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Portrait Charles Gatewood

CHARLES GATEWOOD, born 1942. Charles Gatewood began photographing the underground of America in the 1960's, after having received a BA in Anthropology from the University of Missouri. Wherever there's been a congregation of Body Modification enthusiasts, or oddities of the underbelly of society, Gatewood was there photographing their practices, rituals, and documenting aspects of culture that would otherwise never have been seen by a mainstream audience. This is evidenced through his 8 books, which run the gamut from the New Orleans Mardi Gras, to the most controversial followers of blood-play in San Francisco.— He died on April 28, 2016 in San Francisco. WIKIPEDIA

2013  ACKER AWARDS | Angel Orensanz Foundatiopn, New York
2003  NO!art IN BUCHENWALD | Boris Lurie: Geschriebigtes ...,
          catalog book, Stuttgart | Contribution:  Falcon, Photo
          PHOTOGRAPHS | Clayton Gallery & Outlaw Art Museum, New York
          FORBIDDEN PHOTOGRAPHS | Film by Bill Macdonald about Gatewood
1998  CHARLES GATEWOOD | Merry Karnowsky Gallery, Beverley Hills CA
1997  CONGRESS OF RESISTANCE | New York

NO!art involved Artists: ARMENTO + ARONOVICI + BAJ + BARATELLA + BECHER + BROWN + BRUNET + BRUS + CHORBADZHIEV + D'ARCANGELO + DAYEN + DE RUVO + EHM-MARKS + ERRO + FABRICIUS + FISHER + GATEWOOD + GEORGES + GERZ + GILLESPIE + GILMAN + GOLDMAN + GOLUB + GOODMAN + HALLMANN + HASS + HJULER + KAPROW + KIRVES + KUSAMA + KUZMINSKY + LEBEL + LEVITT + LONG + LST + LURIE + MASTRANGELO + MEAD + MESECK + PATTERSON + PICARD + PINCHEVSKY + RAMSAUER + RANCILLAC + ROUSSEL + SALLES + SALMON + SCHEIBNER + SCHLEINSTEIN + STAHLBERG + STUART + TAMBELLINI + TOBOCMAN + TOCHE + TSUCHIYA + VOSTELL + WALL + WOLF + WOYTASIK + ZOWNIR

NO!art has continued way beyond 1964 and also prior to 1958. The "cutting-off" date 1964, as espoused by the art historian is entirely artificial. Such cutting-off dates are common to art historians, done for cataloguing purposes, and what is more, for accreditation of monetary value in the art market. The cutting-off dates also have a devastating effect on the production of artists, who are, by those means, being convinced that what they produce after a cutting-off date is secondary in importance, and do not belong any longer to the "new times". Yet the art market hated it, for practical reasons of creating confusion about monetary value. That is the main and real reason for art historians and critics insisting on this untrue measure. - Boris Lurie, 2003.

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