Category Archives: PHOTOGRAPHY

NAN GOLDIN — THE OTHER SIDE

From my first night at The Other Side—the drag queen bar in Boston in the ’70s—I came to life. I fell in love with one of the queens and within a few months moved in with Ivy and another friend. I was eighteen and felt like I was a queen too. Completely devoted to my friends, they became my whole world. Part of my worship of them involved photographing them. I wanted to pay homage, to show them how beautiful they were. — Nan Goldin*

Following the 2019 Steidl* publication of an expanded and updated version of Goldin’s 1992 book The Other Side, Librairie Marian Goodman presents a selection of the artist’s earliest photographic works.

NAN GOLDIN—THE OTHER SIDE

Through July 25.

Librairie Marian Goodman

66 rue du Temple, 3rd, Paris.

See Ballad, Aperture’s Summer 2020 issue on Goldin and her world.

Nan Goldin, from top: Roommate as Blonde Venus, Boston, 1973; Naomi in the leather dress, Boston, 1973; Roommate in her chair, Boston, 1072; Roommate with teacup, Boston, 1973; Colette modeling in the Beauty Parade, Boston, 1973; Best friends going out, Boston, 1973; Roommate in the kitchen, Boston, 1972; Roommate after the bar at home, Boston, 1973. Images courtesy and © the artist and Marian Goodman Gallery.

NICK MAUSS — TRANSMISSIONS CATALOG

I came upon the word transmissions while thinking about how the ethereal, corporeal, and technical dimensions of ballet resonate in the artworks and souvenirs it produces. Transmissions are subject to interference and interruption. Ballets are conveyed to us through mediations, anecdotes, and bodies. And often when I’m watching ballet in its contemporary manifestations, I wonder how these transmissions have occurred.

I started looking into the history of ballet in the twentieth century… Through a web of genealogies, I eventually arrived at the flamboyant intersection of ballet and art in New York, beginning in the 1930s. There the avant-garde experiments of the previous decades in Europe incited a particularly intense cross-contamination, an overt articulation of homosexual erotics long before the emergence of a public language around queerness. Looking at modern American art of this period through the prism of ballet reveals a tangle of interrelationships, collaborations, derivations, and hybrid aesthetic programs that still feel surprisingly contemporary. Nick Mauss*

Two years after the close of TRANSMISSIONSNick Mauss’ multimedia installation at the Whitney Museum of American Art—the museum and Dancing Foxes Press have published an exhibition catalog that beautifully extends the show, combining performance and exhibition images from the Whitney with an extensive selection of new illustrative and textual documentation.

Essays by Mauss, Joshua Lubin-Levy, and exhibition organizers Scott Rothkopf, Elisabeth Sussman, and Allie Tepper—as well as a conversation between Mauss and the dancers who performed during the run of the show—round out this essential volume, a complement to and in dialog with recent catalogs by Jarrett Earnest (The Young and Evil—Queer Modernism in New York 1930–1955) and Samantha Friedman and Jodi Hauptman (Lincoln Kirstein’s Modern).

I drew multiple webs of interrelationships, elective affinities, and echo waves of influence, focusing as much on the social, professional, sexual, and collaborative points of contact as on transhistorical resonances that were in some cases perhaps fantasy—eschewing standard mappings of modern art… [embracing] anachrony and distortion over apparent objectivity…

My decision to insist on ballet as the fulcrum in TRANSMISSIONS was also a response to the ubiquity of postmodern dance derivations within the contemporary museum environment and the reductive version of modernity that these prequalified dance idioms signify and cement. Contemporaneity is reduced to a “look” of modernity. Modernist ballets make for engaging historical documents precisely because their own relationship to history is a kind of suspension of disbelief; they are intrinsically modernist, even if they don’t “signal” modernity to contemporary eyes.— Nick Mauss*

The world of the spectator, the receiver, was a primary lens through which I constructed TRANSMISSIONS, and the flux of the exhibition’s daily audience over the course of two months took on a central role within it. This book is similarly directed at the wholly different—private, rather than social—negotiations of the reader. — Nick Mauss*

NICK MAUSS, TRANSMISSIONS (Brooklyn: Dancing Foxes Press; New York: Whitney Museum of American Art, 2020).

See Benedict Nguyen on performing in Transmissions.

Listen to Fran Lebowitz and Nick Mauss in conversation on the occasion of Transmissions at the Whitney, 2018.

*Nick Mauss text—from the catalog essay “Gesturing Personae” and TRANSMISSIONS jacket copy—courtesy and © the artist.

Nick Mauss, Transmissions, Whitney Museum of American Art, March 16, 2018–May 14, 2018; exhibition catalog, Whitney and Dancing Foxes Press, 2020, from top: installation view, Whitney, 2018, photograph by Ron Amstutz; Carl Van Vechten, Janet Collins in New Orleans Carnival, 1949, Jerome Robbins Dance Division, New York Public Library for the Performing Arts; George Platt Lynes, Tex Smutney, 1941, Kinsey Institute, Indiana University , Estate of George Platt Lynes; Transmissions performance photograph of Quenton Stuckey, March 13, 2018, by Paula Court, with Gaston Lachaise, Man Walking (Portrait of Lincoln Kirstein), 1933, at left; Dorothea Tanning, cover of Ballet Russe de Monte Carlo’s 1945–1946 program, Artists Rights Society, New York / ADAGP, Paris; installation view, Whitney, 2018, images on scrim, Lynes, Ralph McWilliams (dancer), 1952, Lynes, Tex Smutney, Carl Van Vechten slideshow on rear wall, dancers Brandon Collwes, Quenton Stuckey, and Kristina Bermudez, photograph by Amstutz; dancers Arthur Mitchell and Diana Adams, and (seated) George Balanchine and Igor Stravinsky during rehearsals for Agon, 1957, choreographed by Balanchine for New York City Ballet, photograph by Martha Swope, Jerome Robbins Dance Division; Bermudez (left), Burr Johnson, Nick Mauss, and Fran Lebowitz, May 9, 2018, at the Whitney, photograph by Court; Pavel Tchelitchew, Portrait of Lincoln Kirstein, 1937, oil on canvas, collection of the School of American Ballet, courtesy Jerry L. Thompson; Louise Lawler, Marie + 90, 2010–2012, silver dye bleach print on aluminum, Whitney, courtesy and © the artist and Metro Pictures; (Mauss printed Lawler’s image of Marie, Edgar DegasLittle Dancer Aged Fourteen, circa 1880, on the Transmissions dancers’ white leotards); Lynes photograph of Jean Cocteau, Bachelor magazine, April 1937; Transmissions performance photograph by Paula Court; Paul Cadmus, Reflection, 1944, egg tempera on composition board, Yale University Art Gallery, bequest of Donald Windham in memory of Sandy M. Campbell, courtesy and © 2019 Estate of Paul Cadmus, ARS, New York; Cecil Beaton, photograph of poet Charles Henri Ford in a costume designed by Salvador Dali, silver gelatin print, collection of Beth Rudin DeWoody; artworks by Pavel Tchelitchew, John Storrs, Elie Nadelman, Gustav Natorp, and Sturtevant, and photographs by Ilse Bing, arranged in front of Mauss’, Images in Mind, 2018, installation view, Whitney, 2018, photograph by Amstutz; Mauss’ re-creation of costume designed by Paul Cadmus for the 1937 ballet Filling Station (choreographed by Lew Christensen), fabricated by Andrea Solstad, 2018, and Nadelman, Dancing Figure, circa 1916–1918, installation view, Whitney, 2018, photograph by Amstutz; Man Ray, New York, 1917 / 1966, nickel-plated and painted bronze, Whitney;, courtesy and © Man Ray 2015 Trust, ARS, New York / ADAGP, Paris; Mauss and Lebowitz in conversation at the Whitney, 2018, photography courtesy and © Izzy Dow; Murals by Jared French exhibition brochure, Julien Levy Gallery, 1939; Transmissions performance photograph of Anna Thérèse Witenberg, March 13, 2018, by Court; Dorothea Tanning, Aux environs de Paris (Paris and Vicinity), 1962, oil on linen, Whitney Museum of American Art, gift of the Alexander Iolas Gallery; Maya Deren, The Very Eye of Night (1958, still), 16mm film, Anthology Film Archives, New York.

ILSA BING

As part of the Virtual Collect + Connect program, Photo LA 2020 presents an online tour of the exhibition ILSA BING—QUEEN OF THE LEICA, followed by a discussion with curators Barbara Tannenbaum and David Travis.

ILSA BING—QUEEN OF THE LEICA

Sunday, June 28.

10:30 am on the West Coast; 1:30 pm East Coast.

Ilsa Bing, from top: Self-Portrait with Mirrors, 1931; New York, the Elevated, and Me, 1936; Three Men on Steps on the Seine, 1931; Schiaparelli, Satin Dress, 1933; Greta Garbo Poster, Paris, 1932; It Was So Windy in the Eiffel Tower, 1941; Dancers, Ballet Errante, 1933; Paris, 1952; Circus Acrobat on Black Ball, New York, 1936; Self-Portrait with Leica, 1986. Images courtesy and © Estate of Ilse Bing.

MIEN — THE ALI FORNEY CENTER

MIEN—a group exhibition to benefit the Ali Forney Center—presents the work of eight queer artists of color who “leverage portraiture photography to explore identity beyond visibility.”

Each work is presented as a limited-edition 20″ x 30″ poster, framed or unframed.

100% of the proceeds from the sale goes to the center, to combat LGBTQ youth homelessness in New York City.

Tariq Dixon curated this TRNK Editions show, and participating artists include Derrick Woods Morrow, Dorian Ulises López Macías, Elliott Jerome Brown Jr., Xu Guanyu, Naima Green, Nelson Morales, Simone Thompson, and Texas Isaiah.

MIEN

Through June 30.

TRNK

Mien, from top: Simone Thompson, Schentell; Naima Green, We Lay in a Bed of Queen Anne’s Lace; Elliott Jerome Brown, Jr., Breath Tucks in and Weighs the Eyes Closed…; Derrick Woods-Morrow (2), Frederick on Lake Pontchartrain and Acts of Boyhood Divination: Water Dancer; Nelson Morales (2), Self Portrait with Red Skirt and Ticunas; Dorian Ulises López Macías (2), De la calle / A la calle… and Te extraño; Xu Guanyu, Alpha Male; Texas Isaiah, San Cha, 2018. Images courtesy and © the artists and TRNK.

DEANA LAWSON — CENTROPY

Deanna Lawson’s “meticulously staged yet profoundly intimate images of the sartorial styles, quotidian habits, and domestic interiors of the African diaspora in her native United States, Brazil, and beyond” are now on view in Basel.*

One of my first visual influences… was the idea of a family album… In my portrait work, I am creating more formal stages, a theater of the family snapshot…

I think that there is definitely something tragic in the family photograph—it’s a fundamentally retroactive idea. We make the image specifically to look back on it, to refer to it later in life. Even in my old family albums, the process of aging—the space between them and now—can be haunting and unstable. How to deal with the idea of projected time in a static medium is an interesting challenge. While the work is by no means autobiographical, its impulses are born from personal experiences. It references people I knew and had relationship with. — Deana Lawson

DEANA LAWSON—CENTROPY is co-produced with the Fundação Bienal de São Paulo as part of the 34th Bienal de São Paulo—Though It’s Dark, Still I Sing. The curatorial team includes Jacopo Crivelli Visconti, Paulo Miyada, Carla Zaccagnini, Francesco Stocchi, and Ruth Estévez.

DEANA LAWSON—CENTROPY*

Through October 11.

Kunsthalle Basel

Steinenberg 7, Basel.

Deana Lawson, Centropy, Kunsthalle Basel, June 9, 2020–October 11, 2020, from top: Daenare, 2019; Chief, 2019; installation view of Latifah’s Wedding, 2020 (left), and Vera, 2020; installation views of Boom Box Hologram (working title), 2020, and Fragment (church) (working title), 2020; ; installation view and detail of House of My Deceased Lover, 2019 (2); installation view of Niagara Falls, 2018 (left), and Taneisha’s Gravity, 2019; installation view of Fragment (Jacqueline and Taneisha) (working title), 2020; An Ode to Yemaya, 2019. Installation photographs by Philipp Hänger. Images courtesy and © the artist, Kunsthalle Basel, and Sikkema Jenkins & Co.