Tag: lbgtq photographers

Hervé Guibert

The Photography of Hervé Guibert

Born at Saint-Cloud, Hauts-de-Seine on the fourteenth of December in 1955, Hervé Guibert was a French author and photographer. The author of two-dozen published works, he wrote with aggressive candor, detachment, and passion through a mixture of diary writing, memoir, and fiction. Both his writings and photography were closely linked to his private life. The subjects of Guibert’s writings often became his friends; those whom he loved were often portrayed as celebrities, alternately idolized and exposed.

Guibert’s photographic oeuvre contains interior scenes and landscapes as well as portraits of family, friends and lovers. He worked in black and white with tones drawn to soft grays. Photographs of Guibert’s immediate surroundings, his bookcase or desk, were created with the same intensity as photographs of nudes in his bed. His work is both restrained and subtle, created more for his person or close friends rather than public exposure. Although most of his work remains elusive, never having been exhibited or published, those images that have appeared are cool, confident and emotionally warm.

Hervé Guibert was born into a conservative middle-class family of a veterinary inspector and his wife, a former teacher. He relocated to Paris at the age of seventeen with the hope of becoming an actor or scriptwriter. After his rejection from a Paris film school, Guibert  entered the literary world and, by the age of twenty, was writing dating advice for “20 Ans (Twenty Years)”, a glossy women’s magazine. In 1977, he published his autobiographical novel, “La Mort Propagande (Death Propaganda)”. 

In 1978, Guibert was hired as a photography critic for France’s evening newspaper “Le Monde”. He successfully established himself as a photographer with a photographic literary volume, “Suzanne and Louise”, containing intimate portraits of his great-aunts. In 1981, Hervé Guibert published his “Image Fantôme (Ghost Image)”, an insightful collection of mini-essays on various photographic forms such as family album portraits, photo-booth film strips, and pornographic Polaroids. In this work, Guibert presented photography as tactile, fetishistic and linked to frustrated desires.

In 1982, Hervé Guibert completed his “Les Aventures Singulières (The Singular Adventures)”. This collection of short stories,  published through Éditions de Minuit in Paris, centered on a singular character’s life over a period of three years. He shared the Best Screenplay César Award in 1984 for a collaborative work with opera and theater director Patrice Chéreau on the 1983 film “L’Homme Blessé (The Wounded Man)”.

Guibert was granted in 1987 a two year residency scholarship at Villa Medicis, the site of the French Academy in Rome, where he studied with his friend, the openly gay writer and journalist Mathieu Lindon. In January of 1988, Guibert received a positive diagnosis for AIDS and began to record in his writings what would be the remainder of his life. He was the long-time friend of both Christine and her partner, film director Thierry Jouno, considered the man in Guibert’s life. Guibert married Christine to ensure that his royalty income would pass to her and her two children with Jouno.

In 1989, Hervé Guibert published his highly erotic novella ““Fou de Vincent (Crazy for Vincent)”, a dramatization of his earlier intermittent relationship with the impulsive and unpredictable teenager Vincent Marmousez. He revealed his HIV status in his 1990 real-life based novel “À l’Ami qui ne M’a Pas Sauvé la Vie (To the Friend Who Did Not Save My Life)”. Following the release of this novel, Guibert became the focus of media attention with interviews and several talk show appearances.

Guibert’s last work, “Cytomégalovirus” was a description of his autumn 1991 hospitalization and the increasing blindness he suffered from his illness. In the second week of December in 1991, Guibert attempted suicide by taking digitalin, a heart medication toxic in large doses. Two weeks later, he died at the age of thirty-six in Clamart, Hauts-de-Seine, on the twenty-seventh of December in 1991.

Notes: An excellent article on Hervé Guibert’s 1981 essay volume “Ghost Image” can be found on British photographer Felix Pilgrim’s site: https://www.felixpilgrim.com/blog-1/herve-guiberts-ghost-image

The contemporary Vienna gallery Felix Gaudlitz, in collaboration with Attilia Fattori Franchini, organized a 2020 exhibition of Hervé Guibert’s photographic work entitled “…of lovers, time, and death”. The gallery’s article with several of Guibert’s photographs can be found at: https://felixgaudlitz.com/exhibitions/herve-guibert-of-lovers-time-and-death/

Information written by Christine (Guibert) on Hervé Guibert’s partner Thierry Joune and the impact he had on Guibert’s writings can be found at: https://www.findagrave.com/memorial/281395860/thierry-jouno

A more extensive biographical article on Hervé Guibert, with additional links, can be found in this blog’s November 2024 archive: https://ultrawolvesunderthefullmoon.blog/2024/11/18/hevre-guibert-he-who-wished-to-be-master-of-the-truth/

Top Insert Image: Hervé Guibert, “Self Portrait”, 1985, Gelatin Silver Print, 23.7 x 30.2 cm, Private Collection

Second Insert Image: Hans Georg Berger, “Hervé Guibert and Poet Eugène Savitzkaya, New Year’s Eve, Rio nell’Elba, Italy”, 1984, Gelatin Silver Print, Semiotext(e)

Third Insert Image: Hervé Guibert, “Christine”, 1983, Gelatin Silver Print, 23.8 x 30.5 cm, Private Collection

Bottom Insert Image: Hans Georg Berger, “Hervé Guibert and Thierry Juono, Hotel Gellért, Gesellschaft”, 1983, Gelatin Silver Print

Hevré Guibert: “He Who Wished to be Master of the Truth”

Photographers Unknown, He Who Wished to Be Master of the Truth

He had to finish his books, this book he had written and rewritten, destroyed, renounced, destroyed once more, imagined once more, created once more, shortened and stretched out for ten years, this infinite book, of doubt, rebirth, modest grandiosity. He was inclined to destroy it forever, to offer his enemies their stupid victory, so they could go around clamoring that he was no longer able to write a book, that his mind had been dead for ages, that his silence was just proof of his failure. He burned or destroyed all the drafts, all the evidence of his work, all he left on his table were two manuscripts, side by side, he instructed a friend that this abolition was to continue. He had three abscesses in his brain but he went to the library every day to check his notes.

His death was stolen from he who wished to be master of his own death, and even the truth of his death was stolen from he who wished to be master of the truth. Above all the name of the plague was not to be spoken, it was to be disguised in the death records, false reports were given to the media. Although he wasn’t dead yet, the family he had always been ostracized from took in his body. The doctors spoke abjectly of blood relatives. His friends could no longer see him, unless they broke and entered: he saw a few of them, unrecognizable behind their plastic-bag-covered hair, masked faces, swaddled feet, torsos covered in jackets, gloved hands reeking of alcohol he had been forbidden to drink himself.

All the strongholds had collapsed, except for the one protecting love: it left an unchangeable smile on his lips when exhaustion closed his eyes. If he only kept a single image, it would be the one of their last walk in the Alhambra gardens, or just his face. Love kept on thrusting its tongue in his mouth despite the plague. And as for his death it was he who negotiated with his family: he exchanged his name on the death announcement for being able to choose his death shroud. For his carcass he chose a cloth in which they had made love, which came from his mother’s trousseau. The intertwined initials in the embroidery could bear other messages.

Hevré Guibert, A Man’s Secret, Written in Invisible Ink: Selected Stories, 2020, Translation by Jeffrey Zuckerman, Semiotexte  Publishing

Born in Saint-Cloud, Hauts-de-Seine on the fourteenth of December in 1955, Hervé Guibert was a French author and photographer. Through his novels and autobiographical studies, he was influential in changing the French public’s attitudes towards the HIV/AIDS crisis. Guibert wrote with aggressive candor, detachment, and passion, mixing diary writing, memoir, and fiction. His art and his writings were closely linked to his private life. Those of whom he wrote often became his friends, and his loved ones were often portrayed as celebrities, alternately idolized and exposed.

Guibert’s writing style was initially inspired by the work of Jean Genet and, later, Austrian writer Thomas Bernhard, a post-war author who explored obsession and isolation through multiple perspectives. Three of Guibert’s lovers played an important role in his life and work: Thierry Jouno, director for the International Theater for the Deaf whom he met in 1976; philosopher and author Michel Foucault whom he met in 1977; and Vincent Marmousez, a teenager who inspired his 1989 novel “Fou de Vincent (Crazy for Vincent)”.

Born into the conservative middle-class family of a veterinary inspector and a former teacher, Hervé Guibert moved to Paris at the age of seventeen with the hope of becoming an actor or scriptwriter. After his rejection from a Paris film school, he entered the literary world and, by the age of twenty, was writing dating advice for the glossy women’s magazine “20 Ans (Twenty Years)”. In 1977, he published his autobiographical novel/diary, “La Mort Propagande (Death Propaganda)”. 

Guibert was hired in 1978 as a photography critic by “Le Monde”, France’s evening newspaper, and successfully established himself as a photographer with a photographic literary volume containing intimate portraits of his great-aunts. In the same year, Guibert completed his second book “Les Aventures Singulières (The Singular Adventures)”, a collection of stories centered on a singular character, published through Éditions de Minuit in Paris. During the 1980s, Guibert was a reader at the Institut National des Jeunes Aveugles (Institute for the Young Blind) in Paris. This experience became the basis for his 1985 “Des Aveugles” which won the Fénéon Prize for that year. 

In 1981, Hervé Guibert published his “Image Fantôme (Ghost Image)”, an insightful collection of essays on various photographic forms such as family album portraits, photo-booth film strips, and pornographic Polaroids. In this work, Guibert presented photography as tactile, fetishistic and linked to frustrated desires. For a collaborative work with his theatrical friend, opera and theater director Patrice Chéreau, Guibert shared a 1984 Best Screenplay César Award for the 1983 “L’Homme Blessé (The Wounded Man)”.

In 1987, Guibert was granted a two year residency scholarship at Villa Medicis, the site of the French Academy in Rome, where he studied with his friend, the openly gay writer and journalist Mathieu Lindon. In January of 1988, Guibert was given a positive diagnosis for AIDS and began work on recording what would be the remainder of his life. In June of 1989, he married Christine, the partner of director Thierry Jouno, so his royalty income would pass legally to her and her two children. 

In 1989, Hervé Guibert published his highly erotic novella ““Fou de Vincent (Crazy for Vincent)”, a dramatization of his intermittent relationship with the impulsive and unpredictable teenager Vincent Marmousez. In 1990, Guibert revealed his HIV status in his real-life based novel “À l’Ami qui ne M’a Pas Sauvé la Vie (To the Friend Who Did Not Save My Life)”. He described in this work the existential effect the virus had on his life, its impact on a complete generation of people, the deaths of friends and lovers, and how AIDS forever transformed humanity’s relationship with desire and sexuality. 

Following the release of his 1990 novel, Guibert became the focus of media attention with interviews and several talk show appearances. He filmed scenes of his daily life with AIDS between July of 1990 and February of 1991. This film, “La Pudeur ou l’impudeur (Modesty of Shamelessness)”, produced by Pascale Breugnot, was broadcasted posthumously on French television in January of 1992. Guibert published two more additional auto-fictional novels that detailed the progression of his illness: the 1991 “Le Protocole Compassionnel” and the “L’Homme au Chapeau Rouge (The Man in the Red Hat)” which was published posthumously in 1992. 

Hervé Guibert’s last work, “Cytomégalovirus” was a description of his hospitalization in the autumn of 1991 and the increasing blindness he suffered from his illness. In the second week of December in 1991, Guibert attempted suicide by taking digitalin, a heart medication toxic in large doses. Two weeks later, he died at the age of thirty-six in Clamart, Hauts-de-Seine, on the twenty-seventh of December in 1991. 

A consummate photographer and author, Hevré Guibert had published twenty-five books before his death, five of which were published in the last year of his life. Excellent translations of his work are now readily available through many sites. Several volumes of Guibert’s work can be read online at the Internet Archive

Notes: A selection from Hervé Guibert’s posthumously published “Mausoleum of Lovers: Journals 1976-1991”, translated from the French by author Nathanaël, can be found at the Asymptote Journal site: https://www.asymptotejournal.com/nonfiction/herve-guibert-the-mausoleum-of-lovers/

A 2014 review of “Mausoleum of Lovers: Journals 1976-1991” can be found at the Lambda Literary Organization site: https://lambdaliterary.org/2014/10/mausoleum-of-lovers-journals-1976-1991-by-herve-guiber/

Dennis Cooper’s blog has an excellent article on Guibert’s 1989 “To the Friend Who Did Not Save My Life” that contains photography by Guibert, a biography, media trailers, book excerpts and a 1993 interview: https://denniscooperblog.com/spotlight-on-herve-guibert-to-the-friend-who-did-not-save-my-life-1989/

There is a noteworthy article by The New Yorker staff writer Julian Lucas from the print issue of September 21st in 2020 entitled “When a Virus Becomes a Muse”. This review of Hevré Guibert’s life and work can be found at: https://www.newyorker.com/magazine/2020/09/21/when-a-virus-becomes-a-muse

Information written by Christine (Guibert) on Hervé Guibert’s partner Thierry Joune and the impact he had on Guibert’s writings can be found at: https://www.findagrave.com/memorial/281395860/thierry-jouno

Top Insert Image: Ulf Andersen, “Hervé Guibert, Paris”, Date Unknown, Gelatin Silver Print, 40.3 x 39. 2 cm, William Talbott Hillman Foundation

Second Insert Image: Hervé Guibert, “Sienne, 1979”, Edtition of 25, Gelatin Silver Print on Cartoline, 14.5 x 21.9 cm, Private Collection

Third Insert Image: Hervé Guibert, “L’Oisillon, Santa Caterina, Elba”, 1979, Gelatin Silver Print, 14 x 21.7 cm, Private Collection

Fourth Insert Image: Hervé Guibert, “Michel Foucault”, 1980, Gelatin Silver Print, 14.5 x 21.5 cm, Private Collection

Bottom Insert Image: Hans Georg Berger, “Hervé Guibert” Date Unknown, Gelatin Silver Print, September 2020 Issue of The New Yorker

 

Carl Van Vechten

The Photography of Carl Van Vechten

Born at Cedar Rapids, Iowa in June of 1880, Carl Van Vechten was an American accomplished photographer, author, critic, and ardent supporter of Harlem Renaissance artists and writers. He was the youngest child of prominent banker Charles Duane Van Vechten and Ada Amanda Fitch, a talented musician who founded the Cedar Rapids Public Library. A passionate follower of music and theater from an early age, Van Vechten left Cedar Rapids after graduating high school to pursue his interests and advance his education in Chicago.

Van Vechten entered the University of Chicago in 1899 where he studied a variety of topics including music, art and opera. Developing an interest in writing, he contributed work to the “University of Chicago Weekly”. After graduating from the university in 1903, Van Vechten accepted the position of columnist for the “Chicago American”, a growing afternoon edition newspaper. During this period, he began his experiments in photography, a passion for which he later gained widespread recognition.

After moving to New York City in 1906, Carl Van Vechten was hired by “The New York Times” as an assistant to its music critic. This position allowed him to continue his interest in opera through travels to Europe. In 1908, Van Vechten became the newspaper’s Paris correspondent and, upon his return to the United States in 1909, became the first American critic of modern dance. He later became the drama critic for the “New York Times” during 1913 and 1914. During a 1913 musical premiere in Paris, Van Vechten met and became a life-long friend and champion of American author and poet Gertrude Stein. Upon her death in 1946, he became her literary executor and assisted in the printing of her unpublished writings.

Having finished with writing both fiction and critical, Van Vechten at the age of fifty began photographing his large circle of friends with a 35 mm Leica camera, given to him by the Mexican painter, ethnologist and art historian Miguel Covarrubias. Van Vechten’s earlier career as a New York Times writer and his theater connections through his actress wife, Fania Marinoff, provided him access to new and established artists as well as cultural figures of the time. Van Vechten’s photographic portfolio became a collection of America’s cultural icons of the early to middle 1900s.

Carl Van Vechten’s portraits were usually busts or half-length poses in front of backdrops. Although he employed an assistant for lighting setups, Van Vechten was skilled in the techniques of photographic development. The subjects of his portraits included such notables as playwright Eugene O”Neill, novelist and poet Gertrude Stein, actress Anna May Wong, social activist Langston Hughes, actress and singer Pearl Bailey, and many others. Van Vechten’s photographs were exhibited at New York City’s luxury department store Bergdorf Goodman in 1933, the Museum of the City of New York in 1942, the Philadelphia Museum of Art in 1951, and at annual Leica Exhibitions between 1934 and 1936.  

Van Vechten strongly felt that his documentary photographic work of the mid-1900s should be available for scholarly research. During his lifetime, he donated his collection of manuscripts, letters, clippings and photographs to several university libraries. The Museum of the City of New York houses an extensive collection of over two-thousand images. In 1966, the United States Library of Congress acquired a collection of fourteen-hundred photographs that had been the property of Saul Mauriber. Originally a busboy at the Stage Door Canteen during World War II, Mauriber was Van Vechten’s photographic assistant for twenty years; he organized the collection and later became the photographic executor for Van Vechten’s estate.

As an author, Carl Van Vechten published several volumes of essays on a variety of subjects between 1915 and 1920, during which time he acted as an informal literary scout for the newly formed publisher Alfred A. Knopf. The publisher printed seven novels by Van Vechten between 1922 and 1930, including the 1922 “Peter Whiffle: His Life and Works”, a fictionalized autobiographical work built around the Harlem Renaissance, and the 1930 “Parties: Scenes from Contemporary New York Life”, a satirical portrait of upper-bohemian New Yorkers and Harlem jazz clubs.

Active in both writing and photography in his latter years, Carl Van Vechten died in December of 1964 at the age of eighty-four in New York City. His ashes were scattered over the Shakespeare Garden in the city’s Central Park. Van Vechten’s personal papers, a collection of nineteen-hundred Kodachrome slides, and his series “Living Portraits: Color Photographs of African Americans from 1939 to 1964” are housed at Yale University’s Beinecke Rare Book & Manuscript Library. His work is also housed in Tennessee’s Fisk University, the Philadelphia Museum of Art, and the Smithsonian’s Archives of American Art, among others.

Notes: While in Europe in 1907, Carl Van Vechten married Anna Snyder, his long time friend from Cedar Rapids. Their marriage lasted for five years; the divorce was finalized in 1912. Two years later, he married American-Russian actress and dancer Fania Marinoff. This marriage lasted for fifty years during which the couple played a prominent role in the Harlem Renaissance. After a successful fifty year career, Marinoff died from pneumonia at the age of eighty-one in November of 1971.

From the beginning of their relationship, Fania Marinoff was aware of Van Vechten’s romantic and sexual relationships with men. Most notable of these was his relationship with Richmond journalist Mark Lutz, who was introduced to Van Vechten at a 1931 party hosted by Hunter Stagg, editor of “The Reviewer” literary magazine. Lutz became a model for Van Vechten’s early photographic work and would maintain a close relationship until Van Vechten’s death. Upon Mark Lutz’s death in 1968, all his correspondence with Van Vechten, some ten-thousand letters, were destroyed as per his wishes. His collection of photographs by Van Vechten were donated to the Philadelphia Museum of Art.

A November 2023 article by Anne McCrery for the Library of Virginia’s “The Uncommon Wealth”, entitled “Authors of All Four Sexes” examines Hunter Stagg, his friendship with Van Vechten and Lutz, and the literary renaissance of Richmond, Virginia: https://uncommonwealth.virginiamemory.com/blog/2023/11/22/hunter-stagg/

The Elisa Rolle/ Queerplaces website has a biographical article on Carl Van Vechten that includes a collection of his portrait photographs gathered by Tony Scupham-Bilton: http://www.elisarolle.com/queerplaces/a-b-ce/Carl%20Van%20Vechten.html

Top Insert Image: Mark Lutz, “Carl Van Vechten, Villa Curonia, Florence, Italy”, 1935, Gelatin Silver Print

Second Insert Image: Carl Van Vechten, “Vincent Price”, 1939, Bromide Print, Marquette University, Wisconsin, 

Third Insert Image: Carl Van Vechten, “Mark Lutz, Rhinebeck, New York”, July 1936, Gelatin Silver Print, 35.3 x 27.9 cm, Philadelphia Museum of Art

Fourth Insert Image: Carl Van Vechten, “James Earl Jones”, May 1961, Vintage Gelatin Silver Print, 34.5 x 24 cm, Private Collection

Bottom Insert Image: Carl Van Vechten, “John Gielgud”, 1936, Vintage Print, 25.3 x 18 cm, Estate of Carl Van Vechten, National Portrait Gallery, Washington DC

Howard Roffman

The Photography of Howard Roffman

Born in Philadelphia in April of 1953, Howard Roffman is an American lawyer, marketing director, author and photographer. He is best known for his work on the Star Wars franchise as Lucasfilm’s head of Licensing and for his series of photographic art books of gay-positive images published in Berlin by Bruno Gmünder. 

The son of a Jewish family in a white middle-class section of Philadelphia, Howard Roffman’s interest in photography and awareness of his gay identity began early in his life. He attended the University of Pennsylvania and, later, the University of Florida College of Law where he received his Doctor of Law degree in 1977. Roffman served as a law clerk on the United States Court of Appeals for the Fifth Circuit and later at Morgan, Lewis & Bockius, a law firm in Washington DC.

As an author, Roffman spent years of research for his first nonfiction book, the 1976 “Presumed Guilty: Lee Harvey Oswald in the Assassination of President Kennedy”, a volume published by A.S. Barnes that examined the Warren Commission Report. His second nonfiction work, “Understanding the Cold War: A Study of the Cold War in the Interwar Period”, was published by the Associated University Press in 1977.  

Howard Roffman joined Lucasfilm in 1980 initially as legal counsel but was eventually promoted to general counsel. In 1986, he became the company’s Vice-President of Licensing, a position that included overseeing daily operations, identification of licensing partners, and the execution of agreements. Roffman was instrumental in the 1991 launch of the Star Wars novel franchise. Timothy Zahn’s “Heir to the Empire”, the first of this novel series, was on The New York Times Best Seller list for nineteen weeks. 

In 1999, Roffman was appointed President of Lucas Licensing, a subsidiary of Lucasfilm that owns the licensing rights to the “Star Wars” and “Indiana Jones” film series. In this position, he acted as Executive Producer for the highly successful “Star Wars: In Concert” tour, a series of concerts featuring a choir and symphony orchestra synced with footage from the Star War saga films displayed on a three-story LED screen. 

In early 2012, Howard Roffman became a Senior Advisor at Lucasfilm; however in the latter part of the year, he returned to full-time management of the Star Wars franchise. Roffman’s leadership with Star Wars licensing has been credited for redefining the licensed merchandise business. His work became the template used by many major media companies, including Disney which acquired Lucasfilm in 2012. Chosen by Brandweek magazine as the 1997 Entertainment Marketer of the Year, Roffman was inducted into the Licensing Hall of Fame in 2012. 

In 1991, Roffman began a career in photography through his meeting a young gay San Francisco couple who were seeking a photographer. By introducing his work to people on the street as well as at fairs and malls, he developed his skills and gradually built an impressive body of work. Over the last three decades, Roffman has published twenty-three volumes of portraiture photography and numerous magazine articles and calendars. After many years of shooting black and white film, he presented his first collection of digital color images in January of 2009, “Private Images, Bel Ami”, published through Bruno Gmünder.

Howard Roffman serves as the Executive Vice President of the Board of Directors of the San Francisco Film Society. He has aided in the financing of several acclaimed documentary film projects. Among these were directors David Weissman and Bill Weber’s 2011 “We Were Here”, which illuminated the personal and community issues raised by the AIDS epidemic, and directors Jeff Orlowski, Jerry Aronson and Paula DuPré Pesmen’s 2012 “Chasing Ice”, a multi-year chronicle of the earth’s melting glaciers. 

Howard Roffman’s photographic work is represented by Wessel + O’Connor Fine Art, a gallery that specializes in vintage and contemporary photography: https://wesseloconnor.com

Notes: The September 2019 issue of the online Metrosource magazine has an article on Howard Roffman’s photographic career at: https://metrosource.com/howard-roffman-gay-nude-photographer-star-wars/

Medium: Human Stories & Ideas has a short article on Howard Roffman and a link to a 2017 video interview entitled “Messing with a Classic” in which he discusses Lucasfilm and his work with “Star Wars” saga: https://medium.com/@wayofthewarriorx/howard-roffman-tv-interview-guy-who-was-in-charge-of-the-eu-l-l-ca33735117d2

Second Insert Image: Howard Roffman, “Pictures of Fred”, 2000, Bruno Gmünder, Berlin, Germany

Third Insert Image: Howard Roffman, “John, Gary and Kris by the Stoop”, 1995, Gelatin Silver Print, Edition of 25, 36 x 36 cm, Private Collection

Bottom Insert Image: Howard Roffman, “Three”, January 1997, Second Edition, Bruno Gmünder, Berlin, Germany

Charles Henri Ford: “Better Watch Out for the Next Cyclone”

Photographers Unknown, Better Watch Out for the Next Cyclone

And you may not have hair as curly as the alphabet
but if your googoo eyes were a bundle of germs
there’d be an epidemic
With your greenhorn complexion
and your grasswidow ways
you’d make a butcher kill a granite cow
and weigh the gravel out for hamburger.
I mean you’d start the eskimos stripteasing,
give dummies the shakes,
get  flyingcircuses  to  crawl  on  their  hands  and  knees.
No I wouldn’t put it past you.
Just let somebody set you on the fence,
by  gosh  foulballs  would  be  annulled
and home-runs the rule.
The weather forcast that overlooked you, baby,
sure better watch out for the next cyclone,
seeing how my uptown’s flattened,
and  my  downtown  a-waving  in  the  wind.

Charles Henri Ford, I Wouldn’t Put It Past You, The Breathless Rock, Flag of Ecstasy: Selected Poems, 1972, Black Sparrow Press, Los Angeles

Born in Hazelhurst, Mississippi in February of 1908, Charles Henri Ford was an American poet, novelist, and artist whose career spanned and influenced twentieth-century’s modernist era. In his lifetime, he exhibited his artwork in Europe and the United States, published over a dozen collections of poetry, directed experimental films, and edited the American literary and surrealist art magazine “View”.

Charles Henri Ford was the first of two children born into the southern Baptist family of Charles and Gertrude Cato Ford. He acquired his formal education at Catholic boarding schools in the American South and had one of his first poems published by The New Yorker magazine in 1927. Ford became part of the modernist literary movement with the publishing of his monthly “Blues: A Magazine of New Rhythms” in 1929 and 1930. The magazine introduced new talents such as authors James Farrell and Paul Bowles as well as published submissions by such writers as Gertrude Stein and William Carlos Williams.

Through “Blues” magazine, Ford communicated with the young novelist Parker Tyler who introduced him to both the poetry and men in the Village areas of Manhattan. Together they collaborated on a novel, “The Young and the Evil”, a fragmented account of bohemian gay life, drag balls and cruising. After his magazine ceased publication, Ford traveled to France and became a member of Gertrude Stein’s salon in Paris. Through Stein, he became acquainted with members of the American expatriate community which included such artists and writers as Natalie Clifford Barney, Kay Boyle, Man Ray, Peggy Guggenheim, Janet Flanner and Djuna Barnes.

Ford had a brief affair with Barnes and traveled with her to Tangiers, Morocco where, while waiting for the publication of “The Young and the Evil”, he typed Barnes’s completed novel “Nightwood” for its publication. Ford returned in 1934 to Paris where he met Russian-born surrealist painter and designer Pavel Tchelitchew, a former Stein protégé whose work was gaining recognition. This creative and loving relationship developed into a strong, though occasionally tempestuous, bond that lasted for twenty-three years. In late 1934, Ford and Tchelitchew left Europe and returned to New York City where they settled into an East Side penthouse.

In 1938, Charles Henri Ford published his first full-length book of poems “The Garden of Disorder” which contained an introduction written by author William Carlos Williams. Influenced by the poetic works of Jean Cocteau, Ford felt that poetry had a relationship with all forms of art, be it a novel, essay or theatrical production. His poetry is easily noticed for its surrealistic format of short spurts of words; however, he also adapted his style to political poetry such as the work he published in the American Marxist magazine “New Masses” , at that time a politically oriented journal which covered anti-lynching and equal rights for women.

In 1940, Ford and Parker Tyler collaborated on the avant-garde and surrealist art magazine “View”, a quarterly publication that established New York as a center of surrealism. The magazine interviewed local artists as well as the many European surrealists who had fled the war in Europe. Contributions to the magazine came from many prominent artists including Max Ernst, Pablo Picasso, Henry Miller, Georgia O’Keeffe, Marc Chagall and René Magritte, among others. A publishing imprint of “View” magazine, View Editions, was established to publish monographs and volumes of poetry, two of which were André Breton’s 1946 “Young Cherry Trees Secured Against Hares” and Ford’s 1959 “Sleep in a Nest of Flames”.

Charles Henri Ford and Tchelitchew moved in 1952 to Europe where they continued their artistic careers. Ford had a 1955 photography exhibition “Thirty Images from Italy” at the Institute of Contemporary Arts in London, followed by a 1956 solo exhibition of drawings and paintings in Paris. In July of 1957, Pavel Tchelitchew, now a United States citizen, died at the age of fifty-eight in Grottaferrata, Italy, with Ford by his bedside. His body was taken to Paris and interred in the Père Lachaise Cemetery.

Ford returned to New York City in 1962 and began to associate with the underground filmmakers and artists involved in the Pop movement. He began to experiment in collage images and created a series of lithographs with spliced-typefaces, acid colors, and pop culture images. A visual form of concrete poetry, these “Poem Posters” were exhibited in 1965 at New York’s prominent Cordier & Ekstrom Gallery on Madison Avenue. In the latter part of the 1960s, Ford focused on directing his own films, the first of which was the 1967 “Poem Posters”, a documentary of his recent exhibition, later entered into the Fourth International Avant-Garde Festival in Belgium. Ford’s second film, the 1971 “Johnny Minotaur”, was a surrealistic film-within-a-film that combined Greek mythology of Theseus and the Minotaur with erotic imagery of male anatomy and sexuality. Only one surviving print of the film is known.

Charles Henri Ford relocated in the early 1970s to Nepal where he purchased a house in Katmandu. In 1973, he hired local teenager Indra Tamang to cook and be his photography assistant. Tamang became basically Ford’s surrogate son, caretaker, and artistic collaborator for the rest of Ford’s life. They toured India and the Mid-East, resided for a period in Paris and Crete, and finally relocated to New York City. Ford purchased an apartment for himself and Tamang in The Dakota, a building that faced Central Park and was well known for its artistic tenants among whom was the actress Ruth Ford, Charles’s sister. Settled in the city, Ford created a series of art projects incorporating his collage materials and Tamang’s photography.

In the 1990s, Ford edited an anthology of articles previously published over the seven-year history of “View” magazine. Published as “View: Parade of the Avant-Garde, 1940-1947”, the 1992 volume’s introduction was written by Ford’s longtime friend, author and composer Paul Bowles. In 2001, Ford published selections from his diaries in a volume entitled “Water from a Bucket: A Diary 1948-1957” that covered the period from his father’s death to the death of Tchelitchew. In the same year, he participated in a two-hour documentary on his life, entitled “Sleep in a Nest of Flames”, directed by James Dowell and John Kolomvakis for Symbiosis Films 2000.

On the twenty-seventh of September in 2002, Charles Henri Ford died in New York City at the age of ninety-four. In his will and testament, Ford left some paintings and the rights to his co-authored novel “The Young and Evil” to Indra Tamang. Ruth Ford died in August of 2009 at the age of ninety-eight; she bequeathed her and her brother’s apartments to Tamang who had been both companion and caretaker. In 2011, Tamang carried Ruth and Charles Ford’s ashes to Mississippi where they were buried in Brookhaven’s Rose Hill Cemetery.

Notes: Charles Henri Ford’s 1991 “Out of the Labyrinth: Selected Poems” is available in its entirety on the Document.Pub site: https://dokumen.pub/out-of-the-labyrinth-selected-poems-0872862518-9780872862517.html

An exhibition review entitled “Charles Henri Ford: Love and Jump Back” by Demetra Nikolakakis for “Musée: Vanguard of Photography Culture” magazine can be found at: https://museemagazine.com/culture/2021/2/25/exhibition-review-charles-henri-ford-love-and-jump-back

The Artforum magazine has an informative 2003 article, written by Michael Duncan, on Charles Henri Ford and his association with novelist Parker Tyler and artist Pavel Tchelitchew: https://www.artforum.com/columns/charles-henri-ford-165330/

The Film-Makers’ Cooperative site has short articles with stills on Charles Henri Ford’s two experimental films “Poem Posters” and “Johnny Minotaur”: https://film-makerscoop.com/filmmakers/charles-henri-ford

Matthew D. Kulisch, one of three curators for the Backwords Blog, wrote an article for the site entitled “Charles Henri Ford: Association and America’s First (Queer) Surrealist Artist” : https://www.backwordsblog.com/single-post/2016/10/12/charles-henri-ford-association-and-americas-first-queer-surrealist-artist

The September 2024 issue of Noah Becker’s “White Hot Magazine” has an article entitled “Love and Jump Back: Photography by Charles Henri Ford at Mitchell Algus”, written by Mark Bloch: https://whitehotmagazine.com/articles/henri-ford-at-mitchell-algus/4984

Top Insert Image: Cecil Beaton, “Charles Henri Ford”, 1930-1940, Gelatin Silver Print, 26.4 x 21.9 cm, Private Collection

Second Insert Image: Charles Henri Ford, “Poem Poster (Gerald Malanga as Orpheus)”, circa 1965, Photolithograph, Image 98.4 x 68.1 cm, Whitney Museum of American Art, New York

Third Insert Image: Robert Geisel, “Charles Henri Ford, The Dakota, NYC”, 1989, Vintage Print

Fourth Insert Image: Charles Henri Ford, “Poem Poster (Soul Map / Jayne Mansfield), circa 1965, Photolithograph, 99.1 x 69.2 cm, Whitney Museum of American Art, New York

Bottom Insert Image: Arthur Tress, “Charles Henri Ford (and Indra Tamang), The Dakota, NYC”, 1997, Gelatin Silver Print, 27.9 x 35.6 cm, Brooklyn Museum, New York

Arthur Tress

The Photography of Arthur Tress

Born in Brooklyn, New York in November of 1940, Arthur Tress is an American photographer with an anthropological background who is known for his figurative work and staged psychological images . His career has encompassed a vast range of work from ethnographical and environmental documentation to modernist and magical-realistic images.

The youngest of four children born to European-Jewish parents, Arthur Tress became interested in photography early in his life. In his early teen-years, he photographed the buildings and abandoned amusement parks in the Brighton Beach and Coney Island neighborhoods. Tress studied painting at Bard College at Annandale-on-Hudson, New York where he earned his Bachelor of Fine Arts in 1962.

After graduating, Tress moved to Paris, France, and briefly attended film school. He traveled extensively for four years around the world, particularly in Asia and Africa, where he developed an interest in the cultural and tribal beliefs of those he observed. Tress began to work in the field of ethnographical photography, which led to his first professional assignment as a U.S. government photographer recording the endangered folk cultures of Appalachian communities. Tress’s images from this period formed his 1960s series “Appalachia: The Disturbed Land”. 

Arthur Tress was influenced by the photographers of The American Social Landscape, who in the tradition of straight, documentary photography focused on the aspects of the everyday environment, that is society’s practices, systems, and relationships as well as the boundaries between them. Members of this group included photographer Robert Frank known for his 1958 collection “The Americans”, Bruce Davidson known for his photographic study of East Harlem life, and Danny Lyons known for his documentary work on the civil rights movement. Tress was also impressed by such black and white cinematographers as Edward Tisse (1927 Battleship Potemkin), Gregg Toland (1941 Citizen Kane), and Boris Kaufman (1953 On the Waterfront). 

Tress began to use his camera to raise environmental awareness about the human and economical costs of pollution. He documented the neglected areas of New York City’s urban waterfronts as well as the economic problems of New York’s inner city and their effects on its residents. From this body of work, two volumes of “Open Space in the Inner City” were published; the 1971 Volume One, an architectural drawing series of  potential recreational areas in the city, and the 2010 Volume Two,  a documentary series of inner city residents with a focus on urban teenagers.  

In the summer of 1964, Arthur Tress stayed in San Francisco and photographed the city during a historic culture clash. San Francisco was the site of the launch of the Beatles’ first North American tour as well as the contentious 28th Republican National Convention at the Cow Palace that nominated Barry Goldwater of Arizona for President. During his time in the city, Tress became one of the photographers to shoot some of the first images of public LBGTQ life. After developing his negatives in a communal darkroom in the Castro District, he mounted two small exhibitions in North Bay galleries that summer. From this body of work, seventy images were later published as the 2012 “Arthur Tress: San Francisco 1964”. 

Tress’s “Dream Collector” series began with a visit to a workshop designed to allow children the opportunity to make paintings and poetry from remembered dreams. He followed this visit with research on the nature of dreams, attendance at dream therapy sessions, and interviews with adults on their remembered dreams. Combining his interest in derelict urban spaces with ethnographical photography, Tress created a series of staged black and white photographic work with psychological undertones. One example of this series is the 1970 “Flood Dream”, an image of a child looking out a hole in a roof set against the background of a gray deserted beach.

An exhibition entitled “Arthur Tress, San Francisco 1964” was presented at San Francisco’s de Young Museum in 2012 accompanied by a monograph published by the Fine Arts Museums of San Francisco. Other monographs that examine Tress’s work include “Arthur Tress: The Dream Collector”, “Shadow: A Novel in Photographs”, and “Theatre of the Mind, Reeves and Arthur Tress: Fantastic Voyage: Photographs 1956-2000”.

In 2013, an exhibition of Tress’s work from “San Francisco 1964”, “Dream Collector” and “Theater of the Mind” was held at the Oregon Center for the Photographic Arts. A retrospective of Arthur Tress’s earlier works, entitled “Rambles, Dreams, and Shadows” was held from October 2023 to February 2024 at the John Paul Getty Center in Brentwood, Los Angeles.

Arthur Tress’s work is contained in many private collections and numerous museums and institutions including Stanford University, the New York Museum of Modern Art, the Art Institute of Chicago, the Smithsonian American Art Museum, the Centre Pompidou in Paris, and the Los Angeles County Museum of Art. In 2021, an anonymous donor gave the University of Pennsylvania an outstanding collection of Arthur Tress photography. Penn Libraries now houses the largest collection, two thousand-five hundred photographic prints, of Tress’s work in the United States. 

Notes: Arthur Tress, interested in Asian culture since his early travels, gathered together over the years a large personal collection of thirteen-hundred Japanese illustrated books. After a 2018 visit to Penn Libraries’ conservation department, he donated his entire Japanese collection to the university’s library.

Arthur Tress’s website, which contains photographic series from 1963 to 2015, can be located at:  https://arthurtress.com

An interview between author Robert Hirsch and Arthur Tress for the January/February 2013 issue of LightResearch magazine can be located at:  https://lightresearch.net/interviews/ArthurTress.html

On September 14, 2024, California’s Cambria Center for the Arts Film Festival will be showing the documentary “Arthur Tress: Waters Edge”. A special exhibition of his work will be shown at the center’s Studio Gallery from September 1st to the 14th. Tickets are available at: https://www.my805tix.com/e/tress-1

For those interested, limited edition photographs occasionally are available through established auction sites. The J. Paul Getty Museum’s shop has a limited edition of signed posters for Arthur Tress’s 2023-2024 exhibition “Rambles, Dreams, and Shadows”: https://shop.getty.edu

Top Insert Image: Arthur Tress, “Self Portrait”, 2018, Gelatin Silver Print

Second Insert Image: Arthur Tress, “Young Man & Statue of Adonis, Key West, Florida”, 1980, Gelatin Silver Print

Third Insert Image: Arthur Tress, “Boy on Bike Crossing Williamsburg Bridge, New York”, 1969, Open Space in the Inner City Series, Gelatin Silver Print, Edition of 8, Getty Museum, Los Angeles

Fourth Insert Image: Arthur Tress, “Two Men, Two Rooms, New York”, 1977, Edition of 50, Gelatin Silver Print, 25 x 25 cm, Private Collection

Bottom Insert Image: Arthur Tress, Title Unknown, (Flies), 1984, Spray Paint Series, Gelatin Silver Print

 

Robert Giard

The Portrait Photography of Robert Giard

Born at Hartford, Connecticut in July of 1939, Robert Giard was an American portrait, figurative and landscape photographer. He is best known for his black and white, unadorned portraits of American poets and authors, a two decade-long series that specifically focused on gay and lesbian writers.

Robert Giard received his Bachelor of Arts from Yale University where he majored in English Literature. He earned his Master of Arts in Comparative Literature at Boston University. After graduating, Giard taught at the private New Lincoln School in Manhattan, New York. In 1972, he began, entirely self-taught, to photograph portraits of friends, nude figurative works, and the landscapes of the South Fork region of Staten Island. Giard’s  early landscapes were mainly shot in late autumn to the beginning of spring when many of the homes were empty for the season. Included in these landscapes are photographs taken at The Creeks, artist Alfonso Ossario’s estate.

In 1974, Giard and his life partner, early childhood educator Jonathan Silin, settled in the popular resort hamlet of Amagansett on the south shore of Long Island, where they remained for nearly thirty years until Giard’s death. In 1985, Giard attended a performance at New York City’s The Public Theater of playwright and gay rights activist Larry Kramer’s “The Normal Heart” which dealt with the AIDS crisis in the gay community. Sensing the enormity of the situation, he decided to use his photography to record the experiences, history and culture of the queer community. Combining his interests in literature and gay issues, Giard began documenting through portraits both the significant and new literary figures on the scene. 

Robert Giard’s portraits included such notable figures as poet and writer Allen Ginsberg, poet and essayist Adrienne Cecile Rich, playwright Edward Albee III, poet and performance artist Assotto Saint, and novelist Michael Cunningham, a later literary Pulitzer Prize winner. A selection of the more than five hundred portraits Giard had amassed at the time were published in 1997 as an anthology entitled “Particular Voices: Portraits of Gay and Lesbian Writers” by MIT Press. This collection served as the companion volume to the New York Public Library’s 1998 exhibition of the same name. 

In his later years, Giard began working on a portrait documentation of the three hundred twenty-one grant recipients of the Thanks Be To Grandmother Winifred Foundation, which supported until 2001 projects by women fifty-four years or older that benefitted other mature women. These grants supported research and artistic projects as well as those with social, economic or medical problems. Before his death, Giard had successfully photographed two hundred and forty-one of the women grantees. He traveled extensively across the country by train, bus or plane and kept a diary of his travels and his visits with the diverse group of women he met. 

While traveling to a portrait session in Chicago, Robert Giard passed away on the sixteenth of July in 2002 at the age of sixty-two. His published version of “Particular Voices” won the 1997 Lambda Literary Foundation Award for Best Photography/Art Book. A recipient of many awards and grants, Giard had a long and distinguished solo and group exhibition career in the United States. His work is in the public collections of the Brooklyn Museum, New York Public Library, San Francisco Public Library, and the Library of Congress. Giard’s complete archive is housed in Yale University’s Beinecke Rare Book and Manuscript Library in its American Collection.

The Robert Giard Foundation was formed in 2002 to preserve his photographic legacy, promote his work for educational purposes and encourage young photographers. The annual Robert Giard Fellowship is a ten-thousand dollar grant given to visual artists whose work addresses gender, sexuality and issues of gay, lesbian, bisexual and transgender identity. 

In 2005, Crones’ Cradle Conserve Press published “The Grandmother Winifred Journals” 1996-2002” which contains all Giard’s images of the women grantees plus his diary entries that documented each session.

Notes: Although the Robert Giard Foundation site has not been updated since 2022, the Robert Giard Grant Cycle is still active. The pertinent addresses are:  https://robertgiardfoundation.org  and  https://www.queer-art.org/giard-grant

The Lambda Literary Foundation has a biographical article on Robert Giard on the Gale Literature Resource Center site. It can be accessed through your library system’s card:  https://go.gale.com/ps/i.do?id=GALE%7CA92049131&sid=sitemap&v=2.1&it=r&p=LitRC&sw=w&userGroupName=anon%7E9af9193c&aty=open-web-entry

Top Insert Image: Toba Tucker, “Robert Giard”, Date Unknown, Gelatin Silver Print, Private  Collection

Second Insert Photo: Robert Giard, “Portrait of the Photographer”, (Self-Portrait), 1982, Gelatin Silver Print, 25.4 x 20.3 cm, Estate of Robert Giard

Bottom Insert Photo: Robert Giard, “Newton McMahon”, 1981, Gelatin Silver Print, 35.6 x 35.6 cm, Private Collection

Albrecht Becker: Film History Series

Photographer Unknown, “Albrecht Becker”, circa 1930, Vintage Bromide Print

Born in 1906 at Thale, a town in Imperial Germany, Albrecht Becker was a German photographer, actor, and film production designer. Imprisoned in 1935 by the National Socialist regime on the charge of homosexuality, he was one of the few Germans to survive the Second World War and present testimony as a gay man for the USC Shoah Foundation’s Visual History Archive. 

The youngest of three sons born to a baker, Albrecht Becker was encouraged by his father towards a career in textiles. He studied through an apprenticeship in Thale and, upon graduation at the age of eighteen, moved to Würzburg where he could live more freely as a gay man. Although Paragraph 175 of the German code had been active since 1871, this code outlawing homosexual acts between men was not consistently enforced at this time. Becker began work in Würzburg as a department store sales clerk but, after showing talent as a window display designer, the store made arrangements for his studies at a design school in Munich. 

Becoming financially secure at the store, Becker bought his first Leica camera and saved money for trips outside of Germany. He traveled with his camera to Spain and later to Italy where he met Wenderer Brown, an American of the same age. During a trip to France, Becker met Brown in Paris where they were able to see both Maurice Chevalier and Josephine Baker on stage. Although the distance between their homes hindered regular meetings, their romantic friendship turned out to be fortuitous as Becker sent all the photos he had taken to Brown at the outset of the Second World War; Brown returned these safely stored photos to Becker in 1945.  

Albrecht Becker’s first long-term relationship was with Joseph Arbert, a professor twenty years his senior, who was Würzburg’s Director of the State Archive. During this ten year relationship, Becker was introduced to the art and literature circles of the city. In August of 1934, he traveled to the United States for a one month visit with his friend Wenderer Brown. Becker, still feeling secure as a gay man in Würzburg,  returned to Germany at the end of his visit. However, the Night of the Long Knives in June of 1934 had changed the atmosphere in Germany. The power struggle between Ernst Röhm,the commander of the Sturmabteilung (SA),  and Adolph Hitler resulted in the murder of hundreds of Hitler’s political enemies including the openly gay Ernst Röhm. As a result of Hitler’s consolidation of power, Nazi Germany became a dangerous environment for homosexuals and others. 

At the beginning of 1935, Becker was summoned to the police station, arrested and three months later tried under Paragraph 175. He did not contest the charges which ironically saved his life, Instead of being sent to the Dachau concentration camp, Becker was sentenced to three years in the Nuremberg prison. After serving his term, he was able to return to his position at the department store in Würzburg. Near the end of the war, he served in the Wehrmacht and was sent to the Russian Front where he served until 1944 in the radio corps at a distance from the front lines. 

Wounded by shrapnel on the army’s retreat through Ukraine, Albrecht Becker was transferred first to Vienna and then back to Germany where the American forces used him as a translator until 1947. After his release, Becker was offered a position with film production designer Herbert Kirchhoff that altered his life forever. After relocating to Hamburg, the two men collaborate on several films with Becker acting as set designer. His work on these films give Becker a place in the industry that eventually allowed him to work on other independent projects, including theater and opera.

Over the course of his career as art director or production designer, Becker worked on over one hundred-twenty productions in film, television episodes and television movies.. Among his early productions were Hungarian director Sándor Szlatinay’s 1951 musical romance “Woe to Him Who Loves”; German director Ulrich Erfurth’s comedies, the 1953 “Not Afraid of Big Animals” and 1954 “Columbus Discovers Kraehwinkel” that starred Charlie Chaplin’s sons, Charles Jr. and Sydney Chaplin; Hungarian director Paul Martin’s 1955 musical comedy “Ball at the Savoy” with stage and film actor Peter W. Staub; and Hungarian director Ákos Ráthonyi’s 1961 comedy cruise film, “Beloved Imposter”, filmed aboard the Hamburg Atlantic Line steamship T.S. Hanseatic.

In his later years, Albrecht Becker devoted himself to his photography and produced artistic images as well as commercial work for magazines and newspapers. While living in Vienna and Freiburg, he exhibited his photography and received private commissions. Becker’s photography cover a wide range of eclectic subjects from ushers at the Vienna Opera and Augustinian monks to Berlin gravediggers and ruins of the razed city of Küstrin in western Poland. 

Becker published his memoir, “Fotos sind Mein Leben (Photos Are My Life) in 1993 through the publisher Rosa Winkel. In 1997, he gave testimony on his life and experiences as a gay man in Germany for the USC Shoah Foundation’s Visual History Archive. Becker later told of his experiences during World War II for Rob Epstein and Jeffrey Friedman’s 2000 documentary “Paragraph 175” produced through Channel Four Films. Albrecht Becker died of natural causes in Hamburg, Germany, in 2002 at the age of ninety-five. His private photo collection is now housed in Berlin’s Schwules Museum, founded in 1985 as a home for the history, culture and narratives of the LBGTQ community. 

Notes: The USC Shoah Foundation has an article with two interview clips entitled “Under the Shadow of Paragraph 175: Part 1: Albrecht Becker” located at: https://sfi.usc.edu/news/2015/03/8843-under-shadow-paragraph-175-part-1-albrecht-becker

The Holocaust Memorial Day Trust’s biography on Albrecht Becker can be found at: https://www.hmd.org.uk/resource/albrecht-becker/

Top Insert Image: Photographer Unknown, “Albrecht Becker”, circa 1930s-1940s, Vintage Print

Second Insert Image: Gustav Ucicky, “Zwei Blaue Augen (Two Blue Eyes)”, 1955, Cinematographer Ekkehard Kyrath, Production Design Albrecht Becker, Real-Film GmbH

Third Insert Image: Eugen York, “Die Letzte Nacht (The Last Night)”, 1949, Cinematographer Willy Wintestein, Production Design Assistant Albrecht Becker, Real-Film GmbH

Fourth Insert Image: Hans Deppe, “Die Freunde Meiner Frau (My Wife’s Friends)”, 1949, Cinematography Heinz Schnacketz, Production Design Assistant Albrecht Becker, Real-Film GmbH

Bottom Insert Image: Rinaldo Hopf, “Albrecht Becker and Friend”, circa 1980s-1990s, Color Print

George Platt Lynes: “José Martinez”

George Platt Lynes, “José ‘Pete’ Martinez”, 1937, Photo Shoot at Lynes’s Studio, Vintage Silver Prints, Private Collections

Born in Mexico in March of 1913, José Antonio Martinez-Berlanga was a ballet dancer who in the early 1940s danced with both the American Ballet Caravan and the Ballet Society, precursor ensembles of the New York City Ballet. 

José Martinez at a very young age moved with his family to Houston, Texas. After graduating high school, he relocated to New York City where he studied at the School of American Ballet founded in 1934 by Lincoln Kirstein, Edward Warburg and George Balanchine. Martinez eventually gained a full scholarship and, upon graduation, was invited to join The Ballet Caravan, a touring company founded by Lincoln Kirstein to provide off-season employment to American ballet dancers. Martinez gradually became involved with the group’s creative process and provided ideas and librettos for ballets. 

Martinez eventually began an intimate relationship with Lincoln Kirstein; they lived together in a Greenwich Village townhouse at St. Luke’s Place. After Kirstein married graphic artist Fidelma Cadmus, the younger sister of artist Paul Cadmus, Fidelma moved into the apartment for the first year of the marriage. This triangular romantic relationship was similar to that of their friends, Paul Cadmus, Jared French and his wife Margaret Hoening. 

José Martinez performed with the Ballet Caravan in the 1941 “Pastorela”, a one-act ballet choreographed by Lew Christensen and dancer José Fernandez, that toured Latin America with great reviews. The work included music by Paul Bowles and traditional songs orchestrated by Blas Galindo with words by Rafael Alvarez. Martinez tried in 1942 to enlist in the Army but was denied. He moved to Haverford, Pennsylvania and began work at a Jewish refugee hostel where writer Christopher Isherwood, whom he had met through Kirstein in 1939, was already employed. From Isherwood’s diaries, it is known that their relationship, except for one sexual encounter in August of 1942, was platonic. 

José Martinez and Christopher Isherwood traveled together several times to New York City to visit the Fidelma and Lincoln Kirstein. They both left Haverford in September of 1942 and went their separate ways. Their friendship, however, continued and they met several times in California and New York after the war years. Called up for service during the Second World War, Martinez was trained at Norfolk, Virginia, and served in the United State Army in northern France until 1945.

As a member of the Ballet Society, Martinez toured the United States with visits in both large and smaller cities. The Society’s repertoire was very different from those trained by Sergei Diaghilev, who founded the Ballets Russes. Martinez danced in the original cast of George Balanchine’s “Four Temperaments” in which he performed the first Theme with Beatrice Tompkins in the 1946 performance tour. He also originated and danced the role of the minister in dancer and choreographer William Dollar’s 1947 “Highland Fling”. 

In late 1947, José Martinez suffered a knee injury which forced an end to his performances. Hesitant about the next part of his life, he drifted for a year before beginning life as a dance teacher in Norfolk, Virginia. Over the next two decades, Martinez founded dance studios in Ohio and California where he continued to teach ballet until his retirement in the mid-1960s. José Martinez-Berlanga died at the Huntington Memorial Hospital in Pasadena, California on the twenty-fourth of June in 1997 at the age of eight-four. 

Notes: Paul Cadmus, Jared French and his wife Margaret Hoening would spend the summers from the late 1930s to the early 1950s on Fire Island where they painted and took photographs. This collaborative artistic endeavor became known as the PaJaMa collective, taken from the first two letters of their names. Artist George Tooker would later join the collective during the period of 1944 to 1949 when he was in a relationship with Paul Cadmus.

Many friends would often visit the group on Fire Island, among whom were ballet impresario Lincoln Kirstein, artist Bernard Perlin and photographer George Platt Lynes. Lynes became acquainted with José Martinez through this group of friends and would also photograph him. Although Martinez appeared in many of the pre-war photographs, Lynes’s studio portraits of Martinez wearing the straw hat are the best known. 

The Fire Island Pines Historical Preservation Society has an  article entitled “The Fire Island Muses of George Platt Lynes & the PaJaMa Collective” by Brian Ferrari on its site located at: https://www.pineshistory.org/the-archives/fire-island-muses

Top Insert Image: William Caskey, “José Martinez”, circa 1935-1955, Vintage Print

Second and Bottom Image: Photographers Unknown, “José Martinez”, circa 1935-1955, Vintage Prints, Fire Island Pines Historical Preservation Society

Peter Hujar

The Photography of Peter Hujar

Born in Trenton, New Jersey in October of 1934, Peter Hujar was an American photographer known for his black and white portraits. Only marginally known during his lifetime, he has since been recognized as one of the major American photographers in the late twentieth-century. 

Peter Hujar never met his father, who abandoned his mother Rose Murphy during her pregnancy. He was raised by his Ukrainian grandparents in the rural landscape of Ewing Township. Hujar remained with his grandparents until his grandmother’s death in 1946. After which, Hujar lived with his mother and her second husband in New York City; however, the household situation was difficult. He left the home in 1950 at the age of sixteen to live independently. 

In 1953, Hujar entered Manhattan’s School of Industrial Design, later named the High School of Art and Design, where he expressed an interest in photography. Encouraged by his teacher, poet Daisy Aldan, Hujar became a photographic apprentice at a commercial studio where he mastered the technical processes of photography. Four years later, his photographic work had reached museum quality. In 1958, Hujar was able to accompany realist painter and watercolorist Joseph Raffael on study trip to Italy. 

Having been awarded a Fulbright Scholarship, Peter Hujar returned to Italy in 1963, this time with painter and sculptor Paul Thek, to study and photograph the Capuchin Catacombs of Palermo, Sicily. These images would later be featured in Hujar’s 1975 “Portraits in Life and Death” published with a written introduction by writer and critic Susan Sontag. Upon his return to New York City in 1964, Hujar became the chief assistant to commercial photographer Harold Krieger, widely known for his innovative advertising work and celebrity portraits. 

In the mid-1960s, Hujar met Andy Warhol and posed for four of Warhol’s short, silent black and white film portraits, the “Screen Shots” series. Four hundred and seventy-two of these three-minute films depicting New York’s cultural figures are known to have survived. In 1967, Hujar was selected as one of the photographers in a master class led by Richard Avedon and Marvin Israel. The quality of Hujar’s classwork led to assignments from Harper’s Bazaar and other publications; through this class, he met photographers Diane Arbus and Alexey Brodovitch. 

In 1967, Peter Hujar made the decision, at great financial sacrifice, to leave the commercial world and pursue his own photography that would reflect his true personal identity. Hujar and his lover at that time, political activist Jim Fouratt, witnessed the Stonewall riots in New York’s West Village. An influential artist and activist of the gay liberation movement, Hujar, although not actively involved with the Gay Liberation Front, shot the group photo that was used on many of its posters. In 1973, he settled into a loft above the East Village’s Eden Theater on Second Avenue where he resided for the rest of his life. 

Throughout the late 1970s and into the early 1980s, Hujar traveled in the art world of lower Manhattan shooting portraits of noted actors and writers including William Burroughs, Fran Lebowitz, drag queen actor Divine, Susan Sontag, and Rolling Stone writer Vince Aletti. He visited and shot photos at the area’s bars and also the abandoned West Side piers on the Hudson River, a gathering spot for artists and the gay community. In early 1981, Hujar met filmmaker and artist David Wojnarowicz who had become one of the prolific members of the avant-garde artists who used mixed media, graffiti and street art. After a brief period as Hujar’s lover, Wojnarowicz became his protégé and remained closely linked to him for the remainder of Hujar’s life. 

Peter Hujar was a consummate technician and master of the darkroom who produce images that, though stripped of excess, were highly emotional. His photography covered a wide range of subjects, including abandoned and ruined buildings, cityscapes, animals, portraits, still life, and nudes. Due to his connection with the sitter, Hujar excelled in portrait work and was able to achieve an intimate and honest pose for the camera that caught his sitter’s idiosyncrasies and inner feelings. He never used props in his portraits and focused entirely on the sitter as opposed to the backdrop of the shot. 

Hujar was diagnosed with AIDS in January of 1987. Ten months later at the age of fifty-three, he died at New York’s Cabrini Medical Center on the twenty-fifth of November. Hujar’s funeral was held at the Church of St. Joseph in Greenwich Village; he was buried at Gate of Heaven Cemetery in Valhalla, New York. In his lifetime, Hujar had few substantial solo exhibitions and attracted little notice by the press. His only major show in his lifetime was a 1986 exhibition of seventy photographs curated by Sur Rodney Sur of New York’s Gracie Mansion Gallery. 

Peter Hujar willed his entire artistic estate to novelist and historian Stephen Koch, a longtime friend. Since 1987, Koch has worked to place Hujar’s work in its rightful position in twentieth-century art. Photography curator Joel Smith assembled a collection of one hundred and sixty-four images from Peter Hujar’s work for a 2018 retrospective at the Morgan Library & Museum in New York City. Hujar’s work has been exhibited throughout Europe and the United States and is housed in such public collection as the Metropolitan Museum of New York, the Whitney Museum of American Art and the Art Institute of Chicago. 

Notes: All images, unless noted, are from the Peter Hujar Archive which is located at: https://peterhujararchive.com

An exhibition of Paul Hujar’s work is currently being held at the Ukrainian Museum, 222 East 6th Street, New York City until the 1st of September, 2024. Article: https://news.artnet.com/art-world/peter-hujar-rialto-ukrainian-museum-2490813

An excellent 2018 article by the New Yorker’s longtime art critic Peter Schjeldahl, entitled “The Bohemian Rhapsody of Peter Hujar”, can be found at: https://www.newyorker.com/magazine/2018/02/05/the-bohemian-rhapsody-of-peter-hujar

New York’s Pace Gallery has an online conversation moderated by the gallery’s curatorial director Oliver Shultz, entitled “Cruising Utopia”, that coincided with its 2020 exhibition of Hujar’s intimate photographs of queer culture: https://www.pacegallery.com/journal/conversation-on-peter-hujar-video/

Top Insert Image: Peter Hujar, “Self Portrait Jumping (1)”, 1974, Gelatin Silver Print, 63.2 x 58.1 cm, Fraenkel Gallery

Second Insert Image: Peter Hujar, “Christopher Street Pier #3”, 1976, Gelatin Silver Print, Peter Hujar Archive

Third Insert Image: Peter Hujar, “The Shareef Twins”, 1985, Gelatin Silver Print, Peter Hujar Archive

Fourth Insert Image: Peter Hujar, “Gary Schneider in Contortion #1”, 1979, Gelatin Silver Print, Peter Hujar Archive

Bottom Insert Image: Peter Hujar, “Candy Darling on Her Deathbed”, 1973, Gelatin Silver Print, Peter Hujar Archive

Yves Paradis

The Photography of Yves Paradis

Born in Brittany in 1955, Yves Paradis is a French photographer known for his softly rendered black and white photographs which presented an idealized, timeless vision of gay life that differed from the prevailing gay photography of the period. During the 1980s, his work appeared regularly in the most popular gay periodicals of Europe.

The son of a farming family, Yves Paradis spent his formative years in rural France. He was introduced to photography at the age of thirteen by one of his teachers who recognized his struggles with writing. Given a space in the family’s attic by his father for a studio and dark room, Paradis was able to experiment with different techniques and develop his own images. His first photographs were portraits of his friends taken on holidays and, later, fellow soldiers during his national service in the army.

Paradis worked during the 1970s as a photojournalist with a focus on reportage-styled images of current events. Although he still experimented with homoerotic compositions, Paradis did not at this time considered art photography an option for a career. In 1979, France’s first commercially published gay magazine, “Gai Pied”, began its publication. Founded by journalist and activist Jean Le Bitouz, the magazine derived its title from a multilayered French pun that came from the word “guêpier”, meaning hornet’s nest. Paradis submitted a series of photographs he had taken of two soldiers kissing on an army tank; these images were accepted and published as a spread in the magazine.

Beginning in the 1980s, Yves Paradis worked regularly with “Gai Pied” and other European gay publications. His work featured images of sexually attractive men, not necessarily physically perfect, portrayed in realistic and romantic settings. Paradis did not champion the bar and club scene but rather found models through the gay press and random visits to the French provinces. In 1991, the first collection of Paradis’s photography, “Jois de Vivre (Joy of Life)” was published in London by Aubrey Walter. Soon after the volume’s publication, Paradis stopped photographing images and concentrated on individually printing his compositions. In 1998, a second edition of “Jois de Vivre” was published by Éditions Aubrey Walter, GMP Publications.

After a thirty-year hiatus, Paradis produced a new series of photographs in 2021, a collection that continued his original sense of design and disposition. His work is included in numerous private and public collections, including the National Museum of Wales and the Pallant House Gallery in Chichester, United Kingdom. Individual works by Paradis are available through East London’s Henry Miller Fine Art as well as auction house Barbarossa Maison de Ventes, both which are focused on masculine art.

Notes: The Gay Men’s Press, founded in 1979 by Aubrey Walter, David Fernback and Richard Dipple, was the forerunner and the source for the Editions Aubrey Walter imprint which published Yves Paradis first collection of photographs. A short history of the GMP can be found at: https://gmppubs.wordpress.com/a-short-history-of-gay-mens-press/

Top Insert Image: Photographer Unknown, “Yves Paradis”, Portrait for Henry Miller Fine Art

Second Insert Image: Yves Paradis, “Jean-Paul et l’Acropole”, 1986, Gelatin Silver Print, Henry Miller Fine Art

Bottom Insert Image: Yves Paradis, “Le Jeune Homme aux Pied Nus”, 1986, Gelatin Silver Print, Private Collection

Přemysl Koblic

The Photography of Přemysl Koblic

Born in July of 1892 in Prague, Přemysl Koblic was a Czech avant-garde photographer and educator whose theoretical findings and photographic practices significantly influenced the development of photography in Czechoslovakia. In addition to his experiments in photographic chemistry, Koblic promoted the emergence of new black and white photographic materials with such firms as Foma, Ako, and Neobrom.. 

The son of a chemical engineer, Přemysl Koblic began his studies in 1911 at Prague’s Czech Technical University; however, his education was  interrupted by the onset of World War I. After basic training, Koblic was sent at the end of 1915 to the Isonzo Front in Slovenia where he served as an army photographer with the 91st Infantry Regiment. Koblic finished his military service in the summer of 1918 and returned to his studies at the Czech Technical University. He graduated in 1919 and initially worked as an assistant at the university’s sugar-manufacturing department. Two years later, he became an administrator at Czechoslovakia’s Patent Office, where he managed patents covering photography, prints and food until 1935. 

Přemysl Koblic, who used his own small-format cameras, was a lifelong experimenter. He published his first technical texts prior to the First World War and, by 1920, was already a member of the Amateur Photographers’ Club in the Prague neighborhood of Královské Vinohrady. Among its members were such notable photographers as Alois Zych, Robert A. Šimon, Augustin Myška, František Oliveriusand, and Stanislav Krofta who joined upon his return from the United States. In 1923, Koblic joined a rival Prague photographic club that was later known as the Nekázanka. 

While post-war photographic work in Czechoslovakia during the early 1920s tended to create beautiful images, Koblic was interested in photographing the civilians of Prague during their daily work routines, the wait for trains, and travel through the bustling city streets. He felt that the essence of photography was found in the depiction of movement, life and activity. For him, the presentation of personal movement in the city, surrounded by its shapes, colors, lights and tones, was the highest form of photography as it depicted man in his own creation. Koblic was a pioneer in photography of the modern city, a theme that was further developed by others in the early 1940s.

When the country was affected by an economic crisis in the early 1930s, Přemysl Koblic collaborated with the Brno Film-Photo group of the Left Front which was led by economic theorist Lubomir Linhart. However, his work differed from the emerging photojournalism of the Communist periodicals that often published anonymous images by photo reporters. In the 1930s, Koblic published two books, the 1937 “Fotografování Vidí Svêt (Photography Sees the World)” and “Zvêtšování (Enlarging)” in 1938. Both of these volumes contained perfectly arranged photo appendices and samples of recent photographic work.

In 1936, Koblic became editor-in-chief of “Fotoografický Obzor (Photographic Horizon)” magazine and compiled the 1937 almanac edition for “Československá Fotografie (Czechoslovak Photography)”. He also closely collaborated with “Fotografie” magazine led by photographer and theorist Karel Hermann, a long-time friend. Koblic shared his photographic discoveries in numerous articles and through courses and lectures at local photo clubs and public venues. His photographic work and the technology he used greatly influenced the generation of magazine photographers in the late 1930s, including such artists as Josef Voříšek and Jan Lukas, as well as those of the later 1950s. 

For his entire life, Přemysl Koblic was connected with the Vršovice section of Prague; he converted his apartment on Ruskâ Street into an experimental photographic and chemical laboratory. Although he focused on other Prague locations, he depicted Vršovice in all its seasons and published many of these photographs equipped with texts. Koblic’s photographs were unique in their spontaneity; he could, without any hesitation, effortlessly shoot his subject within a second. Beginning in the 1930s, Koblic worked with a motion blur that gave a unique dynamic to his photographs. The most famous and frequently published of these works was the series done in 1948 at the Sokol Festival, entitled “Čtvrtá Dimense (The Fourth Dimemsion)”, for which he used a wide-angle camera. 

In the early 1950s, Koblic became involved in the Czechoslovak Union of Socialist Photography and the “Nova Fontografie (New Photography)” magazine that began publication in 1950 and promoted socialist realism in Czech photography. His photographs were quite distinctive from the average productions of that period. Although Koblic tried to comply with magazine’s desire for images with a socialist presence, his life-long interest in the documentary depiction of reality, including social relations, continued to be prevalent in his work.

Perceived by the general public as a clerk with a hard-earned status, Přemysl Koblic was involved in many hobbies and obsessions. His involvement in photographic chemistry led to the creation of the developer Pextral which became a standard for many years. He also constructed a series of photographic apparatuses including the Pohotovka, a prompt device. Koblic was interested in the chemistry aspect of the food industry and patented a process for yogurt production. He researched natural medications, made astronomical observations, and studied early European linguistics. All these interests, added to his homosexual orientation, made Koblic an eccentric figure for his time. 

Přemysl Koblic died in Prague in November of 1955 at the age of sixty-three. Due to the efforts of Czech photographer and historian Rudolph Skopec, the Moravian Gallery in Brno acquired part of Koblic’s work and Prague’s National Technical Museum became the guardian of a substantial collection of Koblic’s positive and negative images. 

Notes: For the research on this article, I am indebted to authors Jan Mlčoch, Pavla Vrbová, and Romana Kmochová for their informative articles on the photographic history of Czechoslovakia and Přemysl Koblic’s life and work. Their introductory article and “Prague in Pictures by Přemysl Koblic” are located at: https://eshop.ntm.cz/static/_dokumenty/1/6/2/8/8/00350_premysl_koblic-aj_m21_ukazka.pdf

An 2017 article on Czech Avant-Garde photography by Mariana Holá can be found on the Routledge Encyclopedia of Modernism located at: https://www.rem.routledge.com/articles/overview/photography

Top Insert Image: Jan Beran, “Přemysl Koblic”, Date Unknown, Vintage Print, 30 x 32.8 cm, Moravská Galerie

Second Insert Image: Přemysl Koblic, “Praha-Vršpvoce Depot”, circa 1930s, Vintage Print

Third Insert Image: Přemysl Koblic, “View of a Village from Above”, 1939, Vintage Print

Fourth Insert Image: Přemysl Koblic, “The Jewish Cemetery”, 1930-1939, Vintage Print, 29 x 39 cm, Moravská Galerie 

Bottom Insert Image: Přemysl Koblic, “Prague Street Scene”, 1946, Vintage Print, Moravská Galerie

Claude Cahun

The Photography of Claude Cahun

Born Lucy Renee Mathilde Schwob in October of 1894 to a literary Jewish family in Nantes, Claude Cahun was a French surrealist photographer, sculptor and author. She was the niece of avant-garde symbolist writer Marcel Schwob and the great-niece of historian and Orientalist writer David Léon Cahun. 

Cahun adopted the pseudonym Claude Cahun in 1914 for its gender neutrality, Claude being a French name that can be used by any gender with the same spelling and pronunciation. After experiencing antisemitism in the Nantes school system, Claude Cahun attended the private Parsons Mead School in Ashtead, Surrey, and continued her education at the University of Paris, Sorbonne. 

Claude Cahun’s father, newspaper publisher Maurice Schwob, divorced his wife after her permanent internment at a psychiatric facility. In 1909, he met the widowed Marie Eugénie Rondet Malberbe and, after a lengthly courtship, married her in 1917. Claude Cahun had met Marie Malberbe’s daughter, Suzanne Alberte Malberbe, previously at school in 1909. They were already years into their lifetime artistic and romantic partnership by the time their parents married. 

In 1922, Cahun and Malberbe, now an established designer, illustrator and photographer under the name Marcel Moore, settled in Paris. At their home, they held salon meetings attended by Paris’s intellectuals and artists. As prominent members of the Parisian art world, Cahun and Moore would host such notables as poet and painter Henri Michaux, writer Adrienne Monnier, Surrealist leader and theorist André Breton, and American-born bookseller and publisher Sylvia Beach.

Claude Cahun is known primarily for her highly staged self-portraits and tableaux that incorporated visual surrealistic elements. She began shooting her series of self-portraits at the age of eighteen while studying at the University of Paris. During the 1920s, Cahun’s self-portraits featured her attired in such various guises as an angel, doll, body builder, aviator, vampire and Japanese puppet. Some of these images, which presented a blurring of gender indicators and behaviors, are believed to have been taken with Marcel Moore behind the camera. Cahun and Moore collaborated on many projects and equally shared the credit for their collage work. 

In 1925, Cahun published “Heroines”, a series of monologues based upon female fairy tale characters intertwined with witty comparisons to contemporary women. She was active during 1929 in the experimental theater group Le Pateau for which she played Elle in “Barbe-Bleue (Bluebeard)”,and Satan in “Le Mystère d’Adam”. In 1930, Cahun published “Aveux non Avenus (Disavowed Confessions)”, a book of essays and recorded dreams illustrated with photomontages by Marcel Moore. 

In 1932, Cahun joined the Association des Écrivains et Artistes Révolutionnaires, a coalition of revolutionary artists and writers who eventually mobilized against war and fascism. It was through this group that she met Breton and surrealist writer René Crevel. Cahun participated in a number of surrealist exhibitions, including the London International Surrealist Exhibition at the New Burlington Gallery and the Exposition Surréaliste d’Objets at the Charles Ratton Gallery in Paris, both in 1936. 

With the rise of antisemitism in 1937, Claude Cahun and Marcel Moore fled Europe and settled on the island of Jersey. After German troops invaded Jersey in 1940, they reverted to their original names and masqueraded themselves as being sisters. For several years, Cahun and Moore heroically risked their lives by producing and distributing anti-Nazi fliers to the German soldiers. Many of the anti-Nazi fliers contained translated snippets of BBC reports on the Nazis’ crimes and insolence: these BBC excerpts were pasted together to create rhythmic poems and harsh critiques. Cahun and Moore would don their best dresses and attend German military events at which they secretly placed their pamphlets in cigarette boxes and in soldier’s pockets or on their chairs.

In 1944, Cahun and Moore were arrested and sentenced to death. Their home and property was confiscated and much of their art was destroyed by the Germans. Cahun and Moore survived, saved by the 1945 liberation of Jersey from German occupation. Cahun’s health, however, never recovered from her treatment in the prison. She died at Saint Helier, Jersey, in December of 1954 at the age of sixty and was buried in St. Brelade’s Church, one of the twelve ancient parish churches on the island. After Cahun’s death, Moore relocated to a smaller home in Jersey. She died by suicide in February of 1972 at the age of seventy-nine. Moore is buried alongside Cahun in St. Brelade’s Church. 

Claude Cahun’s work was largely unrecognized until forty years after her death. Her participation with the Parisian Surrealists, predominately male, brought an element of diversity to their creative work through her gender non-conforming photography and writings. Cahun’s work was meant to upset the conventional understanding of photography as a document of reality. Her poetry and writings challenged the prevailing gender roles as well as social and economic boundaries. 

Notes: All images, unless noted, are part of the Jersey Heritage Collections of the Bailiwick of Jersey.

An extensive article on Marcel Moore and Claude Cahun, entitled “Marcel Moore, Her Life and Art”, written by the JHT Curator of Art Louise Downie can be found at the Jersey Heritage Organization’s site. This article primarily covers the life of Moore who was a successful illustrator, photographer and fashion designer. The article is located at: https://www.jerseyheritage.org/media/PDF-Heritage-Mag/marcel%20moore.pdf

The November 4th 2020 edition of the online The Art Newspaper has an extract from author Jeffrey H. Jackson’s history book “Paper Bullets” which outlines Cahun and Moore’s artistic campaign against the Germans during World War II. The article is located at: https://www.theartnewspaper.com/2020/11/04/extract-or-how-artist-couple-claude-cahun-and-marcel-moore-resisted-the-nazis-with-their-paper-bullets

Top Insert Image: Claude Cahun, “Autoportrait”, 1927, Gelatin Silver Print, Jersey Heritage Collections

Second Insert Image: Claude Cahun, “Self Portrait with Roger Roussot in Barbe-Bleue (Bluebeard)”, 1929, Gelatin Silver Print, Jersey Heritage Collections

Third Insert Image: Claude Cahun, “Self Portrait”, Date Unknown, Color Crayon and Ink on Paper, Jersey Heritage Collections

Fourth Insert Image: Claude Cahun, “Self Portrait in Orchards”, 1939, Gelatin Silver Print, Jersey Heritage Collections

Bottom Insert Image: Photographer Unknown, “Claude Cahun and Marcel Moore”, circa 1929-30, Gelatin Silver Print, Jersey Heritage Collections

William Gedney

The Photography of William Gedney

Born at Greenville, New York in October of 1932, William Gale Gedney was an American documentary and street photographer. Intensely dedicated to his work, he was interested in street and night photography, portraiture, creative composition, and the study of human nature. Gedney’s work took him across the United States several times and overseas to England, India, Ireland, France, and the Netherlands. 

William Gedney spent his early years in upstate New York. At the age of nineteen, he relocated to New York City and attended Brooklyn’s Pratt Institute where he became interested in photography. Gedney graduated in 1955 with a Bachelor of Arts in Graphic Design. He worked for two years at the global mass-media company Condé Nast Publications before deciding to pursue a freelance career. After several years of freelance work and part-time employment, Gedney was hired in 1961 for the graphic department of Time, Inc. where he primarily did photographic layouts. 

With the money he saved, Gedney traveled in 1964 to Kentucky and ended his journey at a coal-mining town in Perry County. For a period of two weeks, he stayed at the Leatherwood home of Willie and Vivian Cornett and their twelve children. The family was struggling due to Willie Cornett having just recently lost his job at the mines. Gedney photographed the daily activities of the family members during this stay and a later one in 1972. The Corbett Family series eventually contained nine hundred twenty-one images in total. For the following twelve years, Gedney remained in touch with the family and exchanged letters.

In 1966, William Gedney was recommended by photojournalist Walker Evans for a one-year fellowship from the John Simon Guggenheim Memorial Foundation. Through this fellowship, Gedney settled in the Haight-Ashbury district of San Francisco where he began photographing its residents and drifters who passed through the neighborhood. Between October 1966 and January 1967, Gedney shot twenty-one hundred 35 mm photographs that chronicled San Fransisco culture. Upon his return to New York, Gedney organized a maquette for a photography book of his stay in San Francisco; however the book was not published in his lifetime.

In 1968, John Szarkowski, photography director of New York’s Museum of Modern Art, curated Gedney’s only solo exhibition in his lifetime, a MOMA show that presented twenty-two images of the Kentucky series and twenty-one of the San Francisco series. Shortly after the exhibition, Gedney was offered teaching positions for photography at the Pratt Institute and Manhattan’s Cooper Union; he would remain a member of both faculties for the rest of his working life. 

In 1969, William Gedney received a two-year Fulbright Fellowship for photography in India. His photographs of India were taken over two extensive stays during this fellowship and during a later trip in 1972. On his initial visit, Gedney lived a year and a half in Varanasi at the home of a local family; in 1972, his four-month visit focused on the city of Calcutta. The big overseas adventure in Gedney’s life was India: though the trip wearied him, Gedney particularly cherished the work from this period.

 In June of 1989, William Gedney died in New York City, at the age of fifty six, of complications from AIDS. He left photographs and writings to his lifelong friend Lee Friedlander and requested that his books and cameras be given to one of India’s colleges. His brother, Richard Gedney, donated them to the Chitrabani Art College in Calcutta. Gedney’s photographs, sketchbooks, diaries and papers are housed in the Rare Book, Manuscript and Special Collections Library of Duke University. Its digital collection contains finished prints and contact sheets created by Gedney between 1955 and 1989.

Margaret Sartor, a photographer, writer, and teacher at the Center for Documentary Studies at Duke University, was approached by the university’s Special Collections Library for the curation of an exhibition of Gedney’s work. In 2000, Sartor and English author Geoff Dyer coedited “What Was True: The Photographs and Notebooks of William Gedney”, which quickly sold out.

Notes: William Gedney’s photographic book of his work in San Francisco was published posthumously in February of 2021 by Duke University Press under the title “William Gedney: A Time of Youth-Sam Francisco, 1966-1967”.

An article written by Samanth Subramanian, entitled “William Gedney’s Travels in India” for The New Yorker can be found at: https://www.newyorker.com/culture/photo-booth/william-gedneys-travels-in-india

Author Rebecca Bengal wrote an article entitled “William Gedney’s Timelessly Intimate Photographs of San Francisco in the 1960s” for the June 2021 issue of “Aperture”. This article,  with images and quotes by Gedney’s friends as well as his onetime lover writer Joseph Caldwell, can be found at: https://aperture.org/editorial/william-gedney-timelessly-intimate-photographs-of-san-francisco-in-the-1960s/

The Howard Greenberg Gallery in Manhattan, New York had an exhibition of William Gedney’s work in February to March of 2016. Thumbnail images of the exhibition’s photos can be located at: https://www.howardgreenberg.com/exhibitions/william-gedney-all-facts-eventually-lead-to-mysteries

Second Insert Image: William Gedney, “Cornett Sisters”, 1965, Kentucky Cornett Family Series, Gelatin Silver Print, Duke University

Third Insert Image: William Gedney, “Calcutta”, circa 1980, Gelatin Silver Print, 27.3 x 18.4 cm, Duke University

Bottom Insert Image: William Gedney, “Kentucky, 1972”, Kentucky Cornett Family Series, Gelatin Silver Print, Duke University

George Daniell

 

The Photography of George Daniell

Born in May of 1911 in Yonkers, New York, George Daniell was an American photographer and a painter. His experience in the dramatic landscape of his childhood was the genesis that led to his passion for black and white photography’s cinematic effects. Taking a keen interest in a variety of subjects throughout his life, Danielle shot photos of dock workers in New Brunswick, crabbers on the Hudson, swimmers at Glen Island Beach and ballet dancers on Fire Island, all of which to him presented a fierce and tender celebration of the angular male figure.

George Daniell began his artistic career with a folding Kodak camera and a drawing class at the Grand Central Art School in New York City. He trained as a painter at Yale University, where he graduated in 1934 earning a Bachelor of Arts Degree in Painting and Photography. After returning to Yonkers, Daniell began photographing fishermen and bathers along the banks of the Hudson River, traveling further to Glen Island, Jones Beach, and Fire Island on subsequent excursions. Moving to New York City and attending courses at the Art Students League, he supported himself as a freelance photographer for publications such as “Time” and “Life” magazines.

In the summer of 1937, Daniell traveled north to Maine, first visiting the art colony at Ogunquit and then continuing up the coast to Monhegan Island. Developing his eye for composition and tonal values, he shot many images of Monhegan’s distinctive houses, rugged terrain, and working fishermen. The publication of many of these Monhegan  images in both “Time” and “Life” earned Daniell a reputation as an artist with a keen sense for recognizing the human moments within everyday life. He followed this project in the following year with an internationally acclaimed photo essay about the lives of herring fishermen living on Grand Manan Island, off the coast of New Brunswick.

In 1940 in New York, George Daniell continued his studies of painting at Bronx’s American People’s School, after which he served from 1942 to 1944 in the US Army during World War II.  After his discharge he returned to New York City, purchased a house on Fire Island, and continued his freelance photography career. Soon after resuming his work, Daniell met and fell in love with realist-expressionist painter and gallery owner Stephen Dorland. The couple  moved in 1960 to Trenton, Maine, near Acadia National Park, to paint and to start a country life together; over the next forty years, they would travel and paint together.

George Daniell’s association with renowned photographer and owner of the famous “291” Gallery,  Alfred Stieglitz, would lead to his most known series of work, the celebrity portraits. Meeting Georgia O’Keeffe at the gallery would result in two famous intimate photo shoots, one in 1948 at Daniell’s Fire Island house and one in 1952 at O’Keeffe’s Ghost Ranch in New Mexico, which formed a lasting friendship between the two. Some of the famous subjects included in this celebrity series were landscape painter and friend John Marin, photographer Berenice Abbott, writer Tennessee Williams, and actors Robert De Niro and Greta Garbo. 

Over the course of his career, George Daniell spent a considerable amount of time traveling abroad, completing two around the world excursions. Between 1950 and 1954, he photographed many street scenes and images of the local people in Rome and Florence. Returning to Italy for two months in 1955, Daniell shot a series of images depicting  the streets and countryside of devastated postwar Italy; he also shot a series of portraits on the movie sets of Rome’s Cinecittà Studios. Marked by a distinct sense of sensuality and interest in his subjects, these two series, which Daniell considered his favorite work, combined his democratic vision and his recognition of the celebrity.

Affected by Stephen Dorland’s death in October of 1983 and suffering from depression, George Daniell was hospitalized and shortly after suffered a stroke which limited his mobility. Drawn to the dark and deep tones of the North Atlantic Coast, which coalesce in his early paintings, Daniell moved to Bar Harbor, Maine where he returned to painting. He continued working as a photographer and painter until his death on September 14, 2002 at the age of ninety-one.

The George Daniell Museum located in South Beach, Florida, houses a full collection of George Daniell’s work which covers the years from 1920 to 1991, and includes paintings, aquarelles, and his more personal photographs. The collection was recently unearthed by his estate and was presented through the cooperation of the German organization Zentraldepot, a security facility with conservators and restorers.

Top and Bottom Insert Images: Self Portraits of George Daniell, George Daniell Estate

Middle Insert Image:  George Daniell, “Steve Dorland in Acapulco”, 1944, Silver Gelatin Print, 34.5 x 23.1 cm, George Daniell Estate