets of variant images, affording a rare glimpse into Davidson’s working process.

“Despite a more than ten-year age difference, Davidson describes recognising his own repression in his subjects and feeling a connection to their desperation,” said Barbara Tannenbaum, the CMA’s chair of prints, drawings, and photographs and curator of photography.

Press release from the Cleveland Museum of Art

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 40.6 x 50.8cm (16 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The museum owns several groups of images from the series taken during the same shoot at Coney Island. They provide a rare glimpse of the artist’s selection process (see 2018.688, 2018.696, 2018.697, 2018.701, 2018.706, and 2018.735). The size of these prints, and the fact that the artist printed them long after they were shot, suggest he considered all four images worthwhile. In an exhibition print, the white marks on the woman’s cheek here, made by dust on the negative, would have been covered up with ink or dye, a process known as spotting. This may be a work print, made to aid in decisions on exactly how to print this picture. It has become one of the better-known images from Brooklyn Gang.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

In this photograph, gang member Bob Powers talks with friends in one of the many Coney Island bathhouses where people could change, shower, or swim in pools. “We’d come down on a Friday and sometimes we’d stay the whole weekend till Monday, down on the beach, me, Lefty, Junior,” Powers recalled. “The girls would stay too… We would light fires and bury all the cans of beer. I remember stealing cars and driving down there. We’d drive the car under the boardwalk and bring it right onto the bay and leave it there.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 50.8 x 61cm (20 x 24 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Shown here on the Coney Island boardwalk, from left to right, are gang members Junior Rice, Bob Powers, and Lefty, who “was a pretty tough guy in the gang and then he went to jail for about a year,” according to Powers. “He came out and he just lost it. He wasn’t the same guy. Something happened and nobody knew what. … We protected him a bit, but he caught a couple of bad beatings and lost his reputation. He ate a lot of pills one night and never woke up. His mother found him dead. OD’d in bed at 19. He was the first in the group to die from a drug overdose.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 16.1 x 24.1 cm (6 5/16 x 9 1/2 in.)
Paper: 20.2 x 25.3 cm (7 15/16 x 9 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

This print is vintage – made soon after the picture was shot – and its 8 x 10-inch size was typical of the period and preferred for making reproductions for magazines and books. As photography began gaining acceptance into the gallery and museum world in the 1980s, larger prints became the norm. The museum also owns an unusually large print of the same image, made in the 1990s or 2000s, which was created to be exhibited in galleries and museums. The two may look the same on the computer screen, but do not feel the same when viewed in real life.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 15.8 x 24.1 cm (6 1/4 x 9 1/2 in.)
Paper: 20.1 x 25.4 cm (7 15/16 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

After a day at the beach at Coney Island, the teens “would take the long bus ride back to their neighbourhood,” remembered Bruce Davidson. “As they sat in the rear of the bus, the sunlight burned through the windows, giving them an angelic glow. They would drift into their dreams and awake alert to the mean streets awaiting them.”

 

 

Bruce Davidson

Barbara Tannenbaum

Curator of Photography

A hot topic in the 1950s, gangs were avidly analysed by sociologists, the press, and artists. Gordon Parks’s photographs of a young black Harlem gang leader were published in Life magazine in 1948. The musical West Side Story, which pitted a Polish gang against a Puerto Rican one, debuted on Broadway in 1957. The following year, a seven-part series in the New York Times analysed the social, economic, and psychological causes of this juvenile delinquency.

In the summer of 1959, Bruce Davidson went to Brooklyn to meet and photograph a teenage street gang called the Jokers. Davidson’s series Brooklyn Gang provided an in-depth view into the daily activities of an Irish and Polish gang whose turf was a block in the impoverished Park Slope neighbourhood. The Jokers were teenagers who were mostly students at the neighbourhood Catholic school or dropouts. They shoplifted and fought with members of rival gangs in rumbles that involved bricks, bats, knives, and occasionally zip (homemade) guns.

At age 25, Davidson was an outsider to them. He had been raised in a Jewish family in suburban Chicago and held an MFA in photography from Yale University. His images were being published in major magazines, and he had just joined Magnum, a distinguished, artist-run photographic agency. The Jokers’ role models were the greasers, a rebellious youth subculture promoted by cinematic antiheroes such as Marlon Brando’s motorcycle gang member in The Wild One (1953) and James Dean’s troubled teen in Rebel without a Cause (1955). The gang members’ “bad boy” image, replete with Vaseline-slicked pompadours and blue-collar clothing, flouted the era’s aspirational role model of an upwardly mobile white-collar worker in a business suit and short haircut.

Davidson did not sport a pompadour, but making a living as a freelance photojournalist was itself a rebellion against the nine-to-five office world. He spent the summer with the Jokers, hanging out on street corners, in the local candy store, and on the beach at Coney Island. His images reflect their alienation and anxieties but also their camaraderie. The boys explore male bonding rituals and act out their visions of maleness and adulthood. They may roughhouse, but gang ethics dictated that they were not to hurt each other. Real violence was reserved for rival gangs and, like their criminal acts, was not shown by Davidson.

He did capture the teens’ early experiences with lust and love. The Lothario in the back seat of a car is Lefty, of whom Bob Powers, a gang member who wrote a memoir 40 years later, remarked, “We never thought he was good-looking, but all the girls loved him.” This well-known image of Lefty is joined in the exhibition by three others from that same make-out session. Together they form an almost cinematic progression. Several other groups of related images of events are also included in the exhibition. These rare glimpses into the artist’s shooting and editing processes are all drawn from the recent anonymous gift to the museum of 367 works from Davidson’s archive, selections that span his 70-year career.

Davidson was careful not to pass judgment in his Brooklyn Gang photographs. The youngsters’ hairstyles, tattoos, and underage drinking, smoking, and sex were considered ruinous behaviour at the time. The memoirs of Bob Powers and the reminiscences of other members give the Jokers’ story a dark tone. The best-known image in the series, taken in front of a cigarette machine at Coney Island, shows Artie Giammarino, who later became a transit police detective, and Cathy O’Neal, whom the boys considered “beautiful like Brigitte Bardot.” Cathy is seen here at age 13 or 14, around the time she began dating the “coolest” of the gang, Junior Rice. At 14 she got pregnant. Though they were both under the legal age, they married. They later divorced, and Junior became a heroin dealer and user; within a few years, drugs would claim the lives of many in the gang and in the neighbourhood. Years after their divorce, Cathy committed suicide by shotgun.

Davidson would always remain an outsider to the gang, but his working process allowed for intimacy and trust to grow between the gang members and the photographer. By the end of the summer, Davidson realised that he and the Jokers were all considered outsiders in the conformist, materialistic 1950s. “I could see my own repression in them, and I began to feel a connection to their desperation,” he remembered. “I began to feel their isolation and even my own.”

Cleveland Art, Fall 2020

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 61 x 50.8 cm (24 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Although most of the gang members’ time was spent in their neighbourhood of Park Slope, Brooklyn, the Jokers sometimes took excursions. Few had access to cars, so most travel was by bus and subway. The subway fare of 15 cents – the equivalent of $1.33 today – would take them anywhere in New York City. Here a gang member and his girlfriend wait for a train on the neighbourhood subway platform. The beach at Coney Island was a favourite summer destination for the gang.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

“We used to hang out in [Brooklyn’s] Prospect Park all the time,” recalled Jokers member Bob Powers. “We did a lot of drinking and sleeping overnight in the park. … The cops with their bats would push us along, tell us to move. We were very defiant. If we moved, we moved ten feet. Then they had to tell us to move another ten feet. We’d kind of like move around in a circle and come back to where we originally started. The cops were mean at that time, but then we weren’t the best of kids either.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 13.9 x 17.6cm (5 1/2 x 6 15/16 in.)
Image: 11.4 x 16.9cm (4 1/2 x 6 5/8 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The Jokers roughhoused and fought among themselves but were not allowed to hurt each other. Real violence was reserved for those in other gangs or occasionally for civilians. “Did we fight with chains and pipes and knives? Yeah,” gang member Bob Powers reminisced years later. “Did people get stabbed? Yeah, people got stabbed. And people got their heads cracked open with bats.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The gang member making out in the back seat of a car on the way home from Coney Island is Lefty, identifiable by his tattoo. “We always wondered why the girls liked him,” recalled Jokers member Bob Powers. “We never thought he was good-looking, but all the girls loved him. It was amazing.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 61 x 50.8 cm (24 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Jimmie, an older member of the gang, watched over the younger members with his brother Johnny. In 1998, Jokers member Bob Powers recalled, “Later, the whole family, all six of them … died, wiped out, mostly from drugs. It’s amazing because at this particular time, if you see Jimmie, he’s like the ‘Fonz,’ like James Dean – handsome. He was good-looking, he had the women, and he was always working on cars.”

 

 

Cleveland Museum of Art
11150 East Boulevard
Cleveland, Ohio 44106

Opening hours:
Tuesdays, Thursdays, Saturdays, Sundays 10.00am – 5.00pm
Wednesdays, Fridays 10.00am – 9.00pm
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Cleveland Museum of Art website

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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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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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05
Jul
15

Exhibition: ‘In Light of the Past’ at the National Gallery of Art, Washington

Exhibition dates: 3rd May – 26th July 2015

Curators: The curators of In Light of the Past: Celebrating 25 Years of Photography at the National Gallery of Art are Sarah Greenough, senior curator and head of the department of photographs, and Diane Waggoner, associate curator, department of photographs, National Gallery of Art.

 

 

Charles Nègre. 'Market Scene at the Port of the Hotel de Ville, Paris' before February 1852

 

Charles Nègre (French, 1820-1880)
Market Scene at the Port of the Hotel de Ville, Paris
before February 1852
Salted paper print
14.7 x 19.9cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 2003

 

 

What a great title for an exhibition. Photography always evidences light of the past, we live in light of the past (the light of the Sun takes just over 8 minutes to reach Earth) and, for whatever reason, human beings never seem to learn from mistakes, in light of the past history of the human race.

My favourites in this postings are the 19th century photographs, to which I am becoming further attuned the more I look at them. There is almost a point when you become psychologically enmeshed with their light, with the serenity of the images, a quality that most contemporary photographs seem to have lost. There is a quietness to their presence, a contemplation on the nature of the world through the pencil of nature that is captivating. You only have to look at Gustave Le Gray’s The Pont du Carrousel, Paris: View to the West from the Pont des Arts (1856-1858, below) to understand the everlasting, transcendent charisma of these images. Light, space, time, eternity.

Marcus

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

The Collection of Photographs at the National Gallery of Art, Washington (110kb Word doc)

 

 

William Henry Fox Talbot. 'A Scene in York: York Minster from Lop Lane' 1845

 

William Henry Fox Talbot (English, 1800-1877)
A Scene in York: York Minster from Lop Lane
1845
Salted paper print
16.2 x 20.4cm
National Gallery of Art, Washington, Edward J. Lenkin Fund, Melvin and Thelma Lenkin Fund and Stephen G. Stein Fund, 2011

 

 

A British polymath equally adept in astronomy, chemistry, Egyptology, physics, and philosophy, Talbot spent years inventing a photographic process that created paper negatives, which were then used to make positive prints – the conceptual basis of nearly all photography until the digital age. Calotypes, as he came to call them, are softer in effect than daguerreotypes, the other process announced in 1839. Though steeped in the sciences, Talbot understood the ability of his invention to make striking works of art. Here the partially obstructed view of the cathedral rising from the confines of the city gives a sense of discovery, of having just turned the corner and encountered this scene.

 

Carleton E. Watkins. 'Piwac, Vernal Falls, 300 feet, Yosemite' 1861

 

Carleton E. Watkins (American, 1829-1916)
Piwac, Vernal Falls, 300 feet, Yosemite
1861
Albumen print
39.9 x 52.3cm
National Gallery of Art, Washington, Gift of Mary and David Robinson, 1995

 

 

The westward expansion of America opened up new opportunities for photographers such as Watkins and William Bell. Joining government survey expeditions, hired by railroad companies, or catering to tourists and the growing demand for grand views of nature, they created photographic landscapes that reached a broad audience of scientists, businessmen, and engineers, as well as curious members of the middle class. Watkins’s photographs of the sublime Yosemite Valley, which often recall landscape paintings of similar majestic subjects, helped convince Congress to pass a bill in 1864 protecting the area from development and commercial exploitation.

 

Eugène Cuvelier. 'Belle-Croix' 1860s

 

Eugène Cuvelier (French, 1837-1900)
Belle-Croix
1860s
Albumen print
Image: 25.4 x 34.3cm
National Gallery of Art, Washington, Gail and Benjamin Jacobs for the Millennium Fund, 2007

 

 

In the second half of the nineteenth century, some photographers in France, hired by governmental agencies to make photographic inventories or simply catering to the growing demand for pictures of Paris, drew on the medium’s documentary abilities to record the nation’s architectural patrimony and the modernisation of Paris. Others explored the camera’s artistic potential by capturing the ephemeral moods of nature in the French countryside. Though photographers faced difficulties in carting around heavy equipment and operating in the field, they learned how to master the elements that directly affected their pictures, from securing the right vantage point to dealing with movement, light, and changing atmospheric conditions during long exposure times.

 

Gustave Le Gray. 'The Pont du Carrousel, Paris: View to the West from the Pont des Arts' 1856-1858

 

Gustave Le Gray (French, 1820-1884)
The Pont du Carrousel, Paris: View to the West from the Pont des Arts
1856-1858
Albumen print
37.8 x 48.8cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 1995

 

Édouard-Denis Baldus. 'Toulon, Train Station' c. 1861

 

Édouard-Denis Baldus (French, 1813-1889)
Toulon, Train Station
c. 1861
Albumen print
27.4 x 43.1cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 1995

 

 

In Light of the Past: Celebrating 25 Years of Photography at the National Gallery of Art, on view in the West Building from May 3 through July 26, 2015, will commemorate more than two decades of the Gallery’s robust photography program. Some 175 of the collection’s most exemplary holdings will reveal the evolution of the art of photography, from its birth in 1839 to the late 1970s. In Light of the Past is one of three stellar exhibitions that will commemorate the 25th anniversary of the National Gallery of Art’s commitment to photography acquisitions, exhibitions, scholarly catalogues, and programs.

In Light of the Past includes some of the rarest and most compelling photographs ever created,” said Earl A. Powell III, director, National Gallery of Art, Washington. “It also honours the generous support of our donors who have enabled us to achieve this new place of prominence for photography at the Gallery.

 

About the exhibition

In Light of the Past begins with exceptional 19th-century salted paper prints, daguerreotypes, and albumen prints by acclaimed early practitioners such as William Henry Fox Talbot (1800-1877), Gustave Le Gray (1820-1884), Roger Fenton (1819-1869), Julia Margaret Cameron (1815-1879), Albert Sands Southworth (1811-1894, and Josiah Johnson Hawes (1808-1901). It also displays works by American expeditionary photographers, including William Bell (1830-1910) and Carleton E. Watkins (1829-1916).

The exhibition continues with late 19th- and early 20th-century American Pictorialist photographs by Alfred Stieglitz (1864-1946), Clarence H. White (1871-1925), Gertrude Käsebier (1852-1934), and Alvin Langdon Coburn (1882-1966), among others, as well as European masters such as Eugène Atget (1857-1927). The exhibition also examines the international photographic modernism of artists such as Paul Strand (1890-1976), André Kertész (1894-1985), Marianne Brandt (1893-1983), László Moholy-Nagy (1895-1946), and Ilse Bing (1899-1998) before turning to the mid-20th century, where exceptional work by Walker Evans (1903-1975), Robert Frank (b. 1924), Harry Callahan (1912-1999), Irving Penn (1917-2009), Lee Friedlander (b. 1934), and Diane Arbus (1923-1971) will be on view.

The exhibition concludes with pictures from the 1960s and 1970s, showcasing works by photographers such as Robert Adams (b. 1937), Lewis Baltz (1945-2014), and William Eggleston (b. 1939), as well as Mel Bochner (b. 1940) and Sol LeWitt (1928-2007), which demonstrate the diverse practices that invigorated photography during these decades.

Press release from the National Gallery of Art

 

Albert Sands Southworth and Josiah Johnson Hawes. 'The Letter' c. 1850

 

Albert Sands Southworth (American, 1811-1894) and Josiah Johnson Hawes (American, 1808-1901)
The Letter
c. 1850
Daguerreotype
Plate: 20.3 x 15.2cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 1999

 

 

Working together in Boston, the portrait photographers Southworth and Hawes aimed to capture the character of their subjects using the daguerreotype process. Invented in France and one of the two photographic processes introduced to the public in early 1839, the daguerreotype is made by exposing a silver-coated copper plate to light and then treating it with chemicals to bring out the image. The heyday of the technique was the 1840s and 1850s, when it was used primarily for making portraits. The daguerreotype’s long exposure time usually resulted in frontal, frozen postures and stern facial expressions; this picture’s pyramidal composition and strong sentiments of friendship and companionship are characteristic of Southworth and Hawes’s innovative approach.

 

Clarence H. White. 'The Hillside' c. 1898

 

Clarence H. White (American, 1871-1925)
The Hillside
c. 1898
Gum dichromate print
20.8 x 15.88cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 2008

 

 

The Photo-Secession

At the turn of the century in America, Alfred Stieglitz and his colleague Edward Steichen led the movement to establish photography’s status as a fine art. In 1902 Stieglitz founded an organisation called the Photo-Secession, consisting of young artists who shared his belief in the creative potential of the medium. Many of the photographers featured here were members of the group, including Gertrude Käsebier, Clarence White, and Alvin Langdon Coburn. Through the exhibitions Stieglitz organised in his New York gallery, called 291, and the essays he published in his influential quarterly, Camera Work, he and the Photo-Secession promoted the Pictorialist aesthetic of softly textured, painterly pictures that elicit emotion and appeal to the imagination. Occasionally the photographers’ compositions refer to other works of art, such as Steichen’s portrait of his friend Auguste Rodin, whose pose recalls one of the sculptor’s most famous works, The Thinker. Influenced by the modern European and American painting, sculpture, and drawing he exhibited at 291, Stieglitz lost interest in the Photo-Secession in the early 1910s and began to explore a more straightforward expression.

 

Eugène Atget. 'Saint-Cloud' 1926

 

Eugène Atget (French, 1857-1927)
Saint-Cloud
1926
Albumen print
22.2 x 18.1cm
National Gallery of Art, Washington, Gift of Mary and Dan Solomon and Patrons’ Permanent Fund, 2006

 

 

Using a cumbersome camera mounted on a tripod, Atget recorded the myriad facets of Paris and its environs at the turn of the century. Transforming ordinary scenes into poetic evocations, he created a visual compendium of the objects, architecture, and landscapes that were expressive of French culture and its history. He sold his photographs to artists, architects, and craftsmen, as well as to libraries and museums interested in the vanishing old city. Throughout his career he returned repeatedly to certain subjects and discovered that the variations caused by changing light, atmosphere, and season provided inexhaustible subjects for the perceptive photographer.

 

Julia Margaret Cameron. 'The Mountain Nymph, Sweet Liberty' June 1866

 

Julia Margaret Cameron (British, 1815-1879)
The Mountain Nymph, Sweet Liberty
June 1866
Albumen print
36.1 x 26.7cm
National Gallery of Art, Washington, New Century Fund, 1997

 

 

Ensconced in the intellectual and artistic circles of midcentury England, Cameron manipulated focus and light to create poetic pictures rich in references to literature, mythology, and history. Her monumental views of life-sized heads were unprecedented, and with them she hoped to define a new mode of photography that would rival the expressive power of painting and sculpture. The title of this work alludes to John Milton’s mid-seventeenth-century poem L’Allegro. Describing the happy life of one who finds pleasure and beauty in the countryside, the poem includes the lines:

Come, and trip it as ye go
On the light fantastic toe;
And in thy right hand lead with thee,
The mountain nymph, sweet Liberty.

 

Dr Guillaume-Benjamin-Amant Duchenne (de Boulogne). 'Figure 63, "Fright" from "Mécanisme de la physionomie humaine (Mechanism of human physiognomy)" (1862)' 1854-1855

 

Dr Guillaume-Benjamin-Amant Duchenne (de Boulogne) (French, 1806-1875)
Figure 63, “Fright” from “Mécanisme de la physionomie humaine (Mechanism of human physiognomy)” (1862)
1854-1855
Albumen print
21.5 × 16cm
National Gallery of Art, Washington, Pepita Milmore Memorial Fund, 2015

 

 

A neurologist, physiologist, and photographer, Duchenne de Boulogne conducted a series of experiments in the mid-1850s in which he applied electrical currents to various facial muscles to study how they produce expressions of emotion. Convinced that these electrically-induced expressions accurately rendered internal feelings, he then photographed his subjects to establish a precise visual lexicon of human emotions, such as pain, surprise, fear, and sadness. In 1862 he included this photograph representing fright in a treatise on physiognomy (a pseudoscience that assumes a relationship between external appearance and internal character), which enjoyed broad popularity among artists and scientists.

 

Lewis Hine. 'An Anaemic Little Spinner in a New England Cotton Mill (North Pownal, Vermont)' 1910

 

Lewis Hine (American, 1874-1940)
An Anaemic Little Spinner in a New England Cotton Mill (North Pownal, Vermont)
1910
Gelatin silver print
24.1 × 19.2cm
National Gallery of Art, Washington, Pepita Milmore Memorial Fund, 2015

 

 

Trained as a sociologist and initially employed as a teacher, Hine used the camera both as a research tool and an instrument of social reform. One of the earliest and most influential social documentary photographers of his time, he made many pictures under the auspices of the National Child Labor Committee, an organisation formed in 1904 to promote better working conditions for children. Hine’s focus on the thin, frail body of this barefoot twelve-year-old spinner, who stands before rows of bobbins in the mill where she worked, was meant to illustrate the unhealthy effects of her employment. Photographs like this one were crucial to the campaign to change American child labor laws in the early twentieth century.

 

 

In Light of the Past: Twenty-Five Years of Photography at the National Gallery of Art

Georgia O’Keeffe and the Alfred Stieglitz Estate laid the foundation of the photography collection of the National Gallery of Art in 1949 with their donation of 1,650 Stieglitz photographs, an unparalleled group known as the Key Set. Yet the Gallery did not start actively acquiring photographs until 1990, when it launched an initiative to build a collection of works by European and American photographers from throughout the history of the medium and mount major exhibitions with scholarly publications. Now including nearly fifteen thousand prints, the collection encompasses the rich diversity of photographic practice from fine art to scientific and amateur photography, as well as photojournalism. It is distinguished by its large holdings of works by many of the medium’s most acclaimed masters, such as Paul Strand, Walker Evans, André Kertész, Ilse Bing, Robert Frank, Harry Callahan, Lee Friedlander, Gordon Parks, Irving Penn, and Robert Adams, among others.

In Light of the Past celebrates the twenty-fifth anniversary of the 1990 initiative by presenting some of the Gallery’s finest photographs made from the early 1840s to the late 1970s. It is divided into four sections arranged chronologically. The first traces the evolution of the art of photography during its first decades in the work of early British, French, and American practitioners. The second looks at the contributions of late nineteenth and early twentieth-century photographers, from Stieglitz and the American Pictorialists to European masters such as Eugène Atget. The third section examines the international photographic modernism of the 1920s and 1930s, and the fourth features seminal mid-twentieth-century photographers. The exhibition concludes with pictures representing the varied practices of those working in the late 1960s and 1970s.

 

The Nineteenth Century: The Invention of Photography

In 1839 a new means of visual representation was announced to a startled world: photography. Although the medium was immediately and enthusiastically embraced by the public at large, photographers themselves spent the ensuing decades experimenting with techniques and debating the nature of this new invention. The works in this section suggest the range of questions addressed by these earliest practitioners. Was photography best understood as an art or a science? What subjects should photographs depict, what purpose should they serve, and what should they look like? Should photographers work within the aesthetics established in other arts, such as painting, or explore characteristics that seemed unique to the medium? This first generation of photographers became part scientists as they mastered a baffling array of new processes and learned how to handle their equipment and material. Yet they also grappled with aesthetic issues, such as how to convey the tone, texture, and detail of multicoloured reality in a monochrome medium. They often explored the same subjects that had fascinated artists for centuries – portraits, landscapes, genre scenes, and still lifes – but they also discovered and exploited the distinctive ways in which the camera frames and presents the world.

 

Photography at the Turn of the Twentieth Century

In the late nineteenth century, improvements in technology and processing, along with the invention of small handheld cameras such as the Kodak, suddenly made it possible for anyone of middle-class means to take photographs. Many amateurs took up the camera to commemorate family, friends, and special events. Others, such as the sociologist Lewis Hine, used it as a tool for social and political change. Partially in response to the new ease of photography, more serious practitioners in America and Europe banded together to assert the artistic merit of the medium. Called Pictorialists, they sought to prove that photography was just as capable of poetic, subjective expression as painting. They freely manipulated their prints to reveal their authorial control, often resulting in painterly effects, and consciously separated themselves from amateur photographers and mechanised processes.

 

Photography Between the Wars

In the aftermath of World War I – the first modern, mechanised conflict – sweeping changes transformed photography. Avant-garde painters, graphic designers, and journalists turned to the medium, seeing it as the most effective tool to express the fractured, fast-paced nature of modernity and the new technological culture of the twentieth century. A wide variety of new approaches and techniques flourished during these years, especially in Europe. Photographers adopted radical cropping, unusual angles, disorienting vantage points, abstraction, collage, and darkroom alchemy to achieve what the influential Hungarian teacher László Moholy-Nagy celebrated as the “new vision.” Other photographers, such as the German August Sander or the Americans Alfred Stieglitz, Edward Weston, and Walker Evans, sought a more rigorous objectivity grounded in a precise examination of the world.

 

Postwar Photography

Photography thrived in the decades after World War II, invigorated by new ideas, practices, and expanding venues for circulating and displaying pictures. Immediately after the war, many photographers sought to publish their pictures in illustrated magazines, which prospered during these years. Some, such as Gordon Parks, made photographs highlighting racial, economic, and social disparities. Others, such as Louis Faurer, Sid Grossman, and Robert Frank, turned to the street to address the conditions of modern life in pictures that expose both its beauty and brutality. Using handheld cameras and available light, they focused on the random choreography of sidewalks, making pictures that are often blurred, out of focus, or off-kilter.

In the later 1950s and 1960s a number of photographers pushed these ideas further, mining the intricate social interactions of urban environments. Unlike photographers from the 1930s, these practitioners, such as Garry Winogrand, Lee Friedlander, and Diane Arbus, sought not to reform American society but to record it in all its complexity, absurdity, and chaos. By the late 1960s and 1970s, other photographers, such as Robert Adams and Lewis Baltz, looked beyond conventional notions of natural beauty to explore the despoliation of the urban and suburban landscape. Their pictures of tract houses, highways, and motels are stripped of any artistic frills, yet they are exquisitely rendered and replete with telling details. Also starting in the 1960s, many conceptual or performance artists working in a variety of media embraced what they perceived to be photography’s neutrality and turned to it as an essential part of their experiments to expand traditional notions of art. In the late 1960s, improvements in colour printing techniques led others, such as William Eggleston, to explore the artistic potential of colour photography.

 

Edward Steichen. 'An Apple, A Boulder, A Mountain' 1921

 

Edward Steichen (American, 1879-1973)
An Apple, A Boulder, A Mountain
1921
Platinum print
National Gallery of Art, Washington, Patrons’ Permanent Fund, 2014

 

 

After World War I, Steichen became disillusioned with the painterly aesthetic of his earlier work and embarked on a series of experiments to study light, form, and texture. Inverting an apple, he demonstrated how a small object, when seen in a new way, can assume the monumentality and significance of a much larger one. His close-up scrutiny of a natural form closely links this photograph with works by other American modernists of the 1920s, such as Edward Weston, Paul Strand, and Georgia O’Keeffe.

 

Paul Strand. 'People, Streets of New York, 83rd and West End Avenue' 1916

 

Paul Strand (American, 1890-1976)
People, Streets of New York, 83rd and West End Avenue
1916
Platinum print
24.2 x 33cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 1990

 

 

Strand was introduced to photography in high school by his teacher Lewis Hine, who instilled in him a strong interest in social issues. In 1907, Hine took his pupil to Alfred Stieglitz’s 291 gallery in New York, which launched Strand’s desire to become a fine art photographer. By the early 1910s, influenced by Stieglitz, he began to make clearly delineated portraits, pictures of New York, and nearly abstract still lifes. Strand came to believe that photography was a gift of science to the arts, that it was an art of selection, not translation, and that objectivity was its very essence.

 

American 20th Century. 'Untitled' c. 1930

 

American 20th Century
Untitled
c. 1930
Gelatin silver print
5.7 x 10cm
National Gallery of Art, Washington, Gift of Robert E. Jackson, 2007

 

 

Snapshots

After World War I, a parade of technological improvements transformed the practice of photography. With smaller cameras, faster shutter speeds, and more sensitive film emulsions, both amateurs and more serious practitioners could now easily record motion, investigate unexpected angles and points of view, and work in dim light and inclement weather. The amateur’s less staid, more casual approach began to play an important role in the work of modernist photographers as they explored spontaneity and instantaneity, seeking to capture the cacophony and energy of modern life. Blurriness, distorted perspectives, and seemingly haphazard cropping-once considered typical amateur mistakes-were increasingly embraced as part of the modern, vibrant way of picturing the world.

 

Robert Frank. 'City of London' 1951

 

Robert Frank (Swiss, 1924-2019)
City of London
1951
Gelatin silver print
23 x 33.6cm
National Gallery of Art, Washington, Robert Frank Collection, Purchased as a Gift of The Howard Gilman Foundation, in Honor of the 50th Anniversary of the National Gallery of Art, 1991

 

Robert Frank. 'Woman/Paris' 1952

 

Robert Frank (Swiss, 1924-2019)
Woman/Paris
1952
Gelatin silver print in bound volume
Image: 35.1 x 25.4cm
National Gallery of Art, Washington, Robert Frank Collection, Gift (Partial and Promised) of Robert Frank, in Honor of the 50th Anniversary of the National Gallery of Art, 1990

 

 

In the late 1940s and early 1950s, Frank made several handbound volumes of photographs, exploring different ways to link his pictures through non-narrative sequences. While in Zurich in October 1952, he assembled pictures taken in Europe, South America, and the United States in a book called Black White and Things. With a brief introductory quote from Antoine de Saint-Exupéry – “it is only with the heart that one can see rightly; what is essential is invisible to the eye” – the photographs are arranged in a sophisticated sequence that uses formal repetition, conceptual contrasts, and, as here, witty juxtapositions to evoke a range of ideas …

While in Zurich in October of 1952, Frank assembled photographs taken in Europe, South America, and the United States in the preceding years into a bound book called Black White and Things. Designed by Frank’s friend Werner Zryd, and with only a brief introductory statement describing the three sections, the photographs appear in a sophisticated sequence that relies on subtle, witty juxtapositions and powerful visual formal arrangements to evoke a wide range of emotions.

Frank made three copies of this book, all identical in size, construction, and sequence. He gave one copy to his father, gave one to Edward Steichen, and kept one. The book that belonged to his father is now in a private collection; Steichen’s copy resides at the Museum of Modern Art, New York; and in 1990 Frank gave his copy to the Robert Frank Collection at the National Gallery of Art.

 

Robert Frank. 'Trolley - New Orleans' 1955

 

Robert Frank (Swiss, 1924-2019)
Trolley – New Orleans
1955
Gelatin silver print
Sheet: 21 x 31.6cm
National Gallery of Art, Washington, Gift of Maria and Lee Friedlander, 2001

 

Roy DeCarava. 'Mississippi Freedom Marcher, Washington, D.C.' 1963

 

Roy DeCarava (American, 1919-2009)
Mississippi Freedom Marcher, Washington, D.C.
1963
Gelatin silver print
25.5 x 33cm
National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel, 1999

 

Lee Friedlander. 'New York City' 1966

 

Lee Friedlander (American, b. 1934)
New York City
1966
Gelatin silver print
Image: 13.3 x 20.6 cm
National Gallery of Art, Washington, Trellis Fund, 2001

 

 

Heir to the tradition of documentary photography established by Eugène Atget, Walker Evans, and Robert Frank, Friedlander focuses on the American social landscape in photographs that can seem absurd, comical, and even bleak. In dense, complex compositions, he frequently depicts surprising juxtapositions that make the viewer look twice. He has made numerous self-portraits, yet he appears in these pictures in oblique and unexpected ways, for example reflected in a mirror or window. The startling intrusion of Friedlander’s shadow onto the back of a pedestrian’s coat, at once threatening and humorous, slyly exposes the predatory nature of street photography.

 

Giovanni Anselmo. 'Entering the Work' 1971

 

Giovanni Anselmo (Italian, b. 1934)
Entering the Work
1971
Photographic emulsion on canvas
49 x 63.5cm
National Gallery of Art, Washington, Glenstone in honor of Eileen and Michael Cohen, 2008

 

 

Conceptual Photography

In the 1960s, many painters and sculptors questioned the traditional emphasis on aesthetics and turned to creating art driven by ideas. Photography’s association with mechanical reproduction appealed to them as they sought to downplay the hand of the artist while promoting his or her role as idea maker. Some conceptual artists, such as Sol Lewitt and Mel Bochner, used photographs to explore an interest in perspective, scale, and mathematics. Others turned to photography as a tool to record performances and artistic undertakings, the resulting pictures acting as an integral part of those projects.

Anselmo was a member of the Italian Arte Povera group, which sought to break down the separation of art and life through experimental performances and the use of natural materials such as trees and leaves. To make this work, Anselmo set his camera up with a timed shutter release, and raced into view so that his running figure creates a modest yet heroic impression on the landscape.

 

Robert Adams. 'Colorado Springs, Colorado' 1974

 

Robert Adams (American, b. 1937)
Colorado Springs, Colorado
1974
Gelatin silver print, printed 1983
15.2 x 15.2cm
National Gallery of Art, Washington, Gift of Mary and Dan Solomon and Patrons’ Permanent Fund, 2006

 

 

For more than forty years, Adams has recorded the changing American landscape, especially the ongoing settlement of the West. Although he has photographed roads, tract houses, and strip malls that have utterly transformed the landscape, he has also captured the beauty that remains and indeed, that refuses to die, as in his poetic picture of morning fog over California hills. He is convinced, as he wrote in 1974, that “all land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty.”

 

Margaret Bourke-White. 'Fort Peck Dam, Montana' 1936

 

Margaret Bourke-White (American, 1904-1971)
Fort Peck Dam, Montana
1936
Gelatin silver print
33.02 × 27.31cm
National Gallery of Art, Washington, Patrons’ Permanent Fund, 2014

 

 

One of the most iconic photographs by the pioneering photojournalist Bourke-White, Fort Peck Dam, Montana was published on the cover of the inaugural issue of Life magazine on November 23, 1936. A striking representation of the machine age, the photograph depicts the stark, massive piers for an elevated highway over the spillway near the dam. The two men at the bottom of the print indicate the piers’ massive scale while revealing the vulnerable position of the worker in the modern industrial landscape.

 

György Kepes. 'Juliet with Peacock Feather and Red Leaf' 1937-1938

 

György Kepes (American born Hungary, 1906-2001)
Juliet with Peacock Feather and Red Leaf
1937-1938
Gelatin silver print with gouache
15.7 × 11.6cm
National Gallery of Art, Washington, Pepita Milmore Memorial Fund, 2014

 

 

Trained as a painter at the Academy of Fine Arts in Budapest, Kepes was an influential designer, educator, aesthetic theorist, and photographer. In 1930 he moved to Berlin, where he worked with László Moholy-Nagy, but eventually settled in Chicago and later Cambridge, Massachusetts. Created soon after his arrival in America, this startling photograph is both an intimate depiction of Kepes’s wife and a study of visual perception. Like the red leaf that seems to float above the image, the peacock feather – its eye carefully lined up with Juliet’s – obscures not only her vision but also the viewer’s ability to see her clearly.

 

Irving Penn. 'Woman with Roses (Lisa Fonssagrives-Penn in Lafaurie Dress), Paris' 1950

 

Irving Penn (American, 1917-2009)
Woman with Roses (Lisa Fonssagrives-Penn in Lafaurie Dress), Paris
1950
Platinum/palladium print, 1977
55.1 x 37cm
National Gallery of Art, Washington, Gift of Irving Penn, 2002

 

 

One of the most influential fashion and portrait photographers of his time, Penn made pictures marked by refinement, elegance, and clarity. Trained as a painter and designer, he began to photograph in the early 1940s while working at Vogue; more than 150 of his photographs appeared on the cover of the magazine during his long career. A perfectionist, Penn explored earlier printing techniques, such as a late nineteenth-century process that used paper coated with solutions of platinum or palladium rather than silver, to achieve the subtle tonal range he desired.

 

 

National Gallery of Art
National Mall between 3rd and 7th Streets
Constitution Avenue NW, Washington

Opening hours:
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National Gallery of Art website

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23
May
15

Andy Warhol unplugged 2

May 2015

 

Andy Warhol (1928-1987)
 'Air France' 
dated JUN 21 1982

 

Andy Warhol (American, 1928-1987)
Air France
Jun 21 1982
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

 

Andy Warhol being, well … Andy Warhol.

Artist, tourist, celebrity, poofter, man about town and spontaneous, thoughtful snapper. The photograph of the Prado at night is superb as are the multiple, stitched together photographs. Warhol certainly loved his high key, 35mm images.

Marcus

.
Please click on the photographs for a larger version of the image.

 

 

Andy Warhol (1928-1987) 'Cessna Plane'
 c. 1977

 

Andy Warhol (American, 1928-1987)
Cessna Plane
c. 1977
Four stitched gelatin silver prints
Each: 11 x 14 in. (27.9 x 35.6cm); overall: 21¼ x 27⅜ in. (54 x 69.5cm)

 

Andy Warhol (1928-1987) '
City View
' May 07 1984

 

Andy Warhol (American, 1928-1987)
City View

May 07 1984
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987)
 'Houston Skyline' c. 1979

 

Andy Warhol (American, 1928-1987)
Houston Skyline
c. 1979
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987)
 'German Trolley
' Jun 23 1980

 

Andy Warhol (American, 1928-1987)
German Trolley

Jun 23 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987)
 'Limousine Interior' c. 1980

 

Andy Warhol (American, 1928-1987)
Limousine Interior
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987)
 'Luxor Temple' c. 1977

 

Andy Warhol (American, 1928-1987)
Luxor Temple
c. 1977
Two unique gelatin silver prints
Each: 8 x 5 in. (20.3 x 12.7cm)

 

Andy Warhol (1928-1987)
 Luxor Temple (detail) c. 1977

 

Andy Warhol (American, 1928-1987)
Luxor Temple (detail)
c. 1977
Two unique gelatin silver prints
Each: 8 x 5 in. (20.3 x 12.7cm)

 

Andy Warhol (1928-1987) 'Ocean Landscape' 1986

 

Andy Warhol (American, 1928-1987)
Ocean Landscape
1986
Four stitched gelatin silver prints
Each: 11 x 14 in. (27.9 x 35.6cm.); overall: 21¼ x 27½ in. (54 x 69.9cm)

 

Andy Warhol (1928-1987)
 'Statues Outside Musée D'Orsay' c. 1980

 

Andy Warhol (American, 1928-1987)
Statues Outside Musée D’Orsay
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987)
 'Monastery of Saint John of the Kings, Toledo' Jan 24 1983

 

Andy Warhol (American, 1928-1987)
Monastery of Saint John of the Kings, Toledo
Jan 24 1983
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4 cm)

 

Andy Warhol (1928-1987)
 'Museo del Prado Exterior, Madrid, Spain' Jan 24 1983

 

Andy Warhol (American, 1928-1987)
Museo del Prado Exterior, Madrid, Spain
Jan 24 1983
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987) 'Spanish Portico' 
Jan 24 1983

 

Andy Warhol (American, 1928-1987)
Spanish Portico
Jan 24 1983
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987)
 'Richard Coeur de Lion at Westminster' c. 1980

 

Andy Warhol (American, 1928-1987)
Richard Coeur de Lion at Westminster
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987)
 'Pyramid' c. 1977

 

Andy Warhol (American, 1928-1987)
Pyramid
c. 1977
Unique gelatin silver print
5 x 8 in. (12.7 x 20.3cm)

 

Andy Warhol (1928-1987) 'Street Scene' c. 1982

 

Andy Warhol (American, 1928-1987)
Street Scene
c. 1982
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987)
 'Riders from the Car' c. 1979

 

Andy Warhol (American, 1928-1987)
Riders from the Car
c. 1979
Two unique polaroid prints mounted on board
Each: 4¼ x 3⅜ in. (10.8 x 8.6cm)

 

Andy Warhol (1928-1987) 'Unidentified Men' c. 1980

 

Andy Warhol (American, 1928-1987)
Unidentified Men
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987) 'Venetian Canal' 1977

 

Andy Warhol (American, 1928-1987)
Venetian Canal
1977
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987) 'Table Setting' c. 1980

 

Andy Warhol (American, 1928-1987)
Table Setting
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

Andy Warhol (1928-1987) 'Beach Scene' c. 1975

 

Andy Warhol (American, 1928-1987)
Beach Scene
c. 1975
Unique polaroid print
4¼ x 3½ in. (10.8 x 8.8cm)

 

Andy Warhol (1928-1987) 'Place de la Concorde' c. 1980

 

Andy Warhol (American, 1928-1987)
Place de la Concorde
c. 1980
Unique gelatin silver print
10 x 8 in. (25.4 x 20.3cm)

 

Andy Warhol (1928-1987) 'Rockefeller Center' c. 1984

 

Andy Warhol (American, 1928-1987)
Rockefeller Center
c. 1984
Unique gelatin silver print
10 x 8 in. (25.4 x 20.3cm)

 

Andy Warhol (1928-1987) 'Sears Tower' c. 1980

 

Andy Warhol (American, 1928-1987)
Sears Tower
c. 1980
Unique gelatin silver print
10 x 8 in. (25.4 x 20.3cm)

 

Andy Warhol (1928-1987) 'Max Delys at the Saloon' c. 1980

 

Andy Warhol (American, 1928-1987)
Max Delys at the Saloon
c. 1980
Unique polaroid print mounted on board
4¼ x 3⅜ in. (10.8 x 8.5cm)

 

Andy Warhol (1928-1987) 'Union Square' c. 1975

 

Andy Warhol (American, 1928-1987)
Union Square
c. 1975
Unique polaroid print
4¼ x 3⅜ in. (10.8 x 8.5cm)

 

Andy Warhol (1928-1987) 'Tunnel' c. 1980

 

Andy Warhol (American, 1928-1987)
Tunnel
c. 1980
Unique gelatin silver print
8 x 10 in. (20.3 x 25.4cm)

 

 

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25
Feb
15

Exhibition: ‘The Social Medium’ at the deCordova Sculpture Park and Museum, Lincoln, MA