Bigood's oeuvre is characterized by a heavy reliance on invention. His photographs feature elaborate sets built ground up from the materials of the theatre, fashion, design, and fine art. In a profile of the artist published in Aperture, Philip Gefter writes,
“ Necessity was the mother of invention for Bidgood, who created elaborate photographic tableaux in his small midtown Manhattan studio apartment. His first erotic series was an underwater epic called Water Colors, made in the early 1960s, in which he used a dancer from Club 82 named Jay Garvin as his subject. The underwater atmosphere is completely fabricated; the bottom of the ocean was created with silver lame spread across the floor of Bidgood's apartment; he made the arch of a cave out of waxed paper, and fashioned red lame into the shape of lobster. He coated Garvin with mineral oil and pasted glitter and sequins to his skin so the silver fabric under photographic lights would reflect on his body like water. For weeks at a time, Bigood would eat and sleep within the sets he constructed in his apartment.”Many contemporary themes are found even in the earliest of Bidgood's work. Camp, identity, erotics and desire, marginality, and performance all figure heavily in his portraits of nude men. Bidgood's complex references to the theatre and performance seem to presage Queer articulations of Performance. His techniques, working processes, and masterful use of illusionistic color indicate both a mature understanding of his influences and goals and an important contrast to the art movements of the time the work was first created.
In 2005, James Bidgood was honored with a Creative Capital grant which facilitated a return to art photography after a hiatus of nearly forty years. His current projects include work for Christian Louboutin and Out magazine. In 1999 Taschen published a monograph of his work including biographical images and stills from his film. The art book publisher Taschen included an interview with Bidgood in its 2008 publication The Big Penis Book, and will re-publish his monograph in 2009. His most recent work was featured in Out in February 2009.
Bidgood is represented by ClampArt in New York City as well as Larry Collins Fine Art in Provincetown, Massachusetts.
James Bidgood's exhibition credits include group shows at powerHouse, New York City (2007); Exit Art, New York City (2005); Fundacio Foto Colectiania, Barcelona (2003), and Nikolai Fine Art, New York City (2000). He has had solo exhibitions at ClampArt, New York CIty (2007); Larry Collins Fine Art, Provincetown, Massachusetts (2007); Marty Walker Gallery, Dallas, Texas (2006); Galeria Espacio Minimo, Madrid, Spain (2002); Galeria Maraeini, Bologna, Italy (2001). and Paul Morris Gallery, New York City (2001).
James Bidgood (Taschen's 25th Anniversary Special Edition) edited by Bruce Benderson
Hardcover: 175 pages
Publisher: Taschen; Taschen's 25th anniversary ed edition (April 1, 2009)
Amazon: James Bidgood (Taschen's 25th Anniversary Special Edition)
James Bidgood is seen as the father of the pulp and glamour aesthetic, yet his photographic works are still scarcely known. He came to New York in 1951, intent on becoming a musical star, and earned his first wages as a drag performer in Manhattan legendary Club 82. His serious employment as a window dresser, freelance photographer, and costume designer enabled him to collect the material he needed for his own photo shoots, for which he built complex sets, often in his tiny apartment. In his photographs and films, he pays homage to the youthful male body via elaborate staging of his romantically shimmering visions of a homoerotic paradise. This monograph presents a complete overview of James Bidgood influential body of work.
More Photographers at my website: http://www.elisarolle.com/, My Ramblings/Art
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