“See ‘House On Haunted Hill’ with Emergo!”

“See the FIRST picture ever shown with
The Amazing New EMERGO!
The GHOST Emerges Right Off the Screen
And Actually Soars Into the Audience…”


Weegee (1899-1968), [Audience watching “House on Haunted Hill”], 1959 (7471.1993)


Weegee (1899-1968), [Skeleton hanging from movie theater ceiling during screening of “House on Haunted Hill”], 1959 (7474.1993)


Weegee (1899-1968), [Man hanging skeleton from movie theater ceiling for screening of “House on Haunted Hill”], 1959 (7475.1993)


Weegee (1899-1968), [Man hanging skeleton from movie theater ceiling for screening of “House on Haunted Hill”], 1959 (7477.1993)


Weegee (1899-1968), [Skeleton holding “House on Haunted Hill” books], 1959 (7478.1993)

The beautifully and wonderfully old (opened in 1929) Landmark Loews Theater (possibly haunted) in Jersey City, located several blocks from the ICP archives (definitely haunted with photo-ghosts and silvery shadows and oozing eerie-ectoplasm), and across the street the Journal Square PATH station (not haunted), is screening the spooky, scary, and amusing film “House on Haunted Hill” with Emergo! this weekend. “The shiver and shake, quiver and quake, picture of the year!” features Vincent Price, Carol Ohmart, Richard Long, Elisha Cook, Jr. and was produced and directed by William Castle. The Landmark Loew’s Jersey is located at 54 Journal Square, Jersey City, New Jersey. If you don’t dare enter the “House on Haunted Hill” at the Loews Theater, a video of the film can be watched here, presumably without Emergo!

Featured in the film, the setting for the haunted house party, the most haunted house on the hill, is the exterior of Frank Lloyd Wright’s Ennis House, in Los Angeles, built in 1924, for Charles and Mabel Ennis.
Weegee photographed movie theater audiences many times, in the 1940s and 50s and once or twice in the 60s. These photos were presumably made at the “House on Haunted Hill” premiere, either January 23 or February 17 in 1959. And were perhaps the penultimate movie audiences that he photographed.

“Do you dare enter ‘The House On Haunted Hill’?”


Trailer for “House On Haunted Hill” (1959)


Weegee (1899-1968), [Skeleton hanging and haunting movie theater during screening of “House on Haunted Hill”], 1959 (7474.1993)

“The ghosts are waiting…”

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Weegee on the Lower East Side: Delancey Street Sandwiched Between Essex and Norfolk Streets


Weegee (1899-1968), [Wartime rationing: crowds at dairy store try to beat an impending freeze on butter, New York], March 22, 1943 (2450.1993)

Weegee (1899-1968), [Wartime rationing: crowds at a dairy store try to beat an impending freeze on butter], March 22, 1943 (15547.1993)

Weegee (1899-1968), [Wartime rationing: crowds at dairy store try to beat an impending freeze on butter, New York] March 22, 1943 (15358.1993)

To commemorate the day in March ’43 when Weegee snapped the busy butter buyers buying butter and the buzz on the block before it was forbidden, and ICP’s impending move to the Lower East Side, together, perhaps for the first time since March 1943, we present all three Weegee photos (a pair appear to be previously unpublished) of the pre-rationing, pre-freeze butter buying business. The Office of Price Administration (OPA) without notifying the public prohibited the sale of butter, lard, margarine, shortening, cooking and salad oils, during the week before rationing was to begin because inventories were low and to prevent people from hoarding. LES residents didn’t relish the rations. Those left out in the cold, butter-less, would have been in a real pickle. The late afternoon and early evening customers, several are grinning, a few are holding butter bars, a few have cash in hand, some are looking at the photographer, and one person appears to be holding up his child for the photo, are jovially jammed in the store like sardines; Weegee hungrily caught the commerce commencing presumably at Harry Kaltman’s Dairy on Delancey. The dairy, (125 Delancey) until not-too-long-ago a parking lot, is about a block away from the new location of the ICP museum and school. Weegee covered the World War Two home front passionately and extensively. During the war he didn’t photograph blitzes and their aftermath, but he photographed cheese blintzes and the battles to buy butter better than anybody in the Big Apple.


PM, March 22, 1943, p. 18

Buyers Swarm City’s Dairy Stores As Butter ‘Freezing’ Is Announced
Butter buyers were jamming delicatessens yesterday less than an hour after the first radio release, at 3 p.m., of the news that butter was to be frozen for nine days, starting at 12:01 a.m. today.
Before midnight, storekeepers had reported either a total sell-out or were anticipating the complete exhaustion of their already limited butter supply. Most merchants were selling their stock in one-quarter of a pound lots, with half-pound exceptions for their regular customers…
‘They’ll Be Healthier’
Spolter’s Dairy, 88 Stanton St., reported:
“We’re giving one-quarter to one-half a pound to each customer. People eat too much butter, anyway. They’re going to be much healthier now. We had 150 pounds of butter on hand this morning, but it will be all gone before midnight.” PM, March 22, 1943, p. 18

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Friday the 13th


Alfred GescheidtCity Cat, New York, 1951 (365.1984)


Vu, April 3, 1935 (2009.61.101)


Weegee, [Three-Eyed Cat], ca. 1958 (5679.1993)

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Gran Fury


Gran Fury, Read My Lips (girls), 1988 (1137.2000)

This postcard, produced for a nine-day nationwide protest in May 1988, was one of Gran Fury’s earliest designs. The nationally-based AIDS Coalition to Network, Organize, and Win called for the demonstrations, but left decisions about the focus of the protests to local AIDS groups. One of the events organized by ACT UP was a same-sex kiss-in, meant as a challenge to homophobia. Gran Fury made a number of different posters, postcards, and T-shirts to publicize the spring action, including this photograph of two females kissing. A year later, the same image would be paired with the text: “Kissing Doesn’t Kill: Greed and Indifference Do.” (1137.2000)


Gran Fury, Read My Lips (boys), 1988 (1138.2000)


Gran Fury, The Government Has Blood on Its Hands, 1988 (1255.2000)


Gran Fury, New York Crimes, 1989 (2014.31.1)

Media Critique:…Finally, groups such as Gran Fury created Media that mimicked the form and language of conventional advertising, which was placed in recognizable ad spaces, inserting an activist message in a supposedly apolitical “market”. ACT UP and Gran Fury’s skill in appropriating strategies from art and media worlds and bringing them into the arena of direct action politics were among the most distinctive – and arguably, effective – features of the movement. (2014.31.1)

On June 6, 1990, Marlene McCarty, Donald Moffett, Robert Vazquez, three of the eleven members of Gran Fury, spoke at ICP. Essential listening.

Gran Fury was an artists’ collective devoted to AIDS activism through agitprop art. Named after the Plymouth automobile favored by the [undercover] New York City police department, Gran Fury drew its membership from the ranks of ACT UP/NY (AIDS Coalition to Unleash Power, New York).
The artists’ collective arose out of ACT UP/NY’s involvement with the art installation “Let the Record Show . . .” at The New Museum of Contemporary Art in December 1987. Bill Olander, curator for The New Museum, offered the Broadway window of the museum to ACT UP, where a group of members “let the record show” that some artists and their art chose not to be silent regarding AIDS… After producing this installation, some members of ACT UP wanted to continue voicing their opinion and formed Gran Fury in January 1988.
Gran Fury purposefully intervened into public and advertising spaces to disrupt the flow of normal thoughts with their own agenda. Notably, most of their work was directly exhibited to the public outside of traditional art spaces through fliers, posters, and billboards…
Laura Slezak Karas, February 2008, “Guide to the Gran Fury Collection (1987-1995)” at NYPL, (PDF)

The New York Public Library holds the Gran Fury Collection, which has a finding aid to research the materials (1987-1995).


Gran Fury, RIOT: Stonewall ’69/AIDS Crisis ’89, 1989 (1139.2000)

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Scenes of life


Alex Majoli, Scene #6404, Cairo, Egypt, February 11, 2001 (2017.22.1)


Alex Majoli, Scene #8040, Sao Paulo, Brazil, Police, June 17, 2014 (2017.22.2)

At the age of fifteen, Alex Majoli joined the F45 photo agency in Ravenna, Italy, and he graduated from the city’s art Institute in 1991. While in art school, Majoli became a member of Grazia Neri Agency and traveled to Yugoslavia to document the ongoing political conflict.

In 1995, Majoli published his first book documenting the patients in a mental hospital that was formerly used as a military hospital in Leros, Greece. That same year he traveled to Brazil where he started the project Tudo Bom. In this he visualizes the darker side of a complex society where daily life is often shaped by hardship and violence. Majoli has been working on this project for twenty years. The series Hotel Marinum that Majoli started in 1998 documents life in harbor cities around the world and was inspired by his life growing up in the port of Ravenna. Majoli has been a member of Magnum Photos since 2001 and has worked on assignment for a variety of publications, including The New York Times Magazine, Newsweek, The New Yorker, and National Geographic.

Majoli has been inspired by the theories of the Sicilian playwright Luigi Pirandello, who believed there is a thin line between theater and real life and that people take on a role in their daily lives. Over the years, the photographer has examined this philosophy more fully. Majoli does not aspire to document reality. Rather, in his more personal projects, he explores this idea of people as actors in their own lives. In his most recent work, he uses powerful strobe lights to make his subjects aware of the roles they play the scene that he records. The result is cinematic; the dark surroundings of a scene highlight powerful human emotions.

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Once Upon a White Night the Awakening Sounds of Insight, a Hydrostatic Symphony and the Spirits of Reincarnation

miyazawa_73_1985
Masaaki Miyazawa, Once Upon a White Night, September 15, 1981 (73.1985)

miyazawa_83_1985
Masaaki Miyazawa, Awakening Sounds of Insight, May 11, 1984 (83.1985)

miyazawa_85_1985
Masaaki Miyazawa, Incompatable Lovers, November 11, 1982 (85.1985)


Masaaki Miyazawa, Spirits of Reincarnation, November 4, 1983 (70.1985)


Masaaki Miyazawa, Hydrostatic Symphony, October 1, 1981 (67.1985)

These photos are from Masaaki Miyazawa’s series “Yume juya, Ten Nights of Dreams.” Masaaki Miyazawa won the first ICP Infinity award for Young Photographer in 1985 for his ravishingly otherworldly and enlighteningly surrealistic series of infrared photographs called “Yume juya, Ten Nights of Dreams.” Born in 1960 in Tokyo, Miyazawa attended the Nihon University College of Art and Photography. Miyazawa has photographed extensively at the Ise Jingu, in the Mie Prefecture, Japan, an ancient complex of Shinto shrines in a forest with a river and otherworldly nature.

The photographer’s websites are: here and here.


Masaaki Miyazawa, Mounted Observers, November 5, 1983 (77.1985)

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Pete Turner (1934-2017)


Pete Turner (1934-2017), Cheetah, 1970 (114.1987)


Pete Turner (1934-2017), Tree Shadow, Zimbabwe, 1959 (121.1987)


Pete Turner (1934-2017), Shape of Things to Come, 1969 (124.1987)


Pete Turner (1934-2017), New Dawn, Heimaey, Iceland, 1973 (119.1987)

Born in Albany, New York, in 1934, Pete Turner attended the Rochester Institute of Technology in the early 50s (with fellow students Peter Bunnell, Carl Chiarenza, Bruce Davidson, Jerry Uelsmann, etc.). While in the army in 1957 Turner experimented with early color photographic materials. Turner was a color photography trailblazer, practitioner of the medium for over fifty years, and found life-long inspiration in the colors of Africa.


Pete Turner (1934-2017), Stonehenge, 1979 (122.1987)

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