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How A 14-Year-Old Sex Worker Became One Of Photography's Greatest Muses
The love story of photographer Mary Ellen Mark and her muse, Tiny.
“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.
Tiny with Mikka smoking in bed, 1999
Pat, Julian, and Tiny in Pat’s trailer, 2003
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Brassai, La fille de Joie au Billard Russe [Prostitute Playing Russian Billiards, Boulevard Rochechouart], 1933, Courtesy Daniel Cooney Fine Art
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It has an endearing lack of seriousness, and Vin Diesel has more than enough muscle for the starring role, but ultimately, XXX is a missed opportunity to breathe new life into the spy thriller genre. Read critic reviews
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Vin Diesel stars as former extreme sports athlete Xander "XXX" Cage, notorious for his death-defying public stunts. Betting he can succeed where other conventional spies have failed, Xander is recruited by NSA Agent Gibbons (Samuel L. Jackson) to become a different kind of undercover agent. Enlisted for a dangerous covert mission, he must use all his extreme skills to combat a clever, organized, and ruthless enemy far beyond the scope of his experience.
PG-13 (Language|Drug Content|Nonstop Action Sequences|Sensuality|Violence)
action, adventure, mystery & thriller
Dolby SR, DTS, Dolby Stereo, Surround, SDDS, Dolby A, Dolby Digital
Samuel L. Jackson
Agent Augustus Gibbons

Joel Hynek
Visual Effects Supervisor
Vin Diesel, every teen's fantasy action hero.
December 29, 2010 | Rating: 4/5 | Full Review…
If Dubya and Dick Cheney had made their very own post-9/11 patriotic propaganda movie for the teens they need as globalisation fodder, then this would be it.
Sporadically entertaining, this is nevertheless seriously hampered by a very choppy screenplay.
March 2, 2003 | Rating: 3/5 | Full Review…
Vin may not yet be a Bond, or a Terminator, or even Conan the Barbarian. But he's got presence and charisma.
November 19, 2002 | Rating: 3/5 | Full Review…
Diesel's a limited actor but a great performer - he just exudes cool. It's his charisma -- coupled with the raw sex appeal of Asia Argento's X girl -- that makes Rob Cohen's movie tick.
October 2, 2002 | Rating: 3/5 | Full Review…
The director piles on one expensive but impersonal action scene after another.
For every action sequence, there are shots dedicated to formulaic rips of the already tired spy subgenre.
November 9, 2020 | Rating: 3/10 | Full Review…
Groovy gadgets, deadpan quips and stunning set-piece stunts reign supreme in this expertly-made schlockbuster.
June 24, 2020 | Rating: 3/5 | Full Review…
Fun but deeply, ridiculously silly.
Despite the blatant rips, XXX's storyline remains entertaining enough.
September 8, 2009 | Rating: 3.5/5 | Full Review…
As an action director, Mr. Cohen is competent, but this film -- which is pretty much as non-stop as an action movie can get -- needed a director with a little more finesse.
July 14, 2007 | Rating: 2.5/4 | Full Review…
Okay, that's it. My summer of movies has been completely pissed on.
Vin Diesel, every teen's fantasy action hero.
December 29, 2010 | Rating: 4/5 | Full Review…
If Dubya and Dick Cheney had made their very own post-9/11 patriotic propaganda movie for the teens they need as globalisation fodder, then this would be it.
Sporadically entertaining, this is nevertheless seriously hampered by a very choppy screenplay.
March 2, 2003 | Rating: 3/5 | Full Review…
Vin may not yet be a Bond, or a Terminator, or even Conan the Barbarian. But he's got presence and charisma.
November 19, 2002 | Rating: 3/5 | Full Review…
For every action sequence, there are shots dedicated to formulaic rips of the already tired spy subgenre.
November 9, 2020 | Rating: 3/10 | Full Review…
Groovy gadgets, deadpan quips and stunning set-piece stunts reign supreme in this expertly-made schlockbuster.
June 24, 2020 | Rating: 3/5 | Full Review…
Fun but deeply, ridiculously silly.
Despite the blatant rips, XXX's storyline remains entertaining enough.
September 8, 2009 | Rating: 3.5/5 | Full Review…
As an action director, Mr. Cohen is competent, but this film -- which is pretty much as non-stop as an action movie can get -- needed a director with a little more finesse.
July 14, 2007 | Rating: 2.5/4 | Full Review…
Okay, that's it. My summer of movies has been completely pissed on.
Not since the days when Joel Silver ruled Hollywood and musclebound subliterates vied for supremacy on the big screen has the industry spawned a phenomenon as garish and confounding as Vin Diesel.
With all the stimulating action sequences you can ask for, a touch of class and some fine comedic moments, you'll leave the theater wanting more.
July 5, 2005 | Rating: 4/5 | Full Review…
Basically this is an American James Bond film made for 12 year olds, Full of over the top action which I never really liked as it ruins the whole film for me, But it's pretty fun at times, Predictable but fun, Maybe the age certificate didn't help in the action scenes though, Although it's pretty poor acted and the one liners and dialogue were pretty awful Vin Diesel was fun to watch as he wasn't a morbid, Croaky bore like he usually is he actually looked like he wanted to be there for once, The plot is Ripped off from every Bond film so we know what's going to happen and when, If I reviewed this when I was 12 I'd of given it 5 stars but age and maturity kicked in and it gets a solid 3 stars just for being brain dead fun.
If any future filmmakers are looking for inspiration in the guilty-pleasure high octane action genre, xXx is exactly the film to look into. What's not to like about it? Heck, even the horribly awful things are entertaining. Back when Vin Diesel decided not to come back to the Fast & Furious franchise, he chose to join F&F 1 director Rob Cohen in taking on another ridiculous action extravaganza, xXx. Now, the Fast & Furious franchise has figured out the right balance of lighthearted humor, bada** action sequences, and developed characters who we actually care about. xXx certainly has fun action, but that's about it. The humor is there, but in no way do I believe it's intentionally funny. And the characters are pretty awful. Or, at least the dialogue coming out of their mouths is awful. But does a film like this really need to have great dialogue? I guess not. Especially when it contains countless one-liners that do nothing but put a smile on my face from ear to ear. Essentially, this is just another Fast & Furious movie. Fast cars, explosions, women in scantily clad attire, incoherent plots, over-the-top villains, and catchy music. All are staples of the franchise, and Xander Cage's first film outing is no different. The supporting characters are fittingly absurd and bizzare, led by a prototypical performance from Samuel L. Jackson & an equally clichéd turn from Marton Csokas. I think the bottom line is, this movie is so far-fetched and insane that it works as one of the best mindless action adventures of the last decade. No one would believe a guy like Xander Cage would be recruited as an undercover agent in any sort of organization, but that's not really the point. xXx sets out to entertain, and that it does. +One-liners +Full-throttle action +Over-the-top -Really, really awful dialogue -Cliched -Does anyone actually care about these characters? 6.4/10
Gawd all frickin' mighty. How do people like Vin Diesel in these films? A clear candidate for most annoying action hero of all time. This is complete crap.
Some of the action scenes are okay but the story is dull and Diesel is no James Bond with the ladies. The kissing scenes are way too much to bear and these are extended shots. Rob Cohen is far from a great filmmaker and you only need to see how the dialogue is delivered to know he isn't looking for anything with substance. The avalanche scene is probably the most memorable thing about this dull misfire that was looking to kickstart a new franchise. This film might appeal to the fast and furious crowds but anyone else will find nothing but boring Diesel attempts at being a central character. Riddick is the only character I've enjoyed. 07/07/2017.
I've been undercover here for two years.
Two years? What was your plan? To let them die of old age?
I want you to meet some people and find out whatever you can about them.
Dirty. Dangerous. Tattooed. Uncivilized. Your kind of people.
You've gotta be kidding me! You already broke me, you don't have to get cruel and unusual.
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