Malanga “Souls” Photo Exhibit Opens at Menard

Last night, the Pierre Menard Gallery in Cambridge, MA, opened a truly impressive exhibition of Gerard Malanga’s photographs– black and white portraits of some of the most illustrious artists and literary figures of the last 40 years or so– Keith Richards, Pete Seeger, Allen Ginsberg, Patti Smith, Roman Polanski, John Ashberry, and Larry Rivers–along with pictures of a few “unknowns.”

Andy Warhol

Knowing that Malanga, born in 1943, worked for seven years as Andy Warhol’s chief assistant and collaborator; that along with Warhol and John Wilcock he co-founded Interview Magazine; and that his photos have been commissioned by Elle, The New York Times Magazine, and Vanity Fair, one might expect these portraits to be glitzy, glam celebrity.

But Malanga is also a writer who has published 17 books of poetry.
And in this show, called “Souls,” in every photo, it is the poetic spirit–of both photographer and subject– that shines through.

Larry Rivers

The program notes declare that “Malanga’s proximity to the epicenter of a cultural and artistic revolution gained him unprecedent access” to his wide array of subjects.

And, clearly, his visual sense and technical skills are stellar.

But to me, what stands out is the mutuality in these photos– each snapped at a moment of seeming profound interpersonal understanding, of relationship, of trust between photographer and subject.

Most remarkable is how the intimacy of these moments—some from more than 30 years ago– is shared with/deeply experienced by the viewer.

At the Pierre Menard Gallery, 10 Arrow St. Cambridge, MA through April 11, 2010

—Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA. We also publish HarrisCom Blog and Ithaca Diaries Blog.

Kate Millett at the Menard: More Pleasure than Oppression

From its title, “Oppression and Pleasure,” I expected the Pierre Menard Gallery’s current show of works by the feminist writer and artist Kate Millett to be heavy-duty, in-your-face and angry but was pleased to find, for the most part, colorful, simple brush-strokes that looked like Japanese characters, one to a painting. Perhaps I am slow, but it took me awhile to realize that each was a representation of female genitalia or other body parts.

Kate Millett artwork

I didn’t agree with one observer who found the work overly aggressive; to me, the paintings seemed lighthearted and whimsical–despite my interpretation of the title’s message that women’s sexuality can lead to both misery and joy.

I did wonder, however, if the two huge black and white close-up photographs of female sex organs (from which even the staunchest of men looked away) had been placed just over the food table to cut down on the demand for wine and chips.

The show, at 10 Arrow Street, in Cambridge, will be up through April 12.
AMH

New Cambridge Observer is a publication of the Harris Communications Group, of Cambridge, MA.

Heads and Tales Review

Hatry photo, Menard Gallery Heads and Tales

If Heide Hatry’s provocative photographic show—Heads and Tales–at the Peirre Menard Gallery, (10 Arrow St. in Cambridge) is meant to shock: it does. In fact, for a few moments, it made me fear for the mental health of the artist, who has (beautifully–even lovingly) photographed her sculptures portraying female victims of violent death.

Hatry, who grew up in Germany and moved to New York City in 2003, sculpted life-sized female mannequins from clay and covered them with untreated pigskin (a cold wet sample of which is available in the gallery with the notice: “please touch”). She added raw meat for the lips and fresh pig eyes—and in some cases, flies, safety pins, and other props—creating, according to the gallery writeup, “the illusion of life where there is none”.

Hatry then photographed the mannequins—some enlarged to 20”x 30”, others more life-size, at 12” x 18”.

Viewed from afar, the photographs appear lifelike, but close up, you realize the subjects are constructs—adding physical and intellectual layers to the artist’s statements on the horrifying situations faced by many women—and on photography’s role in bringing the inanimate to life.

Hatry’s “views” are further emphasized by accompanying tales about the “women’s” lives (and deaths) as imagined by 27 writers—some of them well known feminists.

The show is well-conceived and displayed, which makes its subject matter all the more disturbing.

The exhibit, which opened Feb 13, 2009, will run through March 15. It corresponds with the release of Hatry’s book, Heads and Tales, and with readings, book signings and the premiere of a play.

AMH

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.