Jul 17, 2016

Hair by Sam McKnight

There is another exhibition on hair coming. (I failed to write up the one in Utrecht earlier this year, but will one of these days....) This one, Hair by Sam McKnight, will feature fashion photographs!

The exhibition will be on view at the Somerset House in London from 2 November 2016 – 12 March  2017. Here's the press release. Of course, I question the claim I've formatted in boldface below. I predict a bunch of fashion photos on the wall with some brief didactic text introducing the exhibition. Call me cynical.

This autumn, Somerset House is proud to present Hair by Sam McKnight, a major exhibition celebrating the master hairstylist’s remarkable 40 year career, from the late 1970s to the current day. An integral part of the fashion industry, Sam has been instrumental in helping to develop the images of Kate Moss, Linda Evangelista, Christy Turlington, Naomi Campbell and Princess Diana among many others. He is one of the first session stylists to have carved out a career solely within fashion, having worked on hundreds of fashion editorial shoots, advertising campaigns and catwalk shows. He has shot over 100 covers for British Vogue alone, as well as numerous other magazines and worked with most international fashion designers from Chanel to Vivienne Westwood.

The exhibition will unveil the little-known creative process behind the craft of hair styling within fashion and explore the relationships between McKnight and key, long-term collaborators; photographers such as Nick Knight and Patrick Demarchelier, models including Kate Moss, Stella Tennant and Christy Turlington, stylist Lucinda Chambers, and designer Karl Lagerfeld.

This will be the first exhibition of its kind, looking at hair from a new perspective and contextualising its wider cultural significance and the role of the session stylist within fashion. It will include some of the most iconic images in popular culture and some of fashion’s most memorable looks, from Princess Diana’s short, slicked back style to Madonna’s Bedtime Stories, and Tilda Swinton channelling David Bowie, tracing different movements and hairstyles, from nostalgic to androgynous, romantic to sexy, red to platinum, cataloguing the transformative nature of hair within the image.

Exhibiting pieces from Sam’s extensive archive, gathered over his 40 year career, the exhibition will feature photography, magazines, catwalk and behind-the-scenes footage, private photographs and full outfit looks as well as commissioned wigs and hairpieces. Grouped into thematic sections, the exhibition will explore process, relationships and collaboration, movement, transformation, the shoot and the catwalk. Throughout the exhibition a visual timeline will trace not only Sam’s career from the late 1970s to today, but also track changing styles through time; exploring the relationship between fashion shoots and the street in influencing contemporary hair styling.

To be published at the same time as the exhibition, there will be a book by the same name, Hair by Sam McKnight with texts by Tim Blanks, Alexander Fury, Amanda Harlech, Nick Knight, Camilla Morton, Anna-Marie Solowij, Jerry Stafford and commentary by Sam McKnight featuring images spanning his entire career. Richly illustrated, it features photographs by leading fashion photographers and styles commissioned by Vivienne Westwood, Balmain, Chanel, and many others.  A unique reference book that offers a glamorous tour through the past forty years and a style bible for glorious looks, the book is published by Rizzoli and priced at £35.00.

The exhibition is curated by Shonagh Marshall and exhibition design is by Michael Howells.

Jul 2, 2016

Cutting Hair

Photographer Wallace Kirkland - "Cutting hair" - 1947. Public domain image.

Every summer from 1912 until 1963, children from the steamy and congested streets of Chicago's Near West Side ran and played amidst the wildflowers and trees at the Joseph T. Bowen Country Club. Located on 72 acres of forest, field, and ravine near Waukegan, Illinois, the Bowen Country Club was the summer camp of the world famous Hull-House social settlement house. Financed by philanthropist and social activist Louise deKoven Bowen, the camp sought to provide a sojourn in the country as a necessary antidote to the stresses of city life. Prominent Chicagoans donated funds to build sleeping cottages and children and mothers were invited to the camp for two-week rotations. Days were packed with activities such as swimming in the camp's circular pool, team and individual sports contests, classes in folk or rhythmic dance, games, parties, and art lessons. After a hearty meal in the Commons dining room, a campfire and sing-a-long often ended the day.

~ Via University of Illinois at Chicago Library

Jul 1, 2016

David Hammons

While some of the best known works by artist David Hammons are ephemeral performances (like Pissed Off 1981 or his Body Prints made by rolling his greased body on paper), Hammons spent a great deal of his career making art from found materials, including hair.

Hammons was one of a number of African-American artists creating assemblages in Los Angeles in the 1960s and '70s. (Others of note included Betye Saar and John Outterbridge.) Primarily using found materials, such as discarded chicken bones or barber shop hair clippings, Hammons's work rejected the 'clean' aesthetic of American Minimalism and embraced an aesthetics of refuse.

Untitled - 1992 - human hair, wire, metallic mylar, sledge hammer,
plastic beads, string, metal food tin, panty hose, leather, tea bags, and feathers
- Whitney Museum of Art, 92.128a-u
"The artist has often been characterised as a sophisticated junk dealer who breathes new life into paper bags, bottle caps, frizzy hair, snowballs, rocks, broken appliances, old clothes, rugs, grease and half-eaten ribs." 1.
The detritus Hammons collects is specifically selected "to evoke aspects, attitudes and sensibilities of black American culture.” 2.  His spider-like sculpture, Untitled 1992, consists of African-American hair wrapped around wires, that emulate the look of dreadlocks. There is no actual body represented, only a reference to the body, created by amassing discarded, kinky hairs. Artists that utilize human hair in their work evoke, consciously or unconsciously, the uncanny by re-contextualizing something with which we are so intimately familiar.
Pieces of hair inevitably fall beneath and around the work, evoking natural processes of change and decay. Like much of Hammons’s art, Untitled summons an uncanny sensation of the strangeness that often lies just below the surface of the familiar. 3.
Hammons frequently uses the visual trope of hair as a marker of African American racial identity. This is evident in his rock heads, works that combine a head-sized stone with hair collected from the floors of black barbershops and affixed to the stone in a manner resembling a head of hair. Art historian Blake Gopnik notes that "in its obvious echoes of Brancusi’s smooth forms, it takes modernism’s Africa fetish and reclaims it for black America." 4.

 Untitled (Rock Head) - 1998 - stone, hair, and shoe polish container
- from the collection of the Fondation Cartier pour l’art contemporain, Paris

Much of Hammons's work circles around representation, addressing a "politics of visibility, of who and what can be seen and explained." According to artist Lorraine O’Grady, “Hammons tries to make art in which white people can’t see themselves.” 5.  
Old dirty bags, grease, bones, hair … it’s about us, it’s about me. It isn’t negative. We should look at these images and see how positive they are, how strong, how powerful. Our hair is positive, it’s powerful, look what it can do. There’s nothing negative about our images, it all depends on who is seeing it and we’ve been depending on someone else’s sight … We need to look again and decide. ~ David Hammons, 1977 6.
 Rock Head - 2000 - stone, hair, metal stand - RISD Museum, 2001.31.1

If the hair on his rock heads clearly addresses racial identity, using hair on these balanced monoliths also nods to something more universal the delicate dance of that which decays (the ephemeral) with that which appears to live on forever (the eternal).

While Hammons predominately employs hair for its symbolic, rather than personal, value using African American hair from anonymous sources in one of his earlier artworks, Flight Fantasy 1978, he used his own hair to offer a "critique of the dislocation of the black body in American society." 7. 

Flight Fantasy - 1978 - phonograph record fragments, hair, clay, plaster, feathers, bamboo, colored string.  Walker Art Center, 1995.24

Hammons's work often offers sight-gags visual one-liners that riff off dominant cultural signifiers. "He's distorting all of these stereotypes to produce something which is a critique of the way this community has been seen." 8.  One of his most powerful works in this vein is Hair Relaxer, a visual pun that plays with ideas of power, privilege, art history, sex, and ideals of beauty. 

In Hair Relaxer, African American hair rests-reclines-relaxes on a recamier an item of furniture associated with western European luxury, and by extension privilege and power. 9.  It's an ironic statement since the black struggle against oppression and injustice can never rest. Hair Relaxer addresses many contested positions for African Americans in art history, culture, and society.

 Hair Relaxer, 1998 - chaise-longue and human hair.

This item of furniture also recalls a specific painting by Jacques-Louis Davida painting of Juliette Récamier who was considered one of the great beauties of her day. The painting, from 1800 depicts Juliette reclining on a divan and epitomized an ideal of feminine elegance. It inspired painters and poets, and came to be riffed-on by artists, such as Magritte and Manet, in particular. 10.  In ironic homage, Manet's Olympia 1863 was famously provocative for the sexually aggressive gaze of its reclining odalisque, despite how she hid her public hair with her hands (addressed in an earlier blog post). Hammons joins the art-historical-parody party, arranging curly hairs in the seam of the recamier down its crack, so-to-speak—playing with the cultural inappropriateness of publicly visible pubic hair.

But Hair Relaxer is far more than part part of an art-historical running joke about beauty ideals. African Americans have long endured exorbitant pain trying to accommodate Caucasian standards of beauty. Hair straightening treatments (relaxers) use toxic lye and cause great pain and suffering.
I endured all of that pain, literally burning my flesh to have it look like a white man’s hair. I had joined the multitude of Negro men and women in America who are brainwashed into believing that the black people are “inferior” — and white people “superior” — that they will violate and mutilate their God-given bodies to try and look “pretty” by white standards. ~ Malcolm X 11.
Like most of David Hammons's artworks, Hair Relaxer works on many parallel tracks to address a shared black experience and situate it against and within both black and white cultures. Hammons "works off familiar, highly charged iconography ... and his puns conjure up some of the more contradictory and even painful aspects of contemporary black life." 12.

In a 1986 interview, the art historian Kellie Jones asked David Hammons why he makes art. Because, Mr. Hammons offered, art is about symbols and “outrageously magical things happen when you mess around with a symbol.” 13.  Hair, which is imbued with magical properties from cultures throughout time and place, is a significant medium for Hammons and serves as a versatile fiber for art-making.

For further reading about David Hammons, I invite you to explore the Mnuchin Gallery website, where the recent exhibition, Five Decades (March 15 - May 27, 2016) generated many articles about the artist and his body of work.

1. Coco Fusco, “Wreaking Havoc on the Signified”, Frieze online, May 7, 1995.
2. ibid.

3. Collections record from the Whitney Museum of Art.
4. Blake Gopnik on Art, Tumbr, Jun 5, 2014.
5. From Andrew Russeth, “Looking at Seeing: David Hammons and the Politics of Visibility”, ARTnews, February 17, 2015.
6. From the label text from the exhibition Art in Our Time: 1950 to the Present, Walker Art Center, September 5, 1999 to September 2, 2001.
7. From the label text for David Hammons, Flight Fantasy (1978), from the exhibition Black History Month, Walker Art Center, February 1999.
8. Philippe Vergne, curatorial comment, Walker Art Center, September 1999. 
9. Other names for this item of furniture are a divan or a chaise lounge. 
10. Philippe Segalot, Carte Blanche, Phillips auction house, November 8, 2010. 
Malcolm X, The Autobiography of Malcolm X, New York 1965, p. 64.
12. Coco Fusco, “Wreaking Havoc on the Signified”, Frieze online, May 7, 1995.
13. Holland Cotter, "David Hammons Is Still Messing With What Art Means", New York Times, March 24, 2016

Jun 17, 2016

Bygone Beehive

My husband says everything great and wonderful comes out of Chicago. Hometown pride, of course. So it wouldn't surprise him at all to learn that the beehive was the creation of a Chicagoan, Margaret Vinci Heldt, who passed away Friday, June 10 at the age of 98.

 dotpolka - beehive - 2005 -Flickr / CC BY-NC-ND 2.0 unmodified

 Caryn Rousseau/Associated Press

Margaret invented the beehive in 1960, when she was asked by Modern Beauty Shop magazine to create a look to mark the new decade. The bouffant was already a popular style for women, but Heldt's beehive took the bouffant to new heights.

'They told me: "We want you to come up with something really different."' Her invention was published in the February, 1960 issue.

The beehive, nor the bouffant, could have been possible without the postwar invention of aerosol hair spray. The hairstyle requires backcombing the hair and setting it. According to Heldt, it was a salon favorite because "it would hold its shape for a week between appointments."
“I started building up height from a basic updo by winding hair over Pepsi cans, back-combing at first and then – inspiration, I spiraled a layer of hair smoothly around the form. This was then followed by a major session of hair spraying to hold it all in place.” Glamourdaze.com



What's so interesting is that the hair-do was not inspired by the honeycomb house for bees, but rather by a hat – a black, velvet fez-style cap.
“I always would look at that little hat and say ‘Someday, I’m going to create a hairstyle that would fit under the hat, and when you take the hat off, the hairstyle would be there.’” New York Times
The cap was decorated with two beads resembling bees, and the hairstyle was ultimately named by the magazine's editor who felt the bee beads fit the 'do. While that hat has yet to make its way to a museum, Heldt's “Lady Bee” hair mannequin is in the collection of the Chicago History Museum.

The hairstyle might have germinated in Chicago, but it certainly became an international sensation.

 L: Dusty Springfield, 1966 NME Pollwinners Concert / R: Ronettes, 1963

 Audrey Hepburn, Breakfast at Tiffany's, 1961

Mar 8, 2016

Hair Extensions ~ '50s Style

The 1950s did colored hair extensions too, you know.....What fun!
"It all goes to show, a woman's hair is her crowning glory"

Hair Extensions Back On 50s
Posted by Fashion World Magazine on Tuesday, October 6, 2015

Jan 10, 2016

Pétrole Hahn Hair Tonic

Pétrole Hahn hair tonic was sold beginning in 1885.
Here are some of their art deco and other vintage print ads.

Pétrole Hahn advertisement, L’Illustration, February 9, 1918, page 2. Public domain image.

Pétrole Hahn advertisement, from Les Feuillets d'Art, 1920.

Pétrole Hahn advertisement, pochoir from Les Feuillets d'Art, 1920.

Pétrole Hahn advertisement, “arrête la chute des cheveux,” illustration by Charles Martin, unknown date.
Pétrole Hahn advertisement, L’Illustration, December 6, 1930.

Pétrole Hahn advertisement, designed by Andre Wilquin, circa 1930.

Ellen Auerbach, Grete Stern, Studio Ringl & Pit, Pétrole Hahn, 1931.
Collection SFMOMA. © Ringl & Pit, courtesy Robert Mann Gallery. (1)

 Dora Maar and Pierre Kefer, "Étude publicitaire pour Pétrole Hahn." Original silver gelatin glass negative plate.
Centre Pompidou, Musée National d’Art Moderne, 1934. (2)

 Dora Maar, ferrotyped, 1935. (3)

1. The Jewish Women's Archive interviewed the photographers Ellen Auerbach and Grete Stern about their image which was used as an ad for Pétrole Hahn hair lotion. It combined a nightgown, mannequin head, and a real hand, but the photographers later forgot whose hand was in the photo and which one took the photograph.
2. Dora Maar's surrealist advertising work in the early 1930s, included this image of a boat sailing through an ocean of hair.
3. www.mutualart.com