Charles Robert Gatewood

Photographs by Charles Gatewood

Born in November of 1942 in Elgin, Illinois, Charles Robert Gatewood attended the University of Missouri, earning a degree in anthropology. It was during his first year of graduate work at the university that he began his photographic work. Studying sociology at the University of Stockholm, Gatewood apprenticed with a group of documentary photographers, worked as a darkroom technician, and began shooting photos of jazz artists on tour.

After returning to the United States in 1966, Gatewood settled in New York City, where he worked at the Jaffe-Smith photography studio in Greenwich Village. He was hired in 1969 as a staff photographer for the weekly The Manhattan Tribune, covering the upper West Side. It was at this time that he started freelancing assignments for Time magazine, The New York Times, and Rolling Stone magazine. Gatewood’s first major celebrity photograph “Dylan with Sunglasses and Cigarette” was taken at a 1966 Swedish news conference and syndicated to publications worldwide.

Gatewood continued to work as a freelancer for Rolling Stone, producing,, among other works, a series of portraits of the writer William S. Burroughs in the early 1970s, and covering political demonstrations, Gay Pride celebrations, and Manhattan’s downtown music and arts scene. He gravitated toward photographing extreme behavior, extreme people and extreme situations, with particular interest in the annual New Orleans’ Mardi Gras.

The gritty, often sexually explicit, photographs taken by Gatewood were rejected my many publishers  before the small New York publishing house Strawberry Hill agreed to publish his “Sidetripping” in 1975. The book’s photos are a first-hand account of the 1960s and 70s counter-couture with an introduction and narrative by William Burroughs. It was in the mid 1970s that the majority of his famous celebrity portraits were taken including Andy Warhol, Sly Stone, Etta James, Carlos Santana, and Bernado Berolucci. 

From 1978 to 1987, Gatewood lived near Woodstock, New York, working in Manhattan and elsewhere. His photos from this period include social protests, outlaw bikers, nature photos, and portraits, including Quentin Crisp and dark comedy writer Michael O’Donoghue. Gatewood was awarded a grant in 1984 by the New York State Arts Council to publish his book “Wall Street”, which was recieved  the Lieca Medal of Excellence for Outstanding Humanistic Photojournalism. In 1987, Gatewood relocated to San Francisco, spending the years from 1998 to 2010 as photographer for the tattoo magazine “Skin and Ink”.

Gatewood’s many photo collections include the 1977 “People in Focus”, “Primitives” in 1992, and the 1999 “Badlands”. He was the subject of two film documentaries: Mark and Dan Jury’s “Dances Sacred and Profane” in 1985, and Bill MacDonald’s “Forbidden Photographs: The Life and Work of Charles Gatewood” in 2003. Charles Gatewood died in San Francisco on April 28, 2016, at the age of seventy-three, after sustaining injuries in a fall from his balcony three weeks earlier. An apparent suicide, Gatewood left three notes behind.

Konstantin Sorokin

Konstantin Sorokin, “Aboulfeit Djibrine Musa”, Photo Shoot

Konstantin Sorokin is a Moscow based photographer specializing on fashion and portraits. Besides his creative activities, he is actively sharing the experience of photography by teaching students and organizing seminars and lectures in different cities worldwide. 

Images reblogged with thanks to: https://celebswhogetslepton.tumblr.com

Cormac McCarthy: “The Sky to the North Had Darkened”

Photographer Unknown, (Imminent Storm)

“By early evening all the sky to the north had darkened and the spare terrain they trod had turned a neuter gray as far as the eye could see. They grouped in the road at the top of a rise and looked back. The storm front towered above them and the wind was cool on their sweating faces. They slumped bleary-eyed in their saddles and looked at one another. Shrouded in the black thunderheads the distant lightning glowed mutely like welding seen through foundry smoke. As if repairs were under way at some flawed place n the iron dark of the world.” 

—Cormac McCarthy, All the Pretty Horses

Ted Shawn and Company

Ted Shawn and Company at Greek Theatre Pageant, 1918, New York Public Library Collection

“Know thyself deathless and able to know all things, all arts, sciences, the way of every life. Become higher than the highest height and lower than the lowest depth. Amass in thyself all senses of animals, fire, water, dryness and moistness. Think of thyself in all places at the same time, earth, sea, sky, not yet born, in the womb, young, old, dead, and in the after death state.”
Muata Ashby, Ancient Egyptian Proverbs 

Luke Nugent, “Lithunium Snow”

 

Luke Nugent, “Lithunium Snow”, Photo Shoot

Luke Nugent is a British photographer living in London and working internationally. He studied photography at London’s University of Greenwich, and has been shooting professionally since his late teens. Working primarily in the fields of music, portraiture and fashion, Nugent works with top models, musicians and personalities to develop imagery of a high technical and aesthetic standard. He has experience assisting world renowned photographer Rankin and has collaborated on various projects for Nick Knight’s award winning fashion website “SHOWstudio” including editorial features, video projects and live events.

Born in October of 1998 in Haarlem, Netherlands, Nils Kuiper, known as Lithunium Snow, is a model in the alternative modeling world, having been featured in publications like Dark Beauty Magazine and Gothesque Magazine. In 2016, he won the title of Mr. Alternative.

The website of photographer Luke Nugent can be found at: https://lukenugent.co.uk

Stone on Top of Stone

Photographer Unknown, (Stone on Top of Stone- Restoration)

“A third of thee dumbfounded, 33 degrees of masonry which are the controllers of mastery. Stone on top of stone, carry the U.S on my back as I travel through Rome. It’s God & I on my own,I ask for wisdom and wisdom is shown. What I have is common with Solomon is the position I take on this throne. Ancient ancestry of modern day slavery, there are thousands hacking at the branches of evil to one who is striking at the root with bravery.”
Jose R. Coronado, The Land Flowing with Milk and Honey

Paul Jasmin

Paul Jasmin, “Rodney, Edie, and Bosco, Hollywood”, 1990, Silver Gelatin Print

Born in April of 1935, Paul Jasmin was an actor, illustrator, and painter before focusing on photography. He left his hometown of Helena, Montana, in 1954 to travel in the world and pursue an acting career in New York and Los Angeles. He performed small cameo roles in the 1959 “Riot in Juvenile Prison”, “Midnight Cowboy” in 1969, and Spike Jonze’s 2002 “Adaption”. Working with actors Virginia Gregg and Jeanette Nolan, Paul Jasmin provided one of the three vocals mixed together for the voice of Norman’s mother in Hitchcock’s “Psycho”.

From 1965 to 1975, Jasmin concentrated on painting and illustration. He provided illustrative work for the fashion campaigns of the luxury Valentino brand. Jasmin also illustrated the advertising poster for the 1972 American porno film “Bijou”, directed by dancer and choreographer Wakefield Poole. 

Urged by friend and photographer Bruce Weber, Paul Jasmin turned to photography, with his imagery focusing on the unknown people he discovered on his travels. He began doing work for commercial clients in the late 1970s, working for the brands SAKS, Nautica, and Mr.Porter. Jasmin’s current editorial work appears in Vogue, Teen Vogue, GQ, Details, V Magazine, V Man, and Vogue Hommes, among other publications,

Since 2002, Jasmin has produced a several photographic studies of life in California, including “Hollywood Cowboy”, published in 2002 by Arena Editions; the 2008 “Los Angeles”, published by Steidl: and “California Dreaming”, published by Steidl in 2011. His 2008 “Lost Angeles” series, a study of those ‘tarnished angels’ who come to Hollywood seeking their dreams, is considered one of his most prominent works. 

Paul Jasmin currently teaches photography at the Art Center College of Design in Pasadena, California.

Herbert List

Herbert List, Title Unknown, (Fishmonger),  London, 1964, Silver Gelatin Print

“The pictures I took spontaneously, with a bliss-like sensation, as if they had long inhabited my unconscious, were more often more powerful than those I had painstakingly composed. I grasped their magic as in passing.”

Herbert List

Note: A biography of Herbert List can be found in the November 2021 archive of this site.

A Perfect Crime

Photographer Unknown, (Tattoo Man Leaning Over the Water)

“The time of the photograph is [always] after. This imprecision accommodates the numerous successions, the end upon seismic end, in a time without time, un[re]countable: still. In this, it is a perfect crime, “l’anéantissement anéanti, la fin… privée d’elle-même.” 

—Nathanael, Sisyphus, Outdone: Theatres of the Catastrophal

Image reblogged with many thanks to : https://jimbo1126.tumblr.com

Trees at Slope Point

Photographer Unknown, “Trees at Slope Point, New Zealand”

Lying in the south-west Pacific Ocean, New Zealand consists of two main islands, the North Island and the South Island, in addition, Stewart Island and many, smaller islands lie offshore. 

Slope Point is the southernmost point of the South Island, located just south of the small settlements of Haldane and Waikawa. The land around Slope Point, with its eroded cliffs dropping to the sea, is devoid of houses and is primarily used for sheep farming. There are no roads going to Slope Point; access is reached by a fifty-minute walk following fading yellow markers. There is no public access allowed during the lambing season which extends from September to the end of November.

In the images above taken in Slope Point, the trees, hit with such persistently violent southern Antarctic winds, forcibly grow in the leeward direction. Unlike in the northern hemisphere, the westerly winds in the Southern Ocean are effectively uninterrupted by continents, often reaching speeds over one hundred miles per hour. 

Images reblogged with thanks to : https://nubbsgalore.tumblr.com

Arthur Schopenhauer: “Memories Frozen on Paper”

Various Photogrphers, A Collection: Memories Frozen on Paper

“The scenes in our life resemble pictures in a rough mosaic; they are ineffective from close up, and have to be viewed from a distance if they are to seem beautiful. That is why to attain something desired is to discover how vain it is; and why, though we live all our lives in expectation of better things, we often at the same time long regretfully for what is past. The present, on the other hand, is regarded as something quite temporary and serving as the only road to our goal. That is why most men discover when they look back on their life that they have been living the whole time ad interim, and are surprised to see that which they let go by so unregarded and un-enjoyed was precisely their life, was precisely that in expectation of which they lived.” 

–Arthur Schopenhauer, Essays and Aphorisms

Images reblogged with many thanks to :https://newloverofbeauty.tumblr.com

Thomas de Quincey: “Confessions of an English Opium Eater”

Photographer Unknown, (Seated with Flowers)

“I ran into pagodas, and was fixed for centuries at the summit or in secret rooms: I was the idol; I was the priest; I was worshipped; I was sacrificed. I fled from the wrath of Brama through all the forests of Asia: Vishnu hated me: Seeva laid wait for me. I came suddenly upon Isis and Osiris: I had done a deed, they said, which the ibis and the crocodile trembled at. I was buried for a thousand years in stone coffins, with mummies and sphinxes, in narrow chambers at the heart of eternal pyramids. I was kissed, with cancerous kisses, by crocodiles; and laid, confounded with all unutterable slimy things, amongst reeds and Nilotic mud.”

Thomas de Quincey, Confessions of an English Opium Eater

 

Olivia de Havilland: Film History Series

Scotty Welbourne, “Olivia de Havilland”, 1935, Publicity Shoot, Silver Gelatin Print

Born in July of 1906 in Tokyo, Japan, Olivia de Havilland was an American motion-picture star remembered both for the lovely, gentle roles of her early career and the later, more substantial roles she secured. With a cinematic career spanning from 1935 to 1988, she appeared in forty-nine feature films, becoming one of the leading actresses of her time.

Olivia de Havilland moved, along with her mother and younger sister Joan Fontaine, to California in 1919, settling in the village of Saratoga. After graduating from high school in 1934, she attended Mills College in Oakland, hoping to pursue a career as a teacher. De Havilland was chosen from the cast of a community theater production of “A Midsummer Night’s Dream” by director Max Reinhardt to be first the understudy, and then the star of his theater production of the play. 

Impressed by her performance, Reinhardt offered Olivia de Havilland the same role of Hermia in his upcoming Warner Brothers film version of the stage production. She signed a five-year contract with Warner Brothers in November of 1934, beginning her  professional acting career. De Havilland appeared in many costume adventure movies with then little-known actor Errol Flynn in the 1930s and 1940s. Their first film together was the 1935 “Captain Blood”, the success of which resulted in four Academy Awards nominations, including Best Picture. 

De Havilland appeared in Mervyn LeRoy’s 1938 historical drama “Anthony Adverse” playing the role of peasant girl Angela opposite actor Fredric March. The film earned six Academy Awards, including Best Picture, giving de Havilland good exposure and a chance to renegotiate her contract with Warner Brothers for a seven year term with higher salary.

De Havilland worked again with Errol Flynn in the 1938 “The Adventures of Robin Hood” and the 1939 Technicolor western, her first, entitled “Dodge City”. In early 1939, De Havilland exerted her influence to get the role of Melanie Wilkes/Hamilton in the upcoming  David O’Selznick film “Gone with the Wind”, giving her the opportunity to play a substantial role she understood, and resulting in her first nomination for Best Supporting Actress. 

Winning a precedent-setting case in 1945 against Warner Brothers Studios, Olivia de Havillland was released for a six-month penalty obligation added onto her contract. The result of extending greater creative freedom to performers enabled her to take more challenging roles. She gave an Academy Award-winning performance as an unwed mother in the 1946 “To Each His Own”, played twin sisters in the 1946 psychological thriller “The Dark Mirror”, and won an Academy Award nomination for her role as a psychiatric ward patient in the 1948 “The Snake Pit”. 

Olivia de Havilland was the recipient of numerous honors: the American National Medal of Arts in 2008, an appointment as a Chevalier of the Legion of Honor in 2010 in France, and was made Dame Commander of the Order of the British Empire in 2017, shorty before her 101st birthday. Olivia de Havilland passed away peacefully of natural causes on July 26, 2020, at her residence in Paris, France.

Top Insert Image: Photographer Unknown, “Olivia de havilland”, 1940, Studio Publicity Shot, Gelatin Silver Print, Warner brothers Studio

Bottom Insert Image: Photographer Unknown, “Olivia de havilland and Erol Flynn”, 1938, Still Shot from “The Adventures of Robin Hood”, Director Michael Curtis and William Keighley, Warner Brothers

L’Horloge du Musée

Photographer Unknown, Gold-Framed Interior Clock, Atrium of the Musée d’Orsay, Paris, France

On the eve of the 1900 World Fair, the French government ceded land to the Orleans railroad company, who, disadvantaged by the remote location of the Gare d’Austerlitz, planned to build a more central terminus station on the site of the ruined Palais d’Orsay. In 1897, the company consulted three architects: Lucien Magne, Emile Bénard and Victor Laloux. The project was a challenging one due to the vicinity of the Louvre and the Palais de la Légion d’honneur: the new station needed to be perfectly integrated into its elegant surroundings. Victor Laloux, who had just completed the Hôtel de Ville in Tours, was chosen as winner of the competition in 1898.

The station and hotel, built within two years, were inaugurated for the World Fair on July 14th, 1900. Laloux chose to mask the modern metallic structures with the façade of the hotel, which, built in the academic style using finely cut stone from the regions of Charente and Poitou, successfully blended in with its noble neighbours. Inside, all the modern techniques were used: ramps and lifts for luggage, elevators for passengers, sixteen underground railtracks, reception services on the ground floor, and electric traction. The open porch and lobby continued into the great hall which was 32 metres high, 40 metres wide and 138 metres long.

From 1900 to 1939, the Gare d’Orsay was the head of the southwestern French railroad network. The hotel received numerous travellers in addition to welcoming associations and political parties for their banquets and meetings. However, after 1939, the station was to serve only the suburbs, as its platforms had become too short for the modern, longer trains that appeared with the progressive electrification of the railroads.

The Gare d’Orsay then successively served different purposes : it was used as a mailing centre for sending packages to prisoners of war during the Second World War, then those same prisoners were welcomed there on their returning home after the Liberation. It was then used as a set for several films, such as Kafka’s “The Trial” adapted by Orson Welles, and as a haven for the Renaud-Barrault Theatre Company and for auctioneers, while the Hôtel Drouot was being rebuilt.

The hotel closed its doors on January 1st, 1973, not without having played a historic role: the General de Gaulle held the press conference announcing his return to power in its ballroom (the Salle des Fêtes).

In 1975, the Direction des Musées de France already considered installing a new museum in the train station, in which all of the arts from the second half of the 19th century would be represented. The station, threatened with destruction and replacement by a large modern hotel complex, benefitted instead from the revival of interest in nineteenth-century architecture and was listed on the Supplementary Inventory of Historical Monuments on March 8, 1973. The official decision to build the Musée d’Orsay was taken during the interministerial council of October 20, 1977, on President Valéry Giscard d’Estaing’s initiative. The building was classified a Historical Monument in 1978 and a civil commission was created to oversee the construction and organisation of the museum. The President of the Republic, François Mitterrand, inaugurated the new museum on December 1st, 1986, and it opened to the public on December 9th.