Published by Metropolis Books/Gordon de Vries Studio. Foreword by Alastair Gordon. Text by Christopher Bascom Rawlins.
As the 1960s became The Sixties, architect Horace Gifford executed a remarkable series of beach houses that transformed the terrain and culture of New York’s Fire Island. Growing up on the beaches of Florida, Gifford forged a deep connection with coastal landscapes. Pairing this sensitivity with jazzy improvisations on modernist themes, he perfected a sustainable modernism in cedar and glass that was as attuned to natural landscapes as to our animal natures. Gifford’s serene 1960s pavilions provided refuge from a hostile world, while his exuberant post-Stonewall, pre-AIDS masterpieces orchestrated bacchanals of liberation. Marilyn Monroe, Elizabeth Taylor and Montgomery Clift once spurned Hollywood limos for the rustic charm of Fire Island’s boardwalks. Truman Capote wrote Breakfast at Tiffany’s here. Diane von Furstenburg showed off her latest wrap dresses to an audience that included Halston, Giorgio Sant’ Angelo, Calvin Klein and Geoffrey Beene. Today, such a roster evokes the aloof, gated compounds of the Hamptons or Malibu. But these celebrities lived in modestly scaled homes alongside middle-class vacationers, all with equal access to Fire Island’s natural beauty. Blending cultural and architectural history, Fire Island Modernist ponders a fascinating era through an overlooked architect whose life, work and colorful milieu trace the operatic arc of a lost generation, and still resonate with artistic and historical import.
Published by Damiani. Edited by Ben Smales. Introduction by Edmund White. Text by Tom Bianchi.
Growing up in the 1950s, Tom Bianchi would head into downtown Chicago and pick up 25-cent “physique” magazines at newsstands. In one such magazine, he found a photograph of bodybuilder Glenn Bishop on Fire Island. “Fire Island sounded exotic, perhaps a name made up by the photographer,” he recalls in the preface to his latest monograph. “I had no idea it was a real place. Certainly, I had no idea then that it was a place I would one day call home.” In 1970, fresh out of law school, Bianchi began traveling to New York, and was invited to spend a weekend at Fire Island Pines, where he encountered a community of gay men. Using an SX-70 Polaroid camera, Bianchi documented his friends’ lives in the Pines, amassing an image archive of people, parties and private moments. These images, published here for the first time, and accompanied by Bianchi’s moving memoir of the era, record the birth and development of a new culture. Soaked in sun, sex, camaraderie and reverie, Fire Island Pines conjures a magical bygone era. Tom Bianchi was born and raised in the suburbs of Chicago and graduated from Northwestern University School of Law in 1970. He became a corporate attorney, eventually working with Columbia Pictures in New York, painting and drawing on weekends. His artwork came to the attention of Betty Parsons and Carol Dreyfuss and they gave him his first one-man painting show in 1980. In 1984, he was given his first solo museum exhibition at the Spoleto Festival. After Bianchi’s partner died of AIDS in 1988, he turned his focus to photography, producing Out of the Studio, a candid portrayal of gay intimacy. Its success led to producing numerous monographs, including On the Couch, Deep Sex and In Defense of Beauty.
Published by Reel Art Press. Introduction by Chuck Mobley. Foreword by Gus Van Sant.
Glittering drag queens, gay politics and alternative theater: Nicoletta was at the heart of the gay mecca that was 1970s San Francisco Daniel Nicoletta (born 1954) has been a leading chronicler of the LGBT civil rights movement in San Francisco over the last 40 years. This is the first book dedicated to his powerful photographs documenting the journey of the burgeoning lesbian-gay-bisexual-transgender mecca that was San Francisco in the 1970s through to the present. Nicoletta is best known for his iconic images of Harvey Milk, one of the world’s first openly gay elected officials, who was assassinated by a homophobic colleague in 1978. Nicoletta portrayed glittering drag queens, the alternative theater world and the steadfast bravery of same-sex couples trying to live their lives amid often adverse cultural sea changes. Today, Nicoletta continues to document the reverberations of Milk’s legacy. He serves as a key point person for LGBT civil rights and Milk-related research. In 2014, one of Nicoletta’s photographs was used on a US Harvey Milk Forever stamp. LGBT: San Francisco is an essential gay history and a stunning photographic work that is not to be missed.
Published by Bywater Bros. Editions. Text by Greg Reynolds.
From 1978 to 1983, Greg Reynolds served as a youth minister for an evangelical Christian organization, spreading the teachings of the Bible and encouraging young Christians in their faith. When a missionary gave him a 35mm camera, Reynolds--an untrained photographer--began to take pictures of his close-knit community. What emerged was a photo diary--sunlit kodachromes show happy youths strumming guitars at Christian camp, missionary trips to Central America and short-shorted men smiling on the beach during a religious canvassing trip. Reynolds himself appeared the evangelical poster boy throughout this period: he prayed, read the Bible and refrained from sex. It wasn't until 1983, when he resigned from the organization and came out as gay, that he was able to fully pursue photography and reevaluate his life. The resulting paperback, assembled retrospectively, is a unique document of 1970s-era religious America, its images a powerful account of illusion and disillusion.
PUBLISHER Bywater Bros. Editions
BOOK FORMAT Paperback, 7 x 9 in. / 88 pgs / 80 color.
PUBLISHING STATUS Pub Date 4/28/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2015 p. 112
PRODUCT DETAILS ISBN 9780993856709TRADE List Price: $35.00 CDN $40.00
AVAILABILITY In stock
in stock $35.00
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Published by Steidl/Pace MacGill. Text by Vince Aletti.
The Lower East Side between 1972 and 1985—filled with artists, wannabe artists and hangers-on—was a community of the misbegotten gathered from every town in America and relocated in the mean streets between Broadway and the Bowery, and Peter Hujar was right in the midst of it. Nothing but talent, flamboyance, rank gender-bending mockery and arch irony supported these artists: some made their names, many came to grief and a few made art. In those days, the gutted streets of the Lower East Side resembled a war-zone. Though some established artists had passed through—Rauschenberg and Johns, John Cage and Merce Cunningham—almost everyone lived and worked on the extreme outer margins of money and art, penniless and unknown. As a community, downtown New York was a counterstatement to the rich New York of the banks, museums, media, corporations and the art world itself. That downtown New York is gone: time, gentrification, disease and death have taken their toll and turned this vibrant epoch into a chapter in art history. But before it vanished, its extravagant cast sat for Peter Hujar’s camera, and with this volume, that community is vividly brought to life. Featured are Charles Ludlam, David Wojnarowicz, Edwin Denby, Susan Sontag, Paul Thek, Divine, Robert Wilson, John Waters, William S. Burroughs, Ray Johnson, Fran Lebowitz, Remy Charlip, Joe Brainard and many others. Peter Hujar (1934–87) was born in Trenton, New Jersey, and moved to Manhattan to work in the magazine, advertising and fashion industries. He documented the vibrant cultural scene of downtown New York throughout the 1970s and 1980s. In 1976 he published Portraits in Life and Death, with an introduction by Susan Sontag. Hujar died of AIDS in 1987.
Published by Letter16 Press. Introduction by Brett Sokol.
There Was Always a Place to Crash: Al Kaplan’s Provincetown 1961–1966 features previously unseen photographs of Provincetown, Massachusetts’ early 1960s bohemian milieu, from future Andy Warhol Factory film star Rene Ricard to the libertine scene unfolding inside gay rights pioneer Prescott Townsend’s legendary treehouse, where countless "washashores" (including filmmaker John Waters) would stay upon first hitting Provincetown. The end result is an intimate look at a key countercultural period in American history—one whose often overlooked nuances still resonate today in both the art world and throughout the gay community. All of the volume’s images have been carefully transferred from the late Miami photographer Al Kaplan’s original 35mm black-and-white negatives. With an introduction by award-winning Miami arts journalist Brett Sokol, There Was Always a Place to Crash is one of the first records of this pre-Stonewall era in Provincetown.
PUBLISHER Letter16 Press
BOOK FORMAT Hardcover, 11.25 x 10.25 in. / 72 pgs / 79 bw.
PUBLISHING STATUS Pub Date 2/23/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 110
PRODUCT DETAILS ISBN 9780989381116TRADE List Price: $29.95 CDN $37.50
AVAILABILITY In stock
in stock $29.95
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Published by Artspace Books. By David Wojnarowicz.
Not content to be a tremendous photographer, painter, filmmaker, performance artist and activist David Wojnarowicz (1954-92) was also the author of three classic books: Close to the Knives, The Waterfront Journals and Memories That Smell Like Gasoline, now back in print from Artspace. This volume collects four tales--"Into the Drift and Sway," "Doing Time in a Disposable Body," "Spiral" and the title story--interspersed with ink drawings by the artist. "Sometimes it gets dark in here behind these eyes I feel like the physical equivalent of a scream. The highway at night in the headlights of this speeding car speeding is the only motion that lets the heart unravel and in the wind of the road the two story framed houses appear one after the other like some cinematic stage set..." From these opening sentences of the book (in "Into the Drift and Sway"), Wojnarowicz lets loose a salvo of explicit gay sexual reverie harshly lit by the New York cityscape.
Published by National Portrait Gallery. Edited by Christopher Tinker. Introduction by Simon Callow.
This collection of quotations by and about gay people celebrates the advances of the international LGBT community over the past 50 years. Amusing observations by Noël Coward, Tallulah Bankhead, Quentin Crisp, Boy George and Ian McKellen are interspersed with interviews with Dusty Springfield, Alan Bennett, Freddie Mercury, Clive Barker, George Michael and William S. Burroughs, and diary entries by Kenneth Williams, Joe Orton, W.H. Auden and John Maynard Keynes. John Gielgud and Alan Turing’s accounts of being arrested contrast with letters from Violet Trefusis to her lover Vita Sackville-West, King James I to the Marquis of Buckingham, and Benjamin Britten to his partner Peter Pears. Contributions by Oscar Wilde, Lord Montagu of Beaulieu, John Wolfenden, Field Marshal Montgomery, Lord Arran, Margaret Thatcher, Waheed Alli and David Cameron demonstrate enormous developments in gay rights. Reflections from celebrity icons such as Julie Andrews and David Beckham are also featured, alongside a wealth of reproductions.
Published by Kerber. Edited by Daniel Schumann, Christof Kerber.
In 2011, having been awarded a Fulbright, German photographer Daniel Schumann (born 1981) moved to San Francisco to start a masters degree in photography. He was immediately taken by the city, and fell in love with the diversity and openness of its inhabitants. In International Orange, Schumann portrays same-sex families and couples living and working in San Francisco. The work originated from the artist’s desire to express the importance of the metropolis for the gay rights movement, while also examining the theme of family from a new perspective--an examination he had already begun in his previous book, Princesses and Football Stars. Through his portraits, Schumann’s project reveals the remarkable ease with which heterosexual and homosexual families live together and coexist in San Francisco. International Orange is a declaration of love for the city, its social freedom and its citizens.
Published by JRP|Ringier. Photographs by Walter Pfeiffer.
Full-bleed black and white images, a lack of captions, extreme body close-ups, boys and boys and more boys: these are the trademarks of Walter Pfeiffer's now out-of-print 1980 cult classic. As an autodidact, Pfeiffer started taking photographs without any technical ambition, but with the will to provide a new visual vocabulary for beauty, eroticism and freedom of life. The images depict the 1970-1980 Zurich scene: some feature Pfeiffer's friends hanging out in the studio, nearly all explore the sexuality of the everyday. Organized in stunning visual sequences, the book brought the public's attention to Pfeiffer's polaroids and established him as a sort of underground icon. This faithful reprint of the original visually demonstrates how the documented decade of Pfeiffer's work flirted with gay subculture, and later became a template for today's magazine imagery.