Since Tom Bianchi's first gallery showing of male nudes in 1978, he's become one of the most successful photographers in the world. His body of work consists of sculptures, 12 photography books, calendars and three documentary films: The Pool, On the Couch Vol. 1 and On the Couch Vol. 2.
Tom recently rediscovered nearly 6000 Polaroid photos he shot while a lawyer at Columbia Pictures. His Memories of Fire Island snapshots taken between 1975 - 1980 is proving to be one of his most popular bodies of work, with a future book and film in the making.
These polaroid snapshots of the early 70's in Fire Island are as fresh and true today as they were when they were shot nearly 40 years ago. Exposure Gallery in Palm Springs is offering large scale giclee prints of these great images.
Friday, June 13, 2008
Friday, June 06, 2008
Alan B. Stone and the Senses of Place
This historical exhibition at SF Camerawork (through August 23, 2008) examines the social and cultural conditions affecting the life and work of Alan B. Stone, a gay photographer who worked prolifically in Montreal, Canada from the 1950s to the 1970s.
Writer, historian and curator David Deitcher, (Affectionate Men) who also grew up in Montreal, presents Stone's work as a means of exploring some of the ways in which Deitcher himself subjectively experiences, uses, and is affected by photographs.
Stone (1928-1992) considered himself a commercial photographer, not an artist. His photographs of postwar Montreal reflect the period of economic and social repression. His early photos scouting photos are subtly erotic, reflecting an oblique sexual point of view that carries through much of his work.
Beginning in 1953 under the name Mark One Studio, Stone was marketing male physique photos. "With their dubious claims to athleticism and/or art, such magazines offered a dime-thin veneer of deniability to closeted customers."
Deitcher goes on to observe that: "The photographs made under the Mark One name also document Stone's personal connection (or lack thereof) to a sense of gay community." Living at home with his Mother until her death, he photographed short models in the basement, tall models outdoors.
The Camerwork site has only a couple images so if you're in San Francisco this summer, this exhibition is highly recommended.
Writer, historian and curator David Deitcher, (Affectionate Men) who also grew up in Montreal, presents Stone's work as a means of exploring some of the ways in which Deitcher himself subjectively experiences, uses, and is affected by photographs.
Stone (1928-1992) considered himself a commercial photographer, not an artist. His photographs of postwar Montreal reflect the period of economic and social repression. His early photos scouting photos are subtly erotic, reflecting an oblique sexual point of view that carries through much of his work.
Beginning in 1953 under the name Mark One Studio, Stone was marketing male physique photos. "With their dubious claims to athleticism and/or art, such magazines offered a dime-thin veneer of deniability to closeted customers."
Deitcher goes on to observe that: "The photographs made under the Mark One name also document Stone's personal connection (or lack thereof) to a sense of gay community." Living at home with his Mother until her death, he photographed short models in the basement, tall models outdoors.
The Camerwork site has only a couple images so if you're in San Francisco this summer, this exhibition is highly recommended.
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