Memories of Manhattan From Philip Glass and Robert Rauschenberg's Favorite Saxophonist
Musician, photographer, artist and farmer are some the guises formed by the inimitable Dickie Landry in Tabitha Denholm’s portrait that comes on the eve of a new exhibition of his pictorial work. Landry moved to New York in 1969, becoming an integral member of the Philip Glass Ensemble and part of SoHo's burgeoning avant-garde art scene alongside artists Robert Rauschenberg, fellow Louisiana-native Keith Sonnier and Gordon-Matta Clark, co-founder of experimental gastronomic clubhouse Food with Landry’s then wife, Tina Girouard. “Dickie was really ahead of his time,” says Denholm of the saxophonist who collaborated with David Byrne, Paul Simon and Bob Dylan, and whose restlessness saw him branch out into black-and-white photography and abstract painting. “It was his Louisiana upbringing that taught him to do what’s necessary to survive and he took that with him as a model to New York. These days it’s pretty normal to do several things at once but at that time being a polymath was quite unusual.” In the early 2000s, Landry returned to his hometown of Cecilia, Louisiana and now resides between his family pecan farm and his apartment in nearby Lafayette, where he is surrounded by the beautiful ephemera of his extraordinarily full life.
Dickie Landry runs at Paul and Lulu Hilliard University Art Museum, Lafayette, LA from January 14 through May 3.
The British Model and Rising Horsewoman Takes On the World of Eventing
With her new raven-hued cut, model-of-the-moment Edie Campbell reveals her principal off-runway passion in this short film by director Linda Brownlee. Horsey life wasn’t always an obvious direction for the London-born and raised model, who graduated with a first class degree in History of Art at London’s Courtauld Institute of Art before scooping Model-of-the-Year at the British Fashion Awards. But while spending weekends in the countryside as a child Campbell caught the bug, joined the Pony Club and began to focus on eventing, the sport that requires horse and rider to tackle the three separate disciplines of dressage, cross-country and show jumping. Although the Viva London-represented 23-year-old has tried her hand at other equestrian sports, most notably triumphing in the Charity Ladies’ race at Goodwood in 2011, eventing is where her heart lies. She keeps two horses, Dolly and the aptly named Armani, in Warwickshire and commutes out of London to train. “I don’t expect to win,” she says on balancing her competing life with a career in front of the camera, which includes campaigns for Jil Sander, Marc Jacobs and Alexander McQueen, as well as appearing on the cover of British, German and Italian Vogue. “In this sport, even in the lower levels, you are competing against people on Olympic teams. Standards are high, so I compete against myself and try to improve each time I go out.”
America's "Polaroid Kidd” Reveals Raw Shots of Youth Living in Transit and Off the Grid
Train-jumping, hitch-hiking, and trudging through edgelands are the primary modes of transport chosen by photographer Mike Brodie and his itinerant young subjects in A Period of Juvenile Prosperity. Documenting Brodie’s traveling community of freedom-seeking adolescents as they bushwhack through the ‘burbs and backwaters of the United States, this new image series will feature in simultaneous shows at Yossi Milo Gallery in New York and M+B in Los Angeles and appear in a monograph published by Twin Palms. Shot spontaneously between 2004 and 2009 across 46 states and over 50,000 formative miles, these photographs have already earned the Arizona-born Brodie a 2007 Baum Award for emerging photographers and a museum exhibition in Massachusetts and California. In the meantime Brodie turned his focus towards becoming a mobile diesel mechanic, trading in the SX-70 Time-Zero film that earned him the moniker “The Polaroid Kidd” for the silver 1993 Dodge Ram truck out of which he now works. “I like machinery, big wheels and engines and dirt and grime and industry,” he says. “The things that turn the wheels of America.”
What made you choose these subjects initially?
Mike Brodie: It was intuitive—something told me that the world of the train riders was important. I knew I only had one chance to get the photos because soon they would grow up and so would I. Now I don’t want to ride trains anymore.
What have been some of the most compelling places to photograph?
MB: The train bridge that spans Escambia Bay just as your leaving Pensacola, Florida to the east—it’s just beautiful and nostalgic in all the right ways. Also New Orleans, Louisiana. Historically it’s always been a place where travelers congregate but after Hurricane Katrina it opened itself even more. Lots of abandoned spaces and a strange freedom to do whatever you want—people’s imaginations can really run wild there.
Have you since interacted with your old friends?
MB: Last night at my opening at Yossi Milo, a fellow train rider came and expressed that, despite the fact that I’ve elevated these photos and this culture into the spotlight this way, I’m respected within the traveling community. This meant a lot to me—it’s nice to know that I’m part of something bigger and more important than myself. It’s fuckin’ real.
A Period of Juvenile Prosperity will be on view at Yossi Milo Gallery, New York, and M+B Los Angeles, through May 11. The accompanying monograph is available now from Twin Palms, and in a limited artists edition from TWB.