John Foster reviews my book Gals Gams Garters at Accidental Mysteries, thus providing me another opportunity to post a photo of some legs.
"Cut from vintage men’s magazines of the 1950s, the anonymous collector used scissors and tape to arrange his private soft porn collection taped to the pages of a commercially bought scrapbook. Perhaps the creator’s wife found them and tossed them out, perhaps he passed away or maybe he found Jesus. Whatever the reason, they ended up in that dumpster and today are the subject of a new book called Gals Gams Garters by Victor Minx. Victor Minx is the pseudonym of Jim Linderman, a longtime collector...these pages are beautiful, almost randomly arranged clippings, where the yellowed tape becomes an integral part of the composition. Random colors from the magazine and the spaces between the clippings work together to build a solid page—one man’s private fantasy made public"
In the 1960's, a student at Virginia Commonwealth University in Richmond, Virginia was dumpster-diving and made a remarkable find. A scrapbook consisting of dozens of pages of the female form (in stockings) which had been carefully assembled into a fetish object of considerable girth! With 80 pages, and despite decay, the student saved the packet for decades. They have now been published in a book which is itself a little work of art. Our anonymous artist would be proud, though his family, who likely tossed the originals hoping they would be lost for good, might not be as pleased. There is NO NUDITY as with the convention of the times, but as you can see, risque might be the appropriate word. Art Brut with scissors and tape. A perfect gift for anyone interested in fashion or retro-fashion, stockings, legs, women...and, well...anyone with an interest in the unusual. It is linked at right, and there is a free 15 page previewHERE.
Women on the subway, particularly prior to the acceptance of ipod plugs, will bury their nose in a book so as to avoid attention from creeps. They often use homemade book covers as well, to mask the title from straphanging men who either claim to have read the book or ask if it is good. (ummm...guilty)
Never, however, have I seen a book which has had a fake cover applied by someone permanently, in particular in such a curious manner. Some goofball, in the early 1980's, covered this paperback in a design of his own making composed of shopping bag paper, a cutout from a men's magazine, and a handwritten spine. He even wrapped her arm around it. She doesn't even appear to have red hair. Certainly not the book I would choose to read in public, but I would liked to have seen his whole library. Book courtesy of William Smith, Hangfire books. (He has better ones, and his website is great)
"Betrayed by Rita Hayworth by Manuel Puig. Vintage Books edition 1981 with handmade applied cover. Collection Jim Linderman
Announcing "The Painted Backdrop" a major new photography book examining the previously undocumented beauty of hand-painted studio backgrounds in 19th century tintype photographs.
Common wisdom holds the lowly painter was out of work when realistic images created by the camera came along in the 19th century. Maybe not! On the contrary, this beautiful book shows that some artists thrived during the period by creating extraordinary drapes, screens and sets for photographer's studios, both primitive and elaborate.With sublime illustrations from the collection of Jim Linderman, noted photography collector whose images were last used in "Take Me to the Water: Immersion Baptism in Vintage Music and Photography 1890-1950" and essays by prominent scholars, this groundbreaking book will be of considerable interest to any art, photography and history reader, library or book collector. It will open a new dialog on the relationship between painting, art and photography.
To be published in a limited edition with a target date of early 2010, this will be the first book available with the "Dull Tool Dim Bulb" imprint, a new small press endeavor striving to produce unique, beautiful and profound books for the artistic audience in conjunction with Dust-to-Digital.
STAY TUNED to DULL TOOL DIM BULB for further announcements.
Seven Tintype Photographs, Circa 1880 Collection Jim Linderman
A little while ago, I noted on the blog a newly published collection of beautifully real and worn photographs of baptismal scenes from the earlier twentieth century, along with an accompanying CD, Take Me To the Water. This book comes from the collector Jim Linderman, who blogs about his own work on this particular project here, and reflects more broadly on free lance collecting, folk art, ephemera, and curiosities at Dull Tool Dim Bulb.
The combination of photographs, capturing emotional experience in unselfconscious ways, and the CD soundtrack bring alive a world of religious ritual in ways that the writer Luc Sante briefly suggests in his preface to the book. Below is an interview I've conducted with Linderman, in which he talks about this work, his feeling for these baptismal photographs, and his philosophy of collecting and presenting his work.
1) First, Jim, you are a collector of everything from toy plows to homemade dolls to old recordings, and have been for quite a long time. I'm not a collector; I always want to get rid of/throw out stuff. So, explain the collecting impulse to me -- what drives you in that direction? And, where do you find room for all your stuff?
Editing is the secret. What I've assembled has always been manageable. Other than a few pieces of folk art furniture, virtually everything fits in a few shoe boxes. That's one beauty of photographs...for a small flat object, they pack a large visual punch. I lived for decades in a small, narrow, four room railroad apartment near Times Square and never had a problem squeezing things in. Andy Rooney, who I worked with while at CBS News long ago, once told me to take out an old book from the house every time I brought a new one in. That's the key...weeding and upgrading.
Collecting comes naturally to me. Not only do I enjoy looking for things which have been neglected or passed over, the hunt wakes me up in the morning. When I was healthy and young, a 500 mile drive for a flea market was nothing...now I use the web. Everyone should collect something, even if only interesting rocks. Everything looks better in groups of three or more.
2) Most people who are into collections of folk religious stuff fall in love with the documents and recordings of religion. But you are not driven by a religious impulse to collect this material, but something else. What is that? What fed your passion for old baptismal photographs and recordings?
I had originally conceived the project as a response to Jimmy Allen's book Without Sanctuary, which documents through antique photographs African-Americans being lynched. It was a controversial but most successful project of considerable historical value. Jimmy's book was a model for future photographic projects. He presented the photos, many which were crumpled and torn, as historical documents as much as images. There was no embellishment, cropping or cleaning up. More importantly the pictures often had participants identified by pen marks or notes on the reverse. Photographs have age and wear like any other object, and over time, important ones gain legitimacy through the aging process. As you might imagine, original images of people being murdered are not easy to find, but Mr. Allen was fearless and he managed to ferret them out. Many of the photographs were what are known as "real photo post cards" which are actually "limited editions" of a sort, printed by a cameraman in quantities of a dozen or a hundred, depending on what he perceived as a market...possibly one copy for each attendee. As frightening as the photos were, the faces of the participants scared Jimmy the most, they often smiled into the camera seemingly not even affected by the horrible event taking place behind them.
I had seen a photograph by W.P.A photographer Doris Ulmann depicting a river baptism, thought it exceptionally beautiful and collected a few similar images when I could find them. When I saw Allen's book, I realized there was a need to assemble and preserve other events of a vernacular nature and that there might even be a market for them. At the least, the collection would be a contribution to our shared culture. I didn't initially recognize the collection as a spiritual antidote to Allen's collection, but the feel of the event, the spectacle and the participants had a similar feel with a more positive appeal. I was also on a sort of mission to convince photography collectors that condition matters far less than the "feel" of a photo...paper has texture, form and age...and I found photography folks were far too concerned with pristine condition. I like wear.
3) Your material has been put out by Dust to Digital, the remarkable Atlanta outfit best known probably for their collection Goodbye Babylon, for my money the greatest compilation of American religious music ever assembled. How did you hook up with them, and describe the experience of putting out a book along with a CD?
I've always prided myself at sorting through the commercial fluff and finding some authenticity. Early recordings, in particular blues, started interesting me as young as junior high...and while my older sister listened to Dylan, I was listening to the Harry Smith Anthology of American Music from my local public library. I pursue music vigorously, and had always held gospel in reserve as the last area to explore. Goodbye Babylon did it for me. I admired their work very much. Lance Ledbetter is a genius who has an amazing ability to actually produce solid, physical results from his passions. The design of Susan Archie was also incredible, and I not only recognized them as kindred souls, but had the notion of pushing them toward book publishing in addition to their sound recording projects. It certainly was a natural fit. I wrote them, sent some images and flew down with a huge file of photos. On my first visit, I left them in their hands.
4) The well-known writer Luc Sante has prepared a preface and short introduction to your book. How did he become involved, and describe what you think drew him to this particular work?
The project began long before Luc was involved. I had initially thought a prominent religious figure should do the introduction and essay and didn't anticipate having trouble finding one. One day I showed the collection of original photos to Brian Wallis, the bright and innovative director of the International Center of Photography in New York, and he immediately recognized their historical value. He put my donation of the originals to the collection into motion. Later, he happened to ask if I had seen "Luc's show" which was an exhibit of ephemera and photos he found interesting, and apparently it contained a few baptism scenes.
I was familiar with Sante's music essays and reporting, and had read his landmark book Low Life. I knew Luc was a wonderful writer, then learned he was a professor of photography at Bard College....AND that Lance Ledbetter at Dust to Digital had sold him previous releases, including Goodbye Babylon. The fit was kismet.
5) When people went to "wade in the water," what do you think they were experiencing? How do your photographs capture (or not capture) that? What about the participants standing on the banks, or on the bridge overpasses overlooking the water?
As I mention is the book, I have always felt performers and artists work harder when they are working for the Lord. Years ago, when I was meeting and encouraging folk artists and primitive painters, they would ask "what should I paint" and I always suggested something from the Bible. Everyone knows the stories and everyone immediately visualizes their favorite scene the minute you suggest it.
I grew up next to Lake Michigan. Living close to a body of water is in itself a deep, moving experience. Like a turtle you place on the ground, I always sense the direction of the nearest lake. Add a touch of spiritual cleansing and you've got a highly personal AND public event. All the senses are at work...the individual feels it physically and emotionally at the exact same time. They are nervous, anticipatory, shocked and relieved. The viewers senses are also working...they share the passion, they feel the sun, they hear the splash, the preacher's powerful words, the crying out, the shout. What I admire most about the production of Take Me To The Water is how Lance was able to PERFECTLY combine an aural melding of the events with the visual. It is uncanny and not only a testament to his skill, but I think never done as well with a physical book.
6) When I first blogged about this book, a skeptic in the comments section wrote the following: "Can someone help me out with the theology here? These are churches that don't believe in baptismal regeneration and that one "chooses" Jesus, making them far outside the mainstream of historic Christianity. If the baptism effectively "means" nothing, why is it so important that immersion be used? --Clueless Lutheran stuck in the Bible Belt" How would you answer that query?
One should look at the images. Can anyone look at the faces of those emerging from the water here and say it means nothing? I believe at the moment captured in each photo, it means EVERYTHING.
7) How would you suggest first-time viewers/listeners approach the CD of music included with the volume? I ask because I'm an fan of these recordings, but those who aren't coming with that kind of knowledge may find them strange, distant, and primitive (as do my students). What would you saw as part of a "listening guide" to your photographs?
Pictures strike one immediately. Eyes being our first line of defense, an image is immediate. Music takes a bit longer. One has to reach a certain level of familiarity to experience it...part of the reason music works is that on repeated listenings we can anticipate the sounds we heard before. Even I like the selections here the more I listen to them. I guarantee after a few listenings, "Sister Lucy Lee" will make all the sense in the world, and if the quiver in Washington Phillips voice as he describes the differences between denominations doesn't reach you... just give it another play. As for a guide, the track listings and notes Lance wrote are astounding. Many of these performers are today genuine cyphers...but he finds them. We truly did create a little world there. The music stands alone on many levels, the photographs stand alone on many levels...but together the become even greater.
8) Speaking on this blog specifically to those interested in American religious history, explain what you think is most important about your work, and how perhaps classroom teachers might be able to use your work.
As I hope to do a few lectures and presentations, I am actually trying to figure that out now!
Many years ago a good friend told me the art world works slow. It does indeed. I started collecting antique photographs of folks being washed and saved many years ago. With each one I found and acquired, my desire to share them with others increased. All good things come to he who waits. I was fortunate indeed to find Lance and April Ledbetter at Dust to Digital, they brought a professionalism and respect to the material I could have not have even imagined. Master designers John Hubbard and Rob Millis have recreated my delight finding the photos with every turn of the page. Luc Sante, who has a remarkable acuity for translating visions into text generously provided words I am incapable of. Many others were involved, Lance thanks them in the credits. I am pleased the originals have been accepted into the permanent collection of the International Center of Photography, where, unlike many of the things I have assembled over the years, they will be kept together for all to enjoy. Today, anyone can leave a footprint...all it takes is the ability to hit "send" or "upload"...but to have a physical object as beautiful as the book and CD my friends have produced is a wonderful thing.
So, on to the next. I have shoe boxes full and ideas plenty.
"Baptism on the Ohio River, near Cincinnati, Ohio" Azo Real Photo Post Card circa 1910 Collection Jim Linderman
Professor Everett Hunt's homemade and handmade book, at least a few pages from it. The text consists of a newspaper article with Indiana byline. Several illustrations. Headlines inserted into slots. A bit of indecipherable text. That the article has an April 1 date is, I believe, a coincidence. Date Unknown.
"Going To Mars 350,000,000 Miles in 5 Minutes" by Professor Everett Hunt. Handmade book. Circa 1930? Collection Jim Linderman
