NOW
Kelsey Osgood, former assistant for the ‘125th Anniversary of the Chelsea Hotel’
exhibition, curated by Linda Troeller, also helped catalogue her archive, and is
a published author.
KO: I was shocked to learn that your summerhouse caught fire in the middle of
Easter night of 2016. Can you tell me a bit about the aftermath?
LT: My first reaction was to save my computer with my recent work. After I saw
that the house burned down to the floor. When I realized that it was raining, I
made my first iPhone shots of piles of wet toxic remains of my photo life. I
immediately asked my husband to get me a new camera, as mine burned. He met me,
and after getting me some clothes, we saw that we had to get what was left to a
storage unit. My cousin Laura, living nearby, who would surely help, was
scheduled to leave for a flight but gathered useful clothes and dropped them
off. This was so kind, since after each day trying to salvage remains from the
ashes, the clothes were full of soot. We asked cleaners to wash, and they said,
“Soot is poison and we can’t help you.” So we had enough clothes to toss after
each day. My fire insurance provided a budget for a motel nearby for the summer.
I was like a researcher, but instead looking for ancient finds, I was digging
into my own life. It kept me occupied the whole summer. Once the materials
were in my storage space, I realized that was now my art studio. I had to dry
out and blot with paper towels things I was hoping to save. We brought the
undamaged patio glass table into my storage unit, where it served as my shooting
tabletop. Despite my best efforts, I lost all my journal books, all
negatives, and letters that you and I had organized to go to my Syracuse
University Archive. My life changed
within a few hours.
KO: I understand you lost all other possession too. Were you depressed?
LT: When I returned to our New York City studio apartment in the fall, everybody
was talking about their vacations at the art openings; so I thought, where do I
fit? PTSD set in. I felt safe in a small corner of my bed hugging my pillow. My
Teddy Bear burned, the scented eye pad with embroidery from singer friend Pal
Shazar was gone. The chenille bedspread we had already brought to our NYC
apartment, ninety-five years old from my childhood, was also sheltering me on
this bed from my losses.
KO: You were alone?
LT: My husband, Lothar, luckily brought his cameras and favorite clothes to our
new NYC apartment just before fire. That night he returned to the city for his
workday. He also had some luck that his room was the least attacked by fire,
hoses and trampling mess. He was very helpful and my assistant who had
worked with me on the archive, Rachel Fucheck, quickly launched a GoFundMe
campaign, which raised money from my photo friends and relatives to replace my
melted hearing aids, so I could function in the world.
KO: What else led to getting back into the “world”?
LT: Kappa Kappa Gamma, my college sorority, had an emergency grant that I
successfully applied for. And, then the Joan Mitchell Foundation backed the cost
of printing 100 16x20 color prints I made from shots taken of destroyed, charred
ring binders with still readable press clippings of my longtime “analogue life.”
I set a date for myself to have that done, and mailed them to my archive at
Syracuse University during late August. Paula Tagnarelli, Director of the
Griffin Museum in the Boston area, wrote quickly to invite me to speak on the
fire, and introduce my new book, Living In the Chelsea Hotel, to guests at their
annual exhibition reception in late July. Those goals kept me in motion. Yet,
some days I am still sensing loss, like the red rubies I got in the Czech
Republic, or even my wedding and engagement rings, Dad’s war pins gone. Then I
tell myself, you had these things for a long time. So many people tell me, “You
have your life.” And I nod.
KO: How did you find strength?
LT: I found a lot of solace in friends. Kat James, award-winning author of “The
Truth About Beauty” sent me a loving statement.
‘Linda Troeller’s photo memoir, literally charred, if not lost forever in
flames, makes for a haunting journey that fittingly finds precious gems of
humanity in the sooty rubble of the artists own rich, yet sometimes “ordinary”
past, just as she celebrated the unexpectedly fascinating inner lives of so many
unsung, often suffering subjects in her life’s photo works. The summaries of
loss (and recoveries) of hope and resolve make for inspiration.’
[KO1]
Stuart Thorn, a retired CEO, who mused on the aftermath of his wife's sudden
passing sent a message on loss. His wife died in his arms after a tragic
automobile accident and two weeks in a subsequent coma. He wrote, “Loss is an
impenetrable window separating you from what could have been, through which you
watch your vanishing dreams dance on without you. You hurt. You cry. But,
inevitably, one day, you find yourself smiling again. And you dream again
as you begin to reconcile your unrequited longing with your renewed purpose.
That is when the healing has begun.”
Ko: What will you do now?
LT: I found that some of my archival boxes that I put in storage, though burned
on top, actually had unscathed prints below a few ruined ones. They represent
enough photographs for a possible small vintage retrospective. I also plan to
talk about my new book project “Up in Flames.”
Past
Juliana Irene Smith, former student in Linda’s course at “Healing Images”
Parsons, NY, assistant and active conceptual artist.
JS: One of my favorite images is of you and your father. Can you tell me about
him?
LT: My father, Raymond, was one of my most important influences. He was a
disabled World War II veteran, who raised me at home while my mother went to
work. He moved us to a quiet property at the New Jersey shore. We spent a lot
of time in nature. He taught me how to write haikus and together we would sit
and write poems while staring at the Manasquan River or the ocean.
JS: Sounds nice.
LT: It was. There was legend around my house growing up that my father had
influenced President Kennedy’s quote, “Ask not what your country can do for you
- ask what you can do for your country.” In 1958, when JFK was a senator, my
father sent him some poems he had written, and had received personal letters of
appreciation from JFK. He felt his last two lines in the poem, “Inertia”––“For
the more you give your country great, its fruits for you, and it will
retaliate”––had spurred on those famous lines. He was a very aware man and in
fact in the 1940s he predicted drive-thru banks. Just before he died in 1985,
sitting at the kitchen table, his frail hand placed tiny ink dots on a piece of
scrap paper. He told me that my photography would be changing forever. He said
that bits of information would record my images on a tiny chip. His awareness
of the future helped me to hone my own intuition and do the research to choose
prescient material.
JS: What about your mother? She was a working woman? Did she influence you?
LT: Because of my father’s war injuries, and then a heart attack, they decided
she would go to work. She got a civil service position in the treasurer’s
office in county government but she witnessed misappropriations among officials.
She tried to expose it but had no real power to uncover it. This led to
ostracism from other employees. She saw a therapist who told her to hold onto
her position, which provided the main income for our household. She was stuck
there. It was frustrating to watch and in high school, I was more determined
than ever to be a lawyer to defend justice. Eventually I found photography and
left that dream behind.
JS: Do you regret it? Did your mother want you to be a lawyer?
LT: She hoped I would have enjoyed the life of wife and mother but I wanted to
travel the world and take photographs. She didn’t understand my direction, but
was nevertheless supportive. Actually it was not until she was retired and
watching channel 13 that she saw a special on Ansel Adams. She was mesmerized.
She was so proud that I had been an assistant at his workshops. From then on she
promoted my photographic projects.
JS: Choosing a career in art has never been a favorite for parents. It is not
the easiest life and they know that. But mothers come around eventually…
LT: Yes, it’s true and as clichéd as it sounds, they are always there for you.
One summer I was visiting my parents and started dating an older man. I decided
to break it off, as a future together seemed impossible. I told him my feelings
at a local bar, but he was persuasive and requested one last night in a motel. I
went along, because I had cared for him, but when we got inside, he slammed and
locked the door. He pulled out a pistol, distraught with my decision to end the
relationship and held me at gunpoint.
My mother was waiting up for me and was worried. She phoned all over the region
until she found a clerk who recognized me and put her call through to our room.
He answered the phone and my mother’s desperate intuition translated into fear
in him. He let me go.
JS: Did you ever photograph her?
LT: In the 90’s, I took a photograph of her in a Jacuzzi relaxing after having
had plastic surgery for skin cancer. Vivienne Eder chose it for her book,
Mothers and Daughters. The launch was in NYC and all the photographers and
mothers were invited. Not very many of the other photographers’ mothers showed
up. But my mom, regardless that she was not in top form, showed up to the party
with her nurse and the nurse’s husband, a limo driver. She had a glow about her
and attracted people to her regardless of status. I admire her ease with the
situations.
JS:
How did you know you wanted to be a photographer?
LT: The first actual “art” photograph I saw was from Alfred Stieglitz
Equivalents, which was on the wall at Georgia O’Keefe’s ranch. I was a student
in a drama program at Ghost Ranch Conference Center, where she also had a house.
I was twenty and I was attending the college student luncheon she was hosting.
Georgia was very kind to me since I pointed to her husband’s image[KO3]. She had
been hosting the lunches for the Ghost Ranch drama program for some years. It
was extremely prescient for me as I had lost my part in a play due to a sore
throat and the director had just given me his 2 ¼ Rollei to take pictures of the
cast. I learned how Georgia created an equivalent [KO4]for what she felt about
what she was painting – not to copy. After that luncheon she suggested I was
down her well-worn path and I should see what the spirits told me. Soon my
roommate became her night assistant, as Georgia was facing blindness. Georgia’s
paintings brought me closer to the rawness of the mesas and space of the desert.
That encounter transfixed me and I knew when I went back home after the summer
program I would enroll in photography. I had to switch my whole major to
journalism. At the time there was only one photography class in the school, and
you had to be in the journalism department to take it. Now the schools are
churning out photography students.
JS: I completely agree. And it has happened so fast. I am intrigued by the
image with scratching. I am sure like most students you did some experimental
work, but was documentary your passion?
LT: The image with the scratching came later on. It was all a process. I was
learning about myself and at the same time exploring this relatively new medium,
which was full of possibilities. I was in school during women’s lib and like
most young people I was discovering my identity, which led to taking portraits
of women. I wanted to know who I was and what it meant to be a woman. So I
experimented photographing women with objects and outfits in greenhouses, places
of fecundity and protection. The greenhouse had a warm and bubble-like quality
that felt safe and removed from the world that was often awkward to me.
JS: I like that analogy about the greenhouse. What did you have your models do?
LT: I would play dress up, like what most girls do. But I would dress them as
nun: one had a sword, another was in a torn wedding dress. I would write every
detail about the photo shoots in a diary.
JS: What I find interesting is that I think every young woman artist /
photographer does play dress up. It is part of the process. Funny that one of
the most famous woman photographers got so famous by doing something so classic.
LT: Well, I guess the art world had to acknowledge a few women doing it. The
Kinsey Institute purchased my images and I also had a large image in the Village
Voice. But at this point it was all a process of discovery: the medium,
sexuality, adventure, freedom and myself.
JS: And so this led naturally to self-portraits and going from black and white
to color?
LT: Yes, for me color photography made everything real. I felt like digging into
reality.
JS: I love the Ansel Adams image of Half Dome in your room. I hiked to the
bottom of it when I was a young girl with my mom. What was he like?
LT: Most people can only imagine Ansel invested in landscape issues and
technical applications of photography. This was not the case. He had many
passions in photography, but people came to expect his pristine landscapes and
he made them.
One evening I was setting up the lecture hall for his talk and he came in early.
It was in the beginning of a workshop series and he was doing a portfolio
review. I of course had my work with me. The whole point of working there was to
be able to attend the courses for free. We started talking and he asked me what
kind of photography I was doing. I showed him my portraits of women in
greenhouses and an experimental magazine from my MFA at Syracuse University. He
was intrigued and encouraging. Later we met again and he spent a long time
studying my projects. At one cocktail party, he came over to me and told me that
he wished he had had more time to work with varied subjects. Perhaps he was
flirting, but he also took the time to show me his prints and darkroom. I felt
like we were friends.
JS: Did he inspire you to teach?
LT: Yes, although now it is harder and harder to find teaching positions as a
photographer and artist. Earlier if you had an MFA you had a decent chance at
teaching at a university or an art school. It was almost part of the plan: MFA,
teach, make art and show in galleries.
JS: Now, it is starting to become a trend to get a PhD in Fine Arts if you want
to teach at that level, at least the reputable schools. I too would like to
teach, but I find the schools become a club for friends and that is the
practically the only way to get in. I like that you were adamant about promoting
other women photographers in your courses.
LT: When I taught the first course on “Women in Photography” in 1973 at Syracuse
University, I got a lot of material from writing to photographers and asking for
slides of their work. The Eastman House was only an hour a way, so I would go
there and look for material. They had a great library and vintage prints by
photographs. I would spend hours with gloves on going through images. My
professor in my photojournalism class at Newhouse School of Public
Communications spoke of only two women photographers in his History of
Photography course: Dorothea Lange and Margaret Bourke White. Great women of
course, but I wanted more than just two. Through the images that I saw at the
Eastman House, I simply decided to contact these women directly and ask for
slides of their work for my class. I wrote letters to Barbara Crane Ruth
Bernhard, Marie Cosindas and several other contemporary photographers. Anne
Tucker’s book The Women’s Eye was not available yet. Recently I saw ICP coverage
pointed out that the artists in a recent show had more women than me.[KO5]
JS: Yes, it is great. It is hard to look at your life’s work and not discuss
feminism. You are a woman; do you consider yourself a feminist artist?
LT: I like that I am a woman and am glad to be considered a woman artist, but I
also like men. I am interested in the feminine. I have explored the “feminist”
circle. I think that my work is acknowledged as progressive. I was never part
of that scene, you know[KO6]? I mean I was the high school prom queen.
JS: You are a “womanist,” as Alice Walker would say.
LT: I like that term. Susie Bright did a review on my show and it was a positive
one, but somehow there are certain people’s circles.
JS: I met Susie at a garage sale in front of her house in Santa Cruz. I was only
nineteen and had just seen Celluloid Closet, and began reading the Herotica
Books. I loved her, but for me the photography was too hard. Something like
wanting to be Mapplethorpe for dykes, and I get it but I also think, ok, do it,
make it and move forward. It is like history, but each person’s focus is
relevant too.
LT: I am also wanting to push forward, take the next step. I mean, of course I
could have spent my whole life making beautiful healing waters and spa images,
but as a human, I needed more from the work and myself.
JS: What about some of the things you learned from your teachers, or mentors?
LT: I was also a model at the Ansel Adams Workshop, for “Nude in the Landscape,”
taught by Eikoh Hosoe, Jack Welpott, and Lucien Clergue. It was amazing to be
their model. I saw how Eikoh dealt with both the students and his models and I
admired how he would guide us into creative play. It was thoughtful and we all
felt at ease. Making your models, subjects and students feel comfortable enables
dialogue. I am not interested in awkward images. Lucien’s style was more fluid,
and he showed me to care for the model’s well being, providing a warm sweater
and breaks.
Another time when I assisted Ralph Gibson in a bookmaking workshop, he took my
Leica, which had a long cord that dangled down to my hip, and asked if he could
improve it. He returned with a short leather strap position now on my chest
level. He showed me how to use the camera more quickly up to my eye to make
photographs. One of the best tips ever.
JS: You just said you are “not interested in awkward images.” Your images are a
bit hard to define at times. Would you consider your projects contributing
mostly to the documentary genre?
LT: Yes. However, documentary does not mean without perspective. I’ve referred
to all my practice as art documentary. I investigate subjects and themes, but
it’s not a photo-essay with a beginning, middle and end. My photography works
directly and inseparably with changes whether it is an erotic image, or an image
reflecting on identity or even memory. These concepts are associated with
changes, so my approach provides one of many interpretations. I call on a
private, subjective sensation to gather personal associations in an atmospheric
and emotional style around a topic. When the viewer sees the work, it is my
hope that its essence links to a larger, cultural memory.
JS: This then would bring me to ask about the TB-AIDS DIARY. This project
definitely deals with a larger cultural memory. Can you discuss this?
LT: My TB-AIDS DIARY has been a brand in visual communication of the pandemic
for twenty-five years. My political experience in Mexico guided me to view this
work as “art as information,” which opened me to both museum shows and
publication in the general news.
The media [KO7]chose from my selection -- the photo collage of the man with
AIDS and his hairdresser mother related how AIDS can stigmatize families. The
image of a woman with the words “infected with” spoke to the phase when it
spread to the female population. Today editors publish the image of the child at
the old fashioned TB X-ray machine in Africa. TB is an illness of AIDS immune
suppression but it is also once again a major illness as well.
When I exhibited my TB-AIDS DIARY at the Havana Biennial, Cubans from the radio
station were so moved that they wanted me to photograph an AIDS isolation camp
where people were being hidden. We hoped I could create a visual diary about it
to bring their plight to readers in America. Our attempts were foiled but my
work raised a lot of awareness, recognized by Gabriel Garcia Marquez. He
attended my show while visiting Castro and congratulated me on the empathy and
power the images were instilling in his companions.
In Finland, a writer from the Helsinki’s Sanomat newspaper heard my talk and saw
the exhibition. He wrote a ¾ page front-page story with large color images. The
article attracted tremendous attention and led to a dialogue with the government
that stopped the stigmatic stamping of “HIV” in infected people’s passports.
JS: But you chose to combine TB and AIDS, which not everyone associates
together. You did this because of your mother.
LT: One day I was in our attic and I found a box filled with my mother’s diary
from when she was twenty and had TB. She was sent to Saranac Sanitarium in
upstate New York. While she was there she had a camera and in her scrapbook
there were sepia images of the nurses and doctors. The porch was a perfect
backdrop. I was inspired by her snapshots and by her handwriting. She was simple
and honest yet to the outside world she was completely stigmatized.
I wanted to combine my mom’s diary and snapshots into a presentation and that
mix worked in photo-collage format. I was trying to transcend demographics and
statistics by focusing on the painful stigma and suffering.
It won a Photo Metro publication prize and after, an AIDS activist asked me if I
could drive the “stigma” concept home further with a diary of someone with AIDS.
I created a storyline for a young man who died of AIDS from this mother’s letter
and journals with a similar visual layout to the TB part. I had gallery
exhibitions and the art became a photo-essay in the Sunday Magazine of the
Philadelphia Inquirer. T
JS: I grew up in San Francisco, right above the Castro in Noe Valley. When I
was six and in first grade, my kindergarten teacher, a nun, died of AIDS. She
had had a blood transfusion. It was crazy, the city changed. I watched the
NAMES quilt grow and grow. (Pause)
Did the TB- AIDS Diary get you interested in healing?
LT: Actually I was already shooting the Healing Waters book and searching my own
healing in the waters of hot springs and spas. I talked to a number of women
bathing there and learned how some were using the time to recover from abuse and
break-ups. They told me that they discovered that they were recuperating in the
water – that it helped to bring their body feeling back. The warm waters and
rest opened up their sexuality while the contact with nature provided awe of the
spirit. I found myself considering how to photograph these moods.
JS: Why was it important to photograph it? Are you able to experience something
without photographing?
LT: I always had my camera around my neck. I remember when I was twenty-seven
and a new professor at Stockton College of New Jersey I was invited to a party
by Joel Sternfeld, who I taught with. He also joked with me about being able to
just be at a party without having the camera tied to me. I guess it is like
another arm. It is like constantly spontaneously having a diary with you. And it
is about always deciding which moments to keep and which to throw away.
One time I was photographing in Spa, Belgium when Chernobyl occurred. I sat with
the spa managers as they worried about the winds and possible contamination. The
infrared lighting transfixed me, the bubbling surfaces, soaking pools and the
beautiful natural environments. With a focus on diffused lighting I started to
work with high-speed film and movement to express the world I was seeing.
JS: Are you able to discuss your own healing? What were you healing from?
LT: I have pushed my body physical and stress limits. It takes a lot out of you
when you have a drive to succeed but also run into obstacles. There is
tremendous competition in this field. The first time I went to Mexico and to a
bath was because my heart was broken. I was only twenty-three and engaged to a
beautiful Jewish man. I was going to convert because his family was very
strict. They were a very influential and also associated with Israel. But I
couldn’t do it. I was raised Christian and even though I was a bit ambiguous
about religion I could not “extract Christ” from my life. It was too much.
JS: That is a lot to ask and you were young.
LT: Yeah, and somewhere in my stomach I knew I would be exploring new paths. I
had read books about Tina Moddotti and Edward Weston traveling south to Mexico.
But I, like most people, have had lots of times where I needed water or to be
healed.
When I visited the surrealist painter Leonora Carrington in Mexico City, she
told me how hot springs have the power to heal sadness. So I soaked in mineral
pools with local Indians. I learned how to weave water into my heart and it
unburdened my unhappiness.
JS: Dis you marry?
LT: My first husband had a law degree, but after seeing my life as an artist he
too wanted to be part of a creative field.
JS: Ah, the irony, you married the lawyer, the other side of you…
LT: I guess I never thought about it that way! He tried working for a PBS
station but was not able to break into producing. There was jealousy over how
our time was spent. It ended in a terrible divorce. I soon after went to the
Maine Photography Workshops, where I met Allan Coleman. He had devoted his
writing to photography and was very supportive. He was with me when I was the
guest artist at Omega Workshops, showing my TB-AIDS Diary, in their tiny café.
He saw how that body of work escalated to major exhibitions and publications
world-wide. I was progressing yet still fragile. Then, I had a severe break of
my wrist in several places, which meant I couldn’t carry the equipment, and use.
And, when Allan was driving my car to a Maine Photography Workshop, he hit the
divide in a rainstorm, and I suffered a painful neck injury. Emotional hurts
and physical setbacks led me back to waters. Every time I feel like I am sinking
I go to water to float.
It was really on this second journey that I decided to photograph mineral spas
with more intensity in Europe. I benefited as well while experimenting and
exploring the locations with my camera. Sometimes I would be told there were no
cameras allowed in the baths, so I had a technique of putting it in a plastic
bag and working undercover!
JS: So you used your healing to work for you?
LT: The more time I spent photographing at spas and hot springs, the more I got
to know the people, curists, interested in water. People of all races and
cultural backgrounds were reforming and reclaiming their bodies with water. Some
sufferers drink mineral water to deconstruct toxins that result in a thermal
crisis. In a steam bath there is immediate awareness of moisture on the skin
that stimulates consciousness. Ancient users of water – pagan cults, Greeks,
Romans –– left an influence in the atmosphere and architecture providing a mood
for nudity, exhibitionism, fasting, purging, touching, being touched, and
confession. I had learned in 1976 from the Indians in Ixtapan mineral pools to
have reverence for the water. They would cup the water bubbling up from a geyser
and gently place it on their heart, thanking the spirits for bringing them
blessings. My goal for these photographs was to offer viewers sensation and
transport them to a ‘source’ or feeling.
JS: For me, it is the salt water. I loved Switzerland, but there is nothing
better than diving in the Pacific Ocean. It clears everything. What do you think
you accomplished with the Healing Waters [KO8]photographs?
LT: The photographs eliminate a sense of time, while creating an uneasy
difference between the artificial, the organic, the harm and the beauty. My
images encourage the viewer to explore the isolated unknown in nature and be
transported toward natural mysteries. The images orchestrate a paradigm for
absorbing nature and healing into our consciousness. These transformative
images have the power to bring on well being or its desire, but is predicated
upon reconnecting the viewer to “oneness” or “a source.”
The exhibition at Saba Gallery in NYC was so amazing in 1999. After the opening
everyone told me how relaxed they felt or how they missed nature. In the city it
is easy to forget how important the elements are for our health.
JS: Can you compare this to someone that inspires you?
LT: International photographer Sebastian Salgado makes photographs of the plight
of the desperately ill in refugee camps. Salgado’s black and white photos are
mystical, encoded by atmosphere and light yet educate the public on disability
and environmental toxins. The pictures show doctors, injuries, and a scarred
region. Such photographs empowered in an art style have the ability to “dream
forward” the “subject” for the viewers and transport them to a response or to a
goal.
JS: The difference is your work is more personal than educational. (Although I
do believe your images create awareness.) I am a bit surprised at the
reference.
LT: His work is perhaps considered more documentary but it is his emotional
point of view and style that captures my interest. I like how he interprets.
JS: This I can agree with. I see his work and I get very sad. In German, this is
called “Weltschmerz” – pain with the world. I find both Healing Waters and The
Erotic Lives of Women feminine, but somehow I think with Erotic you are pushing
at something strong[KO9]... Tell me how this project began.
LT: I was forty and going through an erotically aware period. I had a younger
French lover. I wanted to be wanted and was wearing clothes that were sexy. I
would wear stockings and high heels, leather minis, but also classy sexy. I had
come out of the bad marriage and was rediscovering my sexual being. It was nice
and it made me curious. I began observing other women’s presentation of
themselves. On a train I saw an older woman in her seventies strutting through
the corridor in spike heels, bright blue eye make-up and a long fur. She
projected an openness that made me think “hot woman.” I continued to explore how
I wanted to express that sensation in pictures. The sensation of pow––sexy. The
image of this woman is perhaps unexpectedly sexy, not traditionally so.
JS: How did you find women willing to be part of the photographed and tell their
stories?
LT: It really came from a network of friends and friends of friends. Wherever I
traveled, I would tell people about the project and see if they knew people
willing to be subjects. Or rather discuss and be photographed. My first models
were from Paris. I was at my opening at Galerie Suzel Berna and talking to these
sensuous older Parisian women about my project. They were the first to sign up.
JS: Parisian women have something innately sexy.
LT: Yes, but anytime and anywhere women sit together, time and time again,
strong women tell stories of abuse, being beaten down from break-ups, divorces
and disappointments. I see beauty and they would often feel they were not as
erotic as they wanted to be. So I felt intrigued to push further.
I met Val, in her fifties, who told me no amount of exercise got rid of her
small existing tummy, so she took action and switched to wearing black camisoles
that covered it and always wore black stockings that made her legs more firm and
available.
JS: But shouldn’t sexiness come from within? Not from clothing?
LT: Yes and no. Everyone needs self-confidence and sometimes you have to “fake
it till you make it.” Clothes and fantasy help. I know you are a huge fan of
Vogue.
JS: All right, you caught me.
LT: I began to see that a book project could educate women and men in how women
establish and re-establish their sexuality. The photographs could be a recharge
for the sitter and viewer as well. There is a process for women at any age to
“evolve” and feel in touch with their erotic sides. One woman developed a system
of touching herself to orgasm and then blessing herself with that vibrant
energy. She would imagine the energy spreading as white light onto her arms and
legs. She created a ritual from her orgasm to potentially enhance her aura and
energy.
Even my seventy-year-old mother saw how to increase orgasm on a TV talk show and
ordered the vibrator for stimulation. She used it to satisfy and uplift her mood
even after she lived in a nursing home. Some people refer to them as “21st
century toys with a spirit.”
JS: I remember my first trip out of the USA, when I was nineteen. I went to
Nepal and I was told not to bring any tampons with applicators or anything
controversial. I left a suitcase at my mother’s house. I was not able to call
home often but one day I called and she said, “Well, your suitcase was shaking,
and I found your toy.” I was shocked and embarrassed. She was cool and said, “I
always prefer the colored ones to the natural skin colors. Mine is green.” I
swear I was struck silent for days.
LT: The first time facing a parent’s sexuality can be uncanny. I was glad to be
able to work on the book project with Marion Schneider, a German writer. She
would interview the women I had contacted. She also encouraged me to photograph
women of all ages, not just the older ones I had been selecting. I agreed.
JS: So how does your process begin?
LT: I look for atmosphere, and try and get a “sense” of what each woman is
feeling. It is collaboration as for that short time I am in tune with what is
deep from their psyche. Sometimes, in the photographic moment, I have become
aroused and even cried because of the closeness of the situation. I could not
have anticipated the profound experience women have had being photographed.
JS: I Iike that you call it collaboration. I think some photographers want too
much control. Sometimes you also have to let it happen. Do you spend a lot of
time with these women? A few hours? A day?
LT: It was usually a half a day at their homes or if they felt more comfortable
somewhere neutral we would get a hotel room.
JS: You and Marion chose to be in the book as well. Why? Was it about
exhibitionism?
LT: No, although, neither of us are afraid of exhibitionism. We wanted to show
our solidarity with women who were taking time to talk about a sexual subject.
For some women it was easier than for others. We also wanted to learn more about
our own erotic tendencies. I grew
up taking care of my parents. I would offer people to enter my personal space as
part of friendliness, but through the project, I discovered how my relationships
took liberties because I had not learned to establish ‘boundaries.’
The erotic impulse connects with a desire to go deep into bodily sensation, and
you can interpret this connection as love when it is sometimes only someone
taking liberties or simply enjoying creative erotic interplay. I learned how
each women needs to confront for herself, and discover what is her healthy
sexually in terms of religion and health. Some sex counselors say that
everything that doesn’t please is unhealthy. I encourage women to learn about
boundaries and find a place of sexual and sensual exploration that supports
their life direction.
JS: What I find most interesting about the Erotic Lives of Women book is that
the women are from all different backgrounds, and not just nationalities but
religious, like the Muslim women in Morocco and the Jewish Israelis, yet in the
introduction, Marion does not touch––excuse the pun––on this point. Was it
important to have a wide representation?
LT: Yes, we traveled to Morocco for that very purpose, but the Israeli women I
met in NYC. Morocco was awkward at times, because we had a male translator and
it was and it is still quite taboo to discuss sexuality. One of the most
affluent women we met would not be photographed, but spoke openly.
JS: I must say that I feel like I wish the Muslim women were seen as even more
modern like the Israeli. If you go to Beirut, the young women dress the same as
New York, and they are Muslim. But I know the book was published in 1998, and
times change fast.
LT: I understand your position, but we, too, were trying to do what you are
talking about, to tell the world that these women are human and sexual.
Religion does not take away human nature.
JS: I agree. How did you start shooting your next project, Orgasm[KO10]?
LT: Marion Schneider and I wanted to do a project that focused purely on a
women’s experience of orgasm. We have photographed five women so far and are
interested in meeting others. This topic is very intimate and euphoric so we are
gaining new insights to share with our viewers.
JS: Sex is completely over saturated in the media, but I still know a lot of
women who have trouble discussing their orgasm or masturbation. What types of
questions does Marion ask?
LT: We are fairly direct, granted the women are expecting us to ask questions.
The questions are fairly basic, like: What is your definition of orgasm? What
was your first orgasm? Then we ask them to show it to the camera. What was your
strongest orgasm? Then we ask them to show it to the camera. Do you have any
fantasies that influence your orgasm? Can you show it to the camera?
JS: Ah, so you see how far you can push the boundaries?
LT: I am not trying to push at something that does not already exist. I want an
honest portrayal in the photos. Voyeur is not the right term, rather it is as if
the women are looking at themselves and I am the interpreter. It is about saying
and showing and taking it out of the head.
For example, I began by interviewing and photographing Marion. I asked her one
of our questions, “Can you remember your fist orgasm and show it to the camera?”
Marion explained, “I was fourteen and not able to talk about sex to anyone. I
discovered books in my parents’ wardrobe of how women could create orgasms. I
decided to use the blunt end of a pencil––it was the only pointed instrument I
was allowed to use in school. I did the research with my body as the object. I
was just in bed with a blanket over me and after a while I relaxed and allowed
myself to get more into the feeling and eventually brought about my first
orgasm.”
The photograph I took is of her in bed with a pencil, somewhat hiding under the
sheet in her discovery process.
JS: I would like to know how you and Marion met? How long have you collaborated?
LT: Marion was looking for a photographer to create images of Liquid Sound,
[KO11]a new pool experience with light and underwater music. The German
photographers she had hired used flash and made it very cold and sterile. She
had heard about my Healing Waters photographs from the marketing manager of
Terme de Saturnia, in Italy. I had returned there to shoot a project for them
and a magazine.spread for my Italian editorial agency, Grazia Neri. Marion and
her husband, Klaus arrived to meet me and looked at my portfolio. They offered
to purchase thirty of my photographs for the walls of their clinic and hire me
to come and interpret Liquid Sound. I spent about six weeks there, during which
I became friends with Marion as well as produced their brand image of a person
floating in lights in the water, which is still used today in their advertising.
They are collectors and maintain a program of art, music and performance at
their spas.
JS: I like that spas are accessible and affordable in Europe. Linda, earlier,
you mentioned the[KO12] “tremendous competition in this field.” I would like to
discuss this. When did you first notice it?
LT: Well, in the early nineties, at portfolio reviews, curators and editors
arrived with projects to offer and actively would support a photographer's idea
on the spot. By 2000 sessions, became more like an interview/feedback for many
with no offers. Today the level of visual material is staggering.
JS: Yes, and the amount of photographers is exponentially expanding rapidly. In
Berlin I felt like every third person I came in contact with was a photographer.
LT: It's been interesting to follow your path to Berlin and Europe for your MFA.
I remember when you first wanted to go abroad.
JS: I was desperate to get out of New York. New York is great to be a student,
but hard to live without a trust fund. It is hard to pay the rent and fulfill a
dream.
LT: Was it easier in Europe?
JS: Not in Berlin, no. Too many artists, and too little work. My close friends
that were really working hard were from Berlin. For me it didn’t work. I was
happy to move to Switzerland to do my MFA.
LT: In Europe, you have a lot more support as an artist.
JS: Yes, the grants are great and I find the attitude better. That said, Berlin
was not easy. It is full of young, struggling artists. I am a big fan of
Switzerland. You are Swiss?
LT: Yes, and I have loved going there to photograph the mineral spas.
JS: Now you are making me homesick. A day at the spa and cheese fondue is my
heaven! But enough about me.
Now let’s talk about my favorite topic: the Chelsea Hotel. I remember
when you first invited me here. I was completely in awe. I never wanted to
leave. To me it was the ultimate in cool.
LT: Why?
JS: It had a sense of people not giving a damn and just living. Now I find it
more of a reality that I am a bit afraid of. You gave in completely to the
artist life. Tell me how you got here?
LT: I’d been working as a photographer while living part time with my French
boyfriend in Saint Paul de Vence and part time in New York. When he got
involved with a younger woman, we broke the relationship. I was devastated. My
New York loft rent skyrocketed and I was lonely. I had the van unload my
furniture at the 8th Avenue[KO13] Salvation Army, then headed north, where I
moved[KO14] into a small writer’s room at the Chelsea Hotel on 23rd.
I needed a nest.
JS: You have stayed.
LT: I set up a shrine with a healing bottle of sacred water I had brought back
from Knock, Ireland as I had been working there on the healing waters project. I
hoped its spell would help me see more clearly into people’s motives since I
missed danger brewing in my love life. Herbert Hunke, the surrealist poet
living across the hall on our eight floor peeked in, “You look like you’re a
rich divorcée? It would be nice to have some well being on this floor.” He got
that impression since he saw me in a Chanel suit I had from Europe -- so he
knocked each week for the seven-dollar cab fare to the methadone clinic. When he
returned he read me poetry while spraying another layer of silver gloss on his
phone or walked me to the only diner to eat at in the neighborhood.[KO15]
I moved to the hotel to make art and recover like Arthur Miller had, writing
furiously good material after Marilyn. Everyone knew art and music and the
famous had left a legend. I started getting high breathing in painter’s
successes––Johns, Schnabel, River––and hearing stories like Christo removing his
bathroom doorknob and replacing it with one from the hardware store for his
“street front” piece now in the Hirshhorn Museum.
JS: Did you want to be one of the boys?
LT: I wanted to be recognized like them, but not be a man. What I didn’t count
on is the loss of not having children. A man has all the time in the world.
JS: This has been a fear of mine.
What if I miss out on that?
LT:, I am constantly connecting and never giving up on the relationships in my
life, because there are times I miss that bond.
It was because I am able to connect with a variety of people that I was able to
do the Hotel book. Residents taught me how to smile in the elevator. I tried and
it led Alexander McQueen inviting me to his fashion show and looking at my
photographs. Ethan Hawke visited my third floor room to consider it for a scene
in his film, Chelsea Walls, which led to photographing him. Painters Michelle
Zalopany and George Chemche invited me for a drink to their uniquely situated
studios. Abel Ferrera filmed a segment of Chelsea on the Rocks in my room with
Grace Jones.
It’s an international meeting place where artists learn by meeting each other.
There is always something going on: a Russian curator’s dialogue; a Goth party;
Nina Hagen acting in a film shoot by Milos Forman; a poetry reading in a room; a
male angel with tiara sitting in the lobby everyday.
These are intense events that do not happen in other buildings.
JS: I love Nina. I repeat, I love Nina. Did you also find time for quiet? Is
your nest... people?
LT: Yes and no. When my mother
died, I found solace in in the silent, misty dimness at the south windows.
Reading, crawled up by the fire escape, I discovered the tranquility in this
place. Stanley Bard, the former Managing Director, said it’s the thick walls
that provide privacy. Loretta, the hotel housekeeper, vacuumed and put my
clothes on hangers for weeks waiting for the right day to offer a maternal hug
that brought tears and release. The management provided a kind of family,
training staff how and when to respond with sincere humanness.
As I was coming out of the sadness of my mom’s death, I was drawn to sit in the
art-strewn lobby to distract myself, trying to connect with the outside world
again. There is a club atmosphere that Stanley evolved by “marshalling the vibe
and the balance,” as Steve Lewis, a nightclub entrepreneur, described. The lobby
brought me back into communication with artists such as Robert Lambert, a
painter who says we lived in a “dysfunctional art colony – we are strangers in
art together.”
I find that when an artist arrives with a fresh dream there, I feel renewed.
JS: Will you always live there? Have you considered leaving?
LT: I have become accustomed to ease of hotel living and have no plan on moving.
I am a part of the hotel and when my exhibition opened with my book about the
hotel… I was having one of the worst times of my life.
JS: I remember. It was right after
that Lothar, your husband, had his accident.
LT: He was in a motorcycle accident a week later. He was unconscious for a
month with sixteen broken bones and in rehab for six months. My life was turned
upside down as I was traveling each day out to the hospital in Newark, sitting
at his bedside, praying for his eyes to open. When I got back to the hotel
there was often something going on. At this time, was the filming of Chelsea on
the Rocks. I had been picked as an extra some weeks before and agreed the shoot
could be in my room. They were reenacting Janice Joplin’s stay in the hotel. I
remember meeting Grace Jones in make-up and thinking the shoot was running
late––how would I sleep and get back to then Newark hospital in the morning? The
producers got me another hotel room and Grace asked me to buy and sign one of my
books for her. When my husband eventually returned from the hospital, there was
a group of hotel friends waiting in the lobby to greet him. The hotel staff
even built a ramp so he could be wheeled to the hall bath while he recovered.
JS: You have so many stories, so many images, so many adventures. Thank you for
your time and thank you for your images.
Then
KMC, award winning fashion and lifestyle photographer
KMC: I first noticed you because of your leather pants; I went up to introduce
myself since you were a guest speaker at the University of the Arts, where I was
studying in my last year in their photo program. Because I am mainly
photographing fashion, your style lured me in. We exchanged emails and I
visited you at the Chelsea Hotel. There was so much about photography's history
I was dying to know. Lets start with the Chelsea. While living in the hotel you
were surrounded with a variety of talents, such as fashion designer Alexander
McQueen. What was it like to be around budding artists and be able to know them
before they had their highest success?
LT: Alexander McQueen invited me to his first American fashion show in a
synagogue on Norfolk Street in the lower east side. It was snowy night, in April
1996, and with my name at the door I got in. I heard that Vogue editor Anna
Wintour was caught in the line and eventually was recognized. I was huddled in
the very last row of the official fashion shooters. As models made their way
toward the stage, I was not prepared for the unpredictable magic of the clothes.
There was an emotional power and raw energy. Fragility, strength, fluidity,
brashness enriched my eyes. He wanted his clothes to make women stronger, and I
saw that in the women who wore his designs. I was not in position for shots so I
let just let the aura refine me. His use of part-nudity, bloody colors of war
and the pale lace of peace inspired me. Around that time I got to know
photographers who photographed his collections, including David LaChapelle who
made the well known art print “Alexander McQueen and Isabella Blow Burning Down
the House,” and Mary Ellen Mark, who made black and white photographs of his
collection for Detour Magazine. I met Larry Fink, a photography professor at
Bard, in that mob of photographers; he was shooting for an assignment and we
have been friends since then. I’ve followed Alexander’s rise from producing
elegant, expensive clothes for Givenchy to his recent, unique and haunting
designs for his own stores. I often wander to the Meatpacking district to see
what new fashion he has in his 14th Street storefront.
KMC: You’ve seen everything go down in the Chelsea. I want to hear dirty
details, was happening in the room next door, the club down the street, and then
in the elevator late at night.
LT: I had made a new girlfriend at the Chelsea Hotel who called me at midnight
to meet a few doors down at the S&M supper club, La Maison de Sade. At the bar,
a waitress in a latex corset slapped my hand with a black cat-in-nine tail and
told me to “beg, beg” for a drink order. My friend arrived and we watched the
entrance action where “slaves” were handcuffed to a wood rack blindfolded,
paddled and humiliated. A crowd of writers and directors in the film scene
nestled in the back bar. It flourished until 2001, mostly surviving on wealthy
couples from New Jersey who wanted a taste of the wild side.
From there we headed to Serena’s, the nightclub in the basement of the Chelsea
Hotel. The doorman knew us, and we were escorted downstairs to the low, plush
velvet couches, pillows, and Moroccan motif. This night my friend wanted to hang
in the back room, where I’d never been. A stream of men and women nudged in and
out of the ladies room. My friend took my hand. ”Let’s go.” Inside, the bath
attendant was all smiles as she put a line of coke for us and my friend dropped
a bill in the Kleenex box on the counter next to cheap scented perfume and
bubble gum.
Then writers arrived and we headed to a tiny room back at the Chelsea Hotel
seeing one double-deck [KO16]twin bed covered on the sides with blankets.
We slipped into the lair, like entering a teepee. A pasty-faced man I’d never
seen gave them what drugs they wanted. It was said he never went out in the
light of day. We then headed to a party in a front room with a scene of exotic
drag queens, musicians and a fantastic spread and drinks. Apparently cops busted
Cheng, the owner of the S&M restaurant who threw the party. I had gone back to
my room just in time.
KMC: How did you artistically and creatively change when you moved in to the
hotel, being surrounded by so many different personalities and artists?
LT: I had a body of work ready to exhibit and my move to the hotel had a
purpose. So the artists in the hotel were a wonderful addition but I wasn’t
dependent on the interaction. I remember one time Rita and a few other women
wanted to organize a women’s creative group. It never got going. The
hotel is about chaotic happenstance.
KMC: It is obvious that your life is reflected in your work. Is this a shared
belief for you?
LT: Yes. I’ve evolved and learned so much from my projects. I spent time with
people with AIDS and for my exhibitions I began to require that AIDS information
was available as well invites sent to the region’s health officials, nurses and
doctors. I learned about the effects of fango mud when I photographed it for my
Aperture book, Healing Waters. The people I shot, deemed ‘curists’ in Europe,
were hoping to feel better. When my right wrist was painful, a surgeon said I
needed to have my hand’s bones “frozen” in an operation. My wrist would no
longer move, but he predicted it would also not hurt. My Lyme disease, which I
had been previously diagnosed with, had manifested arthritis there and I could
no longer hold my camera without pain. I decided to return to the place I had
photographed and the like [KO17]an adhesive draws out physical and mental
poisons, chemical excesses created by trauma, negative thinking, disease,
degeneration of the aging process. After their three-week cure, I had movement
and improved to manage my camera.
KMC: Do you feel that you shot Healing Waters because you yourself needed to
find peace?
LT: I am interested feeling well and in the sexual emancipation of women. Since
water is a carrier of the sensation of pleasure and water absorbs the dark side,
photographing the subject has been a cleanse. In my photography I look for
ways to emerge out of my little hells, addictions, low points. Exploring the
theme of spas opened me to a world where imagination, adoration and abandon
linger. This search brought me regeneration in my loneliest times and lifted
pain.
The etherealness critics has mentioned in my art practice and the and blur
[KO18]in my images might hides wounds too.
KMC: You’ve had many relationships, Did you shoot and evolve your career
differently when you had one lover, or another?
LT: Yes. Around my divorce, Allan Coleman and I started dating. As a photo
critic and photographer team, we enjoyed the same festivals and travel. He was
very nurturing but I was not ready to settle down so I broke it off. During the
shooting part of Healing Waters, I was seeing a younger French man, Thierry
Cordier Lassalle, living in Nice. Living part-time with him offered me
opportunities to explore mineral waters in the north of Italy, and he arranged
for me to meet editors in Paris, and assisted with a show in Nice. A young
employee of his broke us up. In jealousy, I refused to fly for my gallery
opening in Nice because he was attending with her. I look back and realize how
female jealousy blocked me from my own event.
After that break-up it was as if I emitted pheromones, like those female moths
that call male moths from many miles. Men were obsessive, but did not offer
marriage. Stanley Bard, the owner of the Chelsea Hotel, had formally separated
from his wife and showered me with attention. He wanted to do a book together on
the hotel. We just started to get to know each other when his wife asked him to
reunite and he did that quickly.
I tried to convince my next lover to marry me when we were in Cuba on his
photography assignment to photograph Castro. I wrote, ”I am holding you so
tenderly, I am walking in your feet, looking through your eyes, touching through
your fingers, pulsing when your heart beats. I am visiting your lungs to breathe
your sweetness. I pass from vein to vein to be more related. I hope I am an echo
of what you imagine.” Though he was separated from his wife, he went back to her
when she took pills and went to the hospital at the brink of death.
When I started dating my husband, men still flirted and I flirted back. Then I
fell deeply in love with Lothar Voeller through taking photographs of him during
his divorce, and he of me suffering through my Lyme disease treatments. We both
evolved through reflection in the other’s eyes and produced a book, Body
Biography. We were chosen to show our work at the Santa Fe Photography
Review and had an interview with Anne Wilkes Tucker, from the Houston Fine Arts
Museum. She saw one of these images and said, “Why do I want to keep looking?
The ‘insistence’ of a photograph to be remembered helps me as a curator to
determine whether I want to acquire it for the museum.” Lothar and I enmeshed
ourselves in pictures that had that kind of insistence, which is still important
for us. My scent was positioned on him. When we married he took my name,
Troeller, to carry on my lineage. I’ve enjoyed a calm intimacy with him for
almost fourteen years.
KMC: How do you approach your subjects, who are mostly women? Do you feel that
the relationship is important? Do you feel that you shoot differently then maybe
a male photographer would, being a woman yourself?
LT: I have a female oriented sensibility and women often relate to it. When I
was 22, Rita Hammond, an older woman photographer who taught at the college near
my graduate school, purchased one of my photographs. She paid ahead and wanted
me to create one for her while I was at the Ansel Adams Workshops. She had dark
hair, and American Indian features. We shared ideas and discovered printing
techniques together. She expressed she was in love with me, but I was not able
to respond. When I was working on the erotic lives book project, a New York
photographer came to my loft to suggest potential women she knew. She had dark
hair, firm legs beneath a suit, and men’s oxfords.
She spun around the space with a steely grace and exuded enormous drive. I was
attracted to her but kept distance. In Europe some of the women I photographed
wanted a fling. For them being with women was simply experimentation, not
lesbianism, but I was not able to move toward them physically.
I have a very comfortable openness that invites people to know me, to share.
I think that is different from men who have borders, aggressiveness, and agendas
who are much harder for me to communicate with.
.
KMC: Did you ever get pushed aside by male photographers because you were a
woman photographer? To me it seems that most successful photographers are men,
especially in the fashion industry.
LT: I know some male photographers that choose their own buddies to fill
workshop teaching and lecture space over me.
When I graduated from my first masters in photojournalism from Newhouse School
at Syracuse, my father contacted a family friend at the Asbury Park Press, who
wanted to assist me with a photo-journalism position. The head of photography
told me that I need not bother to apply, as he would not be able to send a woman
to a fire. This resistance led to applying for my MFA at the Syracuse University
School of Art, choosing photography rather than working at a newspaper.
On the plus side, as a woman working in the late 80’s in Europe, I was
privileged to be sought after as photography was not yet a major in the art
schools there, and I was unique. The TB-AIDS DIARY was sought after for my
female perspective as mostly only a few gay men artists worked on the theme
during those early years.
KMC: It seems like you embrace being a woman photographer whereas I often like
to keep myself androgynous when I shoot. I specifically use initials and not my
first name so there is no bias shown.
LT: I think androgyny can be potent but it’s not something I was able to
successfully experiment with. It offers distance and a blank slate. One can
garner space from the sitter, a kind of breathing room, so you are not tangled
into the sitter’s vibe when being androgynous. I have not had much luck with
this approach although theoretically I see the benefits and have liked
photographers’ projects that utilize it.
I wanted to be more androgynous for my lecturing in the 1980’s and 90’s
especially at colleges. I shaved the left side of my head very short, leaving a
bottom ridge of longer hair. People in the art scene wore basketball sneakers,
caps and black. This look didn’t work with my feminine body and petite features
so I didn’t achieve the visual emblem of a feminist. I was fortunate to start
exhibiting and working for photo agencies in Paris, Nice and Milan where my
presentational self was regarded as cultured and intelligent.
KMC: Can you speak about which photographers or artists have had a strong
influence on you?
LT: In 1980 I was an adjunct photography professor at Otis /Parsons School of
the Art Institute in Los Angles. I lived on Rosewood Avenue in a 1920s apartment
with a bed that unfolded from the wall. I learned from a neighbor that
Robert Frank stayed on that street when he was in town and frequented the
antique bookstore on the corner. Frank stood in the steaming sun nearby me
and my then-boyfriend, who was a writer working as a short order cook[KO19],
slinging hash and eggs at Breakfast All Day on Western Avenue. Perhaps
Frank had been one of the proprietors, Willard’s, donuts[KO20]. Photography’s
incestuous vistas are harder to find now. Bag ladies passed. Men hauled
refrigerators and laid carpet, people with take-out from the Kentucky Fried
Chicken ate a fry or two and all the while, Frank was teaching me to find my own
roadmap. His shadow was there as a guide.
Another experience that formed me was when I stayed at Linda Conner’s house on
Haight Street in San Francisco. She was a professor of photography at the San
Francisco Art Institute and put me up before I went to assist at the Ansel Adams
Workshops. She had calla lilies in her backyard like Imogene Cunningham’s flower
platinum prints. It took a few days to get up the nerve to show her some slides
of my greenhouse photographs. She told me to put more concern into the frame and
edges of the image. After her criticism I decided to throw the four images in
the wastebasket. She noticed them there the next day, and winked.
I learned to let go of photographs that don’t meet standards.
The other photographer that changed me radically was Nathan Lyons, who taught a
workshop at the Center for the Eye in July of 1973. He arrived late and his eyes
were dark like a sheepherder aware of danger. He started his lecture, “I am here
as an antagonist. I am interested in your responses, the concerns your announce
as an individual.” He drew a grid on the blackboard. “What then might a contact
sheet reveal? Different moments in time; different experiences in time; numbers
on each frame show traces in time, and evoke a sense of what the photographer
was feeling. The sequences and recurring subject matter in one or a group of
contact sheets becomes a journal.”
He told us to stop looking for the great picture. Our assignment was to shoot
two rolls of film without putting a camera to the eye; shoot two rolls of film
that created a coherent, consistent contact sheet following one single
consideration; take one subject and try to see if object is affecting object or
object is affecting environment; shoot one roll putting object in each frame in
a different environment; create a rebus with objects on a contact sheet; and
establish a visual alphabet on one roll of film. After Nathan’s class, I would
never feel the same about visual seeing.
KMC: While I was in school I didn’t have extra money for special equipment, so
along the way I picked up tricks to fake it. I once had to use a Dunkin Donuts
napkin as a diffuser for a portable flash. Can you talk about some skills you
have in your tool box that you learned off the cuff?
?LT: At Fotofusion, a photography festival in Delray Beach, Florida, one of the
instructors, Douglas Kirkland, complimented me on my My Erotic Lives of Woman,
which had just come out. Then, I met him and his wife, Francoise, at a luncheon,
and learned about the celebrities he shot, including Coco Chanel, Marilyn
Monroe, Sophia Loren, Mick Jagger and Arnold Schwarzenegger. He offered to let
me come along to his workshop, titled ‘Glamour Lighting.’ I didn’t see how this
would be my kind of style as I was interested in the mastery of natural
light so mostly went to hang out. It turned out he introduced very approachable
techniques of using different sized and colored light disks. He showed the class
how silver, gold, and white reflectors assisted in low light, to open up the
eyes, and change skin tone using the sun on these disks. This technique
radically expanded my portrait work and led to fashion assignments. He has gone
on to receive a Lifetime Achievement Award from the American S.O.C.,
Photographer of the Year from the PMA, and a Lucie Awards for Outstanding
Achievement in Entertainment Photography from the IPA.
KMC: I’d like you to talk about photographers that really made you aware
that you lived in a time of great artists.
LT: In 1987 I was chosen by Ansel Adams’s daughter, Anne Adams (Helm), to be an
assistant to Annie Leibovitz and David Hockney with other teachers including
David Bales and Robert Dawson at her renewed Ansel Adams Workshops. I was
invited to be in planning sessions and private dinners without the students.
Annie had the American Express account and invited me to guide her to buy some
of Ansel’s prints. I was standing there as she toyed with which ones to
purchase. In the class, Annie was showing us her portrait style and lighting
equipment. She brought Anne and her daughter to a cliff overlooking Half Dome, a
location Ansel made famous. Annie encouraged the mother-daughter to embrace and
suddenly Annie had problems with her assistant to get the light working. The
mother and daughter never struck up that powerful pose. Annie told us,
“Your audience never saw what we didn’t get. Move on. You can’t go back.” I have
used that motto time and time again. I was to spend more time with her but she
got a call for a celeb shoot with Bette Midler in LA and left. She was a
whirlwind to see working and I remain in awe of her talent and stealth.
I was then invited to David Hockney’s lecture “Throw the Camera Out the Window,”
at a campfire circle next to Little Yosemite Falls. I am in awe also of his
predictions, including “Truth and veracity as seen in the photograph is about to
end. Deal with a period rather than a moment. Linear perspective is primitive;
move on to a complex view of perspective. By putting painting and photography
together, we put ourselves back in space. When new images are made involving
drawing, the work will be less objective and we will see the world more
intimately.”
KMC:
Do you feel that real photography is a dying breed, that soon there will be
little to no masters left?
LT: Photography’s roadmaps are hard to find. Visits with master photographers
are passages to be savored. Few masters who have spent a lifetimes in the
darkroom with film and silver papers remain. I hope the next generation of
photographers will not forget their heritage.
KMC: What would you say was a turning point in your life and career that really
made you progress -- a pivotal time?
LT: In 1986 I was chosen to attend Bread Loaf Writers Conference at Middlebury
College, Vermont, one of the most prestigious writers’ workshops. I had been
writing two novellas, Unis and The Facemaker, and it was diverting me from my
photography. I had been told my manuscripts had potent imagery but were not
polished enough to get an agent. When I got the invite for ten days of mentoring
with the writer Mary Morris, I figured I would learn to improve the writing or
have to choose it or photography.
I had my camera on my shoulder as usual and was asked by one of the speakers to
take their portrait. At that time not everyone had a camera or camera phone in
his or her hand. That portrait led to an invitation into the circle of the
famous writers that congregated for cocktails at a private house. I liked being
in demand with my camera. Meanwhile, Morris told me I needed to get a Masters in
Creative Writing to hone my books—at least two years of total dedication. So, a
lot to ponder and shortly after I got home, I had a very serious accident and
broke my right wrist. I couldn’t go shooting, yet rather than write on the
novellas, I created photo-collages with my left hand. They evolved to my TB-AIDS
DIARY. The workshop had led me to combine my talents with both words and images.
I edited my mom’s words from her diary and wrote my own to go on the collages. I
have yet to edit those novellas, but I gave two performances/installations of
the strongest chapters. The TB-AIDS Diary project projected me into the art
world and paved the way for achievements such as publication in Art Forum and
exhibitions at the Havana Biennial and Fotofest.
It also gave me confidence with words.
KMC: Will you speak on who really reached out to you?
LT: Grazia Neri and I met at Arles Photo Festival in France, perhaps summer
1989. She is a commanding woman with a determined gaze and friendly
sophistication. She always had many photographers gathered around her and
it was hard to find a way to speak. When she finally looked at my photographs,
she said I need assistance in editing for them to work with her Milan editorial
photo agency. She told me, “I will see you in NYC.” She did meet me and sent me
one of her editors to help choose the first group of healing waters slides to go
to her. She sold the story quickly and suggested I come to Italy with my other
photo stories. She took me for Risotto alla Milanese and then a limo
arrived with a driver to take me to meet the editors of top publications.
I met mostly, men, whose assistants greeted me with a café. The editors spoke
little English and would hold the eyepiece against their brow, look at the
slides meticulously and say, “SI, we will publish.” Later, the driver took me to
Rome to the offices of La Repubblica newspaper. I met editors who took me to
lunch and told me stories about some of their historic photographers. They too
ran a story from my project. A few years later, Grazia met me in Tuscany and
organized a luncheon for me and a few other photographers at an outside garden.
She let me know she believed in me.
Nathalie Emprin, who had Galerie Suzel Berna in Paris and Antibes, France,
represented a number of photographers I admired. I hoped to show her my TB-AIDS
DIARY at the Arles Photography Festival. At that time, reviewing was done in the
garden of a hotel and it was free, though one had to wait in long lines. When I
finally got to her, she decided she was leaving for lunch. I was very
disappointed but we met. There was an instant recognition of our mutual passion
for life and the human condition. I was drawn to her persuasive, dominant voice
and demeanor. She offered me a show right away of my TB-AIDS Diary in the
south of France where AIDS was starting to be a problem due to the drug use
there. It was successful and she showed it in her Paris gallery. As my
Healing Waters work evolved, Nathalie was key in showing it to book publishers;
she sold it to Marval in France, and then Aperture in New York published the
book. It won an Honorable Mention and 1st place Pictorial in Pictures of the
Year. It was at my opening that her friends asked me what my new work
would be. I announced a project on women and eroticism and she immediately
backed it. Nathalie’s enthusiasm that gave me hope and she could often find
locations to bring my work into the public arena.
KMC: Can you expand on Europeans who have pursued bringing your vision abroad?
LT: Kristin Dittrich, creator of the F-stop foto festival in Leipzig, Germany,
was my reviewer at Fotofest, 2007 and expressed interest in my projects. I
had been to her city and she knew about Toskana Therme, Bad Sulza, a nearby spa
to her that acquired my photography for their art collection and hotel. She was
intrigued by my Chelsea Hotel series as a cultural topic for her region. She
also told me that my self-portraits should be organized and she hoped she could
do it. I traveled to visit my collectors there a year later, and she met me at
the Liquid Sound pool. We floated, sharing intimate stories about our childhood.
I photographed her in sixth months of pregnancy. She showed caring by
remembering things I had said, and offering positive feedback. She showed true
sadness that with her new baby she would not be able to come to NYC to guide my
self-portrait project. She chose me to speak at the festival press conference
and my photo made the front page of the newspaper. For her, curating is about
meeting photographers and understanding their complexities and process.
KMC: How do you cope with aging?
LT: For this I looked for a colleague with more experience at placing their
career archive in a collection. Rose Hartman, twelve years my senior, and I got
talking about it at an opening, so we exchanged details of organization,
presentation, and agents and it led to friendship. She photographed the icons of
our time from Halston to Diana Vreeland to Warhol in the late 70’s and 80’s. She
is still shooting-- Kate Moss, Karl Lagerfeld, John Galliano, Anna Wintour
--and is the subject of a new film on her life, currently playing at
seventeen festivals, called The Incomparable Rose Hartman. Her first book, BIRDS
OF PARADISE, An Intimate View of the New York Fashion World (Delacorte Press),
remains recognized as much for being a collection of photographs as a history of
an era. Being with her at home and viewing art at galleries together, she showed
me how to be ageless by remaining curious, choosing the right clothes, and being
persistent. We have a lot in common as we’ve both done fashion assignments, my
most notable ones being the Apolda Design Award Fashion Catalogue and my
exhibition in Medellin, Colombia. She prepared me for the fashion press queries.
Around that time, my alma mater Syracuse University’s Bird Rare Book Library
decided to acquire my archives and I sent some materials. Her day will come.
KMC: What kind of emotions do you want to communicate in your photos?
LT: Peacefulness. Sensuality. Energy. Transcendence. Atmosphere. Community.
KMC: Is there something you wish to specifically pass on that you’ve learned in
photography?
LT: I’ve learned it is self-destructive to expect passion regularly. Nature
under ideal conditions creates the sweetest peach but some are bruised, blocked
from the sun, worm-ridden. If I want passionate moments with photograph, then I
must nurture, work hard, and not be consumed by searching for it. Accept
still days, boring photographs, no photographs. Passion comes when conditions
are right[KO22].