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Riggs",{"_key":632,"_type":590,"marks":633,"text":634},"c0c3786be29d",[]," at Griffin Art Projects, Vancouver (CA) in 2020; ",{"_key":636,"_type":590,"marks":637,"text":638},"3366e5da173a",[596],"Jimmy DeSana and the Sex Appeal of the Inorganic",{"_key":640,"_type":590,"marks":641,"text":642},"f7d5a9ac7617",[]," at Amanda Wilkinson Gallery, London (UK) in 2019; ",{"_key":644,"_type":590,"marks":645,"text":646},"75b447c4d24b",[596],"Art after Stonewall",{"_key":648,"_type":590,"marks":649,"text":650},"bddd2a57009c",[],", 1969 – 1989 at the Leslie-Lohman Museum of Art, New York (NY) in 2019; ",{"_key":652,"_type":590,"marks":653,"text":654},"7dcd09c3fd12",[596],"Jimmy DeSana ",{"_key":656,"_type":590,"marks":657,"text":658},"961a310c58da",[],"at xavierlaboulbenne, Berlin (DE) in 2016; ",{"_key":660,"_type":590,"marks":661,"text":662},"e721a850caab",[596],"Performing for the Camera ",{"_key":664,"_type":590,"marks":665,"text":666},"3a98f9e08e88",[],"at the Tate Modern, London (UK) in 2016; and ",{"_key":668,"_type":590,"marks":669,"text":670},"80f4a63835a4",[596],"Remainders",{"_key":672,"_type":590,"marks":673,"text":674},"7f7442da9554",[]," at Pioneer Works, Brooklyn (NY) in 2016.",[],{"_key":677,"_type":586,"children":678,"markDefs":683,"style":603},"0ef73ccfd38c",[679],{"_key":680,"_type":590,"marks":681,"text":682},"26f2656186bf",[],"\nDeSana’s work is included in the collections of the Brooklyn Museum (NY); the Institute of Contemporary Art, Boston (MA); the Leslie-Lohman Museum of Art, New York (NY); the Metropolitan Museum of Art, New York (NY); the Museum of Contemporary Art, Chicago (IL); the Museum of Fine Arts, Houston (TX); the Museum of Modern Art, New York (NY); and the Whitney Museum of American Art, New York (NY), among others.",[],["null","__typename",9,"alt",10,"asset",685,"captionRaw",687,"captionColor",704],{"__ref":686},"SanityImageAsset:image-666838c631e01dbf14e5d2aedc90e00a8d30755a-2452x3212-jpg",[688],{"_key":689,"_type":586,"children":690,"markDefs":703,"style":603},"53454be6b24d",[691,695,699],{"_key":692,"_type":590,"marks":693,"text":694},"d11c4fe222af",[],"Jimmy DeSana, ",{"_key":696,"_type":590,"marks":697,"text":698},"1c9c788477da",[596],"Aluminum Foil #4",{"_key":700,"_type":590,"marks":701,"text":702},"efafb5a6d691",[],", 1985",[],["null","__typename",287,"value",705],"#000000",[707],{"_key":708,"_type":586,"children":709,"markDefs":714,"style":603},"2de58439b28e",[710],{"_key":711,"_type":590,"marks":712,"text":713},"dc24298290a0",[],"My dear, it’s all so Christian and medieval and gloomy. Precisely. Jimmy DeSana, your intrepid photographer, has witnessed and preserved for posterity the unspeakable rights of these benighted natives, rites as clearly derived from Christianity as a black mass — William Burroughs, 1979",[],["null","__typename",716,"asset",717],"File",["null","__typename",718,"url",719],"SanityFileAsset","https://cdn.sanity.io/files/cpu8yypf/production-v4/12a6087e0f4246e02a74000602b930dc8d00a42d.pdf",[721,738,750,766],["null","__typename",722,"artists",723,"closingDate",727,"featuredImage",728,"featuredVideo",10,"location",731,"name",734,"openingDate",735,"slug",736],"Exhibition",[724],["null","__typename",285,"firstName",725,"lastName",726],"Estate of Jimmy","DeSana","2020-08-29",["null","__typename",9,"alt",10,"asset",729],{"__ref":730},"SanityImageAsset:image-f486b9fca4292f6f1dd6988217f3bc98835bbd1c-4083x3062-jpg",["null","__typename",732,"name",733],"Location","Griffin Art Project","The Sodomite Invasion","2020-01-25",["null","__typename",300,"current",737],"the-sodomite-invasion",["null","__typename",722,"artists",739,"closingDate",741,"featuredImage",742,"featuredVideo",10,"location",745,"name",670,"openingDate",747,"slug",748],[740],["null","__typename",285,"firstName",725,"lastName",726],"2016-12-09",["null","__typename",9,"alt",10,"asset",743],{"__ref":744},"SanityImageAsset:image-301f98995cab098724a2008d8b17b0401be3cec2-3051x2288-jpg",["null","__typename",732,"name",746],"Pioneer Works","2016-08-14",["null","__typename",300,"current",749],"remainders",["null","__typename",722,"artists",751,"closingDate",756,"featuredImage",757,"featuredVideo",10,"location",760,"name",762,"openingDate",763,"slug",764],[752,753],["null","__typename",285,"firstName",725,"lastName",726],["null","__typename",285,"firstName",754,"lastName",755],"Hanna","Liden","2016-06-25",["null","__typename",9,"alt",10,"asset",758],{"__ref":759},"SanityImageAsset:image-d201f786a8358cc626f6bfaf4839458d4a1b03cf-2000x1333-png",["null","__typename",732,"name",761],"Salon 94 Bowery","Still Lives: Jimmy Desana and Hanna Liden","2016-05-06",["null","__typename",300,"current",765],"still-lives-jimmy-desana-and-hanna-liden-2016",["null","__typename",722,"artists",767,"closingDate",769,"featuredImage",770,"featuredVideo",10,"location",772,"name",773,"openingDate",774,"slug",775],[768],["null","__typename",285,"firstName",725,"lastName",726],"2013-08-16",["null","__typename",9,"alt",10,"asset",771],{"__ref":215},["null","__typename",732,"name",761],"Party Picks","2013-06-21",["null","__typename",300,"current",776],"jimmy-desana-party-picks-2013","Jimmy DeSana",["null","__typename",9,"alt",10,"asset",779,"captionRaw",10,"captionColor",10],{"__ref":780},"SanityImageAsset:image-54c5a70a7ae0ab3445a712a815cc8a13e15031c2-2529x1800-jpg","b. 1949 — d. 1990",["null","__typename",783,"description",784,"image",785,"title",788],"Seo","Jimmy DeSana was a key figure in the East Village punk art scene of the 1970s and 1980s, and part of a generation of artist-photographers including Cindy Sherman, Nan Goldin and close friend Laurie Simmons, who came of age in 1970s New York.",["null","__typename",786,"asset",787],"Image",["null","__typename",5,"url",280],"The Estate of Jimmy DeSana",[790,840,875,920,963,999,1032,1106,1122,1163,1235],["null","__typename",791,"articleRaw",792,"author",833,"link",10,"pdf",834,"publicationDate",837,"publisher",838,"title",839],"Press",[793,801,809,817,825],{"_key":794,"_type":795,"image":796,"size":800},"c3a46bcf81e9","imageBlock",{"_type":797,"asset":798},"img",{"_ref":29,"_type":799},"reference",0.5,{"_key":802,"_type":586,"children":803,"markDefs":808,"style":603},"c9d08c95083b",[804],{"_key":805,"_type":590,"marks":806,"text":807},"6385948e9346",[],"Across shag-carpeted living rooms, tiled bathtubs, and linoleum-floored kitchens, Jimmy DeSana staged his queering of the domestic. DeSana systematically peeled back the veneer of suburban life, focusing his interest on the ever-widening discrepancy between the public and private lives of post-war Americans. An omnipresent downtown scenester, DeSana’s photographs preserve all the visual grit and uncertainty of a post-punk New York that rewarded and punished in equal measure, a playground for sexual experimentation born in the wake of Stonewall, the feminist revolution, and just before the spectre of AIDS and the moral conservatism of the 1980s exacted their toll on these newfound freedoms. ",[],{"_key":810,"_type":586,"children":811,"markDefs":816,"style":603},"502065ce33c9",[812],{"_key":813,"_type":590,"marks":814,"text":815},"166fc41ce7a3",[],"The images of BDSM acts pictured in DeSana’s Submission photobook showcase his ability to puncture the everyday with the sexual revolution he was witnessing on the Lower East Side. Bound and gagged men and women sprawl across living rooms and bedrooms, squat amongst antique dressers, and watch the family tv through leather masks. These voyeuristic photos of fetishism are in fact almost entirely staged, originally commissioned by famed writer and downtown dominatrix Terrence Sellers to illustrate her novel The Correct Sadist. The fantasies of desire and play DeSana constructs here are often just that. While the snapshot aesthetic of the photographs seems to suggest that here DeSana is voyeur and ethnographer, in fact he is the architect, willfully constructing these scenes to maximum efect. Props and roleplay are foundational to fetish culture; however, these photographs project the taboo rather than document it. ",[],{"_key":818,"_type":586,"children":819,"markDefs":824,"style":603},"e54e7ba37b63",[820],{"_key":821,"_type":590,"marks":822,"text":823},"fc3f4f1b7a14",[],"The vivid colour profiles of the Suburban series are riotous, yet the scenes are often subdued, serious, even melancholic. These acid-toned prints are more sinister, more surreal, and less eager to please than the images we often associate with the Pictures Generation. It’s easier to draw a line between DeSana and the surrealist photography of Man Ray and Hans Bellmer than to Cindy Sherman’s plucky film tests or the crisp portraits by Robert Mapplethorpe or Peter Hujar. Further distancing his work from that of his contemporaries, DeSana almost never reveals the identity of his sitters. Faces are almost invariably obscured by a prop: a stocking, a helmet, soap suds, or even the camera itself. The viewers’ innate desire to know the subject is stymied by the unrecognisability of these exploded, contorted anonymous bodies. By making chairs, coat hangers, helmets, and even an iguana an extension of the body, the photographs propose a flattening of the hierarchy between prop and actor, blurring the distinction between stage and sitter, foreground and background, organic and artificial. In much the same way that subju- gation and compliance are fundamental to BDSM culture, here the camera becomes dominant, imploring the body to perform for the photographer. DeSana uses these bodies are props, stripping them of agency and compelling them serve the needs of the composition. ",[],{"_key":826,"_type":586,"children":827,"markDefs":832,"style":603},"cce9626f0a93",[828],{"_key":829,"_type":590,"marks":830,"text":831},"c6c892ac9dc0",[],"DeSana made a career of piercing through the realm of the banal and con- ventional with the queer and radical. His works suggest that the home itself and the objects within it are in themselves a prop to conceal an arena of libidinal play. For DeSana, the camera acts as catalyst and instigator, a tool used to coerce a perfor- mance, a device that invites us to subjugate our egos in the service of latent desires. ",[],"Bryan Barcena",["null","__typename",716,"asset",835],["null","__typename",718,"url",836],"https://cdn.sanity.io/files/cpu8yypf/production-v4/08d56d3d0dd4f9a469bd008fd67c331e2427d425.pdf","2019-09-01","FOAM","Suburban/Submission",["null","__typename",791,"articleRaw",841,"author",870,"link",871,"pdf",10,"publicationDate",872,"publisher",873,"title",874],[842,846,854],{"_key":843,"_type":795,"image":844,"size":800},"6ff58ef6a714",{"_type":797,"asset":845},{"_ref":92,"_type":799},{"_key":847,"_type":586,"children":848,"markDefs":853,"style":603},"0f39b2921f1a",[849],{"_key":850,"_type":590,"marks":851,"text":852},"3c5678906ceb",[],"In his staged, gel-lit nudes, Jimmy DeSana explored the body as object.",[],{"_key":855,"_type":586,"children":856,"markDefs":869,"style":603},"a8514ab25578",[857,861,865],{"_key":858,"_type":590,"marks":859,"text":860},"f987b7dc0adb",[],"Lit by raking color that recalls the strangest drag show you have ever seen, ",{"_key":862,"_type":590,"marks":863,"text":864},"adda9e4be516",[596],"Instant Camera",{"_key":866,"_type":590,"marks":867,"text":868},"ff6094c95a52",[]," (1980) tells an incredible story. A nude woman holding a camera stands atop a nondescript couch, assuming the pose of an ersatz classical statue. Her curved body, muscles taut in an effort to maintain balance, is echoed by a circular nimbus of angelic light. This figure directs her camera toward a contorted entity, whose crumpled pose surely frustrates any attempt to take a picture. A picture of what? Since the second figure’s face is hidden, we can only guess. Lurking somewhere between the mundane and the extraordinary is Jimmy DeSana’s world—a surreal display of the desires coursing through the veins of everyday life.",[],"William J. Simmons","https://aperture.org/editorial/jimmy-desana/","2017-01-18","Aperture","Surreal Sexuality ",["null","__typename",791,"articleRaw",876,"author",915,"link",916,"pdf",10,"publicationDate",917,"publisher",918,"title",919],[877,899,907],{"_key":878,"_type":795,"image":879,"size":800},"01df5357bee2",{"_type":797,"asset":880,"caption":882,"captionColor":705},{"_ref":881,"_type":799},"image-8de148060b2603c77573a80ad22508b104bf692f-1751x2048-jpg",[883],{"_key":884,"_type":586,"children":885,"markDefs":898,"style":603},"4db47bc85117",[886,890,894],{"_key":887,"_type":590,"marks":888,"text":889},"d3668d471758",[],"Torsos in Mr. DeSana’s ",{"_key":891,"_type":590,"marks":892,"text":893},"2caf6ef46e82",[596],"Untitled (Male Nude)",{"_key":895,"_type":590,"marks":896,"text":897},"b4076b19bb18",[]," (1985). Credit: Andy Romer/Pioneer Works",[],{"_key":900,"_type":586,"children":901,"markDefs":906,"style":603},"452826b831d9",[902],{"_key":903,"_type":590,"marks":904,"text":905},"3952beefa812",[],"Photography was the medium of choice for most art critics in the 1980s. Unlike painting, which thrived in a robust art market and came to symbolize the excesses of that era, photography could be used to critique mass media images, male-dominated art history — even photography itself. Despite the rise to prominence of so-called good postmodern artists like Nan Goldin and Cindy Sherman, however, there are still plenty of photographers being rediscovered today. One of them is Jimmy DeSana, who died in 1990 at the age of 40 from AIDS-related causes.",[],{"_key":908,"_type":586,"children":909,"markDefs":914,"style":603},"7d3add906fad",[910],{"_key":911,"_type":590,"marks":912,"text":913},"62a9aaf27d8b0",[],"Mr. DeSana is best known for his neo-surreal, staged photographs, which he made by juxtaposing nude bodies and mundane objects — shoes, cardboard, cheap costumes — in eerily hued settings. With their downtown New York, David Lynchian aesthetic — and a bit of “Pee-wee’s Playhouse” (1986-90), Martin Scorsese’s “After Hours” (1985) and Frank Moore and Jim Self’s experimental video, “Beehive” (1985), thrown in — the “Suburban” photographs, as they were called, have been showing up in galleries and art fairs in the last few years, exhibited alone and alongside younger artists with whom Mr. DeSana has affinities.",[],"Martha Schwendener","https://www.nytimes.com/2016/08/26/arts/design/jimmy-desana-provocative-photographs-resurface-after-more-than-2-decades.html","2016-08-25","The New York Times","Revisiting an Artist’s Provocative Photographs",["null","__typename",791,"articleRaw",921,"author",958,"link",959,"pdf",10,"publicationDate",960,"publisher",961,"title",962],[922,926,934,942],{"_key":923,"_type":795,"image":924,"size":800},"eb034c23728d",{"_type":797,"asset":925},{"_ref":50,"_type":799},{"_key":927,"_type":586,"children":928,"markDefs":933,"style":603},"032652125e48",[929],{"_key":930,"_type":590,"marks":931,"text":932},"b1073ad75122",[],"When you think of the great American suburbs, “sexy” isn’t the first word that comes to mind. But Jimmy DeSana‘s enthralling photographs of nude men and women cleverly positioned in otherwise quotidian surroundings might change your mind.",[],{"_key":935,"_type":586,"children":936,"markDefs":941,"style":603},"0e11a64482f3",[937],{"_key":938,"_type":590,"marks":939,"text":940},"21964b42bc3c",[],"Sprawled on couches and carpets, slathered with dish soap, or balanced precariously on dressers and tables, DeSana‘s figures explore sexuality and desire. They also suggest physical comedy that often borders on sadomasochism.",[],{"_key":943,"_type":586,"children":944,"markDefs":957,"style":603},"f72436c03ceb",[945,949,953],{"_key":946,"_type":590,"marks":947,"text":948},"995124cdf1f10",[],"DeSana’s delightfully lurid images will soon be collected in print for the first time thanks to Aperture, which will release ",{"_key":950,"_type":590,"marks":951,"text":952},"995124cdf1f11",[596],"Jimmy DeSana: Suburban ",{"_key":954,"_type":590,"marks":955,"text":956},"995124cdf1f12",[],"in the fall. The book includes a foreward by DeSana’s friend and onetime roommate Laurie Simmons.",[],"Cait Munro","https://news.artnet.com/art-world/jimmy-desana-suburban-photos-311648","2015-07-23","Artnet News","Jimmy DeSana Gives Suburban Sprawl a Sexy New Meaning",["null","__typename",791,"articleRaw",964,"author",994,"link",995,"pdf",10,"publicationDate",996,"publisher",997,"title",998],[965,986],{"_key":966,"_type":795,"image":967,"size":800},"cde82454bbff",{"_type":797,"asset":968,"caption":970,"captionColor":705},{"_ref":969,"_type":799},"image-b3979fe993505b979ff54129e3669117675a5a22-430x538-jpg",[971],{"_key":972,"_type":586,"children":973,"markDefs":985,"style":603},"5ffe6c75f741",[974,978,981],{"_key":975,"_type":590,"marks":976,"text":977},"22757eb0f60f",[],"Jimmy DeSana, Bubblegum (Self-Portrait)",{"_key":979,"_type":590,"marks":980,"text":702},"d4a88db06db0",[],{"_key":982,"_type":590,"marks":983,"text":984},"f38ae9a27f3d",[596],", C-print, 16 5/8 x 14 5/8\".",[],{"_key":987,"_type":586,"children":988,"markDefs":993,"style":603},"e2559937681c",[989],{"_key":990,"_type":590,"marks":991,"text":992},"50583cc05c0e",[],"At once anonymous and familiar, the figures populating Jimmy DeSana’s performative photographs are stripped of identity, their faces either cropped out of the frame, turned away from the camera, or obscured by objects both commonplace (gauze, motorcycle helmets) and of a more exotic variety (leather s/m masks). A sense of alienation pervades these images. Yet in this loose survey, the first exhibition of DeSana’s work at Salon 94, the inclusion of his portraits of downtown habitués—ranging from such notables as Debbie Harry and William S. Burroughs to more obscure denizens of the scene—adds a foothold of accessibility to his more curious output, and gives today’s audiences a sense of the now-faded East Village milieu in which DeSana worked.",[],"Beau Rutland","https://www.artforum.com/print/reviews/201308/jimmy-desana-43130","2013-10-01","Artforum","Jimmy De Sana ",["null","__typename",791,"articleRaw",1000,"author",1025,"link",10,"pdf",1026,"publicationDate",1029,"publisher",1030,"title",1031],[1001,1009,1017],{"_key":1002,"_type":586,"children":1003,"markDefs":1008,"style":603},"1a72d4e0c77f",[1004],{"_key":1005,"_type":590,"marks":1006,"text":1007},"db2e22b54611",[],"Uciuntias niam que con pra illaceaquat fugitat as autas vollabo. Oreptatius si aut expere asit ad ut que exerspit eatia alignam et voluptate la voluptias adicid ullaborerum cor rem experibea doluptat disquatatem ium et que ped quas et aut aspiduc ietur.",[],{"_key":1010,"_type":586,"children":1011,"markDefs":1016,"style":603},"4f7e4780851d",[1012],{"_key":1013,"_type":590,"marks":1014,"text":1015},"7f8f3a4218ba0",[],"Evellam restrundam, expliquunt atur, inte per- erum, testia doloritiae sint. Et eum imus volupta simi, unt, est id quatias simustem reprerciate prem re nis eatia sinvend ioribus resci tendicia velluptas dus quam, net es ut que pero tecti at.",[],{"_key":1018,"_type":586,"children":1019,"markDefs":1024,"style":603},"9f5654c70d12",[1020],{"_key":1021,"_type":590,"marks":1022,"text":1023},"4b77067595bc0",[],"Giam aut eum rem quamusc iistrum que dit odi- tionet eum in re, corem. Nem quam reperciis expel id ma quo doluptustis nonse liquidus ipis parist, occusandic tet aliquatur, nim et iniet rest quiae. Sit inihil ipsam id quo velias is prerera nos dolorero commolupta dessitemod molest vollige ndeliqui consed molecatatur aut harum quisint.",[],"Jimmy De Sana",["null","__typename",716,"asset",1027],["null","__typename",718,"url",1028],"https://cdn.sanity.io/files/cpu8yypf/production-v4/affe9c3e2fe5a8768ae3926582286e7f58580218.pdf","2013-09-21","Purple Magazine","Fourteen: Purple Visual Essay",["null","__typename",791,"articleRaw",1033,"author",1103,"link",1104,"pdf",10,"publicationDate",1029,"publisher",1105,"title",998],[1034,1056,1088],{"_key":1035,"_type":795,"image":1036,"size":800},"651ae721f256",{"_type":797,"asset":1037,"caption":1039,"captionColor":705},{"_ref":1038,"_type":799},"image-956364da427e656bee19818777c511c9d0acf546-534x363-jpg",[1040],{"_key":1041,"_type":586,"children":1042,"markDefs":1055,"style":603},"0f78dcdc0cbc",[1043,1047,1051],{"_key":1044,"_type":590,"marks":1045,"text":1046},"0c0f8b022cc5",[],"Jimmy DeSana: ",{"_key":1048,"_type":590,"marks":1049,"text":1050},"2ff3850b8df4",[596],"Sweatshirt",{"_key":1052,"_type":590,"marks":1053,"text":1054},"767c4f7ea006",[],", 1980-82, vintage C-print, 22⅜ by 30⅛ inches; at Salon 94.",[],{"_key":1057,"_type":586,"children":1058,"markDefs":1087,"style":603},"cfe6c80dcff6",[1059,1063,1067,1071,1075,1079,1083],{"_key":1060,"_type":590,"marks":1061,"text":1062},"eacbd734251f",[],"Jimmy DeSana, who died at 40 of AIDs, was one of a generation of artist-photographers—among them Cindy Sherman, Nan Goldin and DeSana’s close friend Laurie Simmons—who came of age in the 1970s in New York, Buffalo and Boston. He is best known for his surrealistic, S/M-tinged, staged photos, but he was also a familiar presence on NYC’s downtown art-and-music scene of the 1970s and 1980s, making portraits of its leading lights for publications such as the ",{"_key":1064,"_type":590,"marks":1065,"text":1066},"66834b90db17",[596],"Soho Weekly News",{"_key":1068,"_type":590,"marks":1069,"text":1070},"d5003f17b8f2",[],", the ",{"_key":1072,"_type":590,"marks":1073,"text":1074},"25ec669ee9c4",[596],"East Village Eye",{"_key":1076,"_type":590,"marks":1077,"text":1078},"7c3d6732150e",[]," and the ",{"_key":1080,"_type":590,"marks":1081,"text":1082},"3d4b0d7ead2a",[596],"New York Rocker.",{"_key":1084,"_type":590,"marks":1085,"text":1086},"aab64f8b6bf0",[]," Both aspects of DeSana’s oeuvre could be seen in this large exhibition of photographs, some newly printed for the show.",[],{"_key":1089,"_type":586,"children":1090,"markDefs":1102,"style":603},"2a00a334cb0a",[1091,1095,1098],{"_key":1092,"_type":590,"marks":1093,"text":1094},"ff26ec883143",[],"Born in Detroit in 1950, DeSana grew up in Atlanta. He began to take pictures while still in his teens, photographing friends and acquaintances unclothed and striking silly, sexy poses in suburban homes and gardens. After moving to New York in 1973, DeSana continued to make the human body his primary subject. On view here were several black-and-white images from his book ",{"_key":1096,"_type":590,"marks":1097,"text":597},"14acac330fce",[596],{"_key":1099,"_type":590,"marks":1100,"text":1101},"67610d32c5f5",[],"(1979), such as a picture of a woman in bondage gear huddled inside an open refrigerator, and one of a man in a black leather mask sitting on a toilet. Also from that series were photos that evinced DeSana’s increasing interest in depicting the figure as both animate presence and sculptural object, as in an image of a nude man lying on his back and balancing a TV on his feet.",[],"Anne Doran","https://www.artnews.com/art-in-america/aia-reviews/jimmy-desana-61215/","Art in America",["null","__typename",791,"articleRaw",1107,"author",1116,"link",10,"pdf",1117,"publicationDate",1120,"publisher",1105,"title",1121],[1108],{"_key":1109,"_type":586,"children":1110,"markDefs":1115,"style":603},"d56bb14cd2e0",[1111],{"_key":1112,"_type":590,"marks":1113,"text":1114},"1ce941e88c0a",[],"Posterity's range finder is bringing Jimmy de Sana into sharper focus, revealing him as a canny photographer whose kinky quasi-surrealist images helped elucidate the punk sensibility of the lat 1970s and early '80s. A low-key, laconic figure on downtown Manhattan's art and music scenes, he excelled at staging scrupulously perverse tableaux that transformed naked human subjects into enigmatic still lifes with sadomasochistic overtones. This retrospective exhibition offered bountiful evidence that many of his photographs would fit snugly in the same black leather portfolio as the sleek and flamboyant erotic figure studies of Man Ray, Hans Bellmer, Helmut Newton and Lucas Samaras.",[],"David Bourdon",["null","__typename",716,"asset",1118],["null","__typename",718,"url",1119],"https://cdn.sanity.io/files/cpu8yypf/production-v4/fcf94ac69d3c283f6a8ca4134bc80a4161542e0f.pdf","1995-11-01","Jimmy De Sana at Pat Hearn - New York, New York - Review of Exhibitions - Brief Article",["null","__typename",791,"articleRaw",1123,"author",1156,"link",1157,"pdf",1158,"publicationDate",1161,"publisher",918,"title",1162],[1124,1132,1140,1148],{"_key":1125,"_type":586,"children":1126,"markDefs":1131,"style":603},"d8d5a5796071",[1127],{"_key":1128,"_type":590,"marks":1129,"text":1130},"c17bf93b13e9",[],"The feeling of incompleteness that hangs over the retrospective of photographs by Jimmy DeSana, now at the Pat Hearn Gallery in Chelsea, is easy to explain. DeSana, a leading figure in the East Village art scene in the 1970's and 80's, died of AIDS in 1990, at the age of 40.",[],{"_key":1133,"_type":586,"children":1134,"markDefs":1139,"style":603},"1ee16945ac7f",[1135],{"_key":1136,"_type":590,"marks":1137,"text":1138},"4526725388b80",[],"But DeSana's work seems incomplete for other reasons as well. In a career that lasted less than two decades, he produced pictures in a daunting variety of styles, announcing a flurry of provocative themes but never exploring any of them thoroughly.",[],{"_key":1141,"_type":586,"children":1142,"markDefs":1147,"style":603},"9ffa4887d3df",[1143],{"_key":1144,"_type":590,"marks":1145,"text":1146},"fdcdcde032660",[],"Using unconventional processes and techniques, including negative prints, double exposures and luridly colored lighting, DeSana photographed psychological portraits, sexually charged tableaux and still lifes, among other subjects. Despite his reluctance, or inability, to settle on a consistent approach, his central subject was always himself, and especially his sexual and emotional identity.",[],{"_key":1149,"_type":586,"children":1150,"markDefs":1155,"style":603},"763d1bfe9d9c",[1151],{"_key":1152,"_type":590,"marks":1153,"text":1154},"da97deba6c3d",[],"A portfolio undertaken in 1972 while he was still an art student in Atlanta introduced issues that would remain important in later work. For this project DeSana, photographed himself and his friends nude in suburban settings: posing on a front stoop at night, lounging around a living room or hiding in bushes. Borrowing the harsh lighting and awkward poses of low-budget pornography, he presented the images as cheap offset prints, underscoring their tawdriness and the sense of taboos being violated.",[],"Charles Hagen","https://www.nytimes.com/1995/09/29/arts/photography-review-the-provocative-work-of-an-abbreviated-life.html?searchResultPosition=5",["null","__typename",716,"asset",1159],["null","__typename",718,"url",1160],"https://cdn.sanity.io/files/cpu8yypf/production-v4/c0fcd7f13f69a0dbf0d2ec75aa81a859eb5626aa.pdf","1995-09-29","The Provocative Work of an Abbreviated Life",["null","__typename",791,"articleRaw",1164,"author",1229,"link",10,"pdf",1230,"publicationDate",1233,"publisher",918,"title",1234],[1165],{"_key":1166,"_type":586,"children":1167,"markDefs":1228,"style":603},"e824426e26ad",[1168,1172,1176,1180,1184,1188,1192,1196,1200,1204,1208,1212,1216,1220,1224],{"_key":1169,"_type":590,"marks":1170,"text":1171},"f89a5fc9d0a4",[],"In his new work, Jimmy De Sana continues his unusually subtle and evocative explorations of photographic montage, using the dye-bleach technique to splice and layer together different images and shift scale at will. Tiny artifacts become large while the human body goes small, providing legs for such things as pears or flowers. An oval of indeterminate size frames a torso in ",{"_key":1173,"_type":590,"marks":1174,"text":1175},"8804a3304aa8",[596],"Torso",{"_key":1177,"_type":590,"marks":1178,"text":1179},"e5261620695f",[],", is broken into pieces in ",{"_key":1181,"_type":590,"marks":1182,"text":1183},"22c5db4d19f4",[596],"Broken Oval",{"_key":1185,"_type":590,"marks":1186,"text":1187},"5e343f481ac7",[],", and these pieces are arranged into something resembling a Greek letter in another work. In ",{"_key":1189,"_type":590,"marks":1190,"text":1191},"cdb15c64fa28",[596],"Sun God",{"_key":1193,"_type":590,"marks":1194,"text":1195},"12e7c97411c7",[],", ",{"_key":1197,"_type":590,"marks":1198,"text":1199},"59166d9c462b",[596],"Stones",{"_key":1201,"_type":590,"marks":1202,"text":1203},"a56ca368c2d6",[],", and ",{"_key":1205,"_type":590,"marks":1206,"text":1207},"9dc26dee2701",[596],"Stick Figure",{"_key":1209,"_type":590,"marks":1210,"text":1211},"fe1958d8d36f",[],", we don't quite know what we're looking at—an amulet, the handle of a medieval sword? Each photo has a dark yet translucent ground against which these images are displayed like decorative devices or religious relics; they seem to be made of pure light as much as anything else, and this accounts for their ethereal beauty and much of their poignancy. In one image a series of glowing gooseberries, arranged to resemble a typewriter's keyboard, are interspersed with letters that spell \"deathlessness.\" In ",{"_key":1213,"_type":590,"marks":1214,"text":1215},"5e496b3169d0",[596],"Guitar",{"_key":1217,"_type":590,"marks":1218,"text":1219},"c65ae1284afb",[],", a crouched cross-legged figure holding a guitar, a vestige of Picasso's ",{"_key":1221,"_type":590,"marks":1222,"text":1223},"d9b630222ab5",[596],"Blue Period",{"_key":1225,"_type":590,"marks":1226,"text":1227},"876ce06753d6",[],", is seen through the bottom of a plastic food container that becomes its cage. As usual, Mr. De Sana wrests an odd yet compelling visual poetry from the simplest of devices.",[],"Roberta Smith",["null","__typename",716,"asset",1231],["null","__typename",718,"url",1232],"https://cdn.sanity.io/files/cpu8yypf/production-v4/70ca6324241b352d66a09f4d0014b8ad7c01502f.pdf","1988-01-29","Jimmy De Sana at Pat Hearn by Roberta Smith ",["null","__typename",791,"articleRaw",1236,"author",1284,"link",10,"pdf",1285,"publicationDate",1288,"publisher",1289,"title",1290],[1237,1268,1276],{"_key":1238,"_type":586,"children":1239,"markDefs":1267,"style":603},"57e42f9a75a5",[1240,1244,1247,1251,1255,1259,1263],{"_key":1241,"_type":590,"marks":1242,"text":1243},"4ed2f8bb253c",[],"Look at these pictures in ",{"_key":1245,"_type":590,"marks":1246,"text":597},"6cfdb3cb011e",[596],{"_key":1248,"_type":590,"marks":1249,"text":1250},"3e470ec6c9a4",[],"...My dear, it's all so ",{"_key":1252,"_type":590,"marks":1253,"text":1254},"5971e9ae3fe4",[596],"Christian",{"_key":1256,"_type":590,"marks":1257,"text":1258},"c2dddf7437e7",[]," and ",{"_key":1260,"_type":590,"marks":1261,"text":1262},"932c616b8f35",[596],"medieval",{"_key":1264,"_type":590,"marks":1265,"text":1266},"3c8662c22477",[]," and gloomy. Precisely. Jimmy De Sana, your intrepid photographer, has witnessed and preserved for posterity the unspeakable rites of these benighted natives, rites as clearly derived from Christianity as black mass. All deviant and sexual behavior was suppressed for centuries by the Christian church under the most dramatic sanctions and from prudential considerations the deviant concealed his activities from the public eye. The public eye in those days was not equipped with a camera and there was no mass media to make S&M a household word.",[],{"_key":1269,"_type":586,"children":1270,"markDefs":1275,"style":603},"450ac66013e6",[1271],{"_key":1272,"_type":590,"marks":1273,"text":1274},"664fa10ce2ad",[],"Look at these pictures and behold the havoc wrought by Christianity, the whole dreary panorama of guilt, fear, sin and punishment. The deviant is no longer in danger of the stake, but he is still confined in the straight jacket of his own reactive sexuality. The masks are symbolic for both the S and the M are submitting to impersonal forces rather than to another human being. The chains are also symbolic forged in the fire and brimstone of a Christian Hell.",[],{"_key":1277,"_type":586,"children":1278,"markDefs":1283,"style":603},"ccf04ebe9b60",[1279],{"_key":1280,"_type":590,"marks":1281,"text":1282},"9e00facfa8cf",[],"Aleister Crowly, a great foe of Christianity said: \"Do what thou wilt is the whole of the law.\" Do these people know what they want to do? The very word \"submission\" contains the paradox of wanting and not wanting .And this ambivalent position can only be maintained by a double ignorance of not knowing what you want to do and not knowing what you don't want to do. Can this ignorance survive the impersonal click of the camera? Can such a paradox exist in an age of total confrontation? ",[],"William S. Burroughs",["null","__typename",716,"asset",1286],["null","__typename",718,"url",1287],"https://cdn.sanity.io/files/cpu8yypf/production/58e314e1db76ed11e8ee6cd5b05b04eb3db6b4fa.pdf","1979-01-01","Scat Publications New York","Submission: Jimmy De Sana",{},{},1794398738633]