Amy Arbus
Leica Gallery
William Shakespeare wrote “All the world’s a stage.” Amy Arbus understands there is no better stage than the streets of New York City. She spent the entire 1980’s taking over 500 portraits of New Yorkers for The Village Voice’s monthly fashion feature, “On the Street.” The Leica Gallery currently has over 40 of these photos in an exhibit titled Amy Arbus/On the Street 1980-1990.
Sometimes empires start with stained camel hair coats and bowling bags. “Madonna, St. Marks Place” from 1983, is perhaps the most famous of the pictures showcased. Madonna’s self-titled debut, full of catchy, melodic dance anthems, would soon be released, poised to become one of the defining albums of the decade, and a soundtrack to millions of people’s youth. By sheer coincidence, the week this photo was taken, she received her first review from The Village Voice. What makes this portrait so unique is that it captures the ambition waiting to burst out of the blemished coat, with that slight glint of impatience in her eyes. In the background, two people are pushing a stroller, their obliviousness to what was happening a stark contrast to the amount of attention Madonna would soon receive.
“Ann Magnuson, Lincoln Center,” features the performance artist/actress/singer/DJ in 1981 looking uncannily like a young Shirley MacLaine, had MacLaine been cast as Holly Golightly in Breakfast at Tiffany’s, instead of Audrey Hepburn. Magnuson was about a year away from filming that unforgettable opening scene with David Bowie in the cult classic The Hunger. At the time, she was a DJ and performer at storied venues like Club 57 and The Mudd Club. Arbus immortalizes her leaning against steps at Lincoln Center, a downtown nightlife icon juxtaposed with the ultimate uptown establishment. They’re complete opposites, but equally vital to the artistic soul of the city.
Also from 1981, there’s “The Clash, Broadway” taken from the set of The King of Comedy, where the band and others in the photo were extras, credited as “street scum.” This was around the time The Clash did their fabled series of concerts at Bond’s International Casino in Times Square. Sandinista!, one of the most diverse albums in rock history, was fairly new and already making a huge impact in the city. The first track off the album was “The Magnificent Seven,” and R&B station WBLS had a remix of it called “The Magnificent Dance” in regular rotation. In the song, Joe Strummer has a line about “gypsies on the pavement.” Which is exactly how Arbus portrays them. My girlfriend once said of The Clash that “they seem to have a strong sense of self.” That especially seems to apply to bassist Paul Simonon. He’s staring confidently off into the distance, looking like he owns the city. If you ever need to be reminded, this is what actual freedom looks like.
From 1984, there’s “Hat and Men’s Tie.” Filmmaker Miranda Pennell poses like Annie Hall, if she had listened to a steady diet of The Feelies and The Dream Syndicate. With floppy hat, bandana and tie, Pennell personifies 80’s downtown bohemian cool, although ironically, the picture was taken on Columbus Avenue.
We stay on Columbus for “Moccasins” from 1982. While the elderly man in the photo isn’t as well known as the others, he’s just as memorable. To paraphrase the old editorial, “Yes, Virginia, there is a Santa Claus, and he’s standing in the middle of the street wearing nothing but ball-hugging leopard-print underwear, shirt and moccasins.”
If you resided there back then, or only know that period from movies like Desperately Seeking Susan or After Hours, Amy Arbus takes us back to when the size of your creative ambition brought you the city, not just the size of your wallet.
Originally published by DAEP Media.