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The love story of photographer Mary Ellen Mark and her muse, Tiny.
Jun 8, 2016, 12:52 PM EDT | Updated Jun 9, 2016
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Arts and Culture Reporter, HuffPost
" I remember the first time I met Tiny ," late photographer Mary Ellen Mark explained in an interview with Leica News. She was visiting Seattle in 1983, on assignment for Life magazine, documenting Seattle’s homeless and runaway youth. Mark waited outside a club called the Monastery, where street kids were known to frequent.
"A taxicab pulled up and these two little girls got out," she recalled. "They were very young teenagers. They were made up like they were playing dress-up with makeup and short skirts. They were dressed like seductive prostitutes. And one of these young girls was Tiny."
Tiny, born Erin Blackwell, was 14 years old when she met Mark and working as a sex worker to support a fledgling drug addiction. In the circle of street kids she ran with, everyone had a nickname. There were Rat, Lulu, Smurf, Munchkin, and there was Tiny, blessed with her nickname because, in her words, "I was exceptionally small."
Mark directly approached Tiny, hoping to photograph her. Tiny, afraid Mark was the police, screamed and ran away. But eventually Mark tracked Tiny down, visiting her at her mother's house. Thus began a relationship that would extend until Mark's death in 2015. An ongoing exhibition titled " Tiny: Streetwise Revisited " spans the course of Tiny's life, from her time taking dates on the Seattle streets to her life as a middle-age mother of 10.
In her photographs, Mark captures Tiny with unflinching honesty and compassion. Tiny, as a subject, held nothing back. " I’m just drawn to her openness and her ability to tell her story in the most honest way," Mark said. The black-and-white images capture a young woman at once tough and vulnerable, jaded and naive, distressed and optimistic.
Mark's photo essay became the foundation for a documentary, also called "Streetwise," expanding on the lives of these magnetic, down-and-out youths. Her husband, Martin Bell, was the director and Tom Waits scored the Academy Award-nominated film. " When you're making a documentary, what you're looking for are people who, in some way, are stars -- like movie stars," director Bell explained in an ABC News special. "And Tiny was exactly that, she was like a movie star."
"I want to be really rich and live on a farm with a bunch of horses which is my main, best animal and have three yachts or more," Tiny says in the documentary. "And diamonds and jewels and all of that stuff." The looming comfort of fantasy is evident in Mark's photo "Halloween," pictured above, in which Mark dons a dark veil and stylish black gloves. Suddenly, she seems ripped from a high fashion editorial. Mark explained Tiny was dressed as a "Parisian prostitute."
Mark was born March 20, 1940, in Philadelphia. She graduated from the University of Pennsylvania in 1962, with a degree in painting and fine art, and two years later received her master’s degree in photojournalism. After graduation, Mark traveled to Turkey on a Fulbright scholarship, capturing the images that would later constitute her first book, Passport . This is when Mark took the photograph that, in her eyes, solidified her fate as a photographer.
The photo was of a young girl named Emine , posing on the streets of Trabzon in a babydoll dress and white hair bow. There is something disarming about the way she comports herself, a sensual adult in a kid's body, daring the viewer to keep looking. " I don’t like to photograph children as children ," Mark said of the image. "I like to see them as adults, as who they really are. I’m always looking for the side of who they might become."
Inspired by photographer Diane Arbus, Mark was drawn to those living on the margins, exploring representations of beauty entirely different from those on magazine covers or most museum walls. " I’m interested in people who haven’t had all the lucky breaks in life ," she told American Suburb. "People who are handicapped emotionally, physically or financially. Much of life is luck. No one can choose whether he’s born into a wealthy, privileged home or born into extreme poverty."
Even when "Streetwise" came to an end, Mark and Tiny never lost touch. For 32 years, Mark continued to photograph Tiny as she had children, fell in love, got clean. At one point, Mark and her husband Bell offered to take Tiny to New York with them under the condition that she attend school, and she turned it down, saying school wasn't for her. " You can try to help , but there’s a line you have to draw about how much you can interfere," Mark explained to Peta Pixel. "It’s how far you can go. Sometimes you think you’re helping and you’re not, but you know you’re there to observe. You’re there to tell a story."
The life Tiny lives now doesn't involve diamonds and yachts. But Tiny does have her life, comfort and safety, something she never takes for granted. When Mark interviewed Tiny in 2005, she explained: " I'd be proud to have my friends see that I made it. That I didn't end up dead, or junkied‑out. I am surprised."
Mark died in 2015, leaving behind a vivid portrait of a human life, brimming with pain and struggle and freedom and survival. Through Mark's lens, viewers are put face to face with the brutal reality of poverty, which plagues Tiny's children's lives just as it shaped hers. We see the effects of destitution, drugs, and hustling, the marks they leave on her flesh and in her eyes. And we see the vitality of spirit that enables one to carry on, to dream of horses and fight to be seen.
On Saturday, June 25, the films " Tiny: The Life of Erin Blackwell " and "Streetwise" will play at BAM Rose Cinemas as part of BAMcinemaFest 2016 , with a Q&A by Martin Bell. The exhibition " Attitude: Portraits by Mary Ellen Mark, 1964–2015 " is also on view at Howard Greenberg Gallery through June 18.
Arts and Culture Reporter, HuffPost
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Julie Doucet’s 1990’s comic series Dirty Plotte was wildly imaginative and raucous, pulled no punches, and teetered constantly and surreally on the delicious edge between gross and fascinating.
by
Heather Kapplow
December 21, 2018 December 20, 2018
(Image courtesy of Uncivilized Books)
Ask most people to name the greatest working female cartoonist, and they’ll reply “Julie Doucet.” They’re wrong — Doucet stopped cartooning close to seven years ago — but their hearts are in the right place. Her comics are uniquely expressive, immediately recognizable, and provide instant, easy access to a compelling moment in history …. Ask most people to name the greatest working cartoonist, and you might hear Robert Crumb, Harvey Pekar, Peter Bagge — men to whom Doucet’s work has often been compared. It is only when you add in the issue of gender that her work receives the recognition it is due.
— Anne Elizabeth Moore, Punk Planet #73 (May/June 2006)
Anne Elizabeth Moore, former co-publisher and editor of Punk Planet and current editor of the Chicago Reader , has been championing and elucidating the work of Canadian cartoonist Julie Doucet for even longer than the 12-year gap between the article quoted above and the release of Moore’s new book, Sweet Little Cunt: The Graphic Work of Julie Doucet (Uncivilized Books).
Moore’s commitment to Doucet’s work could be dismissed as pure “fan girl” if not for her project’s careful, and very equitable balance between celebrating the irreverence and nuance of Doucet’s art, and building the canon of feminist role models for those (lucky? unlucky?) artists who find themselves floating between the worlds of writing and image-making.
The book’s atypical, and implicitly feminist, structure is organized around which of Doucet’s “selves” is being examined. Enjoyably, only one of these selves represents Doucet “actual self.” The rest are more magical creatures — her imagined self, dreamed self, unknown self, and, maybe most exciting — the “not–self-at-all.”
For those unfamiliar with Julie Doucet’s graphic writings, a quick primer can be found on her author page at Drawn & Quarterly . Doucet is best known for her 1990’s comic series Dirty Plotte (“plotte” is French for “cunt”), which was wildly imaginative and raucous, pulled no punches, and teetered constantly and surreally on the delicious edge between gross and fascinating. Much of her work, whether autobiographical or fantastical, addresses the disparity between being something designed for public presentation and being an unfiltered human; her portrayal of the human — and especially female — condition as one that we know through internal experience rather than societal norms, makes the mainstream portrayal of human behavior, particularly that of women, seem more artificial than real.
Through Doucet’s work, Moore identifies and illustrates a category of American feminism that emerged in the 1990s, characterized by an embrace of ecstasy achieved through unencumbered creativity and fantasy (epitomized by a strip in Doucet’s Dirty Plotte #12 in which an elephant with unusual skills brings her main character to much-needed orgasm); “autobiographical performativity,” which Moore identifies as a generative exploration of potential identities (in Dirty Plotte , Doucet’s protagonist, Julie, tries out, for example, being male and having a penis in the usual place, having a vagina on her forehead, having breast cancer, murdering her fans, dying, and indulging in occasional cannibalism); “not giving a shit,” in Moore’s words, about how one is perceived (Julie is a proud daily drinker and intermittent drug user, laughs until she pisses and shits herself, happily menstruates to flood levels, and stores her boogers as a soothing bedtime ritual); and intentional transgression of behavioral norms (for instance, cooking cats and dogs and resistance to housecleaning).
Moore argues that these qualities definitively locate Doucet’s work as in the same post-punk feminist paradigm as that of Cathy Acker, Kathleen Hanna, and Chris Kraus. She also parallels Doucet’s work with the projects of Chantel Ackerman, Carolee Schneemann, and even Gertrude Stein. Though Doucet, herself, did not consider her work intentionally feminist at the time, in hindsight, she acknowledges this reading. And, tellingly, she cites the profound sexism in the industry as a primary reason for stepping away from the underground comics world.
Though it can be theoretically dense, Moore’s great gift to scholarship on Doucet’s work and/or the history of non-cis-male comic-makers, is her focus on the details of Doucet’s comics: from her alertness to moments when a character’s foot kicks through the outline of a panel because of the foot’s enthusiasm, to all of the graphic elements that add up to a sequence being a “dreamoir” (dream memoir), to the relative fragility of lettering and line weight. Moore’s attention is razor sharp and brings imagery that one may not have seen in person in many years to the forefront of our consciousness.
Another gift is that Sweet Little Cunt answers the question of many late-’90s Doucet fans: where is she now? It’s a relief and thrill to know that she continues to make visual and textual art, including printmaking and experimental, small-run, handmade books. And, in a 2017 interview in Moore’s appendix, she admits that she has begun to draw again. Whether she’ll ever publish comics again is still an open question, but hopefully the comics culture she left behind has shifted enough that if she does, it will welcome her back as a pre-eminent living cartoonist, with no gendered qualifications of the honor.
Sweet Little Cunt: The Graphic Work of Julie Doucet by Anne Elizabeth Moore (2018) is published by Uncivilized Books and is available from Amazon and other online retailers.
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Heather Kapplow is a Boston-based conceptual artist. Her work involves exchanges with strangers, wielding talismans, alternative interpretations of existing environments, installation, performance, writing, audio, and video. See heatherkapplow.com...
More by Heather Kapplow
Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.
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