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Jimmy Wright : Bathhouse, Meatpacking District & the Dream cards. New York Underground 1973-1990 (en anglais)
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Catalogue de l'exposition "Jimmy Wright : Bathhouse, Meatpacking District & the Dream cards. New York Underground 1973-1990" à Chicago en 2016. Textes en anglais. 120p
Wright arrived in New York in 1974—the apex of punk and disco, and a landmark era in gay history. He partook in the queer nightlife that was flourishing on the city's lower west side, drawing what he saw, "a participant observational artist very much in the same spirit as Henri de Toulouse-Lautrec at the Moulin Rouge, James Ensor at the carnival in Ostend, or George Grosz on the streets of Berlin," John Corbett writes. "His eye is unflinching, but like David Hockney, it's also got a celebratory zeal, capturing something of the magic and mayhem of the activity.
Catalogue de l'exposition "Jimmy Wright : Bathhouse, Meatpacking District & the Dream cards. New York Underground 1973-1990" à Chicago en 2016.
Wright arrived in New York in 1974—the apex of punk and disco, and a landmark era in gay history. He partook in the queer nightlife that was flourishing on the city's lower west side, drawing what he saw, "a participant observational artist very much in the same spirit as Henri de Toulouse-Lautrec at the Moulin Rouge, James Ensor at the carnival in Ostend, or George Grosz on the streets of Berlin," John Corbett writes. "His eye is unflinching, but like David Hockney, it's also got a celebratory zeal, capturing something of the magic and mayhem of the activity.
Textes en anglais. 120p
9780997499520
Catalogue de l'exposition "Jimmy Wright : Bathhouse, Meatpacking District & the Dream cards. New York Underground 1973-1990" à Chicago en 2016. Textes en anglais. 120p
Wright arrived in New York in 1974—the apex of punk and disco, and a landmark era in gay history. He partook in the queer nightlife that was flourishing on the city's lower west side, drawing what he saw, "a participant observational artist very much in the same spirit as Henri de Toulouse-Lautrec at the Moulin Rouge, James Ensor at the carnival in Ostend, or George Grosz on the streets of Berlin," John Corbett writes. "His eye is unflinching, but like David Hockney, it's also got a celebratory zeal, capturing something of the magic and mayhem of the activity.