Posts Tagged ‘New York City

23
Nov
18

Photographs: Edward J. Kelty

November 2018

 

Edward Kelty (1888-1967) 'Ringling Brothers and Barnum & Bailey (Combined) Circus' c. 1925

 

Edward J. Kelty (1888-1967)
Century Photographers
Ringling Brothers and Barnum & Bailey (Combined) Circus [clowns behind Madison Square Garden]
c. 1925
Cyanotype
7 3/8 × 9 1/4 inches (23.8 × 23.5 cm)

 

 

There’s a quality of legend about freaks… I mean, if you’ve ever spoken to someone with two heads, you know they know something you don’t. Most people go through life dreading they’ll have a traumatic experience – freaks were born with their trauma. They’ve already passed their test in life. They’re aristocrats.

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Diane Arbus

 

 

The aristocrats

During my research for this posting, someone, somewhere, said that Kelty was “not a very adventurous photographer.” What a load of rubbish.

If they meant “adventurous” by being avant-garde to that you can only answer: imagine the passion and dedication, and the skill of the photographer to compose these panoramic images for 15 years, from the mid-1920s to 1940, using a specially made “banquet” camera that produced 12-by-20-inch images.

Just imagine loading up your car with such a monster camera and travelling the roads to the site of these circus encampments, sometimes two or three different circuses a day, to record a veritable feast of difference and diversity. To give equal weight to each and every person. And to then develop the negatives in the back of your car. If this is not adventurous I don’t know what is.

And Kelty had to pay for the privilege. “Kelty was under contract to that circus, meaning he had to pay Ringling Brothers a commission for every circus picture he took. But he was not a circus employee, which had several of its own photographers who specialized in behind-the-scenes candids.”1 The photographs, these grand assemblages of multiculturalism, were not staged for free.

Kelty’s stylised images of sideshow freaks, clowns and other circus exotics are highly idiosyncratic in the world of art photography because, of course, he would not have thought of himself as an artist. Much as Eugène Atget never thought of himself as an artist, hanging a sign on his studio door saying, “Documents pour artistes” (Documents for artists), the sign declaring, “… his modest ambition of providing other artists with images to use as source material in their own work” (MoMA), so Kelty would have only thought he was recording these mise-en-scène for his own benefit, his passion, and to possibly sell a few photographs on the side.

Kelty’s day job was that of professional banquet photographer photographing weddings and the corporate world. The freedom he must have felt going to the circus and engaging with all these wonderful people would have been incredible. And he didn’t discriminate: his egalitarian photographs document the archetypes of the travelling circus, from “group portraits of clowns, sideshow attractions, bands, elephants, menageries, aerialists, equestrians, tractor and train crews, candy butchers (seen with their backs turned to show the “Baby Ruth Candy” logo on their smocks), and even everybody in the Ringling-Barnum cookhouse tent on July 4, 1935.” (Amazon)

Ellen Warren in her article “The mysterious Mr. Kelty”2 observes that Kelty’s photographs are “hopelessly politically incorrect by today’s standards”. In one sense this is true, with the camera documenting and objectifying the “Other”, with the literal naming of difference – “congress of freaks”, “colored review” – but is this objectification little different to the later, more intimate photographs of Diane Arbus documenting a dwarf in his bedroom, a Jewish giant at home with his parents, or an Albino sword swallower at a carnival? Only the archetypal scale is different. In another and perhaps a more generous sense of spirit, Kelty’s images of circus life document a “family” that lived, breathed, ate and travelled together, who looked after each other during fires and vicissitudes, who had a job and food on the table during The Great Depression … people who Kelty imaged as equal and important as each other by placing them in row after row.

In photographs such as Christy Brothers Circus Side Show, H. Emgard – Manager (1927, below), “Living Curiosities” mix it with “Minstrels”, musicians, dancers and comedians and a Scottish family band dressed up in Tartan. All given equal weight in a splendid display, a panopoly of presentation from around the world. And it would seem that the crowds at the circus were equally fascinated by these assemblages, and the process of Kelty taking the photograph, if the glimpses of the audience at left in Congress of the World’s Rough Riders – Celebrating Ringling Golden Jubilee, Ringling Brothers and Barnum & Bailey Combined Circus (1933, below) and at right in Col. Tim McCoy and his Congress of Rough Riders of the World Featured on the Ringling Brothers and Barnum & Bailey Circus (1935, below) are anything to go by.

Other things to note about the photographs are: the shutter time which can be seen by the moving figures at left in George Denman and His Staff, Ringling Brothers and Barnum & Bailey Combined Shows (1931, below); the impeccable use of even light; the use of flash in photographs such as Col. W.T. Johnson’s World Champion Cowgirls – Madison Square Garden – New York City – 1935 (1935, below) and Ringling Brothers and Barnum & Bailey Concert Band, Merle Evans – Bandmaster (1927, below); and Kelty’s innate ability to conduct and compose the scene. This is where Kelty excels himself as an artist and photographer, where he rises above the everyday to become extra-ordinary.

Two photographs are instructive in this regard, the earlier Congress of Freaks with Ringling Brothers and Barnum & Bailey Combined Circus (1931, below) and the later “Doll Family of Midgets”, Celebrating “Ringling Golden Jubilee”, Ringling Brothers and Barnum & Bailey Combined Circus Side Show (1933, below) in which Kelty returns two years later to document more or less the same group of people in the same setting. In the first image, one of the most famous of Kelty’s photographs, two lines of people rise from the outside and then fall (using the height of the subjects) towards the woman seated centrally in the bottom row who grounds the giant, Christ-like figure in the row above, his outstretched arms offering the display to the viewer. In the elegance and placement of figures this is a masterful construction of the image plane. In the later photograph Kelty doubles down, bookending both rows with symmetrical characters (giant women with headdresses, men in black tie) instead of just the one row in the first photograph – the rows again rising and falling towards the central characters, the giants framing the composition with outstretched arms. It might seem simple but it is not.

This is not some hack at work, not some unadventurous photographer with limited imagination, but a man composing a fugue like J.S.Bach, a veritable banquet for the eyes. To suggest otherwise is to not understand the history of photography, the history of representation, and the passion needed to represent life in all its forms.

Dr Marcus Bunyan for Art Blart

 

  1. Ellen Warren. “The mysterious Mr. Kelty,” on the Chicago Tribune website February 7, 2003 [Online] Cited 23/11/2018
  2. Ibid.,

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All of the photographs in this posting are published under “fair use” conditions for the purpose of educational research and academic comment. Please click on the photographs for a larger version of the image.

 

 

 

 

Going by the evidence of the photographs, Kelty seems to have had three studio addresses close to each other in Midtown New York during his 15 years photographing the circus: first 144 West 46th (1925-1930), 74 W 47th (1931-1934) and finally 110 W 46th (1935-1940). As can be seen from the map above (with one exception of a photograph in St. Louis MO), Kelty usually travelled close to home to document the circus wherever they set up camp.

 

Edward Kelty (1888-1967) 'Ringling Brothers and Barnum & Bailey Concert Band, Merle Evans - Bandmaster' 1927

 

Edward J. Kelty (1888-1967)
Century Photographers 144 W 46 N.Y.C.
Ringling Brothers and Barnum & Bailey Concert Band, Merle Evans – Bandmaster
1927
Gelatin silver print

 

 

Merle Slease Evans (December 26, 1891 – December 31, 1987) was a cornet player and circus band conductor who conducted the Ringling Bros. and Barnum & Bailey Circus for fifty years. He was known as the “Toscanini of the Big Top.” Evans was inducted into the American Bandmasters Association in 1947 and the International Circus Hall of Fame in 1975. …

Evans was hired as the band director for the newly merged Ringling Bros. and Barnum & Bailey Circus in 1919. Evans held this job for fifty years, until his retirement in 1969. He only missed performances due to a musicians union strike in 1942 and the death of his first wife. He wrote eight circus marches, including Symphonia and Fredella. (Text from the Wikipedia website)

 

Edward Kelty (1888-1967) 'Ringling Brothers and Barnum & Bailey Combined Circus' Jersey City, N.J. - May 27th 1929

 

Edward J. Kelty (1888-1967)
Century Photographers 144 W 46 N.Y.C.
Ringling Brothers and Barnum & Bailey Combined Circus
Jersey City, N.J. – May 27th 1929
Gelatin silver print

 

Edward Kelty (1888-1967) 'George Denman and His Staff, Ringling Brothers and Barnum & Bailey Combined Shows' Irvington, N.J. June 9th, 1931

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
George Denman and His Staff, Ringling Brothers and Barnum & Bailey Combined Shows
Irvington, N.J. – June 9th, 1931
Gelatin silver print
11 1/4 × 19 5/8 inches (28.6 × 49.9 cm)

 

Edward Kelty (1888-1967) 'Ringling Brothers and Barnum & Bailey Circus - Greatest Show on Earth -' 1931

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Ringling Brothers and Barnum & Bailey Circus – Greatest Show on Earth –
1931
Gelatin silver print

 

 

Ringling Bros. and Barnum & Bailey Circus, also known as the Ringling Bros. CircusRingling Bros. or simply Ringling was an American traveling circus company billed as The Greatest Show on Earth. It and its predecessor shows ran from 1871 to 2017. Known as Ringling Bros. and Barnum & Bailey Combined Shows, the circus started in 1919 when the Barnum & Bailey’s Greatest Show on Earth, a circus created by P. T. Barnum and James Anthony Bailey, was merged with the Ringling Bros. World’s Greatest Shows. The Ringling brothers had purchased Barnum & Bailey Ltd. following Bailey’s death in 1906, but ran the circuses separately until they were merged in 1919. …

In 1871, Dan Castello and William Cameron Coup persuaded Barnum to come out of retirement as to lend his name, know-how and financial backing to the circus they had already created in Delavan, Wisconsin. The combined show was named “P.T. Barnum’s Great Traveling Museum, Menagerie, Caravan, and Hippodrome”. As described by Barnum, Castello and Coup “had a show that was truly immense, and combined all the elements of museum, menagerie, variety performance, concert hall, and circus”, and considered it to potentially be “the Greatest Show on Earth”, which subsequently became part of the circus’s name.

Independently of Castello and Coup, James Anthony Bailey had teamed up with James E. Cooper to create the Cooper and Bailey Circus in the 1860s. The Cooper and Bailey Circus became the chief competitor to Barnum’s circus. As Bailey’s circus was outperforming his, Barnum sought to merge the circuses. The two groups agreed to combine their shows on March 28, 1881. Initially named “P.T. Barnum’s Greatest Show On Earth, And The Great London Circus, Sanger’s Royal British Menagerie and The Grand International Allied Shows United”, it was eventually shortened to “Barnum and Bailey’s Circus”. Bailey was instrumental in acquiring Jumbo, advertised as the world’s largest elephant, for the show. Barnum died in 1891 and Bailey then purchased the circus from his widow. Bailey continued touring the eastern United States until he took his circus to Europe. That tour started on December 27, 1897, and lasted until 1902.

Separately, in 1884, five of the seven Ringling brothers had started a small circus in Baraboo, Wisconsin. This was about the same time that Barnum & Bailey were at the peak of their popularity. Similar to dozens of small circuses that toured the Midwest and the Northeast at the time, the brothers moved their circus from town to town in small animal-drawn caravans. Their circus rapidly grew and they were soon able to move their circus by train, which allowed them to have the largest traveling amusement enterprise of that time. Bailey’s European tour gave the Ringling brothers an opportunity to move their show from the Midwest to the eastern seaboard. Faced with the new competition, Bailey took his show west of the Rocky Mountains for the first time in 1905. He died the next year, and the circus was sold to the Ringling Brothers.

 

Ringling Bros. and Barnum & Bailey Circus

The Ringlings purchased the Barnum & Bailey Greatest Show on Earth in 1907 and ran the circuses separately until 1919. By that time, Charles Edward Ringling and John Nicholas Ringling were the only remaining brothers of the five who founded the circus. They decided that it was too difficult to run the two circuses independently, and on March 29, 1919, “Ringling Bros. and Barnum & Bailey Combined Shows” debuted in New York City. The posters declared, “The Ringling Bros. World’s Greatest Shows and the Barnum & Bailey Greatest Show on Earth are now combined into one record-breaking giant of all exhibitions.” Charles E. Ringling died in 1926, but the circus flourished through the Roaring Twenties.

John Ringling had the circus move its headquarters to Sarasota, Florida in 1927. In 1929, the American Circus Corporation signed a contract to perform in New York City. John Ringling purchased American Circus, owner of five circuses, for $1.7 million…

The circus suffered during the 1930s due to the Great Depression, but managed to stay in business. After John Nicholas Ringling’s death, his nephew, John Ringling North, managed the indebted circus twice, the first from 1937 to 1943. Special dispensation was given to the circus by President Roosevelt to use the rails to operate in 1942, in spite of travel restrictions imposed as a result of World War II. Many of the most famous images from the circus that were published in magazine and posters were captured by American photographer Maxwell Frederic Coplan, who traveled the world with the circus, capturing its beauty as well as its harsh realities.

Text from the Wikipedia website

 

Edward Kelty (1888-1967) 'Congress of the World's Rough Riders - Celebrating Ringling Golden Jubilee, Ringling Brothers and Barnum & Bailey Combined Circus' Brooklyn, N.Y. May 19th 1933

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Congress of the World’s Rough Riders – Celebrating Ringling Golden Jubilee, Ringling Brothers and Barnum & Bailey Combined Circus
Brooklyn, N.Y. May 19th 1933
Gelatin silver print

 

 

“In the late nineteenth century, America displayed a new imperialistic mood and a heightened desire to impress her independence upon Europe when she embarked upon a number of military adventures in the Caribbean and Pacific. During the same period, there appeared a new popular hero – the “Rough Rider” – who derived from the Western frontier but expanded the field of heroic action well beyond the shores of America. The creation of this hero and the scene in which he was set demonstrates how popular culture of the period not only embodied but facilitated crucial developments in the nation’s growth.”

Christine Bold. “The Rough Riders at Home and Abroad: Cody, Roosevelt, Remington and the Imperialist hero,” in Canadian Review of American Studies Volume 18 Issue 3, September 1987, pp. 321-350

 

Edward Kelty (1888-1967)

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Celebrating “Ringling Golden Jubilee”, Ringling Brothers and Barnum & Bailey Combined Circus
Brooklyn, N.Y. May 19th 1933
Gelatin silver print
11 1/4 × 19 5/8 inches (28.6 × 49.9 cm)

 

Edward Kelty (1888-1967)

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Ringling Brothers and Barnum & Bailey Combined Menagerie
Brooklyn, N.Y. May 19th 1933
Gelatin silver print

 

 

In mid-20th century America, a typical circus traveled from town to town by train, performing under a huge canvas tent commonly called a “big top”. The Ringling Brothers and Barnum & Bailey Circus was no exception: what made it stand out was that it was the largest circus in the country. Its big top could seat 9,000 spectators around its three rings; the tent’s canvas had been coated with 1,800 pounds (820 kg) of paraffin wax dissolved in 6,000 US gallons (23,000 l) of gasoline, a common waterproofing method of the time.

A menagerie is a collection of captive animals, frequently exotic, kept for display; or the place where such a collection is kept, a precursor to the modern zoological garden. The term was first used in seventeenth century France in reference to the management of household or domestic stock. Later, it came to be used primarily in reference to aristocratic or royal animal collections. The French-language Methodical Encyclopaedia of 1782 defines a menagerie as an “establishment of luxury and curiosity.” Later on, the term referred also to travelling animal collections that exhibited wild animals at fairs across Europe and the Americas.

Texts from the Wikipedia website

 

Edward Kelty (1888-1967) 'Ringling Golden Jubilee - Ringling Brothers and Barnum & Bailey Combined Circus' Newark, N.Y. June ? 1933

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Ringling Golden Jubilee – Ringling Brothers and Barnum & Bailey Combined Circus
Newark, N.Y. June ? 1933
Gelatin silver print

 

Edward J. Kelty (1888-1967) 'Congress of Freaks with Ringling Brothers and Barnum & Bailey Combined Circus' 1931

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Congress of Freaks with Ringling Brothers and Barnum & Bailey Combined Circus
1931
Gelatin silver print

 

Edward Kelty (1888-1967) '"Doll Family of Midgets", Celebrating "Ringling Golden Jubilee", Ringling Brothers and Barnum & Bailey Combined Circus Side Show' 1933

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
“Doll Family of Midgets”, Celebrating “Ringling Golden Jubilee”, Ringling Brothers and Barnum & Bailey Combined Circus Side Show
1933
Gelatin silver print
11 1/8 × 19 1/2 inches (28.3 × 49.5 cm)

 

Edward J. Kelty (1888-1967) 'Col. Tim McCoy and his Congress of Rough Riders of the World Featured on the Ringling Brothers and Barnum & Bailey Circus' Newark N.J. June 11th 1935

 

Edward J. Kelty (1888-1967)
Century Photographers 110 W 46 NYC
Col. Tim McCoy and his Congress of Rough Riders of the World Featured on the Ringling Brothers and Barnum & Bailey Circus
Newark. N.J. June 11th 1935
Gelatin silver print

 

 

Timothy John Fitzgerald McCoy (April 10, 1891 – January 29, 1978) was an American actor, military officer, and expert on American Indian life and customs. He was also known Colonel T.J. McCoy.

McCoy worked steadily in movies until 1936, when he left Hollywood, first to tour with the Ringling Brothers Circus and then with his own “wild west” show. The show was not a success and is reported to have lost $300,000, of which $100,000 was McCoy’s own money. It folded in Washington, D.C. and the cowboy performers were each given $5 and McCoy’s thanks. The Indians on the show were returned to their respective reservations by the Bureau of Indian Affairs. …

For his contribution to the film industry, Col. Tim McCoy was honoured with a star on the Hollywood Walk of Fame. In 1973, McCoy was inducted into the Hall of Great Western Performers of the National Cowboy and Western Heritage Museum. McCoy was inducted into the Cowboy Hall of Fame in 1974.

Text from the Wikipedia website

 

Edward Kelty (1888-1967) 'Ringling Brothers and Barnum & Bailey Circus' Jersey City, N.J. June 12, 1935

 

Edward J. Kelty (1888-1967)
Century Photographers 110 W 46 NYC
Ringling Brothers and Barnum & Bailey Circus
Jersey City, N.J. June 12, 1935
Gelatin silver print

 

Edward Kelty (1888-1967) 'Congress of Clowns, Ringling Brothers and Barnum & Bailey Combined Circus' Patterson, N. J. June 13, 1935

 

Edward J. Kelty (1888-1967)
Century Photographers 110 W 46 NYC
Congress of Clowns, Ringling Brothers and Barnum & Bailey Combined Circus
Patterson, N. J. June 13, 1935
Gelatin silver print
11 1/8 × 19 5/8inches (28.3 × 49.9 cm)

 

Edward Kelty (1888-1967) 'World Renowned Acrobats, Ringling Brothers and Barnum & Bailey Combined Circus' Patterson, N. J. June 13, 1935

 

Edward J. Kelty (1888-1967)
Century Photographers 110 W 46 NYC
World Renowned Acrobats, Ringling Brothers and Barnum & Bailey Combined Circus
Patterson, N. J. June 13, 1935
Gelatin silver print

 

Edward Kelty (1888-1967)

 

Edward J. Kelty (1888-1967)
Century Photographers 110 W 46 NYC
“Queens of the Air”, Ringling Brothers and Barnum & Bailey Combined Circus
Patterson, N. J. June 13, 1935
Gelatin silver print
11 1/4 × 19 5/8 inches (28.6 × 49.9 cm)

 

Edward Kelty (1888-1967) 'Tommy Atkins Military Riding Maids featured with Ringling Brothers and Barnum & Bailey Circus' Poughkeepsie, N.Y. - June 15th 1935

 

Edward J. Kelty (1888-1967)
Century Photographers 110 W 46 NYC
Tommy Atkins Military Riding Maids featured with Ringling Brothers and Barnum & Bailey Circus
Poughkeepsie, N.Y. – June 15th 1935
Gelatin silver print

 

 

Dorothy Herbert (1910-1994) joined Ringling Bros and Barnum & Bailey in 1930 when she was only 20 years old. Over the next decade she truly became a headliner – appearing on a variety of posters, including several seen here. Like Lillian Leitzel, May Wirth and Tim McCoy, and later Lou Jacobs and Gunther Gebel-Williams – her star status led to the creation of a number of posters featuring her image.

Herbert was only 24 years old when a portrait lithograph was added to the Ringling-Barnum billposter hod during the 1934 season. Starting that spring, and for several seasons following, an image of Miss Herbert and her horse Satan appeared in hundreds of store windows as both a one-sheet and a window card, and in a much larger format on the sides of walls and barns. The same portrait was also featured on the cover of the 1934 program book, the first time an individual circus star was featured on the Ringling-Barnum “Program and Daily Review”. …

[Herbert] features in a display that she starred in titled “Miss Tommy Atkins and Her Military Maids” The depiction is of a group of girls on horses, dressed in British red-coat dress uniforms. The act consisted of military equestrian manoeuvres and the reason it carried the name “Miss Tommy Atkins” is that a British soldier of the era was often referred to as a “Tommy Atkins” much in the way that American soldiers have been known as “G.I. Joe”.

Extract from Chris Berry. “Dorothy Herbert (Ringling Bros and Barnum & Bailey),” on the Collectors Weekly website 2012 [Online] Cited 20/10/2018

 

Edward Kelty (1888-1967) 'Hagenbeck-Wallace Circus Executive Staff' New Brunswick, N.J. - June 17th 1931

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Hagenbeck-Wallace Circus Executive Staff
New Brunswick, N.J. – June 17th 1931
Gelatin silver print

 

 

The Hagenbeck-Wallace Circus was a circus that traveled across America in the early part of the 20th century. At its peak, it was the second-largest circus in America next to Ringling Brothers and Barnum and Bailey Circus. It was based in Peru, Indiana.

The circus began as the “Carl Hagenbeck Circus” by Carl Hagenbeck (1844-1913). Hagenbeck was an animal trainer who pioneered the use of rewards-based animal training as opposed to fear-based training.

Meanwhile, Benjamin Wallace, a livery stable owner from Peru, Indiana, and his business partner, James Anderson, bought a circus in 1884 and created “The Great Wallace Show”. The show gained some prominence when their copyright for advertising posters was upheld by the Supreme Court in Bleistein v. Donaldson Lithographing Company. Wallace bought out his partner in 1890 and formed the “B. E. Wallace Circus”.

In 1907, Wallace purchased the Carl Hagenbeck Circus and merged it with his circus. The circus became known as the Hagenbeck-Wallace circus at that time, even though Carl Hagenbeck protested. He sued to prohibit the use of his name but lost in court. …

The circus spent its winters just outside Baldwin Park, California. There, on 35 acres of land, the circus stayed with its huge parade wagons parked alongside a railroad spur. The elephants spent time hauling refuse wagons, shunting railroad cars and piling baled hay. A tent at the eastern edge of the grounds was used by aerialists to practice trapeze and high-wire acts. The circus usually remained there from late November to early spring.

The Great Depression and Ringling’s ill health caused the Ringling empire to falter. In 1935, the circus split from Ringling Brothers and Barnum & Bailey and became the Hagenbeck-Wallace and Forepaugh-Sells Bros. Circus. It finally ceased operations in 1938.

The complex near Peru that formerly housed the winter home of Hagenbeck-Wallace now serves as the home of the Circus Hall of Fame.

Text from the Wikipedia website

 

Edward Kelty (1888-1967) 'Hagenbeck-Wallace Circus' 1931

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Hagenbeck-Wallace Circus
1931
Gelatin silver print
11 1/4 × 19 5/8 inches (28.6 × 49.9 cm.)

 

 

Edward J. Kelty (1888-1967) moved to New York City following his service in the Navy during World War I, and opened up his first studio, Flashlight Photographers. Kelty was drawn to the circus and visited Coney Island often. In the summer of 1922, he transformed his truck into a mini studio, darkroom and living quarters, and traveled across America. His panoramic views captured the performers – human and animal – associated with Ringling Bros. and Barnum & Bailey, Hagenbeck-Wallace, Sells-Floto, Clyde Beatty, Cole Bros. and other train, wagon and truck shows.

A typical day for Kelty would have him waking at dawn to set up cameras and tripods, gathering bearded ladies and sword swallowers, snake charmers and giants and shooting all morning. At times he had as many as 1,000 people in a picture. Afternoons were spent processing film and making proofs, taking orders and printing well into the night. The following day, he distributed prints, most often to circus staff and performers, before returning to his New York studio to work on his wedding and banquet photography business.

Kelty was hit hard by the Depression, and by 1942 had cashed in his glass plate negatives to settle a hefty bar tab. He moved to Chicago and, as legend has it, never took another photograph. His extant negatives eventually made their way into a Tennessee collection of circus memorabilia. Since Kelty used Nitrate-based film, which is unstable when improperly housed, the negatives self-destructed and were disposed of.

After Kelty died in 1967, his estranged family found no photographs, cameras or negatives among his belongings – just one old lens and a union concession employee ID card identifying him as a vendor at Chicago’s Wrigley Field. There was no evidence of the man who, along with his custom mammoth-size banquet camera and portable studio, documented America’s greatest traveling circuses.

Text from the Swann Galleries website

 

Edward Kelty (1888-1967) 'Hagenbeck-Wallace Circus, Jess Adkins, Manager - Rex De Rosselli, Producer of Spectacle - Harry McFarlan, Equestrienne Director'. Brooklyn, N.J. June 11th 1932

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Hagenbeck-Wallace Circus, Jess Adkins, Manager – Rex De Rosselli, Producer of Spectacle – Harry McFarlan, Equestrienne Director
Brooklyn, N.J. June 11th 1932
Gelatin silver print

 

Edward Kelty (1888-1967) 'Hagenbeck-Wallace Circus, Jess Adkins, Manager - Rex De Rosselli, Producer of Spectacle - Harry McFarlan, Equestrienne Director.' St. Louis, MO. - May 11th 1934

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Hagenbeck-Wallace Circus, Jess Adkins, Manager – Rex De Rosselli, Producer of Spectacle – Harry McFarlan, Equestrienne Director
St. Louis, MO. – May 11th 1934
Gelatin silver print

 

 

Banquet photography

Banquet photography is the photography of large groups of people, typically in a banquet setting such as a hotel or club banquet room, with the objective of commemorating an event. Clubs, associations, unions, circuses and debutante balls have all been captured by banquet photographers.

A banquet photograph is usually taken in black and white with a large format camera, with a wide angle lens, from a high angle to ensure that each person is in focus while seated at their table. Large cameras such as a 12×20 view camera or a panoramic camera were used. The defining characteristic of a banquet photograph is the depth of focus and detail and clarity of the image.

Banquet photography was most popular in the 1890s, and had mostly waned by the 1970s. In part its decline is owed to the difficult technical aspects of producing quality banquet photos, the difficulty of printing such large negatives, and the expense and size of the equipment needed. Today, though hard to find, there are a handful of photographers still shooting banquet photos with flashbulbs and large format film cameras. View cameras use large format sheet film – one sheet per photograph.

Text from the Wikipedia website

 

Edward Kelty (1888-1967) 'Christy Brothers Circus Side Show, H. Emgard - Manager' 1927

 

Edward J. Kelty (1888-1967)
Century Photographers 144 W 46 N.Y.C.
Christy Brothers Circus Side Show, H. Emgard – Manager
1927
Gelatin silver print

 

 

George Washington Christy was born February 22 1889 in Pottstown, Pennsylvania to parents John and Ida Christy.

The circus opened in 1919 under the title of “Christy Hippodrome Shows” (later changed to Christy Bros. Circus). The show opened as a two car show, Christy purchased many of his parade wagons from the Ringling Bros. after they discontinued their downtown parades. The circus wintered first in Galveston, Texas and then in South Houston, where Christy had built a home.

On May 25, the show’s trained wrecked just outside of Cardston Alberta, Canada.. G.W. Christy, being the showman that he was set up in a cornfield near the wreck and gave a performance while the rails were being cleared. In 1925 and 1926, Christy operated a second unit named “Lee Bros.”, but closed it after the the 1926 season.

The “Great Depression” beginning in 1929, was a difficult time for all shows on the road. The Christy Bros. Circus was no exception, not only was the economy in bad shape but weather was also a major factor. Christy and his loyal employees struggled to keep the circus on the road. On July 7, 1930 the Christy Brothers Circus gave it’s last performance in Greeley, Colorado.

After the close of the show, most of the equipment was sold in 1935 to Jess Adkins and Zack Terrell, who were framing their Cole Bros. Circus, some of the parade wagons went to the “Ken Mayner Circus”. Christy kept his elephants and horses, the elephants were used to help build Spencer Highway in South Houston, Texas.

After leaving the circus world George Christy became mayor of the City of South Houston serving from 1949 to 1951 and again from 1960 to 1964. George Washington Christy died August 07, 1975 in Houston Texas.

Text from the Circuses and Sideshows website

 

Edward Kelty (1888-1967) 'Walter L. Main Circus' 1927

 

Edward J. Kelty (1888-1967)
Century Photographers 144 W 46 N.Y.C.
Walter L. Main Circus
1927
Gelatin silver print

 

 

The Walter L. Main Circus was founded by Walter L. Main in 1886. Walter’s father “William” was a horse farmer, trainer and trader in Trumbull, Ohio. William began supplying horses to circuses, which led to him joining the “Hilliard & Skinner’s Variety and Indian show”. William toured with several shows and in the 1870s began his own, very small circus. …

1904 was the last year that the “Walter L. Main Circus” operated under Walters ownership, the circus was sold that year to William P. Hall. In 1918 Walter leased the Main title to Andrew Downie who made a small fortune operating his circus under the Main name until he sold the show to the Miller Bros. of the 101 Ranch Wild West Show in 1924. In 1925 until 1928 the Main title was used by Floyd King and his brother Howard. The Main title was used by various operators 1930-1937. (Text from the Circuses and Sideshows website)

 

Edward J. Kelty. 'Harlem Black Birds, Coney Island' 1930

 

Edward J. Kelty (American, 1888-–1967)
Century Photographers 74 W 47 N.Y.C.
Harlem Black Birds, Coney Island
1930
12 x 20 in. (30.5 x 50.8 cm)
Collection of Ken Harck
© Edward J. Kelty

 

Edward Kelty (1888-1967) 'Sells-Floto Big Double Side Show, Jersey City, N.J. - June 19th 1931, Lew. C. Edelmore - Manager' 1931

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Sells-Floto Big Double Side Show, Jersey City, N.J. – June 19th 1931, Lew. C. Edelmore – Manager
1931
Gelatin silver print

 

Edward Kelty (1888-1967) 'Sam B. Dill's Circus' Mineola, L.I. N.Y. - June 19th 1933

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Sam B. Dill’s Circus
Mineola, L.I., N.Y. – June 19th 1933
Gelatin silver print

 

 

Early Wednesday morning, July 19, 1933, a long train arrived in York and stopped near the fairgrounds. The Sam B. Dill Circus had arrived.

“Young America, having caught the infectious circus spirit is likely to be in ahead of both morning orb and circus and be on the lot along with enthusiastic adults to greet the show train on its arrival there,” The York Dispatch reported the day before the train’s arrival.

The unloading and setting up of the circus tents and shows worked smoothly. All of the performers knew their jobs. They had been doing it multiple times each week since the circus had opened its season in Dallas on April 9.

Wagons containing the menagerie were rolled down ramps. Trunks were carried off to other areas. Elephants and roustabouts worked to raise the big top as the sun rose. Within a relatively short time, the big top tent was erected, and the performers went to work preparing their equipment inside while the roustabouts set up the bleacher seating.

By the time everything was finished around 9 a.m., the cooks in the circus kitchen had breakfast ready.

The Sam B. Dill Circus was scheduled to play two performances, at 2 p.m. and 8 p.m., for York residents.

“Sam B. Dill’s Circus isn’t the biggest circus in the world, but what it lacks in size it makes up in quality,” the Amarillo Sunday News and Globe wrote about the circus.

Dill had managed the famous John Robinson Circus, but when it was sold to the American Circus Corp., Dill had struck out on his own. Though not a large circus, Dill’s circus was popular and tended to sell out its performances.

After breakfast, everyone had a short rest, and then they began to scurry around getting the menagerie wagons harnessed to horses and in a line. Performers dressed in their bright and flamboyant costumes. At noon, “a long column of red, gold and glitter, with bands playing and banners flying will move sinuously out of the Richland Avenue gate,” The York Dispatch reported.

From Richland Avenue, the parade moved east on Princess Street, then north on George Street to Continental Square. From the square, the circus moved west on Market Street and then back to Richland Avenue. Thousands of spectators lined the route to watch the performers, hear the music and marvel at the wild animals.

The first wagon was the band wagon where Shirley Pitts, the country’s only female calliope player, conducted the band. Then came the wagons pulling tigers, monkeys, seals and more. Other flat wagons featured clowns goofing off and Wild West displays.

When the parade arrived back at the fairgrounds, many of the spectators followed. Although the big top wouldn’t open until 1 p.m., spectators wandered the midway, playing games, getting an up-close look at the menagerie or viewed some of the shows in the smaller tents.

The three-ring show under the big top had dozens of animals such as Oscar the Lion, Buddy the performing sea lion, camels, zebras, horses, elephants, dogs, monkeys and ponies.

Christian Belmont swung on the trapeze, along with aerialist Rene Larue. Mary Miller performed a head-balancing act. The four Bell Brothers showed off their acrobatic skills, and Betha Owen owned the high wire. Among the clowns, young Jimmy Thomas was noted as the “youngest clown in the circus world.” He traveled with his mother, Lorette Jordan, who was also an aerialist with the show.

The circus also liked to feature a western movie star with its Wild West acts. In 1933, that performer was Buck Steel. The following year, Tom Mix joined the circus. He had been a major western movie star who had seen his popularity decline in the 1920s. In 1935, he bought the circus from Dill and renamed it the Tom Mix Circus.

Following the 8 p.m. show, the performers broke down the circus and loaded it back on the train to head out by midnight for the next city.

Text “LOOKING BACK 1933: The circus comes to town,” from the York Dispatch website

 

Edward Kelty (1888-1967) 'Hunt's Three Ring Circus' Northport, L.I., N.Y. - June 26th 1931

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Hunt’s Three Ring Circus
Northport, L.I., N.Y. – June 26th 1931
Gelatin silver print

 

Edward Kelty (1888-1967) 'James Whalen and His Big Top Department - Ringling Brothers and Barnum & Bailey Combined Circus' Reading, P.A. - June 1st 1934

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
James Whalen and His Big Top Department – Ringling Brothers and Barnum & Bailey Combined Circus
Reading, P.A. – June 1st 1934
Gelatin silver print

 

Edward Kelty (1888-1967) 'Cole Brothers - Clyde Beatty Circus' Cumberland, MD July 27th 1935

 

Edward J. Kelty (1888-1967)
Century Photographers 110 W 46 NYC
Cole Brothers – Clyde Beatty Circus
Cumberland, MD July 27th 1935
Gelatin silver print
11 1/4 × 19 5/8 inches (28.6 × 49.9 cm)

 

 

Clyde Beatty Circus

Clyde Beatty (June 10, 1903 – July 19, 1965) began his circus career working as a cage boy for Louis Roth, he learned his trade quickly and soon had his own animal act. Beatty’s “fighting act” style and his showmanship propelled him to stardom.

Not only was Clyde a star of the center ring but he also starred in numerous movies, radio shows and his adventures were fictionalised in novels. The name “Clyde Beatty” became a very value asset to circus. The name was used on posters and painted on show equipment alongside the circus’ name on whatever show he was working.

In 1935 Clyde Beatty was on Jess Adkins and Zack Terrell’s “Cole Bros. Circus”, Then in 1943 he worked for Art Concello on the “Clyde Beatty-Russell Bros. Circus”. Beatty continued to be active with the show until his death in 1965.

 

Cole Bros. Circus

The Cole Title dates back to 1870 when William Washington Cole (1847–1915), started the W. W. Cole Circus. Cole was very successful in in the circus business and when he died in 1915, left an estate of five million dollars. He is considered to be the first circus millionaire.

in 1906 the title was purchased by Canadian showman Martin Downs and his son James and the title was changed to Cole Bros.. The circus was moved from St. Louis, Mo. to it’s new winter quarters in Birmingham, Al..

In the late 1920s the Cole Bros. titled was used by Floyd King and his brother Howard. This version of the Cole Bros. Circus operated mostly in the west, playing mining camps and boomtowns, truly a frontier circus.
The new Cole Bros. Circus, 35 railroad car show first took to the road in 1935 with Jess Adkins and Zack Terrell as the circus organizers and owners.

Terrell who had managed the Sells-Floto Circus for the American Circus Corp. from 1921 – 1932 and in 1934 he managed a circus at the Chicago World’s Fair operated by the Standard Oil Company.

Adkins had managed the Gentry Bros. Circus for Floyd King, the 25 car John Robinson Circus and in 1931 the Hagenbeck-Wallace Circus. Jess Adkins and Zack Terrell were very capable managers however neither had ever owned a circus, however in 1934 each were quietly making plans to take out their own circuses.

Adkins and Terrell went to Lancaster, Mo. and purchased equipment left from the now defunct Robbins Bros. Circus. The purchased included 15 wagons, 6 elephants, 5 camels, school horses, and zebras. The equipment was moved to Rochester, IN where they had bought property to serve as a winter quarters.

Adkins and Terrell hired Floyd King as general agent and Arnold Maley as office manager who both assisted in the organisation of the show.

This was the beginning of the Cole Bros. Circus

Texts from the Circuses and Sideshows website

 

Edward Kelty (1888-1967) 'Col. W.T. Johnson's World Champion Cowgirls - Madison Square Garden - New York City - 1935'

 

Edward J. Kelty (1888-1967)
Century Photographers 110 W 46 NYC
Col. W.T. Johnson’s World Champion Cowgirls – Madison Square Garden – New York City – 1935
1935
Gelatin silver print
11 1/4 × 19 5/8 inches (28.6 × 49.9 cm)

 

 

The Great Depression of the 1930s was one of the most traumatic periods in American history. The human suffering caused by the Stock Market crash, and the business failures that followed took a toll which has never been fully calculated. Yet through all of the hardships, some business did thrive… One sport which prospered during the Depression was rodeo, Its big-time circuit grew enormously during the 1930s, and incomes of contestants and producers increased as well.

Much of the credit for this must go to Col. William Taylor Johnson of San Antonio, Texas. Johnson became a rodeo producer in 1928, and by the mid-thirties had taken over the prestigious Madison Square Garden Rodeo and created a viable eastern circuit which ushered in a new era of rodeo history. The eastern contests paid excellent prizes and extended the season, so that many cowboys and cowgirls did exceptionally well for those troubled times. During the Depression, average incomes for rodeo professionals on the big-time circuit averaged from one to three thousand dollars annually, while top champions earned from ten to twelve thousand dollars a year… By 1934, every rodeo which Johnson produced had set attendance records, and the eastern circuit was an integral part of rodeo. (“The Story of The Billboard, and Col. W. T. Johnson’s Rodeos,” The Billboard, 29 October 1934, 75). In spite of his many contributions, Johnson is honored by no rodeo Hall of Fame, and has never been nominated. How could such a major figure be ignored?

Extract from the abstract from Mary Lou LeCompte. “Colonel William Thomas Johnson, Premier Rodeo Producer of the 1930s.” The University of Texas at Austin

 

Edward Kelty (1888-1967) 'U.S.W.P.A. Federal Theatre Circus Unit' New York City, Sept. 26th 1936

 

Edward J. Kelty (1888-1967)
Century Photographers 110 W 46
U.S.W.P.A. Federal Theatre Circus Unit
New York City, Sept. 26th 1936
Gelatin silver print

 

 

United States Works Progress Administration (U.S.W.P.A.)

The Works Progress Administration (WPA; renamed in 1939 as the Work Projects Administration) was the largest and most ambitious American New Deal agency, employing millions of people (mostly unskilled men) to carry out public works projects, including the construction of public buildings and roads. In a much smaller project, Federal Project Number One, the WPA employed musicians, artists, writers, actors and directors in large arts, drama, media, and literacy projects.

The Federal Theatre Project (FTP; 1935-39) was a New Deal program to fund theatre and other live artistic performances and entertainment programs in the United States during the Great Depression. It was one of five Federal Project Number One projects sponsored by the Works Progress Administration. It was created not as a cultural activity but as a relief measure to employ artists, writers, directors and theater workers. It was shaped by national director Hallie Flanagan into a federation of regional theatres that created relevant art, encouraged experimentation in new forms and techniques, and made it possible for millions of Americans to see live theatre for the first time. The Federal Theatre Project ended when its funding was canceled after strong Congressional objections to the left-wing political tone of a small percentage of its productions.

Texts from the Wikipedia website

 

Edward Kelty (1888-1967) 'Marcellus Golden Models' 1933

 

Edward J. Kelty (1888-1967)
Century Photographers 74 W 47 N.Y.C.
Marcellus Golden Models
1933
Gelatin silver print
11 1/4 × 8 7/8 inches (28.6 × 22.5 cm)

 

 

“Fortunately, we aren’t entirely bereft of a visual record of these arcane marvels. A Manhattan banquet photographer name Edward Kelty, whose usual venue was hotel ballrooms and Christmas parties, went out intermittently in the summer from the early 1920s to the mid-1940s, taking panoramic tripod pictures of circus personnel, in what could only have constituted a labor of love. He was expert, anyway, from his bread-and-butter job, at joshing smiles and camaraderie out of disparate collection of people, coaxing them to drape their arms around each other and trust the box’s eye. He had begun close to home, at Coney Island freak shows, when the subway was extended out there, and Times Square flea-circus “museums” and variety halls, and the Harlem Amusement Palace. Later, building upon contact and friendships from those places, he outfitted a truck for darkroom purposes (presumably to sleep in too) and sallied farther to photograph the tented circuses that played on vacant lots in New Jersey, Connecticut, or on Long Island, and gradually beyond. He would pose an ensemble of horse wranglers, canvasmen, ticket takers, candy butchers, teeterboard tumblers, “web-sitters” (the guys who hold the ropes for the ballet girls who climb up them and twirl), and limelight daredevils, or the bosses and moneymen. He took everybody, roustabouts as conscientiously as impresarios, and although he was not artistically very ambitious – and did hawk his prints both to the public and to the troupers, at “six for $5” – in his consuming hobby he surely aspired to document this vivid, disreputable demimonde [a group of people on the fringes of respectable society] obsessively, thoroughly: which is his gift to us.

More of these guys may have been camera-shy than publicity hounds, but Kelty’s rubber-chicken award ceremonies and industrial photo shoots must have taught him how to relax jumpy people for the few minutes required. With his Broadway pinstripes and a news-man’s bent fedora, as proprietor of Century Flashlight Photographers in the West Forties, he must have become a trusted presence in the “Backyard” and “Clown Alley.” He knew show-business and street touts, bookies and scalpers – but also how to flirt with a marquee star. Because his personal life seems to have been a bit of a train wreck, I think of him more as a hatcheck girl’s swain, yet he knew hot to let the sangfroid sing from some of these faces… These zany tribes of showboaters must have amused him, after the wintertime’s chore of recording for posterity some forty-year drudge receiving a gold watch…. The ushers, the prop men and riggers, the cookhouse crew, the elephant men and cat men, the show-girls arrayed in white bathing suits in a tightly chaperoned, winsome line, the hoboes who had put the tent up and, in the wee hours, would tear it down, and the bosses whose body language, with arms akimbo and swaggering legs, tells us something of who hey were: these collective images telegraph the complexity of the circus hierarchy, with the starts at the top, winos at the bottom. …

While arranging corporate personnel in the phoney bonhomie of an office get-together, Kelty must have longed for summer, when he would be snapping “Congresses” of mugging clowns, fugue-ing freaks, rodeo sharpshooters, plus the train crews known as “razor-backs” (Raise your backs!), who loaded and unloaded the wagons from railroad flatcars at midnight and dawn… Circuses flouted convention as part of their pitch – flaunted and cashed in on the romance of outlawry, like Old World gypsies. If there hadn’t been a crime wave when the show was in town, everybody sure expected one. And the exotic physiognomies, strangely cut clothes, and oddly focused, disciplined bodies were almost as disturbing – “Near Eastern,” whatever Near Eastern meant (it somehow sounded weirder than “Middle Eastern” or “Far Eastern”), bedouin Arabs, Turks and Persians, or Pygmies, Zulus, people cicatrized, “platter-lipped,” or nose-split. That was the point. They came from all over the known world to parade on gaudy ten-hitch wagons or caparisoned [decked out in rich decorative coverings] elephants down Main Street, and then, like the animals in the cages, you wanted them to leave town.

Edward Hoagland. Sex and the River Styx. Chelsea Green Publishing, 2011, pp. 81-84

 

 

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02
Feb
18

Exhibition: ‘Walker Evans’ at the San Francisco Museum of Modern Art (SFMOMA)

Exhibition dates: 30th September 2017 – 4th February 2018

Curator: Clément Chéroux

 

 

Walker Evans (1903-1975) 'Self-Portrait' 1927

 

Walker Evans (1903-1975)
Self-Portrait
1927
Gelatin silver print
Collection of The Metropolitan Museum of Art, New York, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

I have posted on this exhibition before, when it was at the Centre Pompidou in Paris, but this iteration at SFMOMA is the exclusive United States venue for the Walker Evans retrospective exhibition – and the new posting contains fresh media images not available previously.

I can never get enough of Walker Evans. This perspicacious artist had a ready understanding of the contexts and conditions of the subject matter he was photographing. His photographs seem easy, unpretentious, and allow his sometimes “generally unaware” subjects (subway riders, labor workers) to speak for themselves. Does it matter that he was an outsider, rearranging furniture in workers homes while they were out in the fields: not at all. Photography has always falsified truth since the beginning of the medium and, in any case, there is never a singular truth but many truths told from many perspectives, many different points of view. For example, who is to say that the story of America proposed by Robert Frank in The Americans, from the point of view of an outsider, is any less valuable than that of Helen Levitt’s view of the streets of New York? For different reasons, both are as valuable as each other.

Evans’ photographs for the Farm Security Administration (FSA) documenting the effects of the Great Depression on American life are iconic because they are cracking good photographs, not because he was an insider or outsider. He was paid to document, to enquire, and that is what he did, by getting the best shot he could. It is fascinating to compare Floyd and Lucille Burroughs, Hale County, Alabama (1936, below) with Alabama Tenant Farmer Floyd Bourroughs (1936, below). In the first photograph the strong diagonal element of the composition is reinforced by the parallel placement of the three feet, the ‘Z’ shape of Lucille Burroughs leg then leading into her upright body, which is complemented by the two vertical door jams, Floyd’s head silhouetted by the darkness beyond. There is something pensive about the clasping of his hands, and something wistful and sad, an energy emanating from the eyes. If you look at the close up of his face, you can see that it is “soft” and out of focus, either because he moved and/or the low depth of field. Notice that the left door jam is also out of focus, that it is just the hands of both Floyd and Lucille and her face that are in focus. Does this low depth of field and lack of focus bother Evans? Not one bit, for he knows when he has captured something magical.

A few second later, he moves closer to Floyd Burroughs. You can almost hear him saying to Floyd, “Stop, don’t move a thing, I’m just going to move the camera closer.” And in the second photograph you notice the same wood grain to the right of Floyd as in the first photograph, but this time the head is tilted slightly more, the pensive look replaced by a steely gaze directed straight into the camera, the reflection of the photographer and the world beyond captured on the surface of the eye. Walker Evans is the master of recognising the extra/ordinary. “The street was an inexhaustible source of poetic finds,” describes Chéroux. In his creation of visual portfolios of everyday life, his “notions of realism, of the spectator’s role, and of the poetic resonance of ordinary subjects,” help Evans created a mythology of American life: a clear vision of the present as the past, walking into the future.

With the contemporary decline of small towns and blue collar communities across the globe Evans’ concerns, for the place of ordinary people and objects in the world, are all the more relevant today. As the text from the Metropolitan Museum observes, it is the individuals and social institutions that are the sites and relics that constitute the tangible expressions of American desires, despairs, and traditions. And not just of American people, of all people… for it is community that binds us together.

Marcus

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

 

 

Walker Evans is one of the most influential artists of the twentieth century. His elegant, crystal-clear photographs and articulate publications have inspired several generations of artists, from Helen Levitt and Robert Frank to Diane Arbus, Lee Friedlander, and Bernd and Hilla Becher. The progenitor of the documentary tradition in American photography, Evans had the extraordinary ability to see the present as if it were already the past, and to translate that knowledge and historically inflected vision into an enduring art. His principal subject was the vernacular – the indigenous expressions of a people found in roadside stands, cheap cafés, advertisements, simple bedrooms, and small-town main streets. For fifty years, from the late 1920s to the early 1970s, Evans recorded the American scene with the nuance of a poet and the precision of a surgeon, creating an encyclopaedic visual catalogue of modern America in the making. …

Most of Evans’ early photographs reveal the influence of European modernism, specifically its formalism and emphasis on dynamic graphic structures. But he gradually moved away from this highly aestheticized style to develop his own evocative but more reticent notions of realism, of the spectator’s role, and of the poetic resonance of ordinary subjects. …

In September 1938, the Museum of Modern Art opened American Photographs, a retrospective of Evans’ first decade of photography. The museum simultaneously published American Photographs – still for many artists the benchmark against which all photographic monographs are judged. The book begins with a portrait of American society through its individuals – cotton farmers, Appalachian miners, war veterans – and social institutions – fast food, barber shops, car culture. It closes with a survey of factory towns, hand-painted signs, country churches, and simple houses – the sites and relics that constitute the tangible expressions of American desires, despairs, and traditions.

Between 1938 and 1941, Evans produced a remarkable series of portraits in the New York City subway. They remained unpublished for twenty-five years, until 1966, when Houghton Mifflin released Many Are Called, a book of eighty-nine photographs, with an introduction by James Agee written in 1940. With a 35mm Contax camera strapped to his chest, its lens peeking out between two buttons of his winter coat, Evans was able to photograph his fellow passengers surreptitiously, and at close range. Although the setting was public, he found that his subjects, unposed and lost in their own thoughts, displayed a constantly shifting medley of moods and expressions – by turns curious, bored, amused, despondent, dreamy, and dyspeptic. “The guard is down and the mask is off,” he remarked. “Even more than in lone bedrooms (where there are mirrors), people’s faces are in naked repose down in the subway.”

Extract from Department of Photographs. “Walker Evans (1903-1975),” in Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000- (October 2004)

 

Walker Evans (1903-1975) 'Truck and Sign' 1928-1930

 

Walker Evans (1903-1975)
Truck and Sign
1928-30
Gelatin silver print
Private collection, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art, New York
Walker Evans (1903-1975) 'Floyd and Lucille Burroughs, Hale County, Alabama' 1936

 

Walker Evans (1903-1975)
Floyd and Lucille Burroughs, Hale County, Alabama
1936
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Floyd and Lucille Burroughs, Hale County, Alabama' 1936 (detail)

 

Walker Evans (1903-1975)
Floyd and Lucille Burroughs, Hale County, Alabama (detail)
1936
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Alabama Tenant Farmer Floyd Bourroughs' 1936

 

Walker Evans (1903-1975)
Alabama Tenant Farmer Floyd Bourroughs
1936
Gelatin silver print
22.9 x 18.4 cm
Collection particulière, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art
Photo: © Fernando Maquieira, Cromotex

 

Walker Evans (1903-1975) 'Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale Country, Alabama' 1936

 

Walker Evans (1903-1975)
Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale County, Alabama
1936
Gelatin silver print; private collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

“These are not photographs like those of Walker Evans who in James Agee’s account in Let Us Now Praise Famous Men took his pictures of the bare floors and iron bedsteads of the American mid-western sharecroppers while they were out tending their failing crops, and who even, as the evidence of his negatives proves, rearranged the furniture for a ‘better shot’. The best shot that Heilig could take was one that showed things as they were and as they should not be. …

To call these ‘socially-conscious documentary’ photographs is to acknowledge the class from which the photographer [Heilig] comes, not to see them as the result of a benign visit by a more privileged individual [Evans], however well-intentioned.”

Extract from James McCardle. “Weapon,” on the On This Day In Photography website [Online] Cited 29/01/2018

 

Walker Evans (1903-1975) 'Sidewalk and Shopfront, New Orleans' 1935

 

Walker Evans (1903-1975)
Sidewalk and Shopfront, New Orleans
1935
Gelatin silver print
Collection of the Museum of Modern Art, New York, gift of Willard Van Dyke
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Fish Market near Birmingham, Alabama' 1936

 

Walker Evans (1903-1975)
Roadside Stand Near Birmingham/Roadside Store Between Tuscaloosa and Greensboro, Alabama
1936
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Penny Picture Display, Savannah' 1936

 

Walker Evans (1903-1975)
Penny Picture Display, Savannah
1936
Gelatin silver print
Pilara Foundation Collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York
Walker Evans (1903-1975) 'Subway Portrait' January 1941

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans. 'Subway Passengers, New York' 1938

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans. 'Subway Passengers, New York' 1938

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (American, St. Louis, Missouri 1903–1975 New Haven, Connecticut) '[Subway Passengers, New York City]' 1938

 

Walker Evans (1903-1975)
Subway Portrait
1938-41
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Subway Portraits' 1938-1941

 

Walker Evans (1903-1975)
Subway Portraits
1938-1941
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

Exhibition Displays Over 400 Photographs, Paintings, Graphic Ephemera and Objects from the Artist’s Personal Collection

The San Francisco Museum of Modern Art (SFMOMA) will be the exclusive United States venue for the retrospective exhibition Walker Evans, on view September 30, 2017, through February 4, 2018. As one of the preeminent photographers of the 20th century, Walker Evans’ 50-year body of work documents and distills the essence of life in America, leaving a legacy that continues to influence generations of contemporary photographers and artists. The exhibition will encompass all galleries in the museum’s Pritzker Center for Photography, the largest space dedicated to the exhibition, study and interpretation of photography at any art museum in the United States.

“Conceived as a complete retrospective of Evans’ work, this exhibition highlights the photographer’s fascination with American popular culture, or vernacular,” explains Clément Chéroux, senior curator of photography at SFMOMA. “Evans was intrigued by the vernacular as both a subject and a method. By elevating it to the rank of art, he created a unique body of work celebrating the beauty of everyday life.”

Using examples from Evans’ most notable photographs – including iconic images from his work for the Farm Security Administration (FSA) documenting the effects of the Great Depression on American life; early visits to Cuba; street photography and portraits made on the New York City subway; layouts and portfolios from his more than 20-year collaboration with Fortune magazine and 1970s Polaroids – Walker Evans explores Evans’ passionate search for the fundamental characteristics of American vernacular culture: the familiar, quotidian street language and symbols through which a society tells its own story. Decidedly popular and more linked to the masses than the cultural elite, vernacular culture is perceived as the antithesis of fine art.

While many previous exhibitions of Evans’ work have drawn from single collections, Walker Evans will feature over 300 vintage prints from the 1920s to the 1970s on loan from the important collections at major museums including the Metropolitan Museum of Art, the Getty Museum, the Museum of Modern Art, the Art Institute of Chicago, the National Gallery of Art, Washington, D.C., the National Gallery of Canada, the Musée du Quai Branly and SFMOMA’s own collection, as well as prints from private collections from around the world. More than 100 additional objects and documents, including examples of the artist’s paintings; items providing visual inspiration sourced from Evans’ personal collections of postcards, graphic arts, enamelled plates, cut images and signage; as well as his personal scrapbooks and ephemera will be on display. The exhibition is curated by the museum’s new senior curator of photography, Clément Chéroux, who joined SFMOMA in 2017 from the Musée National d’Art Moderne of the Centre Pompidou, Paris, organizer of the exhibition.

While most exhibitions devoted to Walker Evans are presented chronologically, Walker Evans‘ presentation is thematic. The show begins with an introductory gallery displaying Evans’ early modernist work whose style he quickly rejected in favour of focusing on the visual portfolio of everyday life. The exhibition then examines Evans’ captivation with the vernacular in two thematic contexts. The first half of the exhibition will focus on many of the subjects that preoccupied Evans throughout his career, including text-based images such as signage, shop windows, roadside stands, billboards and other examples of typography. Iconic images of the Great Depression, workers and stevedores, street photography made surreptitiously on New York City’s subways and avenues and classic documentary images of life in America complete this section. By presenting this work thematically, the exhibition links work separated by time and place and highlights Evans’ preoccupation with certain subjects and recurrent themes. The objects that moved him were ordinary, mass-produced and intended for everyday use. The same applied to the people he photographed – the ordinary human faces of office workers, labourers and people on the street.

“The street was an inexhaustible source of poetic finds,” describes Chéroux.

The second half of the exhibition explores Evans’ fascination with the methodology of vernacular photography, or styles of applied photography that are considered useful, domestic and popular. Examples include architecture, catalog and postcard photography as well as studio portraiture, and the exhibition juxtaposes this work with key source materials from the artist’s personal collections of 10,000 postcards, hand-painted signage and graphic ephemera (tickets, flyers, logos and brochures). Here Evans elevates vernacular photography to art, despite his disinclination to create fine art photographs. Rounding out this section are three of Evans’ paintings using vernacular architecture as inspiration. The exhibition concludes with Evans’ look at photography itself, with a gallery of photographs that unite Evans’ use of the vernacular as both a subject and a method.

 

About Walker Evans

Born in St. Louis, Walker Evans (1903-1975) was educated at East Coast boarding schools, Williams College, the Sorbonne and College de France before landing in New York in the late 1920s. Surrounded by an influential circle of artists, poets and writers, it was there that he gradually redirected his passion for writing into a career as a photographer, publishing his first photograph in the short-lived avant-garde magazine Alhambra. The first significant exhibition of his work was in 1938, when the Museum of Modern Art, New York presented Walker Evans: American Photographs, the first major solo exhibition at the museum devoted to a photographer.

In the 50 years that followed, Evans produced some of the most iconic images of his time, contributing immensely to the visibility of American culture in the 20th century and the documentary tradition in American photography. Evans’ best known photographs arose from his work for the Farm Security Administration (FSA), in which he documented the hardships and poverty of Depression-era America using a large-format, 8 x 10-inch camera. These photographs, along with his photojournalism projects from the 1940s and 1950s, his iconic visual cataloguing of the common American and his definition of the “documentary style,” have served as a monumental influence to generations of photographers and artists.

Press release from SFMOMA

 

Walker Evans (1903-1975) 'Resort Photographer at Work' 1941

 

Walker Evans (1903-1975)
Resort Photographer at Work
1941, printed later
Gelatin silver print
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Untitled [Street scene]' 1950s

 

Walker Evans (1903-1975)
Untitled [Street scene]
1950s
Gouache on paper
Collection of the J. Paul Getty Museum, Los Angeles
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Street Debris, New York City' 1968

 

Walker Evans (1903-1975)
Street Debris, New York City
1968
Gelatin silver print
Private collection, San Francisco
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) '"Labor Anonymous,” Fortune 34, no. 5, November 1946' 1946

 

Walker Evans (1903-1975)
“Labor Anonymous,” Fortune 34, no. 5, November 1946
1946
Offset lithography
Centre Pompidou, Musée national d’art moderne, Paris, Bibliothèque Kandinsky, Collection of David Campany
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) '"The Pitch Direct. The Sidewalk Is the Last Stand of Unsophisticated Display," Fortune 58, no. 4, October 1958' 1958

 

Walker Evans (1903-1975)
“The Pitch Direct. The Sidewalk Is the Last Stand of Unsophisticated Display,” Fortune 58, no. 4, October 1958
1958
Offset lithography
Centre Pompidou, Musée national d’art moderne, Paris, Bibliothèque Kandinsky, Collection of David Campany
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Collage with Thirty-Six Ticket Stubs' 1975

 

Walker Evans (1903-1975)
Collage with Thirty-Six Ticket Stubs
1975
Cut and pasted photomechanical prints on paper
Collection of The Metropolitan Museum of Art, New York, Walker Evans Archive
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Unidentified Sign Painter. 'Coca-Cola Thermometer' 1930-70

 

Unidentified Sign Painter
Coca-Cola Thermometer
1930-70
Enamel on ferrous metal
Collection of The Metropolitan Museum of Art, New York, Walker Evans Archive
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Walker Evans (1903-1975) 'Chain-Nose Pliers' 1955

 

Walker Evans (1903-1975)
Chain-Nose Pliers
1955
Gelatin silver print
The Bluff Collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

John T. Hill. 'Interior of Walker Evans's House, Fireplace with Painting of Car' 1975, printed 2017

 

John T. Hill
Interior of Walker Evans’s House, Fireplace with Painting of Car
1975, printed 2017
Inkjet print
Private collection
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

Lenoir Book Co., 'Main Street, Showing Confederate Monument, Lenoir, North Carolina' 1900-40

 

Lenoir Book Co.,
Main Street, Showing Confederate Monument, Lenoir, North Carolina
1900-40
Offset lithography
Collection of The Metropolitan Museum of Art, New York, Walker Evans Archive
© Walker Evans Archive, The Metropolitan Museum of Art, New York

 

 

San Francisco Museum of Modern Art
151 Third Street
San Francisco, CA 94103

Opening hours:
Open daily (except Wednesdays): 11 am – 5.45 pm
Open late Thursdays, until 8.45 pm

San Francisco Museum of Modern Art website

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17
Nov
17

Exhibition: ‘Wayne Sorce: Urban Color’ at Joseph Bellows Gallery, La Jolla, California

Exhibition dates: 21st October – 30th November 2017

 

Wayne Sorce. 'Vinegar Hill, New York' 1985

 

Wayne Sorce
Vinegar Hill, New York
1985
Digital chromogenic print
20 x 24 inches

 

 

These remind me very strongly of the 1970s urban Americana colour work of Stephen Shore. Most of them are successful, well seen, well photographed colour images that evince a certain period in the American cultural landscape.

When they work – as in the formal Vinegar Hill, New York (1985, above) or the more abstract Vinegar Hill, New York (1985, below); the colourful, planar Varick Street, New York (1984); the duo-chromatic L.B. Oil, New York (1984); the magnificently shadowed, geometric Halsted Street, Chicago (1978); and my particular favourite (because of the light), Under the EL, Chicago (1978) – they work superbly. When they don’t work – as in Blankets, New York (1986) or Barbers, New York (1985) – they feel a bit flat.

It’s so hard to put a body of photographs together where each image is strong (but not necessarily the same) as the next and they form a holistic group. Most photographers can put together four images well enough, but the skill is to be able to narrativise a larger body of work, and then do that over a longer period of time. I believe that over the lifetime of a photographic artist, you can count on the fingers of two hands the truly memorable images they will make, if they are lucky. Other images are valuable in their own right…. while others should be quietly singed.

Marcus

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

 

Wayne Sorce. 'Vinegar Hil, New York' 1985

 

Wayne Sorce
Vinegar Hill, New York
1985
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Varick Street, New York' 1984

 

Wayne Sorce
Varick Street, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Halsted Street, Chicago' 1978

 

Wayne Sorce
Halsted Street, Chicago
1978
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'L.B. Oil, New York' 1984

 

Wayne Sorce
L.B. Oil, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Spiral Fire Escape, Chicago' 1975

 

Wayne Sorce
Spiral Fire Escape, Chicago
1975
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'No Left, Vinegar Hill' 1988

 

Wayne Sorce
No Left, Vinegar Hill
1988
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Dave's Restaurant, New York' 1984

 

Wayne Sorce
Dave’s Restaurant, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'El Platform, Chicago' 1978

 

Wayne Sorce
EL Platform, Chicago
1978
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Bee Gee's, New York' 1984

 

Wayne Sorce
Bee Gee’s, New York
1984
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Fort Dearborn Coffee, Chicago' 1977

 

Wayne Sorce
Fort Dearborn Coffee, Chicago
1977
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'East Chicago' 1977

 

Wayne Sorce
East Chicago
1977
Digital chromogenic print
20 x 24 inches

 

Wayne Sorce. 'Chock Full of Nuts, New York' 1984

 

Wayne Sorce
Chock Full of Nuts, New York
1984
Digital chromogenic print
20 x 24 inches

 

 

Joseph Bellows Gallery is pleased to announce its upcoming solo exhibition,Wayne Sorce: Urban Color. The exhibition will open on October 21st and continue through November 30th, 2017. In conjunction with Sorce’s exhibition will be a group show relating to the city as subject.

Urban Color will present a remarkable selection Sorce’s large-scale colour photographs of urban environments taken in the late 1970’s and early 1980’s in both Chicago and New York City. His urban landscapes describe with a formal exactitude, the light, structures, and palette of these cities within a certain era. For Sorce, the urban landscape is both still and transitory; people appear in the photographs as both inhabitants of the city, as well as sculptural forms relating to a larger composed scene.

Sorce’s photographs are held within the collections of the Art Institute of Chicago, the George Eastman Museum, the Armand Hammer Museum of Art, National Museum of American Art, at the Smithsonian Institution, and the Museum of Modern Art. Complementing Sorce’s exhibition will be a collection of photographs by his contemporaries that describe the city as subject. Work by Bob Thall, George Tice, Bevan Davies, Grant Mudford, and others will be included.

Press release from the Joseph Bellows Gallery

 

Wayne Sorce. 'Under the EL, Chicago' 1978

 

Wayne Sorce
Under the EL, Chicago
1978
Digital chromogenic print
24 x 20 inches

 

Wayne Sorce. 'Blankets, New York' 1986

 

Wayne Sorce
Blankets, New York
1986
Digital chromogenic print
24 x 20 inches

 

Wayne Sorce. 'Barbers, New York' 1985

 

Wayne Sorce
Barbers, New York
1985
Digital chromogenic print
24 x 20 inches

 

Wayne Sorce. 'Greyhound Station' c. 1970's

 

Wayne Sorce
Greyhound Station
c. 1970’s
Digital chromogenic print
24 x 20 inches

 

 

Joseph Bellows Gallery
7661 Girrard Avenue
La Jolla, California
Phone: 858 456 5620

Opening hours:
Tuesday – Friday, 10am – 5pm, and Saturday by appointment

Joseph Bellows Gallery website

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22
Oct
17

Exhibition: ‘Charles Sheeler from Doylestown to Detroit’ at Museum of Fine Arts, Boston

Exhibition dates: 22nd July – 5th November 2017

 

Charles Sheeler (American, 1883-1965) 'Side of White Barn, Bucks County, Pennsylvania' 1915

 

Charles Sheeler (American, 1883-1965)
Side of White Barn, Bucks County, Pennsylvania
1915
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Paul Strand (American, 1890 - 1976) 'White Fence, Port Kent, New York' 1916 (negative); 1945 (print)

 

Paul Strand (American, 1890-1976)
White Fence, Port Kent, New York
1916 (negative); 1945 (print)
© Paul Strand Archive, Aperture Foundation

 

 

Charles Sheeler is a cracking good photographer who’s work has not got the recognition that it deserves – in comparison to, say, Stieglitz, Strand, Steichen or Weston. When you think of those top echelon artists from the early twentieth century, his name is never mentioned. And it should be.

Sheeler’s Side of White Barn, Bucks County, Pennsylvania (1915, above) predates one of the most famous early modernist photographs, Strand’s White Fence, Port Kent, New York (1916, above) by a year, yet is hardly known. While Strand’s image possesses low depth of field, strong lighting and a focus on the fence as physical, geometric, sculptural object within the picture frame, Sheeler’s photograph is much more subtle but no less effective in its modernist vocation. The pictorial space is flattened into geometric shapes, the bottom of the photograph grounded by a cracked wall, hay, chickens and a fence, the top of the image foreclosed by the tiled roof of the barn and its attendant shadow (showing that the sun was high in the sky when this image was taken). Within the boundaries of the rectangle are subtle graduations of tone, colour and form, almost like an modernist etching with light, so beautifully does the artist both understand what he is seeing and how to render it through the physicality of the print. Unlike Strand’s “knock you over the head with the white picket fence”, Sheeler’s subtle paean to the modern world requires contemplation on the nature of light, photography and the fine art print. This is a masterpiece in the history of photographic art.

I am similarly convinced by Sheeler’s Ford Plant – CrissCrossed Conveyors (1927, below), in my opinion one of the top ten photographs of all time.

I cannot fault this image. The light falling on the subject is incredible (notice the shadow from the beam mid-upper left, telling us the time of day the photograph was taken), the tonality superb, the framing of the subject admirable – all elements tensioned perfectly within the pictorial plane. The bottom of the photograph is grounded by stacked tyres and the structure ascends to the heavens from there… not just in one element, but in five! The main criss-cross of the conveyors is placed off centre supported by an iron tower, which allows the eye to roam freely across the image. The placement also allows for another elevator to ascend behind the main two, while a set of steps climbs higher and higher eventually exiting the picture stage left. Behind the criss-crossed conveyors the depth of space that must exist in reality is proposed by two tanks, further reinforced by 8 chimney stacks, and yet this photograph evidences no such depth of field. While everything is reduced to flattened shapes in this machine age, modernist, objectified world – and while no human being is presented for scale – the human hand is all over this image: in the construction of such technology, in the presence of the human scale stairs, in the ascension to the sky of the organ pipes of the industrial cathedral, in the comprehending eye of the photographer, and in the presence, the aura, of this magnificent print. While this image may seem the antithesis of humanist photography in one sense, conversely it reaffirms the very act of humanity in another. Or perhaps I’m just an old romantic.

Marcus

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

 

Charles Sheeler (American, 1883-1965) 'Doylestown House - The Stove' about 1917

 

Charles Sheeler (American, 1883-1965)
Doylestown House – The Stove
about 1917
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Charles Sheeler (American, 1883-1965) 'Doylestown House - Stairs from Below' Negative date: about 1916-1917

 

Charles Sheeler (American, 1883-1965)
Doylestown House – Stairs from Below
Negative date: about 1916-1917
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Charles Sheeler (American, 1883-1965) 'Doylestown House - Stairwell' Negative date: about 1916-1917

 

Charles Sheeler (American, 1883-1965)
Doylestown House – Stairwell
Negative date: about 1916-1917
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Charles Sheeler (American, 1883-1965) 'Buggy, Doylestown, Pennsylvania' Negative date: 1917

 

Charles Sheeler (American, 1883-1965)
Buggy, Doylestown, Pennsylvania
Negative date: 1917
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Charles Sheeler (American, 1883-1965) 'Manhatta - Ferry Docking' Negative date: 1920

 

Charles Sheeler (American, 1883-1965)
Manhatta – Ferry Docking
Negative date: 1920
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

 

This exhibition celebrates the MFA’s unparalleled holdings of works by Charles Sheeler (1883-1965), presenting 40 photographs from three significant series created during the heyday of his career as a founder of American modernism.

After enjoying success as a painter, Sheeler initially took up photography as a way to make a living. His experiments with the medium included the 1916-17 series of photographs capturing various elements of an 18th-century house he rented in Doylestown, Pennsylvania. The sequence of stark, geometric compositions was among the most abstract and avant-garde work being made in the US at the time – created in response to the Cubist art of Picasso and Braque that Sheeler had previously encountered in Europe.

In 1920, Sheeler collaborated with fellow photographer Paul Strand on the short film Manhatta, presenting dramatic views of lower Manhattan. Abstract stills from the 35mm film, which was shot from steep angles, are presented alongside larger prints of Sheeler’s cinematic images of New York City, produced shortly after Manhatta – which he used as source material for his paintings. The film Manhatta is on view in the gallery.

Charles Sheeler from Doylestown to Detroit culminates with the 1927 photographs of the Ford Motor Company plant in River Rouge, Michigan, commissioned to celebrate the introduction of Ford’s Model A. The cathedral-like scenes convey an optimism for American industry, and are now considered icons of Machine Age photography. All of the photographs in the exhibition are drawn from the Museum’s Lane Collection – one of the finest private holdings of 20th-century American art in the world, including Sheeler’s entire photographic estate – given to the MFA in 2012. (Text from the MFA website)

 

 

Paul Strand and Charles Sheeler
Manhatta
1921
Courtesy of the Museum of Modern Art, New York
© Aperture Foundation Inc., Paul Strand Archive

 

 

In 1920 Paul Strand and artist Charles Sheeler collaborated on Manhatta, a short silent film that presents a day in the life of lower Manhattan. Inspired by Walt Whitman’s book “Leaves of Grass,” the film includes multiple segments that express the character of New York. The sequences display a similar approach to the still photography of both artists. Attracted by the cityscape and its visual design, Strand and Sheeler favoured extreme camera angles to capture New York’s dynamic qualities. Although influenced by Romanticism in its view of the urban environment, Manhatta is considered the first American avant-garde film.

 

Charles Sheeler (American, 1883-1965) 'Manhatta - Rooftops' Negative date: 1920

 

Charles Sheeler (American, 1883-1965)
Manhatta – Rooftops
Negative date: 1920
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Charles Sheeler (American, 1883-1965) 'Manhatta - Through a Balustrade' Negative date: 1920

 

Charles Sheeler (American, 1883-1965)
Manhatta – Through a Balustrade
Negative date: 1920
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Charles Sheeler (American, 1883-1965) 'New York, Buildings in Shadows and Smoke' Negative date: 1920

 

Charles Sheeler (American, 1883-1965)
New York, Buildings in Shadows and Smoke
Negative date: 1920
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Charles Sheeler (American, 1883-1965) 'Ford Plant - Criss-Crossed Conveyors' 1927

 

Charles Sheeler (American, 1883-1965)
Ford Plant – CrissCrossed Conveyors
1927
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Charles Sheeler (American, 1883-1965) 'Ford Plant - Ladle Hooks, Open Hearth Building' Negative date: 1927

 

Charles Sheeler (American, 1883-1965)
Ford Plant – Ladle Hooks, Open Hearth Building
Negative date: 1927
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

Charles Sheeler (American, 1883-1965) 'Ford Plant - Stamping Press' Negative date: 1927

 

Charles Sheeler (American, 1883-1965)
Ford Plant – Stamping Press
Negative date: 1927
Photograph, gelatin silver print
© The Lane Collection
Courtesy, Museum of Fine Arts, Boston

 

 

Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts

Opening hours:
Monday and Tuesday 10am – 5 pm
Wednesday – Friday 10am – 10 pm
Saturday and Sunday 10am – 5 pm

Museum of Fine Arts, Boston website

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17
Apr
17

Exhibition: ‘Tattooed New York’ at the New-York Historical Society, New York

Exhibition dates: 3rd February – 30th April 2017

Curator: Cristian Petru Panaite, Assistant Curator of Exhibitions at the New-York Historical Society

 

 

The first of two postings on the history of tattooing and tattoo artists of New York (the second posting being on the exhibition The Original Gus Wagner: The Maritime Roots of Modern Tattoo appearing soon).

“The exhibition focuses special attention on women and tattoos, from the sideshow era through today. Photographs capture famous sideshow tattooed stars, including Nora Hildebrandt, “the first professional tattooed lady;” La Belle Irene, “the original tattooed lady;” and Lady Viola, “the most beautiful tattooed lady in the world.” A painting by tattoo artist Ace Harlyn depicting famed Bowery tattooer Charlie Wagner tattooing Mildred Hull – the “first and only tattooist woman on the Bowery” – shows some of the 300+ tattoos she created on herself. The exhibition also addresses tattooing as an art form that enabled women to challenge gender roles and turn tattoos into signs of empowerment.”

This posting includes extra information on the people featured and a wonderful song about Charlie Wagner’s tattoos – the Bowery neighbourhood, where his studio was located, being “a hotbed of tattoo culture in the 1920s-30s.”

Enjoy!

Marcus

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Many thankx to the New-York Historical Society for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

John Simon (c. 1675-1751) after John Verelst (1648-1734) 'Sa Ga Yeath Qua Pieth Tow, King of the Maquas' 1710

 

John Simon (c. 1675-1751) after John Verelst (1648-1734)
Sa Ga Yeath Qua Pieth Tow, King of the Maquas
1710
Mezzotint
New-York Historical Society Library

 

 

A new exhibition at the New-York Historical Society will examine three centuries of tattooing in New York, including the city’s central role in the development of modern tattooing and the successive waves of trend and taboo surrounding the practice. Tattooed New York, on view February 3 – April 30, 2017, will feature more than 250 works dating from the early 1700s to today – exploring Native American body art, tattoo craft practiced by visiting sailors, sideshow culture, the 1961 ban that drove tattooing underground for three decades, and the post-ban artistic renaissance.

“We are proud to present Tattooed New York and offer our visitors an immersive look into the little-known history of modern tattooing,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society. “At the convergence of history and pop culture, the exhibition will track the evolution of this fascinating form of self-expression and the city’s influence on the phenomenon.”

Tattooed New York will explore early communities of body art aficionados – such as Native Americans, sailors and soldiers, society women, and “tattooed ladies” – as well as examine how identity is expressed through tattoos today. It will follow the evolution of tattoo technology, from pricking and poking techniques to machines; track the rise of New York City’s Bowery neighbourhood as a hotbed of tattoo culture in the 1920s-30s; share the creative and secretive ways that tattooing continued during the ban; and feature artwork by some of the finest New York tattoo artists working today. Tattooed New York is curated by Cristian Petru Panaite, Assistant Curator of Exhibitions at the New-York Historical Society.

Text from the New-York Historical Society

 

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

Installation view of the exhibition 'Tattooed New York' at the New-York Historical Society, New York

 

Installation views of the exhibition Tattooed New York at the New-York Historical Society, New York
Photos: Glenn Castellano, New-York Historical Society

 

 

Exhibition highlights

Among the earliest items in the exhibition are the New-York Historical Society’s Four Indian Kings mezzotints from 1710, featuring portraits of Mohawk and Mohican tribal kings who traveled to London seeking military aid against the French and their Ojibwe allies. The King of the Maquas (or Mohawk tribe) is depicted with black linear patterns covering his chest and lower face. Also on view is a 1706 pictograph by a Seneca trader that represents his distinctive serpent and bird tattoos as his personal signature, one of the earliest recorded in Western accounts. Tattooed New York also features a Native American tattooing kit used for medicinal purposes and a mid-18th century Ojibwe ball club with carvings suggestive of tattoo patterns that likely adorned the warrior’s body.

As soldiers and sailors traveled the world in the early 19th century, tattoos served as mementos of faraway lands, good luck charms, and protection against induction into the British Royal Navy. Passing through New York, seamen also earned extra money by showing off their tattoos in pop-up sideshows. An early Protection Certificate and a manual tattooing kit belonging to a sailor are featured in the exhibit, along with examples of patriotic and religious art that inspired tattoo designs.

The exhibition charts the evolution of advances in the art of tattooing, many of them pioneered in New York. Martin Hildebrandt, often credited as the first professional tattoo artist in New York City, set up a permanent tattoo business in Lower Manhattan as early as 1859. The trade was revolutionised by Samuel O’Reilly’s invention of the electric tattoo machine on the Bowery in 1891. O’Reilly’s machine was based on Thomas Edison’s Electric Autographic Pen, an example of which is on view. The invention instantly made tattooing cheaper, faster, and more widely available. New York tattooers also changed the way designs were drawn, marketed, and sold. Flash – the sample tattoo drawings that still adorn many studios today – was developed and popularised by Lew Alberts, whose drawings are displayed along with work by Bob Wicks, Ed Smith, and the legendary Moskowitz Brothers.

The exhibition focuses special attention on women and tattoos, from the sideshow era through today. Photographs capture famous sideshow tattooed stars, including Nora Hildebrandt, “the first professional tattooed lady;” La Belle Irene, “the original tattooed lady;” and Lady Viola, “the most beautiful tattooed lady in the world.” A painting by tattoo artist Ace Harlyn depicting famed Bowery tattooer Charlie Wagner tattooing Mildred Hull – the “first and only tattooist woman on the Bowery” – shows some of the 300+ tattoos she created on herself. The exhibition also addresses tattooing as an art form that enabled women to challenge gender roles and turn tattoos into signs of empowerment.

In 1961, New York City’s Health Department declared it was “unlawful for any person to tattoo a human being,” citing Hepatitis B as a concern. The ban sent tattoo artists underground and many continued working quietly from their homes, often taking clients at odd hours of the night. The exhibition features photographs from the apartment studios of Thom deVita and Mike Bakaty and tattoo designs from the era, including some made to be quickly concealed in case of random police raids. The work of fine artists who began to explore tattooing during the ban years will also be on display, including Ruth Marten, Mike Bakaty, and Spider Webb.

The tattoo ban was lifted in February 1997. Today, more than 270 tattoo studios are flourishing across the five boroughs. Footage of tattooing, filmed for the exhibition in several New York studios, demystifies the process. An audio tour invites visitors to listen to the voices of legendary tattoo artists who worked in New York City during the late 20th century. The international reach of New York’s influence on the art world today is demonstrated in works by tattoo artists from Denmark, Japan, Mexico, China, Brazil, the UK, and Italy.
The exhibition closes by depicting some of the ways in which New Yorkers today use tattoos for self-expression and empowerment. Tattoos covering mastectomy scars, for instance, represent a new beginning for breast cancer survivors. Commemorative tattoos worn by survivors of 9/11 are a permanent reminder to “never forget.”

Press release from the New-York Historical Society

 

Thomas Edison (1847-1931) 'Electric pen' 1876

 

Thomas Edison (1847-1931)
Electric pen
1876
Nickel-plated flywheel, cast iron, steel stylus, and electric motor
Collection of Brad Fink, Daredevil Tattoo NYC

 

Charles Eisenmann (1855-1927) 'Nora Hildebrandt' c. 1880

 

Charles Eisenmann (1855-1927)
Nora Hildebrandt
c. 1880
Albumen photograph
Collection of Adam Woodward

 

 

“Then I begin talking about Nora Hildebrandt, the first “official” tattooed woman. She had a short-lived career at Barnum & Bailey’s circus, where she’d show off her tattoos on stage. But a woman named Irene Woodward quickly replaced Nora because she was considered more attractive. This ties into the present – how many of the most famous tattoo artists are heavily sexualised – and it relates to how men fetishise the female body. In the 19th century, people who visited the freak shows could buy cabinet cards – photographs – of these women and bring them home as souvenirs. People would collect them. It was like their version of Instagram followers. Both practices relate to the female body being “circulated” and “owned.””

Anni Irish quoted in the article “The History of Tattooed Ladies from Freakshows to Reality TV,” on the Vice website

 

Unknown photographer. 'La Belle Irene' c. 1880s

 

Unknown photographer
La Belle Irene
c. 1880s

 

'La Belle Irene French postcard' 1890

 

La Belle Irene French postcard
1890

 

Unknown photographer. 'La Belle Irene' c. 1880s

 

Unknown photographer
La Belle Irene
c. 1880s

 

Samuel O'Reilly (1854-1909) 'Eagle and shield' c. 1875-1905

 

Samuel O’Reilly (1854-1909)
Eagle and shield
c. 1875-1905
Watercolour, ink, and pencil on paper
Collection of Lift Trucks Project

 

 

O’Reilly was a New York tattoo artist, who patented the first electric tattoo machine on December 8, 1891. He began tattooing in New York around the mid-1880s. O’Reilly’s machine was based on the rotary technology of Thomas Edison’s autographic printing pen. Although O’Reilly held the first patent for an electric tattoo machine, tattoo artists had been experimenting with and modifying a variety of different machines prior to the issuance of the patent. O’Reilly’s first pre-patent tattoo machine was a modified dental plugger, which he used to tattoo several dime museum attractions for exhibition between the years 1889 and 1891. From the late 1880s on, tattoo machines continually evolved into what we now consider a modern tattoo machine. O’Reilly first owned a shop at #5 Chatham Square on the New York Bowery. In 1904, he moved to #11 Chatham Square when the previous tenant, tattoo artist Elmer Getchell, left the city. Charles Wagner was allegedly apprenticed to O’Reilly and later assumed ownership of his #11 Chatham Square shop. On April 29, 1909, Samuel O’Reilly fell while painting his house and died. He is buried in the Cemetery of the Holy Cross, Section: St. Michaels, Range: 22, Grave: 209 Brooklyn, Kings, NY.

Text from the Wikipedia website

For more information on earl tattoo machines please see the Buzzworthy Tattoo History web page

 

The tattoo industry was “revolutionized overnight,” according to Steve Gilbert’s Tattoo History: A Source Book, which adds that, “O’Reilly was swamped with orders and made a small fortune within a few years.” His electric machine was capable of making many more punctures per minute, and its puncturing was more precise – resulting in more accurate tattoos and less bleeding for the recipient.

Not only was he an innovative craftsman, but Prof. O’Reilly also would become the leading tattoo artist of his era. Perhaps the ultimate confirmation of his talents was that even circus tattoo-freaks sought out his services so they could revivify their illustrated bodies. But as tattoos became more popular, these circus tattoo-freaks were losing business, as their ink-laden bodies were no longer that rare.

O’Reilly’s steadiest source of clientele was the U.S. Navy. In his view, an American sailor without a tattoo was “not seaworthy,” according to Albert Parry’s Tattoo: Secrets of a Strange Art. The inventor’s studio often was packed with young men looking to be “seaworthy.” A shrewd marketer, O’Reilly circulated a pamphlet about tattooed U.S. military members fighting in the Spanish-American War. Part of this pamphlet reads: “Brave fellows! Little fear had they of shot and shell amid the smoke of battle, and after the scrub down they gloried in their tattoos.”

Ray Cavanaugh. “O’Reilly’s Tattoo Machine: Fine Art for the Masses,” on the Irish America website

 

 

Lady Viola the most beautiful TATTOOED WOMAN in the world
c. 1920s

 

 

Lady Viola was born March 27, 1898 in Covington, Kentucky, and her real name Ethel Martin Vangi. She was tattooed in 1920 by Frank Graf and soon became known as “the most beautiful tattooed woman in the world.” Lady Viola worked in museums and participated in the Thomas Joyland Show until 73 years old.

Read more on the Tattoo History A-Z website

 

Unknown photographer. 'Lady Viola (Ethel Vangi)' c. 1920s

 

Unknown photographer
Lady Viola (Ethel Vangi)
c. 1920s

 

Ed Smith (active c. 1920-40) 'Self-portrait showing Rock of Ages back piece' c. 1920

 

Ed Smith (active c. 1920-40)
Self-portrait showing Rock of Ages back piece
c. 1920
Ink on paper
Collection of Adam Woodward

 

Unidentified Maker and Charlie Wagner (1873-1953) 'Statue from Charlie Wagner's tattoo shop at 11 Chatham Square' c. 1930

 

Unidentified Maker and Charlie Wagner (1873-1953)
Statue from Charlie Wagner’s tattoo shop at 11 Chatham Square
c. 1930
Polychromed papier-mâché and linen on wood turned base
Collection of Adam Woodward

 

Bob Wicks (1902-1990) 'Flash sheet #36' c. 1930

 

Bob Wicks (1902-1990)
Flash sheet #36
c. 1930
Pen and watercolour on art board
Collection of Ohio Tattoo Museum

 

Eli Jacobi (1898-1984) 'Tattoo Artist' c. 1935

 

Eli Jacobi (1898-1984)
Tattoo Artist
c. 1935
Lithograph
New-York Historical Society Library

 

Ace Harlyn (active c. 1930-40) 'Charlie Wagner tattooing Millie Hull' 1939

 

Ace Harlyn (active c. 1930-40)
Charlie Wagner tattooing Millie Hull
1939
Oil on canvas
Collection of Brad Fink, Daredevil Tattoo NYC

 

 

Mildred Hull, the mother of modern tattooing during the height of the city’s tattoo boom in the early 20th century, was a woman of many talents. Born in 1897, Hull dropped out of school when she was just 13 years old according to The Tattoo Archive, later on joining the circus [before becoming an exotic dancer] …

According to Untapped Cities, by 1939 Hull had left the circus and had begun to put ink to skin with a little help from her long time tattoo artist, Charlie Wagner. In the following years, Hull elevated her tiny studio, aptly named The Tattoo Emporium, to one of the most renowned tattoo shops anywhere along that infamous stretch of seedy land…

In 1936 Hull graced the cover of Family Circle – tattoos and all – in what became an unprecedented, monumental moment in history, one that until now has gone widely overlooked. It’s important to note that at the time, the magazine’s main mission was to provide women with home economic tips.

“Flash from the Past: Millie Hull,” from the Tattoodoo website

 

Unknown photographer. 'Untitled [Millie Hull tattooing in her studio]' Nd

 

Unknown photographer
Untitled [Millie Hull tattooing in her studio]
Nd

 

 

Capt. Don Leslie – Wagner’s Tattooed Lady

I first met her on the Bow’ry at a place called Chatham Square.
It was not her eyes that drew me near, her lips or pretty hair.
It was not her dress of velvet or her patent leather shoes,
But on her hide she wore with pride Charlie Wagner’s tattoos.

Chorus:

Well, red roses she wore on her breast; what a sight!
Oh the colour so vivid, so vivid and bright!
And the blues notes danced ’round about her pretty blouse.
Some say it was a waltz, like Johann Strauss.

I swear on my child and the gold in my teeth
That the memory of that tattooed queen still lingers sweet.
Oh, she came down to Charlie there at Chatham Square
To get tattooed by the master there.

Well, I left the Bowery in ’42,
Stopped my gamblin’ and runnin’ hooch,
But I always dreamed of that tattooed queen
And Charlie Wagner’s fascinating tattoo machines.

Chorus:

Well, red roses she wore on her breast; what a sight!
Oh the colour so vivid, so vivid and bright!
And the blues notes danced ’round about her pretty blouse.
Some say it was a waltz, like Johann Strauss.

I’ve seen beautiful designs like “Duel in the Sun,”
“Rock of Ages,” battleships and military guns.
Well, they all have their place, like a heart with “Mom,”
But Charlie Wagner’s tattooed lady’s still Number One.

They preachers all say, “There’s a land so fair.”
Some folks call it “heaven” or the “golden stair.”
Well, some call it “paradise,” and I really do not care,
For I’d rather be down in Chatham Square.
And, to the right of the throne, are a chosen few:
Picasso, Rembrandt and Michelangelo too.
Hey, let me name them all for you,
And don’t you forget Professor Wagner too.
Some painted on canvas and some on chapel walls.
Their art’s worth millions for fame and all.
But Charlie Wagner’s the king of this man’s dreams,
For he painted the beautiful tattooed queen.

Chorus:

Well, red roses she wore on her breast; what a sight!
Oh the colour so vivid, so vivid and bright!
And the blues notes danced ’round about her pretty blouse.
Some say it was a waltz, like Johann Strauss.

Charlie Wagner, you’re the greatest and there ain’t no doubt.

 

Unknown photographer. 'Untitled [Charlie Wagner tattooing in his studio]' Nd

 

Unknown photographer
Untitled [Charlie Wagner tattooing in his studio]
Nd

 

Unknown photographer. '"Painless" Jack Tyron tattooed by Charlie Wagner and Lewis (Lew) Alberts' Nd

 

Unknown photographer
“Painless” Jack Tyron tattooed by Charlie Wagner and Lewis (Lew) Alberts
Nd

 

Irving Herzberg (1915-1992) 'Tattoo shop of "Coney Island Freddie" just prior to New York City's ban on tattooing' 1961

 

Irving Herzberg (1915-1992)
Tattoo shop of “Coney Island Freddie” just prior to New York City’s ban on tattooing
1961
Digital print
Brooklyn Public Library

 

 

“A Jewish tattoo artist, Fred Grossman (aka Coney Island Freddie) sued the city for illegitimately crushing his business. (Mike Bakaty, the founder of Fineline Tattoo and an East Village tattoo legend, who died last year, told a journalist that Grossman felt that the Health Department’s motive was to “clean up the city” before showing it off at the 1964 World’s Fair.) Grossman lost, then lost again on appeal. State appellate judge Aron Steuer (the son of Max Steuer, my husband’s cousin who defended the Triangle Factory owners – the New York Steuers were clearly charming people) ruled that the city had the right to decide what was healthy behaviour and what wasn’t. And furthermore, he noted, “the decoration, so-called, of the human body by tattoo designs is, in our culture, a barbaric survival, often associated with a morbid or abnormal personality.” (Another Jewish judge, Samuel Rabin, dissented, saying that “the testimony of the defendants’ medical experts indicates that the practice of tattooing can be safe, if properly conducted in accordance with appropriate principles of asepsis. That being so, I am of the opinion that the outright prohibition of the practice of tattooing is an unwarranted extension of the police power and therefore is invalid.” Medically correct, but societally unpopular.)”

Marjorie Ingall. “Jews and Tattoos: A New York Story,” on the Tablet website

 

Tony D'Annessa (b. 1935) 'Window shade with flash designs from Tony D'Annessa's tattoo shop on W. 48th Street' c. 1962

 

Tony D’Annessa (b. 1935)
Window shade with flash designs from Tony D’Annessa’s tattoo shop on W. 48th Street
c. 1962
Ink outline with markers coloring on vinyl
Collection of Tony D’Annessa and Dave Cummings, PSC Tattoo, Montreal

 

 

Tony D’Annessa just might be Canada’s oldest tattoo artist. Although he is now located in Montreal’s Pointe-Sainte-Charles neighbourhood, Tony started tattooing in New York City way back in the 1950s. This is a short multimedia piece shot at PSC Tattoo.

 

John Wyatt (b. 1942) 'Thom de Vita and client in his studio at 326 E 4th Street' 1976

 

John Wyatt (b. 1942)
Thom de Vita and client in his studio at 326 E 4th Street
1976
Gelatin silver print
Courtesy of the artist

 

Ruth Marten (b.1949) 'Marquesan Heads' 1977

 

Ruth Marten (b. 1949)
Marquesan Heads
1977
Enamel paint on masonite
Collection of the artist

 

Maury Englander (b. 1943) 'Tattooed family at the first New York City Tattoo Convention' 1998

 

Maury Englander (b. 1943)
Tattooed family at the first New York City Tattoo Convention
1998
Digital print
© Maury Englander, All Rights Reserved

 

 

New-York Historical Society
170 Central Park West
at Richard Gilder Way (77th Street)
New York, NY 10024

Tel: (212) 873-3400

Opening hours:
Tuesday – Thursday, Saturday – 10am – 6pm
Friday – 10am – 8pm
Sunday – 11am – 5pm
Monday – CLOSED

New-York Historical Society website

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12
Mar
17

Exhibition: ‘Multitude, Solitude: The Photographs of Dave Heath’ at The Nelson-Atkins Museum of Art, Kansas City

Exhibition dates: 19th November 2016 – 19th March 2017

Curator: Keith F. Davis, Senior Curator, Photograph

 

 

This will be short and sweet because of my hands… love this artist’s work.

 

Triumph of the spirit

Abandoned by both parents at age 4, he grew up in foster homes and an orphanage in Philadelphia.

High contrast images – burnt in backgrounds and then bleached back faces.

Raw, loneliness, love, sadness, homesick, Christ figure (Carl Dean Kipper) bringing out emotion.

Establishment of relationships contrasted with isolation and loneliness.

Sense of inner self – faces and forms. Sensitivity. Unpretentious.

A deeply humane approach to being witness to the human condition.

The condition of becoming.

Marcus

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

 

 

Heath has always, and instinctively, understood the power of sympathetic vision. His photographs of people are infused with a special emotional directness and power. They reflect a fundamental, and almost tactile, need to connect.

.
Keith F. Davis, Senior Curator, Photography at The Nelson-Atkins Museum of Art

 

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Carl Dean Kipper, Korea' 1953-1954

 

Dave Heath (Canadian, born United States, 1931-2016)
Carl Dean Kipper, Korea
1953-1954
Gelatin silver print
6 3/4 x 9 3/4 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Central Park, New York City' 1957

 

Dave Heath (Canadian, born United States, 1931-2016)
Central Park, New York City
1957
Gelatin silver print
6 3/8 x 9 1/2 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Rochester, New York' 1958

 

Dave Heath (Canadian, born United States, 1931-2016)
Rochester, New York
1958
Gelatin silver print
6 1/2 x 9 3/4 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Washington Square, New York City' 1958

 

Dave Heath (Canadian, born United States, 1931-2016)
Washington Square, New York City
1958
Gelatin silver print
12 1/2 x 8 3/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Seven Arts Coffee Gallery, New York City' 1958

 

Dave Heath (Canadian, born United States, 1931-2016)
Seven Arts Coffee Gallery, New York City
1958
Gelatin silver print
9 3/4 x 6 5/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Hallmark Cards, Inc.

 

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

 

Dave Heath (Canadian, born United States, 1931-2016)
New York City
c. 1960
Gelatin silver print
9 1/4 x 7 3/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'New York City' 1962

 

Dave Heath (Canadian, born United States, 1931-2016)
New York City
1962
Gelatin silver print
11 1/16 x 8 1/2 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

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

 

Dave Heath (Canadian, born United States, 1931-2016)
Erin Freed, New York City
1963
Gelatin silver print
7 1/4 x 8 3/4 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

 

A major exhibition showcasing the work of Dave Heath, one of the most original photographers of the last half of the 20th century, opened at The Nelson-Atkins Museum of Art in Kansas City on Nov. 19. Multitude, Solitude: The Photographs of Dave Heath is curated by Keith F. Davis, Senior Curator, Photography, who wrote a widely acclaimed catalogue of the same title to accompany the exhibition. The Nelson-Atkins has the largest holding of Heath’s work in the United States, and the exhibition was entirely assembled from the museum’s collection. A smaller version of the show opened at the Philadelphia Museum of Art in September 2015 to critical praise.

“Dave Heath has had one of the most important careers in modern photography,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO and Director of the Nelson-Atkins. “With little formal training, he applied his determination and curiosity to learning about photography and the history of art. And we see the result in this exhibition: the flowering of one of the greatest talents of his generation.”

The exhibition spans the full breadth of Heath’s creative career, from the late 1940s into the 21st- century. It begins with his earliest pictures, his first book prototypes, his first audio-visual artistic work (“Beyond the Gates of Eden,” 1969), and concludes with his colour street pictures of 2001-2007. The exhibition centres on Heath’s 1965 photo-book A Dialogue with Solitude, a sequence of 82 photographs widely considered his defining achievement.

Heath’s photographs are a powerful expression of his emotional life, his concern for interpersonal contact and communion. Abandoned by both parents at age 4, he grew up in foster homes and an orphanage in Philadelphia. This experience shaped his creative vision, an expression of a profound sense of pain, loneliness, alienation, longing, joy, and hope. Guided by an entirely personal expressive need, Heath used the camera to understand himself and the society around him.

“Heath has always, and instinctively, understood the power of sympathetic vision,” said Davis. “His photographs of people are infused with a special emotional directness and power. They reflect a fundamental, and almost tactile, need to connect.”

Heath’s interest in photography was sparked in 1947, when he saw Ralph Crane’s photo-essay “Bad Boy’s Story”, about an alienated boy in an orphanage, in Life magazine. He identified with Crane’s subject and grasped the power of the photograph to transcend simple reportage. Largely self-taught, Heath studied for a year at the Philadelphia College of Art before working for a commercial photo studio in Chicago. He came to national attention after his move to New York City in 1957. He was awarded a Guggenheim Fellowship in 1963 and his work was included in major exhibits at the Museum of Modern Art, the Art Institute of Chicago, and elsewhere. He taught from 1965 to 1996, with 36 of those years spent at Ryerson University, Toronto, Ontario.

Heath died on his 85th birthday, June 27, 2016, knowing that his work had reached wider audiences and recognised for his individual and powerful voice.

Press release from The Nelson-Atkins Museum of Art

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Vengeful Sister, Chicago' 1956

 

Dave Heath (Canadian, born United States, 1931-2016)
Vengeful Sister, Chicago
1956
Gelatin silver print
7 3/16 x 8 7/8 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Chicago' 1956

 

Dave Heath (Canadian, born United States, 1931-2016)
Chicago
1956
Gelatin silver print
12 1/2 x 8 1/2 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Greenwich Village, New York City' 1957

 

Dave Heath, (Canadian, born United States, 1931-2016)
Greenwich Village, New York City
1957
Gelatin silver print
12 1/2 x 9 1/2 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Santa Barbara, California' 1964

 

Dave Heath, (Canadian, born United States, 1931-2016)
Santa Barbara, California
1964
Gelatin silver print
5 x 7 9/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Berkeley, California' 1964

 

Dave Heath, (Canadian, born United States, 1931-2016)
Berkeley, California
1964
Gelatin silver print
4 5/8 x 6 13/16 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of Elizabeth and Jeffrey Klotz and family

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Kansas City, Kansas' 1967

 

Dave Heath, (Canadian, born United States, 1931-2016)
Kansas City, Kansas
1967
Gelatin silver print
7 3/8 x 10 3/4 inches
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'New York City' September 19, 2004

 

Dave Heath, (Canadian, born United States, 1931-2016)
New York City
September 19, 2004
Inkjet print (printed January 25, 2008)
11 7/8 × 18 1/16 inches
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'New York City' October 5, 2005

 

Dave Heath, (Canadian, born United States, 1931-2016)
New York City
October 5, 2005
Inkjet print (printed January 25, 2008)
11 7/8 × 18 1/16 inches
Gift of the Hall Family Foundation

 

Dave Heath, (Canadian, born United States, 1931-2016) 'Toronto' October 20, 2007

 

Dave Heath, (Canadian, born United States, 1931-2016)
Toronto
October 20, 2007
Inkjet print (printed December 18, 2007)
11 7/8 × 18 1/16 inches
Gift of the Hall Family Foundation

 

 

The Nelson-Atkins Museum of Art
4525 Oak Street
Kansas City, MO 64111

Opening hours:
Wed, 10 am – 5 pm
Thurs, Fri, 10 am – 9 pm
Sat, 10 am – 5 pm
Sun, 10 am – 5 pm

The Nelson-Atkins Museum of Art website

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17
Feb
17

Exhibition: ‘Gay Gotham: Art and Underground Culture in New York’ at the Museum of the City of New York, New York City Part 2

Exhibition dates: 7th October 2016 – 26th February 2017

An exhibition showcasing Lesbian, Gay, Bisexual, Transgender, and Queer artistic life in New York City through the social networks of Leonard Bernstein, Mercedes de Acosta, Harmony Hammond,  Bill T. Jones, Lincoln Kirstein, Greer Lankton, George Platt Lynes,  Robert Mapplethorpe, Richard Bruce Nugent, and Andy Warhol.

Curators: Donald Albrecht, MCNY curator of architecture and design, and Stephen Vider, MCNY Mellon Postdoctoral Fellow.

 

 

Part two of this monster posting on the exhibition Gay Gotham: Art and Underground Culture in New York at the Museum of the City of New York.

Highlights include photographs by Carl Van Vechten; art work by and of Andy Warhol; a video of the “Panzy Craze” of the the 1920s and 1930s; a photograph of a very young and skinny Robert Mapplethorpe and some of his early art work; some wonderful subversiveness from Greer Lankton; two glorious photographs from one of my favourite artists, Peter Hujar; and a great selection of book covers and posters, including the ever so sensual, German Expressionist inspired Nocturnes for the King of Naples cover art by Mel Odom.

Marcus

.
Many thank to the Museum of the City of New York for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

Themes

Printing

Foujita. "Helen Morgan Jr. And Jean Malin at the Smart Club Abbey," 'Vanity Fair' February 1931

 

Foujita
“Helen Morgan Jr. And Jean Malin at the Smart Club Abbey”
Vanity Fair
February 1931
Private collection

 

 

Léonard Tsuguharu Foujita (藤田 嗣治 Fujita Tsuguharu, November 27, 1886 – January 29, 1968) was a Japanese-French painter and printmaker born in Tokyo, Japan, who applied Japanese ink techniques to Western style paintings. He has been called “the most important Japanese artist working in the West during the 20th century”. His Book of Cats, published in New York by Covici Friede, 1930, with 20 etched plate drawings by Foujita, is one of the top 500 (in price) rare books ever sold, and is ranked by rare book dealers as “the most popular and desirable book on cats ever published”.

 

André Tellier. 'Twilight Men' (Greenberg, New York) 1931

 

André Tellier
Twilight Men (Greenberg, New York)
1931
Fales Library and Special Collections, New York University

 

 

First published in 1931, this is an extremely uncommon early novel set in New York City of homosexuality and a young man whose gay tendencies infuriates his father, who attempts to set him upon the “path of normality” by hiring a mistress to seduce him.

“Like many early gay novels, the book does not have a happy ending: the main character becomes addicted to drugs, murders his father, and kills himself. This theme (the gay monster or the gay degenerate) occurs very frequently before the 1960’s. Originally, this was the only way that a book with any kind of gay themes could even be published; that is, it was only palatable – or even legal – to feature a gay protagonist if that person “gets what’s coming to him” in the end.

The February 1934 issue of Chanticleer, a gay literary “magazine,” includes reviews by Henry Gerber of several novels, including Twilight Men. He wrote: “TWILIGHT MEN, by Andre Tellier, deals with a young Frenchman, who comes to America, is introduced into homosexual society in New York, becomes a drug addict for no obvious reason, finally kills his father and commits suicide. It is again excellent anti-homosexual propaganda, although the plot is too silly to convince anyone who has known homosexual people at all.”

Little has been written about the author, Andre Tellier, himself. He wrote other books, including A Woman of Paris, The Magnificent Sin, Vagabond April, and Witchfire; but nothing else is really known about him.” (Text from the Somewhere Books website)

 

Blair Niles. 'Strange Brother' (Horace Liveright, New York) 1931

 

Blair Niles
Strange Brother (Horace Liveright, New York)
1931
Fales Library and Special Collections, New York University

 

 

Strange Brother is a gay novel written by Blair Niles published in 1931. The story is about a platonic relationship between a heterosexual woman and a gay man and takes place in New York City in the late 1920s and early 1930s. Strange Brother provides an early and objective documentation of homosexual issues during the Harlem Renaissance.

Mark Thornton, the story’s protagonist, moves to New York City in hopes of feeling like less of an outsider. At a nightclub in Harlem he meets and befriends June Westbrook. One night they witness a man named Nelly being arrested. June encourages Mark to investigate. This leads Mark to attend Nelly’s trial, where he is found guilty and sentenced to six months’ imprisonment on Welfare Island for his feminine affections and gestures. Next Mark researches the crimes against nature sections of the penal code. Shaken up by his findings and the events, Mark confesses his own homosexuality to June.

Mark and June’s friendship continues to grow, and June introduces Mark to a number of friends in her social circle. Various social interactions ensue including a dinner party for a departing professor, a trip to a nightspot featuring a singer called Glory who sings Creole Love Call and attending a drag ball. Despite reading Walt Whitman’s poetry collection Leaves of Grass, Edward Carpenter’s series of papers Love’s Coming of Age, and Countee Cullen’s poetry, Mark is afraid to come out. Subsequently, Mark is threatened with being outed at work. In response to this threat, Mark commits suicide by shooting himself.

Text from the Wikipedia website

 

Ann Bannon. 'I Am a Woman' (Gold Medal Books, New York) 1959

 

Ann Bannon
I Am a Woman (Gold Medal Books, New York)
1959
Private collection

 

 

The classic 1950s novel from the Queen of Lesbian Pulp. “For contemporary readers the books offer a valuable record of gay and lesbian life in the 1950s. Most are set in Greenwich Village, and Ms. Bannon’s descriptions of bars, clubs and apartment parties vividly evoke a vanished community. Her characters also have historical value. Whereas most lesbians in pulp are stereotypes who get punished for their desires, Beebo and her friends are accessibly human. Their struggles with love and relationships are engrossing today, and half a century ago they were revolutionary.” ~ New York Times “Sex. Sleeze. Depravity. Oh, the twisted passions of the twilight world of lesbian pulp fiction.” ~ Chicago Free Press “Little did Bannon know that her stories would become legends, inspiring countless fledgling dykes to flock to the Village, dog-eared copies of her books in hand, to find their own Beebos and Lauras and others who shared the love they dared not name.” ~ San Francisco Bay Guardian “Ann Bannon is a pioneer of dyke drama.” ~ On Our Backs “When I was young, Bannon’s books let me imagine myself into her New York City neighborhoods of short-haired, dark-eyed butch women and stubborn, tight-lipped secretaries with hearts ready to be broken. I would have dated Beebo, no question.” ~ Dorothy Allison “Bannon’s books grab you and don’t let go.”  ~ Village Voice

 

'The Young Physique' October/November 1964

 

The Young Physique
October/November 1964
Collection of Kelly McKaig

 

 

'Muscleboy' March/April 1965

 

Muscleboy
March/April 1965
Collection of Kelly McKaig

 

Design by Gran Fury for Art Against AIDS/On The Road and Creative Time, Inc. 'Kissing Doesn't Kill: Greed and Indifference Do' 1989

 

Design by Gran Fury for Art Against AIDS/On The Road and Creative Time, Inc.
Kissing Doesn’t Kill: Greed and Indifference Do
1989
Bus poster
Gran Fury, Courtesy The New York Public Library Manuscripts and Archives Division

 

Placemaking: Cruising

Anonymous photographer. 'New York City street photograph' 1960s

 

Anonymous photographer
New York City street photograph
1960s
Collection of Philip Aarons and Shelley Fox Aarons, New York

 

Leonard Fink. 'Charley Inside Ramrod' c. 1976

 

Leonard Fink
Charley Inside Ramrod
c. 1976
Courtesy LGBT Community Center National History Archive

 

 

THE RAMROD, 394 West Street, (between Charles and West 10th Streets). Constructed in the 1850’s this building (actually two, that were attached) housed S. J. Seely & Co., a lime dealer, and C. August, (on the corner) a porter house, and private residence. In the late 70’s it was one of the most popular leather bars in New York. Attracting a large motorcycle clientele, West Street always had a plethora of bikes parked out front. The doorman, Rico, had a long black bushy beard, and an ever present black cowboy hat, also he wore on his hand a glove with sharp stainless steel blades attached to it, (sort of a precursor to Freddie Kruger). The bar, and Rico could be very intimidating, if you were new, or “Brown” as the uninitiated were called… referring to the brown leather they wore.

Greenwich Village: A Gay History

 

In June 1993, the Estate of Leonard Fink donated a photographic collection to The Center in New York City through its executor, Steven E. Bing. The materials in the Fink Estate was willed to four AIDS related organisations who gave all of the rights to the photos to the Center Archive. Some of these were signed “Len Elliot,” which might have ben a pseudonym of Fink’s. The collection consists of over 25,000 negatives and images capturing Greenwich Village and much of the spirit of the late 60s and 70s. Some of the most well known images in the collection are Fink’s work at “The Piers” along the Hudson River. Fink documented over 25 years of gay life in New York City but his photography was never exhibited or published in his lifetime. He was self taught and used an old 35mm camera while working out of a homemade darkroom in his West 92nd Street apartment.

Text from the Gay Cities website

 

Leonard Fink was an amateur photographer who documented over 25 years of gay life in New York including parades, bars, and especially the west side piers. He worked in complete obscurity and was apparently very reclusive. His photographs were seen by only a few close friends and were never exhibited or published in his lifetime. He seems to have taught himself photography using an old 35mm camera and a homemade darkroom in his small apartment on West 92nd street. He lived frugally, spending much of his income on photographic supplies which he bought in bulk and stored in his darkroom and his bedroom. He stored the prints and negatives in a file cabinet. By the time of his death, the photos in the file cabinet covered a period from 1954 to 1992. His photographs of gay life begin with groups of gay men photographed in Greenwich Village in 1967. His photographs of Gay Pride parades begin with the first parade in 1970. His earlier photographs are of friends, trips to Europe, and scenes in New York. Leonard Fink was a colourful and ubiquitous character in the Village and at Pride parades, usually appearing on roller skates in short cut-offs, and a tight t-shirt with cameras always around his neck. He sometimes arrived on a bicycle or a motorcycle. He was born in 1930. His father and older brother were both physicians. He worked for many years as an attorney for the New York Transit Authority. He died of AIDS in 1993.

Text from The Center website

 

Posing

 

James VanDerZee. 'Beau of the Ball' 1926

 

James VanDerZee
Beau of the Ball
1926
Gelatin silver print
Donna Mussenden VanDerZee

 

 

James Van Der Zee (June 29, 1886 – May 15, 1983) was an African-American photographer best known for his portraits of black New Yorkers. He was a leading figure in the Harlem Renaissance. Aside from the artistic merits of his work, Van Der Zee produced the most comprehensive documentation of the period. Among his most famous subjects during this time were Marcus Garvey, Bill “Bojangles” Robinson and Countee Cullen…

Van Der Zee worked predominantly in the studio and used a variety of props, including architectural elements, backdrops, and costumes, to achieve stylized tableaux vivant in keeping with late Victorian and Edwardian visual traditions. Sitters often copied celebrities of the 1920s and 1930s in their poses and expressions, and he retouched negatives and prints heavily to achieve an aura of glamour…

Works by Van Der Zee are artistic as well as technically proficient. His work was in high demand, in part due to his experimentation and skill in double exposures and in retouching negatives of children. One theme that recurs in his photographs was the emergent black middle class, which he captured using traditional techniques in often idealistic images. Negatives were retouched to show glamor and an aura of perfection. This affected the likeness of the person photographed, but he felt each photo should transcend the subject. His carefully posed family portraits reveal that the family unit was an important aspect of Van Der Zee’s life. “I tried to see that every picture was better-looking than the person.” “I had one woman come to me and say ‘Mr.Van Der Zee my friends tell thats a nice picture, But it doesn’t look like you.’ That was my style.” Said Van Der Zee.

Text from the Wikipedia website

 

Carl Van Vechten. 'Anna May Wong' 1932

 

Carl Van Vechten
Anna May Wong
1932
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Little known today, Carl Van Vechten was a prolific novelist, critic, photographer, and promoter of all things modern, most actively engaged in the city’s cultural life during the 1920s and ’30s. The City Museum is rich in Van Vechten materials; its collections include about 2,200 photographs taken by him and 3,000 Christmas cards sent to him and his wife, film and theater actress Fania Marinoff. Taken together, they chronicle Van Vechten’s influential circles of friends and colleagues – a hybrid mash-up that defines the modern America at the heart of White’s new book. Images and correspondence in the City Museum’s collection range from Harlem Renaissance poet Langston Hughes to writer Zelda Fitzgerald (wife of F. Scott), and playwright Eugene O’Neill.

Around 1920 Van Vechten gave up journalism for fiction and over the next decade wrote hotly debated novels about Jazz Age Manhattan. His 1923 book The Blind Bow-Boy, for example, is a classic of gay camp and a public expression of Van Vechten’s sexual orientation; while he and Marinoff were married from 1914 until Van Vechten’s death in 1964, he had numerous homosexual relationships… Van Vechten’s role in the Harlem Renaissance remains a controversial topic. To some he’s a valuable bridge between white and black New Yorkers, to others he’s an outsider who patronised and exploited his African-American subjects…

Carl Van Vechten abandoned writing altogether in the early 1930s and embraced photography, a field he would pursue until his death. All told, it is estimated that Van Vechten took some 15,000 photographs. Because his inherited wealth offered him financial independence, Van Vechten took pictures for his own pleasure, usually inviting local and visiting celebrities to a studio he set up in his own apartment. While Van Vechten was aware of the stylistic artifice of such contemporary commercial photographers as Edward Steichen and Cecil Beaton, he stood apart from them. He used a small-format camera, and his aesthetic, which included deep and dramatic shadows that sometimes obscured his subjects’ faces, resulted in picture-making that was far more immediate and spontaneous than that of his contemporaries. Using this technique, Van Vechten photographed musicians Billie Holiday and George Gershwin, Hollywood actors Laurence Olivier and Anna May Wong, and writers Sinclair Lewis and Clifford Odets, to name only a few. The sum of Van Vechten’s work, according to photography historian Keith F. Davis, “constitutes the single most integrated vision of American arts and letters produced in his era.”

Donald Albrecht. “Carl Van Vechten and Modern New York,” on the Museum of the City of New York website

 

Anna May Wong (January 3, 1905 – February 3, 1961) was an American actress. She is considered to be the first Chinese American movie star, and also the first Asian American actress to gain international recognition. Her long and varied career spanned silent film, sound film, television, stage and radio…

Wong’s image and career have left a legacy. Through her films, public appearances and prominent magazine features, she helped to humanise Asian Americans to white audiences during a period of overt racism and discrimination. Asian Americans, especially the Chinese, had been viewed as perpetually foreign in U.S. society but Wong’s films and public image established her as an Asian-American citizen at a time when laws discriminated against Asian immigration and citizenship. Wong’s hybrid image dispelled contemporary notions that the East and West were inherently different.

See an excellent short biography on the Wikipedia website

 

Carl Van Vechten. 'Hugh Laing' 1941

 

Carl Van Vechten
Hugh Laing
1941
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Hugh Laing (6 June 1911 – 10 May 1988) was one of the most significant dramatic ballet dancers of the 20th-century. He was the partner of choreographer Antony Tudor. Known for his good looks and the intensity of his stage presence, Laing was never considered a great technician, yet his powers of characterisation and his sense of theatrical timing were considered remarkable. His profile as a significant dancer of his era was almost certainly enhanced by Tudor’s choreographing to his undoubted strengths and Laing is generally regarded as one of the finest dramatic dancers of 20th-century ballet. He remained Tudor’s artistic collaborator and companion until the choreographer’s death in 1987.

 

Carl Van Vechten. 'Alvin Ailey' 1955

 

Carl Van Vechten
Alvin Ailey
1955
Gelatin silver print
Museum of the City of New York, Gift of Carl Van Vechten

 

 

Alvin Ailey (January 5, 1931 – December 1, 1989) was an African-American choreographer and activist who founded the Alvin Ailey American Dance Theater in New York City. He is credited with popularizing modern dance and revolutionizing African-American participation in 20th-century concert dance. His company gained the nickname “Cultural Ambassador to the World” because of its extensive international touring. Ailey’s choreographic masterpiece Revelations is believed to be the best known and most often seen modern dance performance…

Ailey made use of any combination of dance techniques that best suited the theatrical moment. Valuing eclecticism, he created more a dance style than a technique. He said that what he wanted from a dancer was a long, unbroken leg line and deftly articulated legs and feet (“a ballet bottom”) combined with a dramatically expressive upper torso (“a modern top”). “What I like is the line and technical range that classical ballet gives to the body. But I still want to project to the audience the expressiveness that only modern dance offers, especially for the inner kinds of things.”

Ailey’s dancers came to his company with training from a variety of other schools, from ballet to modern and jazz and later hip-hop. He was unique in that he did not train his dancers in a specific technique before they performed his choreography. He approached his dancers more in the manner of a jazz conductor, requiring them to infuse his choreography with a personal style that best suited their individual talents. This openness to input from dancers heralded a paradigm shift that brought concert dance into harmony with other forms of African-American expression, including big band jazz.

Text from the Wikipedia website

 

Larry Rivers. 'O'Hara Nude With Boots' 1954

 

Larry Rivers
O’Hara Nude With Boots
1954
Oil on canvas
Collection of the Larry Rivers Foundation

 

 

“Among Rivers’ portraits of the mid-1950s, the most notable and controversial work for a discussion of the relationship among autobiography, sexuality, and art is O’Hara, which he painted during January 1954 as he re-entered an emotional relationship with the sitter. According to [poet Frank] O’Hara’s biographer, Brad Gooch, Rivers and O’Hara had a relatively short, turbulent romance that began in 1952m but during 1953 the two men became involved in other romantic relationships…. Beginning in 1954, however, Rivers and O’Hara resumed their intimate relationship, which then lasted less than a year…

A nude of a contemporary figure on such a huge scale as O’Hara appeared unusual and even controversial in the 1950s New York art world. Rivers recalled that when the painting was first shown at the Whitney Annual in 1955, a guard often stood in front of it to ensure that the painting would not be defaced or damaged: “There was something about the male nude that seemed to be more of a problem than the female nude.” Some contemporary viewers where shocked by O’Hara, given its depiction of a naked male body with meticulous attention to the genitals.”

Dong-Yeon Koh. Larry Rivers and Frank O’Hara: Reframing Male Sexualities Phd dissertation 2006, pp. 196-198.

 

Beauford Delaney. 'James Baldwin' c. 1957

 

Beauford Delaney
James Baldwin
c. 1957
Oil on canvasboard
Halley K. Harrisburg and Michael Rosenfeld, New York

 

 

Beauford Delaney (December 30, 1901 – March 26, 1979) was an American modernist painter. He is remembered for his work with the Harlem Renaissance in the 1930s and 1940s, as well as his later works in abstract expressionism following his move to Paris in the 1950s.

In his Introduction to the Exhibition of Beauford Delaney opening December 4, 1964 at the Gallery Lambert, James Baldwin wrote, “the darkness of Beauford’s beginnings, in Tennessee, many years ago, was a black-blue midnight indeed, opaque and full of sorrow. And I do not know, nor will any of us ever really know, what kind of strength it was that enabled him to make so dogged and splendid a journey.”

 

James Arthur Baldwin (August 2, 1924 – December 1, 1987) was an American novelist, essayist, playwright, poet, and social critic. His essays, as collected in Notes of a Native Son (1955), explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th-century America, and their inevitable if unnameable tensions. Some Baldwin essays are book-length, for instance The Fire Next Time (1963), No Name in the Street (1972), and The Devil Finds Work (1976).

Baldwin’s novels and plays fictionalise fundamental personal questions and dilemmas amid complex social and psychological pressures thwarting the equitable integration not only of black people, but also of gay and bisexual men, while depicting some internalised obstacles to such individuals’ quests for acceptance. Such dynamics are prominent in Baldwin’s second novel, Giovanni’s Room, written in 1956, well before the gay liberation movement.

Text from the Wikipedia website

 

Performing

 

 

New York’s queer cultures gained remarkable visibility on the city’s stages in the 1920 and 1930s. Broadway producers and nightclub owners put on plays and acts exploring gay and lesbian themes. They launched a popular “Panzy Craze,” where minorities where accepted. This period lasted until the mid-1930s when morals and ethics changed because of right-wing pressure. The film code was then in full force to protect society’s “morals” and there was, once more, open hostility towards minorities that latest into the 1970s.

With permission of the Museum of the City of New York for Art Blart

The Museum of the City of New York
Film compiliation
Produced by Cramersound

 

Max Ewing. 'Gallery of Extraordinary Portraits' 1928

 

Max Ewing
Gallery of Extraordinary Portraits
1928
Courtesy Yale University, Beinecke Rare Books and Manuscripts Library

 

 

Max Ewing’s Gallery of Extraordinary Portraits encapsulates the exhibition’s wider exploration of queer communities in 20th-century New York. Ewing was a novelist, composer, pianist, and sculptor who created this gallery in the walk-in closet of his Manhattan studio apartment on West 31st Street. His semi-public closet exhibition paid homage to interracial, gay, and artistic communities with images of friends and celebrities plastered floor to ceiling, corner to corner.

 

Sterling Paige. 'Gladys Bentley at the Ubangi Club in Harlem' early 1930s

 

Sterling Paige
Gladys Bentley at the Ubangi Club in Harlem
early 1930s
Gelatin silver print
Courtesy of the Visual Studies Workshop, Rochester, NY

 

 

1960-1995

Portraits

Andy Warhol

 

Andy Warhol. 'Studies for a Boy Book' exhibition announcement for Bodley Gallery c. 1956

 

Andy Warhol
Studies for a Boy Book exhibition announcement for Bodley Gallery
c. 1956
Offset lithograph Susan Sheehan Gallery, New York

 

Andy Warhol. 'Gee, Merrie Shoes' 1956

 

Andy Warhol
Gee, Merrie Shoes
1956
Hand colored offset lithograph
Susan Sheehan Gallery, New York

 

Andy Warhol. 'Cecil Beaton's Feet' 1961

 

Andy Warhol
Cecil Beaton’s Feet
1961
Black ink on buff wove paper
Philadephia Museum of Art
The Henry P. Mcllhenny Collection in memory of Frances P. Mcllhenny, 1986

 

Cecil Beaton. 'Andy Warhol and Candy Darling, New York' 1969

 

Cecil Beaton
Andy Warhol and Candy Darling, New York
1969
Gelatin silver print
© The Cecil Beaton Studio Archive at Sotheby’s

 

Candy Darling (November 24, 1944 – March 21, 1974) was an American transgender actress, best known as a Warhol Superstar. She starred in Andy Warhol’s films Flesh (1968) and Women in Revolt (1971), and was a muse of the protopunk band The Velvet Underground.

 

 

 

 

Harmony Hammond

 

Liberation News Service #624 July 3, 1974

 

Liberation News Service #624, featuring Harmony Hammond, right, with daughter, Tanya, at the Christopher Street Liberation Day Gay Pride March, photograph by Cidne Hart for Liberation News Service, July 3, 1974
Private collection

 

Harmony Hammond. 'An Oval Braid' 1972

 

Harmony Hammond
An Oval Braid
1972
Charcoal on paper
Courtesy the artist and Alexander Gray Associates, New York

 

Harmony Hammond. 'Fan Lady meets Cactus Lady' 1981

 

Harmony Hammond
Fan Lady meets Cactus Lady
1981
Lithograph
Courtesy the artist and Alexander Gray Associates, New York

 

 

Robert Mapplethorpe

 

Judy Linn. 'Robert Gets Dressed at the Chelsea, #3' 1970

 

Judy Linn
Robert Gets Dressed at the Chelsea, #3
1970
Modern digital print
Courtesy the Artist and Susanne Hilberry Gallery

 

'Gay Power', Volume 1, No 16, April 15, 1970

 

Gay Power, Volume 1, No 16, April 15, 1970
Alternative Press Collection, Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut Libraries

 

Robert Mapplethorpe. 'Light Gallery invitation' 1973

 

Robert Mapplethorpe
Light Gallery invitation
1973
Getty Research Institute, Los Angeles California

 

Ultra Violet modeling Mapplethorpe-designed jewelry, c. 1975

 

Ultra Violet modeling Mapplethorpe-designed jewelry
c. 1975
Gift of the Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art

 

 

Isabelle Collin Dufresne (stage name Ultra Violet; 6 September 1935 – 14 June 2014) was a French-American artist, author, and both a colleague of Andy Warhol and one of the pop artist’s so-called superstars. Earlier in her career, she worked for and studied with surrealist artist Salvador Dalí. Dufresne lived and worked in New York City, and also had a studio in Nice, France…

In 1954, after a meeting with Salvador Dalí, she became his “muse”, pupil, studio assistant, and lover in both Port Lligat, Spain, and in New York City. Later, she would recall, “I realized that I was ‘surreal’, which I never knew until I met Dalí”. In the 1960s, Dufresne began to follow the progressive American Pop Art scene including Jasper Johns, Robert Rauschenberg and James Rosenquist.

In 1963, Dalí introduced Dufresne to Andy Warhol, and soon she moved into the orbit of his unorthodox studio, “The Factory”. In 1964 she selected the stage name “Ultra Violet” at Warhol’s suggestion, because it was her preferred fashion – her hair color at the time was often violet or lilac. She became one of many “superstars” in Warhol’s Factory, and played multiple roles in over a dozen films between 1965 and 1974…

In the 1980s, she gradually drifted away from the Factory scene, taking a lower profile and working independently on her own art. In her autobiography, published the year after Warhol’s unexpected demise in 1987, she chronicled the activities of many Warhol superstars, including several untimely deaths during and after the Factory years…

In 1990 she opened a studio in Nice and wrote another book detailing her own ideas about art, L’Ultratique. She lived and worked as an artist in New York City, and also maintained a studio in Nice for the rest of her life.

Text from the Wikipedia website

 

Valerie Santagto. 'Robert Mapplethorpe, front, and Jay Johnson in Mapplethorpe designed jewelry' c. 1970-75

 

Valerie Santagto
Robert Mapplethorpe, front, and Jay Johnson in Mapplethorpe designed jewelry
c. 1970-75
Gift of the Robert Mapplethorpe Foundation to The J. Paul Getty Trust and the Los Angeles County Museum of Art

 

Robert Mapplethorpe (American, 1946-1989) 'Jim, Sausalito' 1977

 

Robert Mapplethorpe
X Portfolio with Jim, Sausalito
1978
Black silk clamshell case with gelatin silver print photographs mounted on pure rag board
Designed by John Cheim
Courtesy Yoshi Gallery, New York and Cheim & Read, New York

 

 

Greer Lankton

 

Einsteins installation designed by Paul Monroe for Gay Gotham, 2016

 

Einsteins installation designed by Paul Monroe for Gay Gotham, 2016
Courtesy of Greer Lankton Archives Museum

Greer Lankton
Mini-Einsteins
1987
Cardboard, glass, paint, styrofoam board

Andy Warhol
1990
Fabric, wire, glass, human hair

Teri Toye
1988
Fabric, wire, glass, human hair

Siamese Twins
1988
Paper, wire, fabric

 

Greer Lankton (dolls and photo) 'Einsteins "Circus" window display by Greer Lankton and Paul Monroe' 1986

 

Greer Lankton (dolls and photo)
Einsteins “Circus” window display by Greer Lankton and Paul Monroe
1986
Courtesy Paul Monroe for Greer Lankton Archives Museum

 

 

Greer Lankton (1958 – November 18, 1996) was an American artist known for creating lifelike, sewn dolls that were often modelled on friends and celebrities and posed in elaborate theatrical settings. She was a key figure in the East Village art scene of the 1980s in New York.

Gender and sexuality are recurring themes in Lankton’s art. Her dolls are created in the likeness of those society calls “freaks”, and have often been compared to the surrealist works of Hans Bellmer, who made surreal dolls with interchangeable limbs. She created figures that were simultaneously distressing and glamorous, as if they were both victim and perpetrator of their existence.

In 1981 Lankton was featured in the seminal “New York/New Wave” exhibition at P.S.1 in Long Island City, and began to show her work in the East Village at Civilian Warfare. She gained an almost cult following among East Village residents from her highly theatrical window displays she designed for Einstein’s, the boutique that was run by her husband, Paul Monroe, at 96 East Seventh Street. Besides her more emotionally charged dolls, Lankton also created commissioned portrait dolls. These include a 1989 doll of Diana Vreeland that was commissioned for a window display at Barney’s as well as shrines to her icons, such as Candy Darling.

Critic Roberta Smith described her works in the New York Times as: “Beautifully sewn, with extravagant clothes, make-up and hairstyles, they were at once glamorous and grotesque and exuded intense, Expressionistic personalities that reminded some observers of Egon Schiele. They presaged many of the concerns of 90’s art, including the emphasis on the body, sexuality, fashion and, in their resemblance to puppets, performance.” 

Photographer Nan Goldin said of her work, “Greer was one of the pioneers who blurred the line between folk art and fine art.” She had spots in the prestigious Whitney Biennial and the Venice Biennale, both in 1995, where her busts of Candy Darling, circus fat ladies, and dismembered heads gained her notoriety…

Greer was friends with photographer Nan Goldin, and lived in her apartment in the early 80’s, often posing for her. She also played muse to photographers like David Wojnarowicz and Peter Hujar.

Text from the Wikipedia website

 

“Writing about the wax dolls of German artist Lotte Pritzel (to whom Lankton’s own work bears a strong family resemblance), Rainer Maria Rilke noted: “With the doll we had to assert ourselves, because if we surrendered to it there was nobody there. It made no response, so we got into the habit of doing things for it, splitting our own slowly expanding nature into opposing parts and to some extent using the doll to establish distance between ourselves and the amorphous world pouring into us” [“Dolls: On the Wax Dolls of Lotte Pritzel,” tr. Idris Parry]. This relationship imbues the doll with its “soul,” Rilke writes, arguing that it is the extremity of this attachment that leads us to both desire and reject the doll. Unalterable strangeness: Lankton’s own work is plotted along the rejection-desire axis, granting the work a peculiar levity that hovers between fearsome and friendly…

Lankton’s art is both realistic and unrealistic, a difficult balance that is not unlike Candy Darling’s work as an actor, which often operated at the juncture between self-conscious play and unanticipated reality to evoke, again, unalterable strangeness. Following Douglas Crimp’s description of the superstar as someone whose “self … recognizes otherness already there in itself [and] performs its own self-alienation” [Our Kind of Movie: The Films of Andy Warhol, Cambridge: MIT Press, 2012], Lankton likewise performs the double work of representing bodies (hers and others) while asserting their alienation. Darling rehearsed and played herself in order to be someone else. It might be said that Lankton rehearsed and played others in order to be herself.”

Extract from “Unalterable Strangeness: Andrew Durbin and Paul Monroe on Greer Lankton,” on the Flash Art website, March – April 2015

 

Paul Monroe. 'Chanel No. 5 earrings' 1985

 

Paul Monroe
Chanel No. 5 earrings
1985
Glass (actual miniature Chanel products filled with No. 5), 14k gold wire and glass pearls

Candelabra ring
1986
Metal, chain, glass jewels and wax

Paul Monroe and Greer Lankton
Teri Toye necklace
1985
Clay, acrylic paint, gold metal chain and rhinestones

Einsteins promotional cards 1986-1992
Einsteins business card, 1985

 

Nan Goldin. 'Greer Lankton and Paul Monroe wedding' 1987

 

Nan Goldin
Greer Lankton and Paul Monroe wedding
1987
Greer Lankton Archives Museum

 

 

Bill T. Jones

 

Lois Greenfield. 'Bill T. Jones and Arnie Zane' 1982

 

Lois Greenfield
Bill T. Jones and Arnie Zane
1982
Modern print Courtesy Lois Greenfield Studio

 

Robert Mapplethorpe. 'Studio Portrait (Bill T. Jones and Arnie Zane)' 1986

 

Robert Mapplethorpe
Studio Portrait (Bill T. Jones and Arnie Zane)
1986
Private Collection of Bill T. Jones

 

Tseng Kwong Chi. 'Bill T. Jones Body Painting with Keith Haring' 1983

 

Tseng Kwong Chi
Bill T. Jones Body Painting with Keith Haring
1983
Silver gelatin selenium-toned print
© Muna Tseng Dance Projects, Inc., New York. Body Drawing on Bill T. Jones by Keith Haring
© 1983 Keith Haring Foundation

 

Huck Snyder. Small mask from 'Last Supper at Uncle Tom's Cabin' 1990

 

Huck Snyder
Small mask from Last Supper at Uncle Tom’s Cabin
1990
Painted cardboard and fabric
New York Live Arts

 

 

Huck Snyder was a visual artist and a designer of vivid stage settings for dancers and performance artists. He created sets and stage furniture that were surrealistic yet extremely simple and almost childlike at times. Imaginative and free in their execution and unmistakably his work, his sets often seemed inseparable from the vision of the performers with whom he worked. Huck had designed stage sets for the performance artist John Kelly beginning with sets for Diary of a Somnambulist in 1985…

Mr. Snyder also created sets for dances by Bill T. Jones and Bart Cook, and for theater pieces by Ishmael Houston-Jones. He conceived, directed and designed his own work “Circus,” a performance-art piece presented in 1987 at La Mama E.T.C. Mr. Snyder’s work has been displayed at the Lincoln Center for the Performing Arts, the Brooklyn Academy of Music and the Dance Theater Workshop in New York. His paintings and installations have been exhibited at galleries throughout the United States and in solo and group shows in Europe and Japan.

Text from the Visual AIDS website

 

 

Themes

Downtown

 

'Shazork! invitation, Danceteria' late 1980s

 

Downtown invitations
Shazork! invitation, Danceteria
Late 1980s
Museum of the City of New York, Gift of Carrie Goteiner and Miriam Montaug Ashkenazy in memory of Haoui Montaug

 

Peter Hujar. 'Quentin Crisp' 1982

 

Peter Hujar
Quentin Crisp
1982
Vintage gelatin silver print
© The Peter Hujar Archive; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Quentin Crisp was born Denis Charles Pratt in Surrey, England, on December 25, 1908. A self-described flamboyant homosexual, Crisp changed his name in his early 20s as part of his process of reinvention. Teased mercilessly at school as a boy, Crisp left school in 1926. He studied journalism at King’s College London, but failed to graduate. He then moved on to take art classes at Regent Street Polytechnic. Crisp began visiting the cafés of Soho, London, and even worked as a prostitute for six months. Crisp was always true to himself and expressed himself by dying his long hair lavender, polishing his fingernails and toenails, and dressing in an often androgynous style. Despite the ridicule and violence often directed toward him, Crisp carried on. He tried to join the army with the outbreak of World War II, but was rejected by the medical board, who determined that he was suffering from sexual perversion. Instead, Crisp remained in London during the Blitz, entertaining American GIs, whose friendliness inculcated a love for Americans.

Crisp held a number of jobs, including engineer’s tracer, life model, and author. His most famous work, The Naked Civil Servant, detailed his life in a homophobic British society. When the book was adapted for television, Crisp began a new career as a performer and lecturer. He moved to Manhattan in 1981, when he was 72 years old; settling in a studio apartment in the Bowery. Upon meeting and spending time with Crisp, Sting was inspired to pen his hit song, “An Englishman in New York.”

Crisp continued to tour, write, and lecture; including instructions on how to live life with style and the importance of manners. Crisp landed a few roles on American television and the 1990s became his busiest decade as an actor. In 1992, Crisp took on the role of Elizabeth I in the film Orlando.

Quentin Crisp died in November 1999, just shy of his 91st birthday, while touring his one-man show.

Text from the Biography website

 

Peter Hujar. 'Susan Sontag' 1975, printed 2014

 

Peter Hujar
Susan Sontag
1975, printed 2014
Pigmented ink print
© The Peter Hujar Archive; Courtesy Pace/MacGill Gallery, New York and Fraenkel Gallery, San Francisco

 

 

Peter Hujar (born 1934) died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. He was a consummate technician, and his portraits of people, animals, and landscapes, with their exquisite black-and-white tonalities, were extremely influential. Highly emotional yet stripped of excess, Hujar’s photographs are always beautiful, although rarely in a conventional way. His extraordinary first book, Portraits in Life and Death, with an introduction by Susan Sontag, was published in 1976, but his “difficult” personality and refusal to pander to the marketplace insured that it was his last publication during his lifetime.

Text from the Peter Hujar Archive website

 

Susan Sontag (January 16, 1933 – December 28, 2004) was an American writer, filmmaker, teacher, and political activist. She published her first major work, the essay “Notes on ‘Camp'”, in 1964. Her best-known works include On Photography, Against Interpretation, Styles of Radical Will, The Way We Live Now, Illness as Metaphor, Regarding the Pain of Others, The Volcano Lover, and In America.

Sontag was active in writing and speaking about, or travelling to, areas of conflict, including during the Vietnam War and the Siege of Sarajevo. She wrote extensively about photography, culture and media, AIDS and illness, human rights, and communism and leftist ideology. Although her essays and speeches sometimes drew controversy, she has been described as “one of the most influential critics of her generation.” …

It was through her essays that Sontag gained early fame and notoriety. Sontag wrote frequently about the intersection of high and low art and expanded the dichotomy concept of form and art in every medium. She elevated camp to the status of recognition with her widely read 1964 essay “Notes on ‘Camp’,” which accepted art as including common, absurd and burlesque themes.

In 1977, Sontag published the series of essays On Photography. These essays are an exploration of photographs as a collection of the world, mainly by travelers or tourists, and the way we experience it… She became a role-model for many feminists and aspiring female writers during the 1960s and 1970s.

Text from the Wikipedia website

 

 

Printing

 

Liza Cowan (designer) 'DYKE, A Quarterly' c. 1974

 

Liza Cowan (designer)
DYKE, A Quarterly
c. 1974
Flyer
Courtesy Liza Cowan and Penny House

 

'DYKE, A Quarterly Call for poster design flyer' 1976

 

DYKE, A Quarterly Call for poster design flyer
1976
Illustration by Liza Cowan Penny House

 

'Christopher Street' September 1977

 

Christopher Street
September 1977
Private collection

 

'Christopher Street' June 1978

 

Christopher Street
June 1978
Private collection

 

Edmund White. 'Nocturnes for the King of Naples' Paperback edition with cover art by Mel Odom, 1980

 

Edmund White
Nocturnes for the King of Naples
Paperback edition with cover art by Mel Odom, 1980 (originally published 1978)
Private collection

 

'New York Magazine' June 20, 1994

 

New York Magazine
June 20, 1994
1994
Courtesy New York Magazine

 

 

Posing

 

Eva Weiss. 'From left, Lois Weaver, Peggy Shaw, and Deb Margolin performing as Split Britches in 'Upwardly Mobile Home'' 1984

 

Eva Weiss
From left, Lois Weaver, Peggy Shaw, and Deb Margolin performing as Split Britches in ‘Upwardly Mobile Home’
1984
Contemporary archival print
Courtesy Eva Weiss Photography

 

Alice O'Malley. 'Melanie Hope, Clit Club' c. 1992

 

Alice O’Malley
Melanie Hope, Clit Club
c. 1992
Vintage gelatin silver print
Alice O’Malley Photography

 

Tseng Kwong Chi. 'New York, NY (Statue of Liberty)' 1979

 

Tseng Kwong Chi
New York, NY (Statue of Liberty)
1979
Gelatin silver print
Muna Tseng Dance Projects Inc.

 

 

Tseng Kwong Chi, known as Joseph Tseng prior to his professional career (Chinese: 曾廣智; c. 1950 – March 10, 1990), was a Hong Kong-born American photographer who was active in the East Village art scene in the 1980s.

Tseng was part of an circle of artists in the 1980s New York art scene including Keith Haring, Kenny Scharf, and Cindy Sherman. Tseng’s most famous body of work is his self-portrait series, East Meets West, also called the “Expeditionary Series”. In the series, Tseng dressed in what he called his “Mao suit” and sunglasses (dubbed a “wickedly surrealistic persona” by the New York Times), and photographed himself situated, often emotionlessly, in front of iconic tourist sites. These included the Statue of Liberty, Cape Canaveral, Disney Land, Notre Dame de Paris, and the World Trade Center. Tseng also took tens of thousands of photographs of New York graffiti artist Keith Haring throughout the 1980s working on murals, installations and the subway. In 1984, his photographs were shown with Haring’s work at the opening of the Semaphore Gallery’s East Village location in a show titled “Art in Transit”. Tseng photographed the first Concorde landing at Kennedy International Airport, from the tarmac. According to his sister, Tseng drew artistic influence from Brassai and Cartier-Bresson.

Text from the Wikipedia website

 

Chantal Regnault. 'From left, Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon, House of Jourdan Ball, New Jersey' 1989

 

Chantal Regnault
From left, Whitney Elite, Ira Ebony, Stewart and Chris LaBeija, Ian and Jamal Adonis, Ronald Revlon, House of Jourdan Ball, New Jersey
1989
Gelatin silver print
© Chantal Regnault

 

 

Museum of the City of New York
1220 Fifth Ave at 103rd St.,

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Open Daily 10am – 6pm

Museum of the City of New York website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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