Canadian Art -- Larry Clark: Tulsa Time · 2017. 10. 6. · Larry Clark, Untitled, 1971, Gelatin silver print, 14 x 11 inches (35.6 x 27.9 cm). Courtesy of the artist and Luhring

Tulsa & The Park « Color 9.5 « Color Magazine

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TULSA & THE PARKWords by Anne Cottingham

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Long before the modern day celebrity gossip rag, a revolution took place in the 1970s. Subcultures of drugs, overtsexuality, and free expression formed and begged to be documented. Photographers Larry Clark and Kohei Yoshiyukidid just that in their respective cities of Tulsa, Oklahoma and Tokyo, Japan. Though the worlds they came to inhabitwere different, their methods were similar, becoming a spectator in each community and documenting their time inblack and white film. Presentation House Gallery is presenting each series as separate exhibitions under one roof,creating a dialogue referencing hidden and marginalized communities.

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ArtSlant - Urban Legends

http://www.artslant.com/ew/articles/show/28561[11-11-17 12:19:51 PM]

Chicago | Los Angeles | Miami | New York | San Francisco | Santa Fe Amsterdam | Berlin | Brussels | London | Paris | China | India | Worldwide

WorldwideUrban Legendsby Allison Collins

TulsaLarry ClarkPresentation House Gallery333 Chesterfield Avenue , NorthVancouver, BC , Canada V7M 3G9, CanadaSeptember 10, 2011 - November 13, 2011

Back when I lived in Ottawa, Ontario I used toregularly frequent the Canadian Museum ofContemporary Photography, a national museumjust for photography which has since been foldedinto Canada’s National Gallery. It was a shame to see this dedicated space for inquiry intophotography’s forms and means dissolve, as it was a place that one could search for meanings inphotography both within and alongside the terrain of contemporary art’s recent trends. Silver gelatinprints, for example, are sensual and tactile, but their functionality is currently somewhat out of fashion.Yet they seem wholly at home where one is meant to consider the modes and methods of photographyin particular.

Presentation House Gallery is the only gallery in Western Canada that is dedicated to photography as amedium. They often present exhibitions that explore the boundaries of this mandate, entering wholly intoany and all places where images can go. Currently the gallery is hosting two exhibitions of importanthistorical projects that hinge on authorial immersions into sub-cultural scenes. Lined-up in rows inseparate rooms, one finds the narrative sequences of Larry Clark’s Tulsa, 1963-71, and KoheiYoshiyuki’s Park, 1971-79, which offer human relations that cross invisible, ethical lines. Each projectentails a process of immersion leading to the re-construction of the experience of a scene, enabled bythe photographer who became embedded within a social phenomenon in order to record its subjects andactivities.

Kohei Yoshiyuki’s photographs provoke the viewer, necessitating one to consider their position as theyview images of unknowing subjects that were taken at night, surreptitiously, with an infra-red flash. Thesubject matter, couples captured in the midst of sexual encounters in Tokyo parks, begs ethicalquestions about permissiveness. Straight and gay partners, and the voyeurs who watched them, arecomposed, sometimes inside classical and quite beautiful tactile compositions. They are investigated byYoshiyuki who clearly has enthusiasm enough for the phenomenon to stick with his task over the time ittook to gain the trust of the peeping toms, and to become adept at sneaking about in the darkundetected.

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ArtSlant - Urban Legends

http://www.artslant.com/ew/articles/show/28561[11-11-17 12:19:51 PM]

Larry Clark, Untitled, 1971, Gelatin silver print, 14 x 11 inches (35.6 x 27.9 cm). Courtesy of the artist and Luhring Augustine, New York.

Larry Clark’s Tulsa is a suite of photographs that are by-now practically legendary for their ability tobring the viewer into a confrontation with a beautiful, sad world of drug-addicted youths from hishometown of Tulsa, Oklahoma. Presented in sequence, the storyline is filled with the hollow excitementof a temporary high, and the heart-rending reality of the subjects’ hard lives (with dire consequences).Affecting, because of their claim to construct a subjective truth of authorial experience, such beautiful,loving, tragic portraits – one is of a fully pregnant woman with a needle in her arm – evince empatheticdespair along with anthropological fascination.

Screened alongside the exhibition (for the first time in Canada), Clark’s film, Wassup Rockers?, 2005,reveals the later and significantly more childish direction that his authorial position took. His personalvision vis-à-vis a fictional group of Latin-American LA skate-punk youths is so questionable in that film,which really moves into the territory of camp, that his earlier position as an embedded voyeur andparticipant in the Tulsa drug culture is undermined by his untoward fascination with lustful young menand proclivity for hyperbolic renderings. Thankfully, the single screening was more of an addendum tothe exhibition, one that is missing from any typical visit.

Photographic reportage as authorial project seems firm in its place as a practice in the past. Both ofthese photographic projects are more than thirty years old, and have been preserved in various forms,including two very good photo-essay books with tightly edited sequencing of images. The material formof photography, framed and hung delicately in succession, soothes with an uneasy pleasure of lookingthat is in contrast to the content. The show reminds one of the importance of caring for the presentmoments that can be found through a practice of observation, a practice that seems to have morerecently been displaced by the collating of imagery through the collection and reassignment of imagesrather than the careful crafting of what, for better or for worse, can be considered a personal vision.Whether or not we question voyeurism in public or private, and whether or not we can relate to theunderbelly, is left to the individual. The exhibition and the work present us simply with the opportunity torespond.

—Allison Collins, a writer living in Vancouver.

Top Image: Kohei Yoshiyuki, Untitled, 1971, From the series The Park, Gelatin Silver Print © Kohei Yoshiyuki. Courtesy Yossi Milo Gallery, New York

Posted by Allison Collins on 11/03 | tags: photography

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HUH. Magazine - Larry Clark, Tulsa

http://www.huhmagazine.co.uk/2798/larry-clark-tulsa[11-11-17 12:16:47 PM]

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LARRY CLARK, TULSAPosted 2 months ago by Jack Lowe Art & Design Photography 4076 Views

A new exhibition at the Presentation House Gallery in Vancouver showcases a series of vintage gelatinsilver prints by photographer Larry Clark. The series explores the underworld of drug use, sex, andviolence in the photographer's hometown of Tulsa, Oklahoma between the years 1963 to 1971. These imageswere the first to gain Clark notoriety when they were published in a book entitled Tulsa back in 1971. Theset is now regarded as a classic project, inspiring countless photographers.

The exhibition will be running through 30 October, 2011.

Presentation House Gallery333 Chesterfield AvenueNorth Vancouver BCCanada

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HUH. Magazine - Larry Clark, Tulsa

http://www.huhmagazine.co.uk/2798/larry-clark-tulsa[11-11-17 12:16:47 PM]

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11-09-19 10:50 AMCanadian Art -- Larry Clark: Tulsa Time

Page 1 of 3http://www.canadianart.ca/online/see-it/2011/09/15/larry_clark/

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Larry Clark: Tulsa TimeP R E S E N T A T I O N H O U S E G A L L E R Y , N O R T H V A N C O U V E R S E P 1 0 T OO C T 3 0 2 0 1 1

by MARIAM NADER

Larry Clark Untitled 1963 Courtesy the artist and Luhring Augustine New York

Larry Clark Untitled 1963 Courtesy the artist and LuhringAugustine New York

Contemporary photographers study Larry Clark to gain a definitiveunderstanding of “documentative” practices, and aspiring artist-academics look to his photographs to engage in a dialogue aboutphotography’s role in art history. On view now at Presentation HouseGallery in North Vancouver is Clark’s most iconic body of work, Tulsa.This exhibition consists of a series of images taken in Tulsa, Oklahoma,between 1963 and 1971 when the photographer was in his twenties.Shooting in his hometown, Clark documented a world of youthfulexperimentations in drugs, sex and violence with an almost obsessiverigour—one that gained broad attention when Clark’s book of the sametitle was released at the series’ close.

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Larry Clark Untitled 1963 Courtesy the artist and Luhring Augustine New York

At times abject in subject matter, Clark’s compositions of young figuressometimes border on being baroquely beautiful, with light and shadowcaptured skilfully and elegantly. It is hard to connect the look with thecontent—like, for example, a young pregnant woman injecting herselfwith heroin in front of a bay window. The complex and difficult nature ofClark’s work has granted Tulsa international recognition. Included in thePresentation House show is a recently found 16mm film of Clark inTulsa in 1968; and on September 21 there is also a special screening ofClark’s 2005 film Wassup Rockers, which focuses on teens in SouthCentral LA. Although the National Gallery of Canada owns a portfolio ofTulsa, this is a rare opportunity for Canadians to see the seriesexhibited in full.

http://www.wassuprockers.net/http://www.gallery.ca/en/see/collections/artwork.php?mkey=17617



Larry Clark Tulsa 1968 Film still

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Canadian Art -- Larry Clark: Tulsa Time · 2017. 10. 6. · Larry Clark, Untitled, 1971, Gelatin silver print, 14 x 11 inches (35.6 x 27.9 cm). Courtesy of the artist and Luhring