| | | | Voguing and the Ballroom Scene of New York 1989-92Photographs by Chantal RegnaultEdited by Stuart Baker.
 Harlem’s gay ball subculture of the late 1980s is superbly documented in this trove of previously unseen photographs.In 1989, Malcolm McLaren had his only number one hit with a single called "Deep in Vogue." Early the next year, Madonna had one of the biggest hits of her career, with the single "Vogue," and when Jennie Livingston's film Paris Is Burning arrived in cinemas the same year, winning the Grand Jury Prize at the Sundance Film Festival, the mainstream got hip to New York City's extraordinary ball culture, from which the film and McLaren and Madonna's songs had arisen. Paris Is Burning documented a gay ballroom scene that emerged in Harlem in the mid-1980s, which drew African American and Latino gay and transgender communities to compete against one another for their dancing skills, the verisimilitude of their drag and their ability to walk on the runway. Photographer Chantal Regnault spent many years recording this scene, from which the dance style known as voguing arose. A visual riot of fashion, polysexuality and subversive style, Voguing and the Ballroom Scene of New York 1989–1992 is also an extraordinary document on sexuality and race. The wild years of voguing are vividly captured in hundreds of Regnault's amazing, previously unpublished photographs. The book also features interviews with key figures from the movement, essays, flyers and ephemera.
Photographer and documentarist Chantal Regnault was born in France. She left Paris after the 1968 uprisings and lived in New York for the next 15 years. At the end of the 1980s she became immersed in Harlem's voguing scene. Also around this time, Regnault developed an interest in Haitian voodoo culture and began to divide her time between Haiti and New York. Her widely published photographs have appeared in major magazines and newspapers, including Vanity Fair and the New York Times.
Featured photograph by Chantal Regnault is reproduced from Voguing and the Gay Balls of New York City.PRAISE AND REVIEWSVogue Mark Holgate Chantal Regnault's photographs in Voguing take on one of Ms. Ciccone's phrases right back to its roots, documenting in incredible and emotive detail how fashion could transport you way beyond the hood. TENz Editor A visual riot of fashion, polysexuality and subversive style, 'Voguing and the Ballroom Scene of New York 1989–1992' is also an extraordinary document on sexuality and race. |
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| | FROM THE BOOK"Growing out of the drag queen ritual of throwing 'shade', or subtly insulting another queen, voguing emerged as a distinctive dance of first the houses and then, inevitably, the balls, where specific voguing categories were eventually introduced. 'It all started at an after hours club called Footsteps on 2nd Avenue and 14th Street,' says David DePino, an influential DJ for the voguing community. 'Paris Dupree was there and a bunch of these black queens were throwing shade at each other. Paris had a Vogue magazine in her bag, and while she was dancing she took it out, opened it up to a page where a model was posing and then stopped in that pose on the beat. Then she turned to the next page and stopped in the new pose, again on the beat.' The provocation was returned in kind. 'Another queen came up and did another pose in front of Paris, and then Paris went in front of her and did another pose,' adds DePino. 'This was all shade—they were trying to make a prettier pose than each other—and it soon caught on at the balls. At first they called it posing and then, because it started from Vogue magazine, they called it "voguing."' An alternative account has it that voguing was first practiced by the black gay inmates of Rickers Island, a New York City jail, who pursued the movement as a way of attracting the attention of boys and throwing shade. 'Maybe they didn't have a name for it, but that's what they were doing, or so it's said,' notes Kevin Ultra Omni. 'I know Paris was an early pioneer of voguing. But I believe that vogue existed in some other form through other people as well. I also think that a lot of voguing poses come from African art and Egyptian hieroglyphics.'" - Tim Lawrence, excerpted from the chapter "Listen, and you will hear all the houses that walked there before: A History of Drag Balls, Houses and the Culture of Voguing." | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 5/26/2011 ARTBOOK | D.A.P. and BOOKFORUM magazine hosted a wild soiree on top of New York's Mondrian hotel last night, in celebration of BookExpo, America's most important annual publishing conference. Music was provided by Soul Jazz, publisher of Voguing and the Gay Balls of New York City, Chantal Regnault's highly anticipated forthcoming book of photographs of the gay ballroom scene that emerged in Harlem in the 1980s. A special performance, organized by artist Rashaad Newsome, paid tribute to the old school balls featured in Regnault's book, with some seriously updated moves thrown in. As the sun set, a crowd of hundreds cheered the dancers on, 26 dizzying stories above the streets of lower Manhattan. Below: Part II of "Hair Affair" by Rashaad Newsome. continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 12/7/2018 "Back then, houses were families for young black gay men," performer Muhammad Omni is quoted in Holiday Gift Staff Favorite, Voguing and the House Ballroom Scene of New York City 1989-92. "A lot of these kids were kicked out of their parental homes. I was fortunate, because my family accepted me the way I was. My parents were Muslim, very hip in their intellectual endeavors concerning the performing arts. They always encouraged me. Many were not so fortunate, but were protected by these houses. They were like gangs. But it was more like a gay gang. You know, if you tried to bully a drag queen or did a homophobic hate crime, you’d meet opposition from people who were from rough neighborhoods in Brooklyn, who were accompanying these feminine creatures… The house was definitely a safe space for people who were descendants of slaves, who had no knowledge of their culture and heritage, in a world where Broadway and Hollywood was not made for them." Featured photographs, by author Chantal Regnault, are of Anthony Pendavis, an anonymous performer and Cesar Valentin at Lamour Pendavis Ball, Mark Ballroom, 1991, at top; and Ru Paul, an anonymous performer and Suzanne Bartsch at Copacabana, 1990, at bottom. continue to blog | OF RELATED INTEREST |  SOUL JAZZ BOOKSISBN: 9780955481703
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