{"id":6774,"date":"2017-01-03T14:41:33","date_gmt":"2017-01-03T19:41:33","guid":{"rendered":"https:\/\/photographmag.com\/january-february-2017-the-back-page\/"},"modified":"2023-10-30T09:36:26","modified_gmt":"2023-10-30T14:36:26","slug":"january-february-2017-the-back-page","status":"publish","type":"post","link":"https:\/\/photographmag.com\/looking-back\/january-february-2017-the-back-page\/","title":{"rendered":"Richard Renaldi"},"content":{"rendered":"<figure id=\"attachment_28938\" aria-describedby=\"caption-attachment-28938\" style=\"width: 700px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\"wp-image-28938 size-full lazyload\" data-src=\"https:\/\/photographmag.com\/wp-content\/uploads\/2022\/12\/nyc_1983.jpg\" width=\"700\" height=\"464\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 700px; --smush-placeholder-aspect-ratio: 700\/464;\"><noscript><img decoding=\"async\" class=\"wp-image-28938 size-full\" src=\"https:\/\/photographmag.com\/wp-content\/uploads\/2022\/12\/nyc_1983.jpg\" width=\"700\" height=\"464\"><\/noscript><figcaption id=\"caption-attachment-28938\" class=\"wp-caption-text\">Miron Zownir, NYC, 1983. Courtesy the artist<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p><i>We asked <\/i><b>Richard Renaldi<\/b><i> to tell us about a picture that means something to him, and why. Renaldi\u2019s series <\/i>Manhattan Sunday<i>, recently at the <span style=\"color: #00ccff;\"><a style=\"color: #00ccff;\" href=\"http:\/\/www.benrubigallery.com\" target=\"_blank\" rel=\"noopener\">Benrubi Gallery<\/a><\/span>, is on view the <a href=\"https:\/\/eastman.org\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #00ccff;\">George Eastman Museum<\/span><\/a> from January 21 to June 11<\/i>.<i>&nbsp;<\/i><\/p>\n<p>&nbsp;<\/p>\n<p>Miron Zownir cruised the streets, piers, and nightclubs of New York City throughout the 1980s, his camera belching forth the operatic grunge of lower Manhattan. He was particularly adept at getting transsexuals and homeless men to pose while flashing their dicks, and shooting frame after frame of men giving blowjobs along the West Side piers even though he isn\u2019t gay.<\/p>\n<p>This image, from his book <i>NYC\/RIP<\/i> (2015, PogoBooks), was made in 1983, when SoHo was perfectly suspended between its abandonment by the garment and textile industries and its seizure and subjugation by global capital. Zownir\u2019s subjects in this hilarious image, gleefully sermonizing with the aid of a dry-cleaning bag and spats, could already see it coming.<\/p>\n<p>The photograph was taken 33 years ago on Prince Street looking west at the corner of Wooster Street. Had it been ten years earlier, the pair could have turned around and been welcomed for lunch at 127 Prince Street, which housed the restaurant FOOD for several years in the 1970s. FOOD was founded by artist&nbsp;Gordon Matta-Clark; its mission was to feed and employ the community of artists who lived and worked in SoHo\u2019s cold-water lofts. Donald Judd, Robert Rauschenberg, and John Cage were just a few of the artists who contributed recipes and programmed special meals there.<\/p>\n<p>Today, 127 Prince Street houses the men\u2019s branch of upscale yoga apparel store Lululemon. In an online review, one admirer calls it the \u201cbest mens [sic] athleisure store in NYC.\u201d Zownir \u2013 outsider, filmmaker, former club bouncer, full-time nonconformist, whose extraordinary and raw photographs comprise a visual dictionary of the grimy guts of New York City in the \u201880s \u2013 would doubtless have a choice response.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; We asked Richard Renaldi to tell us about a picture that means something to him, and why. Renaldi\u2019s series Manhattan Sunday, recently at the Benrubi Gallery, is on view the George Eastman Museum from January 21 to June 11.&nbsp; &nbsp; Miron Zownir cruised the streets, piers, and nightclubs of New York City throughout the [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"none","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"6401,14933,6019,6807,24566,7360,6786,7374,11452,6744,15059,18498","_relevanssi_noindex_reason":"","footnotes":""},"categories":[15],"tags":[5776,5775],"issues":[88],"acf":[],"_links":{"self":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts\/6774"}],"collection":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/comments?post=6774"}],"version-history":[{"count":2,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts\/6774\/revisions"}],"predecessor-version":[{"id":21546,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts\/6774\/revisions\/21546"}],"wp:attachment":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/media?parent=6774"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/categories?post=6774"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/tags?post=6774"},{"taxonomy":"issues","embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/issues?post=6774"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}