As a product of the 70s and 80s, I'm thrilled to have been asked to develop ArtBites classes around both exhibits even though food isn't exactly a topic featured in Mapplethorpe's work. At least not literally.
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When all is said and done, is anyone surprised that it was gay men and women who were the actual forefront of the CBGB/Max's Musical Revolution of the mid-to-late 70s?
Yesterday, as I turned the corner onto the reflecting pool and stand of trees in the shadow of the Julliard School of Music, I came upon a remarkable site.
Looking back, it was an undeniably fertile creative moment in New York City. Things were coalescing and I was in the thick of it.
James A. DeSoucey Jr. is a squat muscle-bound square with laughing baby blues. He looks as though he coulda been a boxer. Or a prizefighter. Or at least a contender.
When CBGB was at its prime, Extra Place was the back alley where questionable things went down and music legends made fast getaways. Fast forward to t...
The New York Dolls were the pebble thrown in the pond. They sank to the bottom having caused hundreds of ripples.
HuffPost Arts' Haiku Reviews is a new weekly feature where invited critics review exhibitions and performances in short form. Some will be in the trad...
ARTINFO perused the new book, Max's Kansas City: Art, Glamour, Rock and Roll to cull 11 things you didn't know about Max's. And boy, are they Grade-A juicy.
There never was a Max, it was nowhere near Kansas City, but 40 years ago Max's Kansas City was as "real" as it got.
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