MUSE Honoring the Robert Mapplethorpe Foundation
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Mapplethorpe: Assault with a Deadly Camera
How To Quote This Material ©Jack Fritscher www.JackFritscher.com Mapplethorpe: Assault with a Deadly Camera — Take 2: Pentimento for Robert Mapplethorpe Manuscript TAKE 2 © JackFritscher.com PENTIMENTO FOR ROBERT MAPPLETHORPE FETISHES, FACES, AND FLOWERS Of EVIL1 “He wanted to see the devil in us all... The man who liberated S&M Leather into international glamor... The man Jesse Helms hates... The man whose epic movie-biography only Ken Russell could re-create...” Photographer Mapplethorpe: The Whitney, the NEA and censorship, Schwarzenegger, Richard Gere, Susan Sarandon, Paloma Picasso, Hockney, Warhol, Patti Smith, Scavullo, sex, drugs, rock ’n’ roll, S&M, flowers, black leather, fists, Allen Ginsberg, and, once-upon-a-time, me... The pre-AIDS past of the 1970s has become a strange country. We lived life differently a dozen years ago. The High Time was in full upswing. Liberation was in the air, and so were we, performing nightly our high-wire sex acts in a circus without nets. If we fell, we fell with splendor in the grass. That carnival, ended now, has no more memory than the remembrance we give it, and we give remembrance here. In 1977, Robert Mapplethorpe arrived unexpectedly in my life. I was editor of the San Francisco—based international leather magazine, Drummer, and Robert was a New York shock-and-fetish photographer on the way up. Drummer wanted good photos. Robert, already infamous for his leather S&M portraits, always seeking new models with outrageous trips, wanted more specific exposure within the leather community. Our mutual, professional want ignited almost instantly into mutual, personal passion. -
Art in America, March 1, 2016. Robert Mapplethorpe
Reid-Pharr, Robert. “Putting Mapplethorpe In His Place,” Art in America, March 1, 2016. Robert Mapplethorpe: Self-Portrait, 1988, platinum print, 23⅛ by 19 inches. With a retrospective for the celebrated photographer about to open at two Los Angeles institutions, the author reassesses the 1990 “X Portfolio” obscenity trial, challenging its distinction between fine art and pornography. Americans take their art seriously. Stereotypes about Yankee simplicity and boorishness notwithstanding, we are a people ever ready to challenge each other’s tastes and orthodoxies. And though we always seem surprised when it happens, we can quite efficiently use the work of artists as screens against which to project deeply entrenched phobias regarding the nature of our society and culture. In hindsight it really was no surprise that the traveling retrospective “Robert Mapplethorpe: The Perfect Moment” would so fiercely grip the imaginations of artists, critics, politicians and laypersons alike. Curated by Janet Kardon of the Institute of Contemporary Arts (ICA) in Philadelphia, the exhibition opened in December of 1988, just before the artist’s death in March of 1989. It incorporated some of Mapplethorpe’s best work, including stunning portraits and still lifes. What shocked and irritated some members of his audiences, however, were photographs of a naked young boy and a semi-naked girl as well as richly provocative erotic images of African-American men and highly stylized photographs of the BDSM underground in which Mapplethorpe participated. Indeed, much of what drew such concentrated attention to Mapplethorpe was the delicacy and precision with which he treated his sometimes challenging subject matter. -
Triptych Eyes of One on Another
Saturday, September 28, 2019, 8pm Zellerbach Hall Triptych Eyes of One on Another A Cal Performances Co-commission Produced by ArKtype/omas O. Kriegsmann in cooperation with e Robert Mapplethorpe Foundation Composed by Bryce Dessner Libretto by korde arrington tuttle Featuring words by Essex Hemphill and Patti Smith Directed by Kaneza Schaal Featuring Roomful of Teeth with Alicia Hall Moran and Isaiah Robinson Jennifer H. Newman, associate director/touring Lilleth Glimcher, associate director/development Brad Wells, music director and conductor Martell Ruffin, contributing choreographer and performer Carlos Soto, set and costume design Yuki Nakase, lighting design Simon Harding, video Dylan Goodhue/nomadsound.net, sound design William Knapp, production management Talvin Wilks and Christopher Myers, dramaturgy ArKtype/J.J. El-Far, managing producer William Brittelle, associate music director Kathrine R. Mitchell, lighting supervisor Moe Shahrooz, associate video designer Megan Schwarz Dickert, production stage manager Aren Carpenter, technical director Iyvon Edebiri, company manager Dominic Mekky, session copyist and score manager Gill Graham, consulting producer Carla Parisi/Kid Logic Media, public relations Cal Performances’ 2019 –20 season is sponsored by Wells Fargo. ROOMFUL OF TEETH Estelí Gomez, Martha Cluver, Augusta Caso, Virginia Kelsey, omas McCargar, ann Scoggin, Cameron Beauchamp, Eric Dudley SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS Lisa Oman, executive director ; Eric Dudley, artistic director Susan Freier, violin ; Christina Simpson, viola ; Stephen Harrison, cello ; Alicia Telford, French horn ; Jeff Anderle, clarinet/bass clarinet ; Kate Campbell, piano/harmonium ; Michael Downing and Divesh Karamchandani, percussion ; David Tanenbaum, guitar Music by Bryce Dessner is used with permission of Chester Music Ltd. “e Perfect Moment, For Robert Mapplethorpe” by Essex Hemphill, 1988. -
Robert Mapplethorpe
GALERIE THADDAEUS ROPAC ROBERT MAPPLETHORPE ROBERT MAPPLETHORPE CURATED BY HEDI SLIMANE PARIS DEBELLEYME 13 Thursday - 19 Saturday The Thaddaeus Ropac Gallery is pleased to present an important exhibition of works by American photographer Robert Mapplethorpe. Hedi Slimane, the artistic director of Dior Homme, also a photographer in his own right, will curate the show. The concept of the show is to invite a contemporary artist to rediscover a major body of work such as Mapplethorpe's, by reframing the whole, based on his own sensibilities and tastes thus helping us to view the renowned works in a new light. This show follows in the footsteps of a series of exhibits. Previous shows include- « Robert Mapplethorpe: Eye to Eye » organized in 2003 by the American artist Cindy Sherman in New York, as well as the exhibit « Robert Mapplethorpe curated by David Hockney » which took place in London in early 2005. Both Slimane and Mapplethorpe share a passion for photography, and both, by different means, each in his own generation, have defined the mood and aesthetic of the artistic community to which they belong. Hedi Slimane has been given free reign to explore themes that inspire him in Mapplethorpe's work. Last May, in conjunction with the release of his book of photographs of rocks bands, Slimane also edited the layout for the daily paper Libération. We can expect to find, in his selection of works for the show, images that reflect themes in both he and Mapplethorpe's lives where their sensibilities, moods and observations converge. By offering this face-to-face between two creative forces, this event allows us to revisit the work in an intimate, rather than critical manner. -
Robert Mapplethorpe Curated by Arthur Jafa 515 West 24Th Street March 12 – April 24, 2021 Opening March 12, 10Am – 6Pm
Robert Mapplethorpe Curated by Arthur Jafa 515 West 24th Street March 12 – April 24, 2021 Opening March 12, 10am – 6pm Gladstone Gallery is pleased to present a career-spanning exhibition of works by Robert Mapplethorpe curated by artist Arthur Jafa. Comprised of both the iconic studio photographs that are synonymous with Mapplethorpe’s oeuvre as well as a selection of his rarely exhibited Polaroids, Jafa employs the visual sequencing found throughout his own work to reconfigure and destabilize our understanding of the familiar. Orbiting around the concept that re-oriented chains of connotation imbue culturally entrenched imagery with new narrative power, Jafa proposes a fresh reading of works that have long been embraced as art-historical canon. Breaching the tacit barricades that quarantine Mapplethorpe’s classically composed studio work from his notoriously unmitigated depictions of gay sexuality, Jafa’s image selection spans the full arc of Mapplethorpe’s practice. Silver gelatin portraits and still-lifes are displayed with a series of Polaroids that fluctuate between the tender and the transgressive, all of which are granted equal footing in Jafa’s hierarchy-leveling hands. Suggesting that visual information can supply narrative meaning in much the same way as a text, Jafa’s sequencing re- examines the issues of agency and power that reverberate throughout both Mapplethorpe’s work and his own. Of particular interest to Jafa is the literal and metaphorical space between Mapplethorpe and his subjects, the delicate balance between intimacy and formalism that often charges the photographer’s imagery. Sam Wagstaff is here presented as both a lover and public figure—an object of erotic desire and a revered mentor whose varying depictions in Mapplethorpe’s work trespass simultaneously on the public and the private. -
Patti Smith & Robert Mapplethorpe Both Became Art-World Legends and ’70S Icons of Radical Downtown Bohemia
They WERE NEW YORK BEFORE NEW YORK KNEW what to do WITH THEM. They WERE LOVERS, BEST FRIENDS, FELLOW SURVIVORS. PATTI SMITH & ROBERT MAppLETHORPE BOTH BECAME ART-WORLD LEGENDS and ’70S ICONS OF RADICAL DOWNTOWN BOHEMIA. Now SMITH FINALLY OPENS UP about THEIR DAYS together, LIVING at the CHELSEA HOTEL, BUYING ART SUppLIES BEFORE FOOD, MIXING with WARHOL SUPERSTARS and FUTURE ROCK GODS, and DOING WHATEVER they HAD to DO JUST to STAY TOGETHER By CHRISTOPHER BOLLEN THIS SPREAD: PATTI SMITH AND ROBERT MAppLETHOrpE IN NEW YORK, 1970. PHOTOS: NORMAN SEEFF. In 1967, Patti Smith moved to New York City from and a pot of water and I keep diluting it, because it’s certainly hasn’t changed. When I was a kid, I South Jersey, and the rest is epic history. There are not even the coffee, it’s the habit. wore dungarees and little boatneck shirts and the photographs, the iconic made-for-record-cover BOLLEN: That’s my problem. I really don’t braids. I dressed like that throughout the ’50s, to black-and-whites shot by Smith’s lover, soul mate, and smoke cigarettes that much except when I write. the horror of my parents and teachers. co-conspirator in survival, Robert Mapplethorpe. But when I write, I smoke. It’s bad, but I’m scared BOLLEN: Most people take a long time to find Then there are the photographs taken of them that if I break the habit, I won’t be able to write. themselves—if they ever do. How did you catch together, both with wild hair and cloaked in home- SMITH: It’s part of your process. -
The Stieglitz Revolution the Art Show February 28-March 5, 2018 / Booth B12
THE STIEGLITZ REVOLUTION THE ART SHOW FEBRUARY 28-MARCH 5, 2018 / BOOTH B12 Artist, Rebel, Publisher, Philosopher, Promoter and pioneering Gallerist, Alfred Stieglitz (1864- 1946) played the starring role in the emergence and development of American Modernism. In the early years, Stieglitz fostered the pictorialist photography movement, while bringing the most important European avant-garde artists to American shores and the attention of collectors and artists (names such as Cézanne, Rodin, Matisse, Braque, Picasso, Brancusi, Picabia and Severini). Later, he established and promoted the central canonical group of American modernists, including Bluemner, Lachaise, Maurer, Nadelman and Walkowitz. Stieglitz used every imaginable resource to showcase the foundational artists of modernism, and allow the artists he gathered around him to develop a singularly American response to the avant-garde ideas of the early STIEGLITZ’S GALLERIES THE LITTLE GALLERIES OF THE PHOTO-SECESSION 20th century. (“291”) 1905-1917 After 1915, he principally championed American 291 Fifth Avenue (moves to 293 Fifth Avenue in 1908) modernists and the “7 Americans”, formalized ANDERSON GALLERIES 1921-1925 in a 1925 exhibition presenting the work of 489 Park Avenue Demuth, Dove, Hartley, Marin, O’Keeffe, THE INTIMATE GALLERY Strand and Stieglitz himself. His publications, 1925-1929 489 Park Avenue, Room 303 including the influential Camera Work, were instrumental in disseminating his ideas about AN AMERICAN PLACE 1929-1946 photography and modern art to a general public. 509 Madison Avenue, Room 1710 Through his succession of galleries from 1905- 1946, the artists Stieglitz exhibited and the ideas he promoted changed the course of 20th century art in America. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:May 15, 2007 I, Katie Esther Landrigan, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Art History It is entitled: The Photographic Vision of John O. Bowman, “The Undisputed Box-Camera Champion of the Universe” This work and its defense approved by: Chair: Theresa Leininger-Miller, Ph.D. Mikiko Hirayama, Ph.D. Jane Alden Stevens The Photographic Vision of John O. Bowman (1884-1977), “The Undisputed Box-Camera Champion of the Universe” A thesis submitted to the Art History Faculty of the School of Art/College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Master of Arts in Art History Katie Esther Landrigan B.A., Ohio State University April 2006 Thesis Chair: Dr. Theresa Leininger-Miller Abstract In 1936, John Oliver Bowman (1884-1977) purchased his first box camera with seventy- five cents and six coffee coupons. In his hometown of Jamestown, New York, located in the Chautauqua Lake Region, Bowman spent his free time photographing a wide range of subjects, including farmers plowing the fields or the sun setting over Chautauqua Lake from the 1930s until the end of his life. He displayed a Pictorialist sensibility in his photographs of small town living and received worldwide recognition with a solo exhibition of ninety-nine prints at the New York World’s Fair of 1939-1940, as well as nationwide praise in the popular press. Within forty years, Bowman produced an estimated 8,000 gelatin silver prints. This thesis marks the first in- depth, scholarly study of Bowman’s life and work. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Edward Steichen and Hollywood Glamour
University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2014 Edward Steichen and Hollywood Glamour Alisa Reynolds University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Reynolds, Alisa, "Edward Steichen and Hollywood Glamour" (2014). Theses and Dissertations--Art & Visual Studies. 9. https://uknowledge.uky.edu/art_etds/9 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
"Equivalents": Spirituality in the 1920S Work of Stieglitz
The Intimate Gallery and the Equivalents: Spirituality in the 1920s Work of Stieglitz Kristina Wilson With a mixture of bitterness and yearning, Alfred Stieglitz Galleries of the Photo-Secession, where he had shown work wrote to Sherwood Anderson in December 1925 describing by both American and European modernists), the Intimate the gallery he had just opened in a small room in New York Gallery was Stieglitz's first venture dedicated solely to the City. The Intimate Gallery, as he called it, was to be devoted promotion of a national art.3 It operated in room 303 of the to the work of a select group of contemporary American Anderson Galleries Building on Park Avenue for four sea- artists. And although it was a mere 20 by 26 feet, he discussed sons, from when Stieglitz was sixty-one years of age until he the space as if it were enormous-perhaps limitless: was sixty-five; after the Intimate Gallery closed, he opened An American Place on Madison Avenue, which he ran until his There is no artiness-Just a throbbing pulsating.... I told death in 1946. It is at the Intimate Gallery, where he primarily a dealer who seemed surprised that I should be making showed the work of Arthur Dove, John Marin, Georgia this new "experiment"-[that] I had no choice-that O'Keeffe, Marsden Hartley, and Paul Strand, that the ideals there were things called fish and things called birds. That and aspirations motivating his late-life quest for a unique, fish seemed happiest in water-&8 birds seemed happy in homegrown school of art can be found in their clearest and the air. -
IMAGINING INDEPENDENCE PARK by Oren Segal a Dissertation
IMAGINING INDEPENDENCE PARK by Oren Segal A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Philosophy (Near Eastern Studies) In the University of Michigan 2012 Doctoral Committee: Associate Professor Shachar M Pinsker, Chair Professor David M. Halperin Associate Professor Carol Bardenstein Assistant Professor Maya Barzilai “Doing it in the park, Doing it after Dark, oh, yeah” The Blackbyrds, “Rock Creek Park,” City Life (Fantasy Records, 1975) © Oren Segal All rights reserved 2012 In memory of Nir Katz and Liz Troubishi ii Acknowledgements Most of all, I would like to thank my committee members: Shachar Pinsker, David Halperin, Carol Bardenstein, and Maya Barzilai. They are more than teachers to me, but mentors whose kindness and wisdom will guide me wherever I go. I feel fortunate to have them in my life. I would also like to thank other professors, members of the Jean and Samuel Frankel Center for Judaic Studies at the University of Michigan, who were and are part of my academic and personal live: Anita Norich, Deborah Dash Moore, Julian Levinson, Mikhail Krutikov, and Ruth Tsoffar. I also wish to thank my friends and graduate student colleagues who took part in the Frankel Center’s Reading Group: David Schlitt, Ronit Stahl, Nicholas Block, Daniel Mintz, Jessica Evans, Sonia Isard, Katie Rosenblatt, and especially Benjamin Pollack. I am grateful for funding received from the Frankel Center throughout my six years in Ann Arbor; without the center’s support, this study would have not been possible. I would also like to thank the center’s staff for their help.