Posts Tagged ‘gay liberation

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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16
Jul
14

Exhibition: ‘Out of the closets, into the streets: gay liberation photography 1971-73’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Opening: Tuesday 22nd July 6-8pm

Nite Art: Wednesday 23rd July until 11pm
Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis

Curated by Dr Marcus Bunyan and Nicholas Henderson
Catalogue essay by Professor Dennis Altman (below)

 

 

Five days, that’s all you’ve got! Just five days to see this fabulous exhibition. COME ALONG TO THE OPENING (Tuesday 22nd July 6-8pm) or NITE ART, the following night!

The exhibition Out of the closets, into the streets: gay liberation photography 1971-73 pictures the very beginning of the gay liberation movement in Australia through the work of Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes and Rennie Ellis. The exhibition examines for the first time images from the period as works of art as much as social documents. The title of the exhibition is a slogan from the period.

As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The liberation movement meant ‘being there’, putting your body on the line. “It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

Curated by Dr Marcus Bunyan and Nicholas Henderson and with a catalogue essay by Professor Dennis Altman (see below), the show is a stimulating experience for those who want to be inspired by the history and art of the early gay liberation movement in Australia.

The exhibition coincides with AIDS 2014: 20th International AIDS Conference (20-25 July 2014) and Nite Art which occurs on the Wednesday night (23rd July 2014). The exhibition will travel to Sydney to coincide with the 14th Australia’s Homosexual Histories Conference in November at a venue yet to be confirmed.

Dr Marcus Bunyan

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

 

 

Barbara Creed. 'Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne' Melbourne, c. 1971-73

 

Barbara Creed
Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne
Melbourne, c. 1971-73
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Ponch Hawkes. 'Gay Liberation march, Russell Street, Melbourne' Melbourne, 1973

 

Ponch Hawkes
Gay Liberation march, Russell Street, Melbourne
Melbourne, 1973
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

 

John-Englart-Gay-Pride-Week-Sydney-1973-c

 

John Englart
Gay Pride Week poster, outside the Town Hall Hotel, Sydney Town Hall
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

 

Out of the closets, onto the streets

Professor Dennis Altman

.
This exhibition chronicles a very specific time in several Australian cities, the period when lesbians and gay men first started demonstrating publicly in a demand to be accorded the basic rights of recognition and citizenship. Forty years ago to be homosexual was almost invariably to lead a double life; the great achievement of gay liberation was that a generation – although only a tiny proportion of us were ever Gay Liberationists – discovered that was no longer necessary.

The Archives have collected an extraordinary range of materials illustrating the richness of earlier lesbian and gay life in Australia, but this does not deny the reality that most people regarded homosexuality as an illness, a perversion, or a sin, and one for which people should be either punished or cured. It is revealing to read the first avowedly gay Australian novel, Neville Jackson’s No End to the Way [published in 1965 – in Britain – and under a pseudonym] to be reminded of how much has changed in the past half century.

Gay Liberation had both local and imported roots; the Stonewall riots in New York City, which sparked off a new phase of radical gay politics – when ‘gay’ was a term understood to embrace women, men and possibly transgender – took place in June 1969. They were barely noticed at the time in Australia, where a few people in the civil liberties world, most of them not homosexual, had started discussing the need to repeal anti-sodomy laws.

Small law reform and lesbian groups had already existed, but the real foundation of an Australian gay movement came in September 1970 when Christabel Pol and John Ware announced publicly the formation of CAMP, an acronym that stood for the Campaign Against Moral Persecution but also picked up on the most used Australian term for ‘homosexual’. Within two years there were both CAMP branches in most Australian capital cities, as well as small gay liberation groups that organised most of the demonstrations illustrated in this exhibition.

The differences between gay liberation and CAMP were in practice small, but those of us in Gay Liberation prided ourselves on our radical critique, and our commitment to radical social change. CAMP, with its rather daggy social events and its stress on law reform – at a time in history when homosexual conduct between men was illegal across the country – seemed to us too bourgeois, though ironically it was CAMP which organised the first open gay political protest in Australia [immediately identified by the balloons in the Exhibition photos].

It is now a cliché to say “the sixties” came to Australia in the early 1970s, but a number of forces came together in the few years between the federal election of 1969, when Gough Whitlam positioned the Labor Party as a serious contender for power, and 1972, the “It’s Time” election, when the ALP took office for the first time in 23 years. We cannot understand how a gay movement developed in Australia without understanding the larger social and cultural changes of the time, which saw fundamental shifts in the nature of Australian society and politics.

The decision of the Menzies government in 1965 to commit Australian troops to the long, and ultimately futile war in Vietnam, led to the emergence of a large anti-war movement, capable of mobilising several hundred thousand people to demonstrate by the end of the decade. Already under the last few years of Liberal government the traditional White Australia Policy was beginning to crumble, as it became increasingly indefensible, and awareness of the brutal realities of dispossession and discrimination against indigenous Australians was developing. Perhaps most significant for a movement based on sexuality, the second wave feminist movement, already active in the United States and Britain, began challenging the deeply entrenched sexist structures of society.

To quote myself, this at least reduces charges of plagiarism: “Anyone over fifty in Australia has lived through extraordinary changes in how we imagine the basic rules of sex and gender. We remember the first time we saw women bank tellers, heard a woman’s voice announce that she was our pilot for a flight, watched the first woman read the news on television. Women are now a majority of the paid workforce; in 1966 they made up twenty-nine per cent. When I was growing up in Hobart it was vaguely shocking to hear of an unmarried heterosexual couple living together and women in hats and gloves rode in the back of the trams (now long since disappeared). As I look back, it seems to me that some of the unmarried female teachers at my school were almost certainly lesbians, although even they would have been shocked had the word been uttered.”

In Australia Germaine Greer’s book The Female Eunuch became a major best seller, and Germaine appeared [together with Liz Fell, Gillian Leahy and myself] at the initial Gay Liberation forum at Sydney University in early 1972; looking back it is ironic that a woman who has been somewhat ambivalent in her attitudes to homosexuality was part of the public establishment of the gay movement.

But the early demonstrations illustrated in this exhibition did often include sympathetic “straights” – a term that seems to have disappeared from the language – for whom gay liberation was part of a wider set of cultural issues. It is essential to recognise that while political demonstrations may seem to assert certain claims they play widely different roles for those who participate. For some of us a public protest is a form of “coming out”; indeed many people had never been public about their sexuality before they attended their first demonstration. For others a demonstration is primarily a place to find solidarity, friendship, and, if lucky, sex.

For the gay movement more than any other just to declare oneself as gay was to take an enormous step, a step that some found remarkably easy while others had to wait until late in life to discover that actually almost everyone knew anyway. I remember the now dead Sydney playwright, Nick Enright, who was one of the first people to be open about his homosexuality, and was so without any sense of difficulty; at the same time there are still people who go to great lengths to hide their sexuality even while acknowledging they would face little risk of discrimination were they not to do so

Maybe there is a parallel for people who now declare their lost Aboriginal heritage, unsure how they will be regarded but aware that this is crucial to their sense of self. Every generation has its own version of coming out stories, this exhibition hones in on that time in our national history when everything seemed in flux, and gay liberation seemed a small part of creating a brave new world in which old hierarchies and restraints would disappear.

Looking back at the photos creates a certain nostalgia – we all look so young, so sure that we were changing the world, though in reality most of us were putting on a brave front. The oddest thing is that in some ways we did change the world. Forty years ago we looked at the police as threatening, symbolised in the photograph from Melbourne Gay Pride 1973 where the policeman is clearly telling people to move on. Today openly lesbian and gay cops march with us in the streets, and the very idea that homosexuality could be criminalised, as it still is in many parts of the world, has largely disappeared from historical memory. Indeed to many people attending this exhibition that may be the first time they confront the reality that being gay in Australia in the early 1970s was to live in a world of silence, evasion and fear.

.
Professor Dennis Altman
July 2014

© Dennis Altman
Reproduced with permission

 

Anonymous. 'I am a Lesbian, Gay Pride Week' Adelaide, 1973

 

Anonymous
I am a Lesbian, Gay Pride Week
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

Anonymous. 'Man in black hat and red shirt, Gay Pride Week' Adelaide, 1973

 

Anonymous
Man in black hat and red shirt, Gay Pride Week
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

 

Sponsored by

CPL Digital logo.
For photographic services in Australia, Art Blart highly recommends CPL Digital (03) 8376 8376 cpldigital.com.au

 

Art Blart logo.
Dr Marcus Bunyan and the best photography blog in Australia sponsor this event artblart.com

 

ALGA logo.
The Archives actively collects and preserves lesbian and gay material from across Australia alga.org.au

 

Supported by

Edmund Peace logo.
EP is a contemporary Melbourne art space dedicated to the appreciation of photography (03) 9023 5775 edmundpearce.com.au

 

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Rennie Ellis is an award winning photographer and writer (03) 9525 3862 www.rennieellis.com.au

 

 

1. Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p.43.

 

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20
Jan
14

Exhibition: ‘Bob Mizer and Tom of Finland’ at The Museum Of Contemporary Art, Los Angeles (MOCA)

Exhibition dates: 2nd November 2013 – 26th January 2014
MOCA Pacific Design Center

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*PLEASE NOTE THIS POSTING CONTAINS ART WORK OF MALE NUDITY AND EROTIC IMAGES OF GAY MALE SEX – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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What a fantastic pairing in this exhibition and in their relationship in real life. We must remember that Tom of Finland was a ground-breaking artist, one of the very first to picture masculine gay men, “robbing straight homophobic culture of its most virile and masculine archetypes (bikers, hoodlums, lumberjacks, cops, cowboys and sailors) and recasting them – through deft skill and fantastic imagination – as unapologetic, self-aware and boastfully proud enthusiasts of gay sex.”

He would have only just been in his twenties when he started drawing men in the early 1940s, inspired by the soldiers and uniforms he saw around him from the Second World War. With no outward gay culture in Finland, let alone in America until the late 1960s, just imagine being an artist producing this kind of erotic imagery at that time. To go on to be the seminal figure in the creation of gay leather culture… what an impact this artist had on gay and popular culture. Of course, as tastes were liberalised in the era of free love, Stonewall and after, the muscles of his hunks became bigger, the size of their endowments larger and the actions portrayed became more open and transparent (as can be seen from Untitled (From Beach Boy 2 story), 1971, below).

During my PhD research I visited the One Institute/International Gay and Lesbian Archives Collection, University of Southern California, Los Angeles, to investigate the cross-over between physique magazines and early gay pornography magazines of the 1960s to early 1970s. I was interested to see whether the muscular mesomorphic bodies of the physique magazines crossed straight over into the first gay pornography magazines. To my surprise, the answer was that they did not.

After the American Supreme Court ruled on obscenity laws in the late 1960s, the first gay pornography magazines started appearing. The earliest gay porn magazine in the One Institute/IGLA collection, Action Line. No.1. San Francisco: Mark Vaughn Associates. 1969, features mostly smooth but natural bodies, not as built as in physique magazines, with nude young men with full erections lying next too each other touching. There is no sex, no sucking or fucking. Only a year later, in 1970, the story if different. In Album 1501: A Study of Sexual Activity Between Males. Los Angeles: Greyhuff Publishing, 1970 their is sexual intercourse pictured between men  in an openly available publication for the first time.

Bodies in this magazine are smooth, young toned men, much as in the early photographs of George Platt Lynes (such as those of Charles ‘Tex’ Smutney, Charles ‘Buddy’ Stanley, and Bradbury Ball). They are also similar to the bodies in the photographs that Lynes submitted to the Zurich published homosexual magazine Der Kries after he found out that he had cancer, during the last years of his life (under the pseudonym Roberto Rolf late 1940s – early 1950s). The participants in Album 1501 perform sex on each other in a lounge room lit by strong lights (shadows on walls). The black and white photographs, well shot, feature in a magazine that is about 5″ wide and 10″ high, well laid out and printed. The magazine is a thin volume and features just the two models in one sex scene of them undressing each other and then having sex. One man wears a Pepsi-Cola T-shirt at first and he also has tattoos one of which says ‘Cheri’. The photographs almost have a private feel to them.

In their introduction the publishers disclaim any agreement with the content of the magazine and are only publishing it for the freedom of everybody to study the material in the privacy of their own homes. In other words male to male sex is a natural phenomenon and the publication is educational. This was a common ploy in early nudist and pornographic publications (along with classical themes) that was used to justify the content – to claim that the material was for private educational purposes only:

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Introduction.

“Publishers of material dealing frankly with sexual activity have suffered greatly in the past because of society’s anxiety over the existence and propagation of such material. But the real issue is why should such material dealing with sexual activity be any less valid or acceptable than material dealing with other facets of human behaviour? …
This book was produced so that all interested adults may have an opportunity to acquire it for their own private interests in matters relating to sex …
Our publication of this book is not to be construed that we agree with, condone or encourage any of the behaviour depicted herein. However, sexual activity between males is a fact of life and interested adults should not be denied an opportunity to study this, or any other, facet of human behaviour.”

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The Publishers.

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It is interesting to note the progression from physique magazines and models in posing pouches in 1966-68 (such as the photographs of Bob Mizer featured in this posting), then to full erection and stories of anal penetration in Action Line in 1969, to full on photographs of gay sex in this magazine in 1970. Bodies are all smooth, quite solid, toned natural physiques, not as ‘built’ as in earlier physique magazines, but still featuring younger smooth men and not older heavier set men. It was not until the development of the clone, leatherman and magazines such a Colt from Colt Studios that Tom of Finland’s muscular mesomorphic leatherman took hold in the popular gay imagination.

Even in the mid 1970’s companies such as Colt Studios, which has built a reputation for photographing hunky, very well built masculine men, used classical themes in their photography of muscular young men. Most of the early Colt magazines have photographs of naked young men that are accompanied by photographs and illustrations based on classical themes. In their early magazines quite a large proportion of the bodies were hirsute or had moustaches as was popular with the ‘clone’ image at the time. Later Colt models of the early 1980’s tend towards the buff, tanned, stereotypical muscular mesomorph in even greater numbers. Sometimes sexual acts are portrayed in Colt magazines but mainly they are not. It is the “look” of the body and the face that the viewers desiring gaze is directed towards – not the sexual act itself.

Photographers such as Bob Mizer from Athletic Model Guild produced more openly homoerotic images. In his work from the 1970’s full erections are not prevalent but semi-erect penises do feature, as do revealing “moon” shots from the rear focusing on the arsehole as a site for male libidinal desires. A less closeted, more open expression of homosexual desire can be seen in the photographs of the male body in the 1970’s.

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Dr Marcus Bunyan for the Art Blart blog

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Many thankx to The Museum Of Contemporary Art (MOCA) for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

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Bob Mizer. 'Physique Pictorial Volume 16 Number 4, February 1968' 1968

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Bob Mizer
Physique Pictorial Volume 16 Number 4, February 1968
1968
Publication
Printed with permission of Bob Mizer Foundation, Inc .

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Untitled' 1962

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Untitled
1962
Graphite on paper
12.00″ x 9.50″
ToFF Cat. #62.27, Collection of Volker Morlock
© 1962 Tom of Finland Foundation

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Bob Mizer. 'Physique Pictorial Volume 11 Number 4, May 1962' 1962

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Bob Mizer
Physique Pictorial Volume 11 Number 4, May 1962
1962
Publication
Printed with permission of Bob Mizer Foundation, Inc .

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Bob Mizer. 'Physique Pictorial Volume 7 Number 1, 1957' 1957

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Bob Mizer
Physique Pictorial Volume 7 Number 1, 1957
1957
Publication
Printed with permission of Bob Mizer Foundation, Inc .

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Bob Mizer. 'Physique Pictorial Volume 10 Number 4, April 1961' 1961

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Bob Mizer
Physique Pictorial Volume 10 Number 4, April 1961
1961
Publication
Printed with permission of Bob Mizer Foundation, Inc .

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Untitled' (1 of 4 from 'Circus Life' series) 1961

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Untitled (1 of 4 from Circus Life series)
1961
Graphite on paper
12.25″ x 9.75″
Bob Mizer/AMG Collection, Tom of Finland Foundation Permanent Collection #61.11
© 1961 Tom of Finland Foundation

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Bob Mizer. 'Jim Horn, Los Angeles' c. 1966

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Bob Mizer
Jim Horn, Los Angeles
c. 1966
Vintage large-format black and white negative
Silver gelatin print
8 x 10 inches
Printed with permission of Bob Mizer Foundation, Inc .

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Bob Mizer. 'Untitled [Barry Maurer, Hand on Gun], Los Angeles' c. 1961

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Bob Mizer
Untitled [Barry Maurer, Hand on Gun], Los Angeles
c. 1961
Vintage large-format black and white negative
Silver gelatin print
8 x 10 inches
Printed with permission of Bob Mizer Foundation, Inc .

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Bob Mizer. 'Untitled [Larry Lamb, with Tumbleweed], Los Angeles' c. 1959

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Bob Mizer
Untitled [Larry Lamb, with Tumbleweed], Los Angeles
c. 1959
Vintage large-format black and white negative
Silver gelatin print
8 x 10 inches
Printed with permission of Bob Mizer Foundation, Inc .

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Untitled' 1968

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Untitled
1968
Graphite on paper
12.94″ x 9.38″
ToFF Cat. #68.06, Collection of Volker Morlock
© 1968 Tom of Finland Foundation

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Youthful Innocence' 1969

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Youthful Innocence
1969
The New Biker Stud – Bob Mizer title
Graphite on paper
11.75″ x 8.50″
ToFF Cat. #69.02, Collection of Volker Morlock
© 1969 Tom of Finland Foundation

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Untitled' (No.1 from 'Cyclist and the Farm Boy' series) 1973

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Untitled (No.1 from Cyclist and the Farm Boy series)
1973
Graphite on paper
11″ x 8″
Bob Mizer/AMG Collection, Tom of Finland Foundation Permanent Collection #73.10
© 1973 Tom of Finland Foundation

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Bob Mizer. 'Untitled [Ray Hornsby, Motorcycle], Los Angeles' c. 1957

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Bob Mizer
Untitled [Ray Hornsby, Motorcycle], Los Angeles
c. 1957
Vintage large-format black and white negative
Silver gelatin print
8 x 10 inches
Printed with permission of Bob Mizer Foundation, Inc .

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“To my mind, there is no clearer representation of Mizer’s almost manic attempts to condense the joyful, celebratory chaos of his daily photo shoots down to their most selectively stupendous moments than his catalogue boards.” – artist and exhibition co-curator Richard Hawkins”

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“The Museum of Contemporary Art, Los Angeles (MOCA), is proud to present Bob Mizer and Tom of the Finland, the first American museum exhibition devoted to the art of Bob Mizer (1922-1992) and Touko Laaksonen, aka “Tom of Finland” (1920-1991), two of the most significant figures of twentieth century erotic art and forefathers of an emergent post-war gay culture. The exhibition features a selection of Tom of Finland’s masterful drawings and collages, alongside Mizer’s rarely seen photo-collage “catalogue boards” and films, as well as a comprehensive collection of his groundbreaking magazine Physique Pictorial, where drawings by Tom were first published in 1957. Organized by MOCA Curator Bennett Simpson and guest co-curator Richard Hawkins, the exhibition is presented with the full collaboration of the Bob Mizer Foundation, El Cerrito, and the Tom of Finland Foundation, Los Angeles.

Tom of Finland is the creator of some of the most iconic and readily recognizable imagery of post-war gay culture. He produced thousands of images beginning in the 1940s, robbing straight homophobic culture of its most virile and masculine archetypes (bikers, hoodlums, lumberjacks, cops, cowboys and sailors) and recasting them – through deft skill and fantastic imagination – as unapologetic, self-aware and boastfully proud enthusiasts of gay sex. His most innovative achievement though, worked out in fastidious renderings of gear, props, settings and power relations inherent therein, was to create the depictions that would eventually become the foundation of an emerging gay leather culture. Tom imagined the leather scene by drawing it; real men were inspired by it … and suited themselves up.

Bob Mizer began photographing as early as 1942 but, unlike many of his contemporaries in the subculture of illicit physique nudes, Mizer took the Hollywood star-system approach and founded the Athletic Model Guild in 1945, a film and photo studio specializing in handsome natural-bodied (as opposed to exclusively musclebound, the norm of the day) boy-next-door talent. In his myriad satirical prison dramas, sci-fi flix, domesticated bachelor scenarios and elegantly captivating studio sessions, Mizer photographed and filmed over 10,000 models at a rough estimate of 60 photos a day, seven days a week for almost 50 years. Mizer always presented a fresh-faced and free, unashamed and gregarious, totally natural and light-hearted approach to male nudity and intimate physical contact between men. For these groundbreaking perspectives in eroticized representation alone, Mizer ranks with Alfred Kinsey at the forefront of the sexual revolution.

Though Laaksonen did not move to Los Angeles until the 1970s, he had long known of Mizer and the photographer’s work through Physique Pictorial, the house publication and sales tool for Athletic Model Guild. It was to this magazine that the artist first sent his drawings and it was Mizer, finding the artworks remarkable and seeking to promote them on the magazine’s cover, but finding the artist’s Finnish name too difficult for his clientele, who is responsible for the now famous “Tom of Finland” pseudonym.

By the time the gay liberation movement swept through the United States in the late 1960s, both Tom of Finland and Bob Mizer were already well-known and widely celebrated as veritable pioneers of gay art. Decades before Stonewall and the raid on the Black Cat these evocative and lusty representations of masculine desire and joyful, eager sex between men proliferated and were disseminated worldwide at a time when the closet was still very much the norm – there was no such thing as a gay community. If these artists were not ahead of their time, they might just have foreseen and even invented a time.

Spanning five decades, the exhibition seeks a wider appreciation for Tom of Finland and Bob Mizer’s work, considering their aesthetic influence on generations of artists, both gay and straight, among them, Kenneth Anger, Rainer Werner Fassbinder, David Hockney, G.B. Jones, Mike Kelley, Robert Mapplethorpe, Henrik Olesen, Jack Pierson, John Waters, and Andy Warhol. The exhibition also acknowledges the profound cultural and social impact both artists have made, especially in providing open, powerful imagery for a community of desires at a time when it was still very much criminal. Presenting the broader historical context and key aspects of their shared interests and working relationship, as well as more in-depth solo rooms dedicated to each artist, the exhibition establishes the art historical importance of the staggering work of these legendary figures.

In addition to approximately 75 finished and preparatory drawings by Tom of Finland spanning 1947-1991, the exhibition includes a selection of Tom’s never before exhibited scrapbook collages, and examples of his serialized graphic novels, including the legendary leatherman Kake, as well as a selection of Mizer’s “catalogue boards,” AMG films, and a complete set of Physique Pictorial magazine. An accompanying publication includes texts by the exhibition co-curators and a selection of images.”

Press release from the MOCA website

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Bob Mizer. 'Untitled [Ray Hornsby, with Skull Staff], Los Angeles' c. 1957

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Bob Mizer
Untitled [Ray Hornsby, with Skull Staff], Los Angeles
c. 1957
Vintage large-format black and white negative
Silver gelatin print
8 x 10 inches
Printed with permission of Bob Mizer Foundation, Inc .

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Bob Mizer. 'Untitled [Ernie Rabb, Pointed Pistol], Los Angeles' c. 1957

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Bob Mizer
Untitled [Ernie Rabb, Pointed Pistol], Los Angeles
c. 1957
Vintage large-format black and white negative
Silver gelatin print
8 x 10 inches
Printed with permission of Bob Mizer Foundation, Inc .

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Untitled' (From 'Beach Boy 1' story) 1971

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Untitled (From Beach Boy 1 story)
1971
Pen and ink, gouache on paper
8.25″ x 5.75″
COQ International Collection, Tom of Finland Foundation Permanent Collection #71.24
© 1971 Tom of Finland Foundation

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Untitled' (From 'Jungle Seafood' story) 1972

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Untitled (From Jungle Seafood story)
1972
Pen and ink, gouache on paper
8.63″ x 6.94″
Tom of Finland Foundation Permanent Collection #72.41
© 1972 Tom of Finland Foundation

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Bob Mizer. 'Untitled [Larry Lamb, Profile with Chains], Los Angeles' c. 1959

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Bob Mizer
Untitled [Larry Lamb, Profile with Chains], Los Angeles
c. 1959
Vintage large-format black and white negative
Silver gelatin print
8 x 10 inches
Printed with permission of Bob Mizer Foundation, Inc .

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Bob Mizer. 'Untitled [Dennis Schreffer, Wand Balance], Los Angeles' c. 1957

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Bob Mizer
Untitled [Dennis Schreffer, Wand Balance], Los Angeles
c. 1957
Vintage large-format black and white negative
Silver gelatin print
8 x 10 inches
Printed with permission of Bob Mizer Foundation, Inc .

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Bob Mizer. 'Untitled [Dennis Schreffer with Portrait], Los Angeles' c. 1957

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Bob Mizer
Untitled [Dennis Schreffer with Portrait], Los Angeles
c. 1957
Vintage large-format black and white negative
Silver gelatin print
8 x 10 inches
Printed with permission of Bob Mizer Foundation, Inc .

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Untitled' (From 'Beach Boy 2' story) 1971

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Untitled (From Beach Boy 2 story)
1971
Pen and ink, gouache on paper
8.25″ x 5.25″
Tom of Finland Foundation Permanent Collection #71.45
© 1971 Tom of Finland Foundation

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Untitled' (From 'Beach Boy 2' story) 197

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Untitled (From Beach Boy 2 story)
1971
Pen and ink, gouache on paper
8.25″ x 5.25″
Tom of Finland Foundation Permanent Collection #71.58
© 1971 Tom of Finland Foundation

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Bob Mizer. 'Athletic Model Guild Catalog Board, David Elliott. [Double-sided; This side Page 1 of SW series]' c. 1965

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Bob Mizer
Athletic Model Guild Catalog Board, David Elliott. [Double-sided; This side Page 1 of SW series]
c. 1965
Photographs mounted to matboard and mixed media
Printed with permission of Bob Mizer Foundation, Inc .
The Museum of Contemporary Art, Los Angeles
Proposed purchase with funds provided by the Photography Committee
The Bob Mizer Foundation & INVISIBLE-EXPORTS, New York

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Bob Mizer. 'Athletic Model Guild Catalog Board, David Elliott. [Double-sided; This side Page 2 of SW series]' c. 1965

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Bob Mizer
Athletic Model Guild Catalog Board, David Elliott. [Double-sided; This side Page 2 of SW series]
c. 1965
Photographs mounted to matboard and mixed media
Printed with permission of Bob Mizer Foundation, Inc .
The Museum of Contemporary Art, Los Angeles
Proposed purchase with funds provided by the Photography Committee
The Bob Mizer Foundation & INVISIBLE-EXPORTS, New York

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Bob Mizer. 'Athletic Model Guild Catalog Board, Ernie Rabb. [Double-sided; This side Page 57 of XT series]' c. 1957

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Bob Mizer
Athletic Model Guild Catalog Board, Ernie Rabb. [Double-sided; This side Page 57 of XT series]
c. 1957
Photographs mounted to matboard and mixed media
Printed with permission of Bob Mizer Foundation, Inc .
The Museum of Contemporary Art, Los Angeles
Proposed purchase with funds provided by the Photography Committee
The Bob Mizer Foundation & INVISIBLE-EXPORTS, New York

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Bob Mizer. 'Athletic Model Guild Catalog Board, Ernie Rabb. [Double-sided; This side Page 58 of XT series]' c. 1957

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Bob Mizer
Athletic Model Guild Catalog Board, Ernie Rabb. [Double-sided; This side Page 58 of XT series]
c. 1957
Photographs mounted to matboard and mixed media
Printed with permission of Bob Mizer Foundation, Inc .
The Museum of Contemporary Art, Los Angeles
Proposed purchase with funds provided by the Photography Committee
The Bob Mizer Foundation & INVISIBLE-EXPORTS, New York

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991) 'Untitled' (From 'Beach Boy 2' story) 1971

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Tom of Finland (Touko Laaksonen, Finnish, 1920-1991)
Untitled (From Beach Boy 2 story)
1971
Pen and ink, gouache on paper
8.25″ x 5.25″
Tom of Finland Foundation Permanent Collection #71.61
© 1971 Tom of Finland Foundation

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MOCA Pacific Design Center
8687 Melrose Avenue
West Hollywood, CA 90069

Opening hours:
Mon closed
Tues – Fri 11 am – 5 pm
Sat, Sun 11 am – 6 pm

MOCA website

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22
Sep
13

Review: ‘Carol Jerrems: photographic artist’ at the Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 6th July – 30th September 2013

A National Gallery of Australia exhibition

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

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The one and only…

This is a fascinating National Gallery of Australia exhibition about the work of Australian photographer Carol Jerrems at Monash Gallery of Art, Wheelers Hill – in part both memorable, intimate, informative, beautiful, uplifting and disappointing. Let me explain what I mean.

The first section of the exhibition is devoted to Jerrems student work, notably her experiments with overlapping bodies, depth of field, movement and the layering of space and time that can be seen in her vibrant photoboooks and concertina books (see installation photographs below), accompanied by her own poems. This early work, which I had never seen, provides a wonderful insight into how the later images came to be: the shooting down hallways into the light, the pairing and tripling of bodies one behind the other, and how she constructed narrative in her later set piece photographs. This is the informative part of the exhibition.

As the exhibition moves on to the main body of Jerrems work there, in all their glory, are the famous images: Evonne Goolagong, Melbourne (1973), Flying dog (1973), Vale Street (1975), Mark and Flappers (1975), Mark Lean: rape game (1975), Mozart Street (1975), Butterfly behind glass [Red Symons from Skyhooks] (1975), Lyn (1976), Lyn and the Buick (1976), Dusan and Esben, Cronulla (1977), the self portraits and the lads with their car down by the river bank. These are memorable, intimate images, at the top of tree in terms of their importance as some of the greatest images taken by any Australian photographer of all time. They are right up there with the very best and there is no denying this. But what else is there? Take away the top dozen images of any photographer and look at the next twenty images. Now, what do you see? In Jerrems case, the results (as evidenced by this exhibition) are a little disappointing. Of course, this is not unusual with any artist.

In her low key, diaristic documentary style, Jerrems focuses on life before her lens. She finds joy, intimacy, love, danger, transgression and rape; she portrays women and gay liberation, youth on the streets, sharpies and the indigenous population. As Christopher Allen notes, sexuality and its darker side was never far from the surface in Jerrems work and there was a “mix of defiance, erotic assertiveness and vulnerability of that time… [an] intimate closeness to the subject and the direct and unmodified transcription of the world before her.”1 Her intelligent imaging of everyday subject matter “produced a body of photographs that symbolized the hopes and aspirations of the counter-culture in Australia in the 1970s,” but this investigation did not produce particularly memorable photographs. Outside the top group of images I am struggling to remember her other images.

But what we must remember is that this Australia was another time and place. Art photography books had only just arrived in Melbourne in 1970 and Jerrems was one of the first women to point her camera at other women (producing the book A Book About Australian Women in 1974) and people of the revolution. These are socially important documents in terms of Australian (photographic) history. I believe that she said to herself – I know who I am, but I want to know what other people are like – and she transcribed how she was thinking about the world to the people around her through her photographs. Building on the legacy of artists like Henri Cartier-Bresson, André Kertész and Robert Frank, her photographs are like an after-image of some other place, some other Australia that is only forty years ago but now seems eons away in time and space.

What we take for granted, in terms of sexual liberation, freedom of action and speech, she had to fight for. She had to fight for photographic, conceptual and technical knowledge to arm herself as an intelligent women (for that is what she was), so that she could image/imagine the world. She had to fight damn hard for these things – and then she upped the ante and pushed even harder, even further. These are dangerous photos, for women and gay men were vulnerable and threatened, marginalised and they were a target. Even in the act of photographing, her going into these places (brothels for example), she would have been a target. Does this make for memorable photographs?  Not necessarily, and you can see this in the unevenness of the results of her investigation. But socially these are very important images.

The pity is that she died so young for what this exhibition brought home to me was that here was an artist still defining, refining her subject matter. She never had to time to develop a mature style, a mature narrative as an artist (1975-1976 seems to be the high point as far as this exhibition goes). This is the great regret about the work of Carol Jerrems. Yes, there is some mediocre work in this exhibition, stuff that really doesn’t work at all (such as the brothel photographs), experimental work, individual and collective images that really don’t impinge on your consciousness. But there are also the miraculous photographs (and for a young photographer she had a lot of those), the ones that stay with you forever. The right up there, knock you out of the ball park photographs and those you cannot simply take away from the world. They live on in the world forever.

Does Jerrems deserve to be promoted as a legend, a ‘premier’ of Australian photography as some people are doing? Probably not on the evidence of this exhibition but my god, those top dozen or so images are something truly special to behold. Their ‘presence’ alone – their physicality in the world, their impact on you as you stand before them – guarantees that Jerrems will forever remain in the very top echelons of Australian photographers of all time not as a legend, but as a women of incredible strength, intelligence, passion, determination and vision.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to Mark Hislop for his help and Monash 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.

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Carol Jerrems. 'A poem' 1970

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Carol Jerrems
A poem
1970
Gelatin silver photographs, letterpress, installed at Monash Gallery of Art
Photograph: Katie Tremschnig

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Carol Jerrems. 'A poem' 1970

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Carol Jerrems
A poem
1970
Gelatin silver photographs, letterpress, installed at Monash Gallery of Art
Photograph: Katie Tremschnig

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Carol Jerrems. 'Jim Fields, a portrait' 1970

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Carol Jerrems
Jim Fields, a portrait
1970
Gelatin silver photographs, letterpress, installed at Monash Gallery of Art
Photograph: Katie Tremschnig

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Carol Jerrems 'The Royal Melbourne Show.....1968, an essay' (L) and 'Movement with Zara' (R) 1968

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Carol Jerrems
The Royal Melbourne Show…..1968, an essay (L) and Movement with Zara (R)
1968
Gelatin silver photographs, letterpress, installed at Monash Gallery of Art
Photograph: Katie Tremschnig

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Living in the seventies

Carol Jerrems’s gritty, poetic and elusive images show people trying to find a new way of life and action in the 1970s. Her images have come to define a decade in Australia’s history. In contrast to an earlier generation of internationally renowned magazine photojournalists such as David Moore, the new generation did not seek commissioned commercial or magazine work and took instead a low key intimate approach with a diaristic personal-documentary style of imagery focussed on themselves and their own, mostly urban, environments. Jerrems put her camera where the counter culture suggested; women’s liberation, social inclusiveness for street youths and Indigenous people in the cities who were campaigning for justice and land rights.

Carol Jerrems was the first contemporary Australian woman photographer to have work acquired by a number of museums including the National Gallery of Australia. The National Gallery holds an extensive archive of Jerrems photographs and film work gifted by the artist’s mother Joy Jerrems in 1983. The current exhibition concentrates on prints signed or formally exhibited, by Carol Jerrems in her lifetime dating from 1968-1978. MGA is the only Victorian venue to host the National Gallery of Australia’s major new exhibition Carol Jerrems: photographic artist. This extraordinary exhibition tells the story of Jerrems’ complex and highly influential practice. Drawn from the National Gallery of Australia’s massive holdings of the artist’s work, Carol Jerrems: photographic artist features more than 100 works, most of which have not been seen in Melbourne since Jerrems lived here during the late ’60s and ’70s.

Jerrems was born in Melbourne in 1949 and studied photography at Prahran Technical College under Paul Cox and Athol Shmith. Although she practised as an artist for only a decade, Jerrems has acquired a celebrated place in the annals of Australian photography. Her reputation is based on her intensely compassionate, formally striking pictures, her intimate connection with the people involved in social movements of the day, and her role in the promotion of ‘art photography’ in this country.

Jerrems was one of several Australian women whose work during the 1970s challenged the dominant ideas of what a photographer was and how they worked. She adopted a collaborative approach to making photographs, often featuring friends and associates, and sought a photographic practice that would bring about social change. Her gritty, poetic and elusive images show people trying to find a new way of life in the 1970s. Her images have come to define Melbourne in a decade of great social and political upheaval.

Carol Jerrems: photographic artist pays tribute to this important period in recent Australian history, showing how Jerrems participated in and helped to define Melbourne’s subculture and style in the 1970s. MGA Director Shaune Lakin said Jerrems’ vision would particularly resonate with Melbourne audiences, especially as her vision was revealed across the full breadth of her work. “Carol Jerrems: photographic artist is a perfect story for MGA to tell, as it is also the story of Melbourne in the 1970s. Jerrems captured Melbourne’s sub-cultures – sharpies, mods, hippies, feminists and gay liberationists – with powerful images that engage the viewer intimately with her subjects.”

As Dr Lakin notes, this is a rare chance to see the works Jerrems intended for exhibition: “Carol Jerrems: photographic artist concentrates on prints signed or formally exhibited by Jerrems in her lifetime, most returning to Melbourne for the first time. In addition to many of the images for which Jerrems is rightly famous, visitors to MGA can see Jerrems’ early work, including her extraordinary concertina books and other photobooks,” Lakin said.”

Press release from the Monash Gallery of Art website

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Carol Jerrems. 'Flying dog' 1973

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Carol Jerrems
Flying dog
1973
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1976
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Mark and Flappers' 1975

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Carol Jerrems
Mark and Flappers
1975
Gelatin silver photograph
National Gallery of Australia, Canberra
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Vale Street' 1975

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Carol Jerrems
Vale Street
1975
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1976
© Ken Jerrems and the Estate of Lance Jerrems

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“From the outset, Jerrems was interested in the expressive possibilities of the photographic medium, declaring that she was ‘an artist whose tool of expression is the camera’. She concentrated on photographing people; her subjects included her students, and her friends and acquaintances. Her first photographs were documentary in style, but by the mid-1970s the scenes she photographed were often contrived. She used a non-exploitative approach, based on the consent of her subjects. For Jerrems, photography had a crucial social role: ‘the society is sick and I must help change it’. Her photographs were a means of ‘bringing people together’ and offered affirmative views of certain aspects of contemporary life. With Virginia Fraser, she published A Book About Australian Women (Melbourne, 1974), to which she contributed the photographs…

Although one critic regarded her work as uneven – ‘she took a casual approach’ – Jerrems’s talents as a photographer were widely recognized. With her camera ‘firmly pointed at the heart of things’, she produced a body of photographs that symbolized the hopes and aspirations of the counter-culture in Australia in the 1970s.”

Helen Ennis, Australian Dictionary of Biography Volume 14, (MUP), 1996

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Carol Jerrems. 'Mirror with a memory: motel room' 1977

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Carol Jerrems
Mirror with a memory: motel room
1977
Type C colour photograph
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Boys' 1973

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Carol Jerrems
Boys
1973
Gelatin silver photograph
National Gallery of Australia, Canberra
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Outback Press Melbourne' 1974

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Carol Jerrems
Outback Press Melbourne
1974
left to right: Colin Talbot (writer), Alfred Milgrom (publisher), Morry Schwartz (entrepreneur, publisher, now publisher of The Monthly), Mark Gillespie (singer/songwriter)
Gelatin silver photograph
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Carol Jerrems, self-portrait with Esben Storm' c.1975

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Carol Jerrems
Carol Jerrems, self-portrait with Esben Storm
c.1975
Gelatin silver photograph
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Dusan and Esben, Cronulla' 1977

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Carol Jerrems
Dusan and Esben, Cronulla
1977
Gelatin silver photograph
20.1 x 30.3 cm image
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Butterfly behind glass [Red Symons from Skyhooks]' 1975

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Carol Jerrems
Butterfly behind glass [Red Symons from Skyhooks]
1975
Gelatin silver photograph
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Jane Oehr, “Womenvision”, Filmaker's Co-Op' 1973

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Carol Jerrems
Jane Oehr, “Womenvision”, Filmaker’s Co-Op
1973
From A Book about Australian Women (Outback Press, 1974)
Gelatin silver photograph
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Performers on stage,' Hair', Metro Theatre Kings Cross, Sydney, January 1970 [Jim Sharman Director cast included Reg Livermore]' 1970

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Carol Jerrems
Performers on stage, ‘Hair’, Metro Theatre Kings Cross, Sydney, January 1970
[Jim Sharman Director cast included Reg Livermore]
1970
Gelatin silver photograph
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Peggy Selinski' 1968

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Carol Jerrems
Peggy Selinski
1968
Gelatin silver photograph
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Lynn' 1976

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Carol Jerrems
Lynn
1976
Gelatin silver photograph
National Gallery of Australia, Canberra
© Ken Jerrems and the Estate of Lance Jerrems

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1. Allen, Christopher. “Between suburbia and radicalism,” in The Australian newspaper, October 20th, 2012.

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Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
T: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 12pm – 5pm
Mon/public holidays: closed

Monash Gallery of Art website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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