Posts from the “1970s” Category

Araki: Impossible Love – Vintage Photographs

Posted on March 20, 2019

Photo: Ohne Titel, a.d.S. The Days We Were Happy, 1975 © Nobuyoshi Araki. Courtesy of Privatsammlung Eva Felten

For over half a century, Japanese photographer Nobuyoshi Araki has devoted himself to plumbing the depths of that which is most intimate – the invisible, intangible spirit that animates our very flesh. In his hands, the erotic transcends the mere functionality of pornography and reveals the raw intensity of the emotional, physical, and psychological self that gives sex its power.

At 78, the prolific artist has published over 500 books, including his latest offering Araki: Impossible Love – Vintage Photographs, out today. Arranged chronologically, the book maps Araki’s oeuvre as it unfolds, transforming his photo diary into a visual autobiography of a singular, subversive life in art.

Read the Full Story at AnOther

Kinbaku, 2010, Polaroid
© Nobuyoshi Araki. Courtesy of artspace AM, Tokyo

Categories: 1960s, 1970s, 1980s, 1990s, AnOther, Art, Books, Japan, Photography

Laurie Simmons: Big Camera, Little Camera

Posted on March 17, 2019

Long House (Orange and Green Lounge), 2004. © Laurie Simmons

Have you ever wanted to step into a picture and live in that world? It’s a feeling American artist Laurie Simmons knows very well. “When I was a child, I had a strong desire to enter into the drawings in the storybook,” she says. “I can remember sitting on my mother’s lap and feeling this frustration. I wanted to get inside and walk around with the characters.”

As a member of The Pictures Generation (a group of American artists from the 70s who critically analysed the media), Simmons explores the subject of womanhood through enigmatic images that subvert stereotypes, forcing viewers to question their own assumptions.

40 years in the making, Laurie Simmons: Big Camera, Little Camera, is a major retrospective exhibition and book exploring the construction of gender, identity, reality, and illusion – as well as the photograph itself. Her work stages scenes that become poems, metaphors, and meditations on much larger ideas.

Read the Full Story at Huck Online

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Categories: 1970s, 1980s, 1990s, Art, Books, Exhibitions, Huck, Photography, Women

Bruno Stettler: Als War’s Das Letze Mal

Posted on March 14, 2019

Siouxsie & the Banshees. Baden. 9. 7. 1979 © Bruno Stettler

Musical Youth. Zürich. 1983 © Bruno Stettler

On October 1, 1977, the Clash played Switzerland for the very first time. Their 15-track set at Kaufleuten in Zürich began with “London’s Burning” and “Complete Control” — and somewhere in the audience, 16-year-old Bruno Stettler was taking his very first concert photographs.

Over the next decade, Stettler would go on to take 20,000 photographs at nearly 100 rock concerts around town, capturing the raw intimacy of live shows long before they became overproduced spectacles.

In his new book, Als War’s Das Letze Mal (Sturm & Drang), Stettler takes us on a magical trip through the looking glass, back in the late 1970s and ’80s, when legends like Bob Marley, David Bowie. Iggy Pop, Debbie Harry, Patti Smith, Nina Hagen, and Kraftwerk called the shots.

Read the Full Story at Huck Online

Judas Priest. Zürich 17. 4. 1980 © Bruno Stettler

Categories: 1970s, 1980s, Art, Books, Feature Shoot, Music

Rosalind Fox Solomon: Liberty Theater

Posted on February 27, 2019

Rosalind Fox Solomon, ‘Chattanooga, Tennessee, 1976’ in Liberty Theater (2018). © Rosalind Fox Solomon. Courtesy of the artist and MACK.

Rosalind Fox Solomon, ‘New Orleans, Louisiana, 1992’ in Liberty Theater (2018). © Rosalind Fox Solomon. Courtesy of the artist and MACK.

Beginning in the mid-1970s, American artist Rosalind Fox Solomon traveled across the South creating a powerful series of photographs that reveal the state of the nation during the first decade following the Civil Rights Movement. It is here in Alabama, Georgia, Florida, Louisiana, Mississippi, Tennessee, and South Carolina that we are privy to the complex interconnection of life rooted in the triumphs, tragedies, and traumas of the past.

At the time Fox Solomon started making these images, she had begun taking trips to New York to study photography with Lisette Model, a master of the human psyche laid bare in silver gelatin. Fox Solomon’s work bears witness to the power of photography to cut to the quick, to go beyond the luxuries and limitations of language by focusing solely on action, gesture, and expression to tell us more than word could ever say in a single, fleeting moment.

Fox Solomon’s photographs resonate with quiet grandeur, visceral eccentricity, and profound depth of ineffable emotion. Over the next two decades, she traversed the deepest reaches of the South to create Liberty Theater (MACK), an exquisitely nuanced portrait of the profound interplay of race, class, and segregation.

Read the Full Story at Feature Shoot

Rosalind Fox Solomon, ‘New Orleans, Louisiana, 1993’ in Liberty Theater (2018). © Rosalind Fox Solomon. Courtesy of the artist and MACK.

Categories: 1970s, 1980s, 1990s, Art, Books, Feature Shoot, Photography

The Last Dance Before the Lights Come On

Posted on February 14, 2019

A young Michael Jackson takes to the dance floor. Credit: Courtesy Hasse Persson

In a city filled with history and legend, 1977 might just be New York’s most notorious year, as decadence reached dazzling new heights typified by the flight of the Concorde soaring at the speed of sound overhead. While 100 of the world’s most glamorous jet setters shuttled back and forth above the pond, New York was collapsing into anarchy.

After years of white flight and “benign neglect,” the city was broke. The federal government refused a bailout. Criminal became bold. Arsonists torched the Bronx while landlords collected insurance checks. A serial killer dubbed “Son of Sam” was terrorizing the city and writing letters to the press. Pornography was legalized and prostitution flourished openly on the streets. Then, on one hot night in July, a blackout struck and the city descended into pure chaos.

Amid the madness, a spark had emerged, soaring through the sky like a comet until it burned to dust — Studio 54, the most legendary nightclub ever known. College buddies Steve Rubell and Ian Schrager transformed a former midtown TV studio into a pleasure palace for the senses that took the Warholian ideal of celebrity to new heights, where everyone was a star in their own right.

Read the Full Story at Jacques Marie Mage

Hasse Persson / Courtesy Embassy of Sweden

Categories: 1970s, Art, Fashion, Jacques Marie Mage, Manhattan, Music

Larry Racioppo: Brooklyn Before: Photographs, 1971-1983

Posted on February 7, 2019

John and Michael, 16th Street, 1980 © Larry Racioppo

John’s Caddy, 6th Avenue, 1975 © Larry Racioppo

Back in the 1950s and ‘60s, a movement was afoot. The media called it “white flight” and sang it from the rooftops. The cities were being abandoned as white families ran for the hills of suburban towns just as Black and Latinx populations were finding a foothold in northern climates following the Great Migration, Operation Bootstrap, and Operation Peter Pan.

By the 1970s, a new era had begun — one of fueled by urban decay that left only the most strident New Yorkers in place. It was a city of true grit, where only the strongest survive, a city filled with idiosyncratic characters that were simultaneously celebrated and vilified. It was, simply put, a “New” York in every sense of the word.

Brooklyn native Larry Racioppo headed west for two years before returning to his hometown in December 1970. He took a job at the phone company and a class at SVA, which inspired him to start photographing the world in which he lived. Then little by little, everything began to change.

Read the Full Story at Feature Shoot

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

New York in Photo Books

Posted on February 6, 2019

Life is Good & Good For You in New York by William Klein (1956)

There are eight million stories in the naked city — at any given time. As the years slip away, one fact remains: the only constant is change. “New” is the truth. Nothing ever stays the same, except the photographs. This, my friend, is the only time you can and will ever go home again.

At a certain point, even if you weren’t there, you know the photograph. It’s become a memory of another time and place that has now become a part of a history that ceaselessly fascinates. The city has a curious ability to romanticize the dog-eat-dog Darwinian principles that made Frank Sinatra proudly proclaim, “If I can make it there I can make it anywhere.”

It’s vast, self-aggrandizing sensibilities spring up from the bedrock upon which the city is laid, it’s towering testaments to capitalism lining the island of Manhattan like so many rows of jagged teeth, while the outer lying boroughs nestle around like kin, creating a sprawling mass of magnificent encounters that can only happen in a place like this.

New York is not just photogenic, it’s the very landscape where genres flourish and styles abound — advancing the medium as only a true muse can. In New York in Photo Books (RM/Cento José Guerrero), editor Horacio Fernández takes us on a spellbinding tour of the city that never sleeps in ink on paper.

Read the Full Story at Feature Shoot

New York by Keizo Kitajama (1982)

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Feature Shoot, Photography

The Black Image Corporation

Posted on February 4, 2019

“Buy Black” is a powerful sentiment, one that underscores the radical racial disparity in business ownership throughout American history. Political capital has long been gained by catering to the economic interests of various groups, except Black communities — which have been historically met with violence.

“I do not expect the white media to create positive Black male images,” Huey Newton sagely observed, witnessing the impact of centuries of image making on the minds of the populace, whether wholly erasing histories, or revising them resale so that nothing in the new version resembled the truth.

“Freedom of the press is guaranteed only to those who own one,” journalist A.J. Liebling wrote in The New Yorker in 1960, acknowledging a lifetime’s wisdom in a dozen words. Representation and visibility or only half the story being told: it’s not just the who, what, and where that matter but the how and the why that tell you everything you need to know.

Defamed by fake news long before the term became popular, Black America always finds a way to transcend the limitations constantly imposed. In 1942, businessman John J. Johnson founded the Johnson Publishing Company in Chicago, premiering its flagship publication, Ebony, three years later. In 1951, Jet, a weekly digest, debuted. Together, Ebony and Jet, creating the defining image of Black America during the tumultuous years of the twentieth-century, creating a space wholly for itself that drew a loyal audience excited to catch the latest in the glossies. In 2016, Johnson sold both magazine, marking the end of an era.

Read the Full Story at Feature Shoot

Categories: 1960s, 1970s, 1980s, Art, Exhibitions, Feature Shoot, Photography

Implicit Tensions: Mapplethorpe Now

Posted on January 25, 2019

Robert Mapplethorpe Pictures / Self Portrait, 1977 Gelatin silver print, 35.1 x 34.6 cm Solomon R. Guggenheim Museum, New York Gift, The Robert Mapplethorpe Foundation 93.4281 © Robert Mapplethorpe Foundation. Used by permission.

Just 42 years old at the time of his death, Robert Mapplethorpe’s legacy was already set. A visionary with impeccable instincts and a taste for the extreme, Mapplethorpe was driven by the desire to reveal beauty in its many forms: be it in flowers or fetishes.

For Mapplethorpe, the photograph was a space for transformation, liberation, and freedom to subvert, transgress, and ultimately reclaim gender and sexuality for himself, and by extension, the world. His early collaborations with Patti Smith established them as icons of an emerging avant-garde scene in the New York underground. When he met curator Sam Wagstaff in 1972, they became engaged in a personal and professional relationship that would bind them together until death.

With both homosexuality and pornography being decriminalised in the United States, Mapplethorpe deftly centred the margins in his work, taking domination to new heights by making the viewer submit to his terms. 30 years after his death, Mapplethorpe’s mastery reveals itself to be a prescient, powerful force that is particularly poignant in recognition of all that was lost.

On January 25, Implicit Tensions: Mapplethorpe Now opens at the Solomon R. Guggenheim Museum in New York. In celebration of the exhibition, we spoke with artists, journalists, and filmmakers who share their encounters with Mapplethorpe over the years.

Read the Full Story at AnOther Man

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

Punk Lust: Raw Provocation 1971-1985

Posted on January 22, 2019

Ruby Ray, Penelope on Leopard, 1977, Pigment Print. Courtesy of the artist

“If punk had to have a motto, it wouldn’t have been ‘let’s fuck,’ but ‘fuck you,’” cultural critic Carlo McCormick writes in the introduction to Punk Lust: Raw Provocation 1971-1985, the exhibition he has co-curated with writer Vivien Goldman and Lissa Rivera, Curator at the Museum of Sex in New York. “Forget the romance, this was urgency, necessity, born as much of boredom as from desire.”

Featuring over 300 artifacts drawn from galleries and collectors around the globe, Punk Lust features work from photographers Adrian Boot, Bob Gruen, GODLIS, Janette Beckman, Jenny Lens, Ruby Ray, Marcia Resnick, and Roberta Bayley; fashion designers BOY, Malcolm McLaren and Vivienne Westwood, and Maripol; artists and filmmakers Amos Poe, Jamie Reid, Arturo Vega, Linder Sterling, and Raymond Pettibon, among many others. Despite the massive scope of the project, Rivera says that “everything wove together beautifully.”

Read the Full Story at Huck Online

Sniffin’ Glue, No. 8, March 1977, Fanzine. Toby Mott/Mott Collection, London

Categories: 1970s, 1980s, Art, Exhibitions, Music, Photography

Evenlyn Hofer: New York

Posted on January 15, 2019

There are moments when you find yourself gazing upon a photograph feeling as though you were there. In the silence of the still image, you can feel the breeze caress your hair as the steady of flow of traffic hums along. The sun warms your back as you take it all in. It’s like you are there; of course, you are not, but the image gets transferred into your memory anyway. You now have a memory of witnessing something someone else saw, and all of the attendant emotions it caused. Can you be nostalgic about someone else’s life? It’s the question that comes up time and again in Evelyn Hofer: New York (Steidl).

The monograph itself, begins with a reference to an older time, drawing inspiration from the classic 1965 book New York Proclaimed, which features an in-depth essay by V. S. Pritchett and photos by Hofer before moving on to include a selection of previously unpublished photos made during early ‘70s throughout. Evelyn Hofer’s New York is the city of one who knows it well, who traverses its streets, parks, and bridges. It is the landscape of a True Yorker who loves it all: the glass and steel, the flesh and bone, the lives to be found everywhere you look.

Read the Full Story at Feature Shoot

Categories: 1960s, 1970s, Art, Books, Feature Shoot