August 1, 2014
On this, the 25th anniversary of photograph magazine (originally Photography In New York), The Click sat down with publisher Bill Mindlin to speak about the little magazine that could — and did — become a national treasure, the only publication of its ilk. The magazine, which features columns by Lyle Rexer, Vince Aletti, Jean Dykstra, Elisabeth Biondi, and Sarah Schmerler, among others, has become a mainstay among photography aficionados.
Says columnist Vince Aletti, “Bill is at once easy-going and focused, with a strong vision for photograph that he’s honed and grown successfully over the years. I’m glad to have been one of the early contributors and happy to still be there among a larger group of writers and a substantially beefed-up section of reviews and features. What began as essentially a listings magazine has turned into something much more essential and lively. I’m always impressed by the design and efficiency of the magazine and happy to be associated with it.”
Mindlin’s path to publisher is as eclectic as his magazine. A native of San Francisco circa the summer of love, he grew up in a working class neighborhood, went to UC Berkeley during the people’s park years and then to Colombia for grad school in industrial social welfare. “After working at one of New York’s unions for ten years, it was time for a change. So I went to Europe and ended up in Israel where I enrolled in a photography program in Jerusalem.” Quickly realizing that he has the interest, but not the talent, Mr. Mindlin began exploring the medium more in depth, studying the lives and work of photographers and learning the history of photography.
“When I came back to the U.S. in 1986, I starting working at the Marcuse Pfeifer Gallery in Soho. Cusie was a pioneer contemporary photography dealer in the 1970s and 80s — way ahead of the times. I also briefly worked at A Photographer’s Place, a wonderful bookstore that specialized in photography.”
Mindlin got the idea for a guide while working at the gallery. “Visitors would always ask me where are the other photography shows, so I created a mimeographed list of suggested shows that I passed out. That was the genesis.”
Read the full story at THE CLICK.
July 31, 2014
On the cover of Gitta Seiler’s About Girls (Kehrer Verlag) is a beautiful teenager carefully applying mascara to her lashes as she gazes in a compact. Her skin glows with the porcelain finish that youth possesses in droves, and she reclines comfortably as she makes herself beautiful. This image, one of pure repose, is soon revealed in a chapter headed by a single word: Aborted.
It is in this chapter that Seiler visits an abortion clinic for underage women, taking casually composed photographs that belie the pathos of the moment. There is something horrific about these images in that they are understated glimpses into a moment the turning point in many a girl’s life. We may debate the idea that pregnancy is ever unplanned, we may consider that every boy and girl knows the consequences for their actions and are tempting Fate for reasons we cannot understand, but we can consider this: once conception occurs, all preconceived notions are meaningless in the face of this decision. Life or death is controlled for the first time by women, very young women.
Seiler writes, “…I wait with mothers at bed who comfort, and concerned father. I wait for girlfriends who accompany their girlfriends. I wait for a very small ray of happiness. And there: The only boy on the bench serves the hopes of all. There are still people like this, if you’re lucky, people who stay, people who come with you, people who are there. I am stuck in the girl’s soul and I weep. I wipe away my tears and look in them mirror. Like the laughing girl in the mirror who says: it’s over, it’s better than yesterday, things will go on, things will happen. It is a passing misfortune.”
But is it?
Seiler’s photographs are distinctly unsentimental, quiet yet emotionally charged challenges to our assumptions about and understanding of girls. This challenge is issued to both men and women, for in looking at her photographs I find myself reconsidering everything.
Jailed is the single word of another chapter. Seiler takes what has become a fetish and shows us the dirty underbelly; reform school girls are not sexy. Skin is littered with self-inflicted cuts, with self-made tattoos, ad aged by stress. Does it matter what they did to get here, or should we consider who failed them first and led them to act out crimes as a way to release their pain?
There is something taboo about females committing crimes, if only because most shut down and quietly punish themselves. But here we see the girls whose aggression is so extreme, they decided to punish society instead. Like the girls in the abortion clinic, we can never know what lurks deep within their heart, what remorse they may feel (if any) for betraying themselves in this way.
Prison is a lonely place, a place where one is not just locked away from the world, but locked within themselves, forced to deal with or avoid the real issue. That recidivism is high is understandable; nothing about this space creates a feeling of trust, respect, or human potential.
Unwanted is a terror, a living nightmare. It is the story of some girls who did not have the abortion. It begs the question that we can never know; is it better to take a life or to bring it into this world under these conditions? I would hazard to say, there is no answer to this question, for no matter how you try to slice it, abortion is a horrific act. But so to is bringing a child into this world that you deeply resent.
And yet it is all too common for people to just this, not stopping to consider that not one person on this earth ever asked to be born. How it has come to pass that sex has become a thing that we so easily disrespect, so much so that lives can be destroyed by one of Nature’s greatest gifts is evidenced in Seiler’s photographs. There is no love; there is resentment and disgust, there is despair and despondency, there is a much bigger problem waiting to grow up and act out these emotions, emotions passed from by a dark spirit across generations.
Lastly, there is Ran Away, the first chapter of the book. Maybe these girls were unwanted, unloved once. Like all of Seiler’s photographs, it is impossible to know what has brought these girls to this point, what it takes to break them down into nothing but crumbs. About Girls is one of the most powerful and provocative portrait of girls that I have ever seen, taking on some of the darkest aspects of humanity without offering reprieve. But more than that it offers no answers at all but it offers a question mark, a call to rethink what we know.
First Published 28 October 2011
Le Journal de la Photographie
July 29, 2014
Debra Shriver, a 12th generation Southerner, Francophile, passionate preservationist and jazz devotee, is the author of two books on New Orleans: Stealing Magnolias: Tales from a New Orleans Courtyard (Glitterati Incorporated) and In the Spirit of New Orleans (Assouline). Although she is an inveterate New Yorker, living and working as a media executive here in the city, her heart belongs to New Orleans.
Shriver recalls, “Creating both books was a labor of love. Each was written in less than a year. I’d been collecting clips, photography, and books on New Orleans for years. I have always been a student of the city. Both volumes are a great mix of old and new, of vintage, historical, and contemporary street scenes, portraits, landscapes and still lifes.
The first book, Stealing Magnolias, was a very personal book. “There were many intimate vignettes taken throughout the house, like a café au lait served in the morning or a beautiful banana truffle adapted from a recipe I remembered as a child.
“New Orleans feeds all the senses,” Shriver said. “For me, ‘chic’ is another word for beauty. It could be the scent of a perfume, or a bottle of wine just poured, or the color of flowers on the table, or a person walking down the street with a bigger-than-life attitude.
“I opened Stealing Magnolias with a beautiful quote by Roald Dahl: ‘And above all, watch with glittering eyes the whole world around you because the greatest secrets are always hidden in the most unlikely places. Those who don’t believe in magic will never find it.’’
Read the full story at THE CHIC.
Steven P. Harrington and Jaime Rojo are Brooklyn Street Art (BSA), one of the most successful and influential websites dedicated to the underground ART scene that has taken the world by storm. Since 2008, BSA has been documenting the creative energies that take root and flourish in the street, like an insistent flower spouting through slabs of concrete.
Street Art is public art, usually unsanctioned work, which is executed outside of traditional art venues. Because much of it is posted illegally, it exists as a conversation between artist and audience independent of traditional realms for making, selling, and displaying art. With Street Art, there is no product. There is simply the idea made visual and expressed in physical form for all the world to observe.
Today, artists who choose the streets as their gallery are sharing their work in every corner of the globe, which makes BSA one of the most important hubs in the publishing world. BSA documents the trends in Street Art, covering the new hybrids, new techniques, and new mediums as they continue to expand our understanding of public art, speaking at length with The Click about the way in which photography and publishing preserve what is amongst the most ephemeral of all the arts.
Mr. Harrington and Mr. Rojo recall, “BSA started as an abbreviation for our first book Brooklyn Street Art (Prestel/Random House) and a way for people to quickly refer to us. The site initially was a simply page to give people an online location to learn more about the book with additional information about the scene on the street. We didn’t have any idea that it would grow into a clearinghouse for a global scene—in fact our first month we got 53 visits.”
Read the Full Story at THE CLICK.
July 22, 2014
“We thrive on confusion, on not being pinned down. You should not have to be the same person you were five minutes ago,” Connie Hanson says, sharing of a point of view that has endowed Guzman with a wit and a joie de vivre. Guzman itself embodies the Dada charm of the absurd, as the husband/wife team of Russell Peacock and Ms. Hanson let it be known that Guzman had a back story. He was a fifty-five year old Czech man with a grey Mercedes. Guzman had also lived in various hotels throughout Paris. And perhaps this is because Guzman is a spirit that inhabits the space between the photographer, the subject, and the stage.
Shoots will have unlikely things, like bouquets of bok choy. Or they will unfold as happenings, a way of art and life that was of a place and a time that defined New York as a bohemia and into this personalities appear. It is just this ability to create alternate universes that makes a Guzman photograph a complete affair. Whether constructing suits of various checked patterns to be born alongside Louis Vuitton accessories (because the brand did not yet have apparel lines), Guzman came along with a complete vision of how Vuitton appears in our lives. It is in this same way that they fully inhabit fashion as a way of life that Geoffrey Beene collaborated with Guzman throughout his career.
The quintessential outsider, Mr. Beene had his own way of doing things. He created Summer/Winter, just because he could. He broke every rule and created another in its place, and in his indomitable way, he was decades ahead of the curve. It was this vision of design that Mr. Beene brought to Guzman, and together they created a series of images that blur the boundaries, as we see not only a dress and a design, but the very idea of the way in which fashion can make us feel. It appears as architecture for the body. It lays between us and the world itself, and it is this which appears as the metaphor dancing across the photograph. It is both object and idea at the same time, and in this space Guzman plays with dark and light, with a blur of boundaries and the transformation of space, as the garment slips from three dimensions into two, and what remains is a beautifully selected collection of images that take us back into time to the glamorous life that New Yorkers do so well.
Guzman shares stories of Geoffrey Beene with THE CHIC.
July 18, 2014
For the past three decades, Ziggi Golding has set the bar for a standard of originality and creativity in the fine art and commercial photography worlds. She is devoted to cultivating talent and style within her roster of artists. As she notes, “I’m an enabler. I like to help people develop and realize their dreams.”
Since first becoming an agent in 1983, Ms. Golding has developed the careers of many of the top talents in the art, photographic, fashion, film, and music industries today. She sits down with The Click to discuss a life in photography.
Ms. Golding remembers, “Growing up in Jamaica, my mom always had a Roliflex. It was the one you looked down in. It was unusual then. It’s interesting that photography wasn’t my love. It was painting and drawing, art in its trues form. But I got interested in photography when I fell int modelling at the end of the 70s.
“As a job, I didn’t find modeling that interesting. I was more into the process of photography itself. After about six years in the industry, I started my own agency, the Z Agency. I wanted to protect models, as they were young and put in compromising positions. I also thought modeling was what you do when you didn’t know what to do with your life.
“I chose interesting people with a good look, amazingly talented people, and I started representing photographers early on like Andrew McPherson, and Geoff Stern, who had made the film, ‘Underground.’ It was part of my role to make things happen on a bigger level. For the ‘Underground’ I helped make a deal with Palace Pictures and Collin Callender, who went on to be the President of HBO Films. I made an early point of generating original work, in addition to booking people.
“With i-D and The Face, all through the 80s, two thirds of the content was connected with Z Agency, whether it was the photographers, models, stylists, make-up or hair. However I was not fulfilled by the modeling side of the industry. I was more interested in being the master of the project.”
Read the full story at THE CLICK.
July 15, 2014
Freddie Leiba is the embodiment of elegance. He is at once both very cool, and warm. His lyrical voice soothes and charms. Once seated in his resplendent abode in midtown Manhattan, Mr. Leiba begins to reflect on the early days, and how they laid the path to a life in fashion, photography, and style that is undeniably glamorous. His vision has been seen on some of the most beautiful women of our time, from Iman to Beyonce, Meryl Streep to Sandra Bullock. He recounts his humble beginnings, and the path he took, back and forth across the Atlantic, though our story begins in the Caribbean.
Mr. Leiba recounts, “I was born in Trinidad and left at the end of the 1950s to go to England. When I grew up, there was no TV. Instead you joined the library and hopefully, you for a good book. I remember as a young boy, my mother took me for a walk one Sunday, as we often did, and we saw Rita Hayworth filming ‘Fire Down Below.’ I had never seen anyone like that in life. I was fascinated by this woman who looked like a goddess on a Caribbean island.
“I would go to the library and research books, then to the movies where it would cost twenty-five cents to see a double feature. I felt at home in this world, but it still felt untouchable. I didn’t think there was any way I would ever be a part of a world like this.
“When I went to London, I really found my place. I just fell into the right group of people. I was attending the Royal College of Art, the most prestigious, most respected art school in the world. I drew incessantly. I drew women in dresses. I was obsessed.
“My mother was broad-minded and had no problems with me doing dress design. She sewed for a living, and taught herself how to sew, and how to play the piano. She worked and worked and worked—and never complained about anything. Everything starts at home, no matter how rich or poor you are. She was a single mother. She did everything to make everything possible for me. I will never forget that. I wouldn’t ever disappoint her even though she’d dead now. She worked so hard to get me to the place I am. I still feel I have to shine. I just have to do it.”
Read the full story at THE CHIC.
July 13, 2014
Wealth consists not in having great possessions, but in having few wants.
July 9, 2014
Some days it storms,
some days it shines.
This is how flowers grow.
July 8, 2014
Photographer and subject have a distinct relationship that is based on the sharing of ideas in mutual exploration of that which does not yet exist until the two come together to bring forth the work, the image that holds the wall or rests, nestled inside the book. The photograph is the space where two become one and what we see is the way in which they create something the world has never seen before.
“Every hat I have ever made has begun in my mind as a photograph. I can see it on the model, at the right angle, before I even begin. I can see what the girl’s going to look like and how it’s going to be worn. But it’s something that’s just for me,” writes celebrated milliner Philip Treacy at the introduction to Philip Treacy by Kevin Davies (Phaidon), an intimate and breathtaking retrospective of Mr. Treacy and Mt. Davies’ two decade-long partnership.
Mr. Treacy continues, “Photography, like design, is an obsession: an obsession with the final image. And most photographers, like most designers, are control freaks, because they care so much that it all looks incredible in the end. We believe in it. Whether you’re a make-up artist, stylist, designer, architect, photographer or anyone working in the creative industries, your work is a point of view. It’s your point of view.”
Mr. Treacy’s hats recall nothing so much as a time long gone, a time when men and women dressed head-to-toe before stepping out of the house. Hats are the last hurrah of a bygone era, a time when attention to detail was as important as expression of self. Mr. Treacy’s hats remind us that glamour is a state of mind, for to carry off one of his superb chapeaus one must have presence, power, and fearlessness.
Kevin Davies’ photographs of the hats themselves are a spectacle of the simplest effect. Set upon a faceless mannequin head, set against a white backdrop, there is nothing to see except the hats themselves. Photography is a comfortable reminder that this is likely as close as we shall ever get, but this closeness will set your heart aflame. That the hats can be worn seems almost too grand. To simply gaze upon their eloquent and effortless form would be enough.
Mr. Davies speaks with THE CHIC about his partnership with Philip Treacy as it developed throughout the years. Read the full story at THE CHIC.
July 7, 2014
If you weren’t surprised by your life you wouldn’t be alive.
Life is surprise.
In the magical universe there are no coincidences and there are no accidents.
Nothing happens unless someone wills it to happen.
Happiness is a byproduct of function, purpose, and conflict;
those who seek happiness for itself seek victory without war.
There is nothing more provocative than minding your own business.
Photographs by Sean Kinney
Quotes by William S. Burroughs
July 6, 2014
I am not afraid of storms,
for I am learning to sail my ship.
July 4, 2014
Believe in fate, but lean forward where fate can see you.
June 30, 2014
Poetry isn’t as much an art as it is an act. It is a way of being, a way of seeing, a way of feeling life. It is respiration. Breath drawn in, words expelled. Words that float through the mind and burst upon the lips, fingertips, the pen to paper or the stroke to key, and with each and every moment, the rhythm hits me, then you, then we. Poetry, it is it’s own means, but there is no end, but rather a flow along which we go, should we wish to share the experience.
Daria Ann-Martineau publishes her poem, “Mine” at Narrative today. A native of Trinidad and Tobago, Miss Martineau recently received her MFA in Poetry from New York University. We met at a reading, where she looked resplendent in a wispy peach shift, something like a Bellini, crisp and sparkling. She takes a moment today to chat about the place of poetry in her life…
Miss Rosen: It is evident from the moment anyone lays eyes upon you that you are meant to be a muse as well as a poet alike. Your energy is deliciously elegant while also cutting edge. Please speak about the early period, when you discovered the word and the way in which it could be used as a pillow—or a sword.
Daria-Ann Martineau: First of all, thank you for that incredible compliment. It is a lot to live up to. I do not know that there was a specific moment of discovery for me. The way poetry found me was more gradual and cumulative—almost like a poem: there are lots of tiny details (teachers, books, performances) that build to this bigger idea.
I grew up with two lawyers for parents and I think complex, nuanced language was almost revered in my house. My mother collects dictionaries. I think I inherited a craving from her for the depth and meaning of language. I wrote a lot of bad “secret diary” kind of poems growing up. Nothing serious but I started taking Creative Writing at university and by my senior year, I was ready to dedicate my life.
As for the pillow/ sword thing: I think the night I saw Patricia Smith perform “Skinhead” on television was a moment I saw what crazy things a poem could do. I was about ten when that happened. I didn’t understand the moment’s gravity until much later.
How do poems arrive ? I ask as I have heard verse. Like one time I was making the bed and a voice was like, “Stop. Now write this down.” It doesn’t always happen like that, but when I am in the flow it is as if I can hear words being said. And when I read certain people’s verse, I feel that same intuitive rhythm. Do poems come to you ? Do you go to them ? Do you meet in the park by the big oak ? Or over a cone of ice cream ?
Some poems come quite naturally. Some I chase them and hunt them down. I think my most successful poems usually start off with a perceived connection between two seemingly disparate things. This idea, this association of them sits in my brain like a seed, often for months or years, before I finally get a poem from it. The poem “Mine” started when I saw the word “canary” one day and I thought about it as a colour and a bird: how to link its purpose in either context. I had just one line for months and months and that never even made it into the poem. Then one day, I sat down and wrote it in minutes.
What is the experience for you of reading your poems aloud ? How important is it to liberate them from the page ?
I hadn’t thought about it with my poems too much. Yusef Komunyakaa says the ear is the best editor and of course I will read a line over to make sure it “sounds right.” I think, though, when I read my whole poems aloud they sound more or less as I have predicted they would. There are exceptions of course, like the time I burst into tears while sharing a piece I’d written without much thought.
I love the communal feeling of sharing my work and listening to others share theirs. It’s quite thrilling. I think I get more from hearing other people’s work. When I read a Komunyakaa poem for example, I can see and feel the music without ever opening my mouth. He’s so known for that. But when I read it out loud I hear it even more and when he reads his poems out loud, it’s almost quaking. This year I’ve also been lucky enough to perform with Pop-Up-Poets, memorizing and performing famous poems. It’s this great, expansive, bodily experience. The best way for me to understand the depth of a poem is to memorize it. Recite it like a prayer.
Read “Mine” at Narrative Magazine
June 28, 2014
Where there is an open mind, there will always be a frontier.
~Charles Franklin Kettering.