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Before traveling to Nevada, the photographer Marc McAndrews had never been to a brothel. Now he's been to every single one in the state. Over the course of five years, McAndrews made regular trips to Nevada's legal brothels, staying anywhere from a week to a month each time. He stayed in bedrooms in the houses, shared bathrooms with the sex workers, and saw a world that few others have. In 2014, McAndrews shared some photos from his trips inside the brothels with Business Insider. You can see more photos and read amazing stories in his book, "Nevada Rose." Visit Business Insider's homepage for more stories.
When McAndrews began shooting the brothels, he expected them to be seedy and filled with drugs, he told Business Insider. What he found was something completely different.
He started by visiting Moonlite Bunny Ranch, made famous by HBO's "Cathouse" series. When he asked about taking photos, the women thought he was just a nervous customer. He was turned down.
After being turned down by brothels near Carson City, one of the sex workers recommended he try a small town like Elko or Ely, where proprietors might be friendlier.
In Elko, he had his first luck at a "parlor brothel," which, like this one, looks more like a bar. Other brothels are called "lineup brothels," where workers line up when customers enter, McAndrews said.
There are also "city houses," which cater to those wanting a slicker, partygoing atmosphere, and "country houses," which are quieter and friendlier, McAndrews said.
Once inside, customers go to the pay room to withdraw cash for the night.
Carli at Mona's Ranch in Elko was one of the first women he photographed. He stayed at Mona's for five nights and shared a bathroom with the workers.
McAndrews was given free rein to photograph, as long as he had a worker's permission. Of why he stayed at the brothels, he said: "It's a different experience when you wake up in the morning and have to pass the cereal and the milk to your subject."
McAndrews mostly photographed in mornings and afternoons when the brothels were quiet. Because he was shooting with a large-format camera, he would have to pack up when guests arrived, so as not to spook them.
Most of Nevada's brothels are in places far outside of the cities and zoned into specific areas. Often, many occupy the same parking lot.
McAndrews says many of the women have kids and partners. "People's guards go down, and they become more at ease," he said of staying at the brothels. "They start to let you see their world."
The easy stereotypes — drug users, women without families — existed but weren't as prevalent as McAndrews expected, he said.
One woman who McAndrews met was a math teacher in Minnesota during the school year. She said she worked at the Nevada brothels because it was a turn-on, McAndrews said.
The business is often a family affair. In Carlin, "Whorehouse" Charlie and his mom, "Miss Pat," run Sharon's Bar and Brothel together.
This is Ben, the former owner of the Wild West Saloon brothel in Winnemucca, with his father, Art.
Some customers were OK with being photographed. Here, Brett sits with Dimon, a sex worker at the Stardust Ranch in Ely.
McAndrews was able to photograph in every brothel in Nevada, though he said it took a lot of persuading.
The final brothel he had to get access to was the Moonlite Bunny Ranch. He said he had to convince its owner, Dennis Hof, who owned six other brothels, that it was a good idea.
McAndrews told Hof the project was an artistic documentation of the community, not a generic brothel travel guide. Judith Reagan, a publisher and radio host who was friends with Hof, convinced him the project was important.
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Editor's note: A previous version of this article incorrectly said McAndrews had never visited a strip club before beginning the Nevada Rose project. While he had been to some, he disliked them because of "the aggressiveness of the clientele," he said.
Credit: Courtesy Serge Sorokko Gallery/Glitterati Editions
Unseen photos provide a sensitive look at America's early 'working girls'
Dita Von Teese is a burlesque performer, model and author. This is an edited extract from her foreword to "Working Girls: An American Brothel, Circa 1892" by Robert Flynn Johnson.
Women in sexual professions have always distinguished themselves from other women, from the mores of the time, by pushing the boundaries of style. The most celebrated concubines and courtesans in history set the trends in their respective courts. The great dames of burlesque -- Sally Rand, Gypsy Rose Lee -- boasted a signature style on- and offstage, reflecting broader-than-life personalities.
Dita von Teese on the eternal allure of a well-dressed gentleman
Given that photography was still an emerging technology, an emerging creative medium, when these "working girls" posed for William Goldman in the 1890s at a Reading, Pennsylvania brothel, the entire exercise transcends their initial business liaison. The instantaneous concept of click-and-shoot was still decades away. To be photographed required sitting very still. The women featured in Goldman's collection obviously caught his eye. Not just anyone is asked to be the subject of artistic documentation.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The local photographer and his anonymous muses appear to straddle an artful titillation, at times striving toward Degas nudes and at another, more in the spirit of a strip and tease. There is a beauty in even the most mundane moments.
Among Goldman's models, my own gaze zeroed in on the striped stockings and darker shades of their risqué brassieres. These ladies of Reading, Pennsylvania, might not have had the wealth of Madame du Barry, celebrated mistress of Louis XV of France, or the fame and freedom of a silver-screen sex goddess such as Mae West. But they sought to elevate their circumstances, to feel lovelier and more fashionable, with a daring pair of knickers.
Courtesy Serge Sorokko Gallery/Glitterati Editions
To feel special is fundamental to the human condition. Few opportunities outshine a sense of specialness than when an artist asks to record your looks, your beauty. Under the right circumstances, to be the object of admiration -- of desire -- to be what is essentially objectified is not only flattering. It can also provide a shot of confidence and a sense of strength and power and even liberation, however lasting or fleeting.
Courtesy Serge Sorokko Gallery/Glitterati Editions
For these working girls who were already going against the drudgery of toiling in a factory or as a domestic, who were surviving in a patriarchal world by their wits and sexuality, the opportunity to sit for Goldman was very likely not only thrilling. It was also empowering.
One can only imagine the mutual giddiness prevailing among them all, too, at the possible outcome from all these lost afternoon shoots. In a singular image from this collection appears Goldman striking a pose as proud as a peacock. It's one of stock masculinity in the canons of classic portraiture (though usually in military uniform), and like his muses, presented in all his naked glory. By sharing in the objectivity of the process, Goldman basks in the specialness his models must have felt. By stepping around the lens, he becomes a true confidante.
Courtesy Serge Sorokko Gallery/Glitterati Editions
It suggests a balance of power between artist and muse, man and woman -- at least behind closed doors. Their collective decision to strip and strut for the camera reveals a shared lack of shame for the body beautiful and, in that, a shared, albeit secret, defiance of cultural mores.
Courtesy Serge Sorokko Gallery/Glitterati Editions
By all accounts from curator Robert Flynn Johnson's devoted research on this once-lost collection, Goldman seems to have kept his treasured collection as a personal trove. As a successful photographer of weddings and social events, it was most certainly not in his interest for the public to know about his private creative pursuits.
Courtesy Serge Sorokko Gallery/Glitterati Editions
The brothel was a necessary evil in town, where men with certain desires visited women who would oblige. In this case, it was the desire of a man to capture the beauty and sensuality of the women he befriended. There is much to learn and (most of all!) take pleasure in with this discovery.
As these lost photographs illustrate more than a century later, one period's "social problem" is another's cultural revelation.
"Working Girls: An American Brothel, Circa 1892" by Robert Flynn Johnson, with a foreword by Dita Von Teese, is out now.
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