Hal fischer gay semiotics
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Featured image is reproduced from Cherry and Martin's recent edition of Hal Fischer's classic Gay Semiotics: A Photographic Study of Visual Coding Among Homosexual Men, the subject of a talk in David Senior's Classroom series today at the NY Art Guide Fair and available in the ARTBOOK @ MoMA PS1 stores throughout the fair. "Traditionally western societies have utilized signifiers for non-accessibility. The wedding notify , engagement ring, lavaliere or pin are signifiers for non-availability which are always attached to women. Signs for availability do not exist," Fischer wrote in "In gay culture, the reverse is true. Signifiers exist for accessibility. Obviously, one reason behind this is that gays are less constrained by a type of code which defines people as property of others or feels the need to promote monogamy. The gay semiotic is far more sophist
What It Was Like to Be a Gay Male in s San Francisco
Hal Fischer’s book, Gay Semiotics, is a tongue-in-cheek gaze at gay life in San Francisco’s Castro neighborhood. If the same type of work were attempted today, say in Novel York’s Hell’s Kitchen or Chicago’s Boystown or even in the Castro, the work wouldn’t walk the same fine line of artistic expression and anthropology. That’s because Fischer was uncovering a way of life that wasn’t acknowledged outside of the queer world.
“I was exposing something and I was celebrating it by using message and a certain way of photographing in a very deliberately artificial way to disarm it, to not make it threating,” Fischer said. “This isn’t Mapplethorpe doing S&M perform, this is a degree opposite.”
The work feels favor a precursor to some modern-day blogs that combine street photography and portraiture—like The Sartorialist or Advanced Style—but with a focus on the various subcultures within the same-sex attracted community. In the labor, Fischer provided a humorous take on the various subtle methods of message and identification gay men partook in during tha
Gay Semiotics ♂ by Hal Fischer
A Photographic Study of Visual Coding Among Gay Men
Publisher: Cherry and Martin
Year:
Format: Softcover
Edition: Second
Condition: New
Gay Semiotics is one of the first conceptual works to deliver the language of structuralism and linguistics into photographic exercise. First seen in Hal Fischer’s exhibition at San Francisco’s Lawson de Celle Gallery, Gay Semiotics presents the codes of sexual orientation and identification Fischer saw in San Francisco’s Castro and Haight Ashbury districts as a tongue-in-cheek anthropological essay. Twenty-four photographs—with text printed into the photographs—are codified as “Archetypal Media Images,” “Signifiers, “Street Fashion, and “Fetish.”
One of the key artworks related with s California conceptual photography, Gay Semiotics is marked in particular by Fischer’s insistence on the visual equivalence of word and image. The use of words as pictures—in additional to providing textual content—is one of conceptual photography’s most important contributions to art today and a hallmark of the l
Project Native Informant
Project Native Tipster at Frieze London, LondonPhotography and Language: Collection - s, MoMA, New YorkPNI @ 10, Undertaking Native Informant, LondonIn Focus: Writing for the Camera, Getty Center, Los Angeles
Language, Sequence, Structure: Photographic Works by Lew Thomas, Donna-Lee Phillips, and Hal Fischer, Addison Gallery of American Art, Andover
Masculinities: Liberation through Photography, FOMU, Antwerp
Masculinities: Liberation through Photography, LUMA Foundation, Arles
Language, Sequence, Structure: Photographic Works by Lew Thomas, Donna-Lee Phillips, and Hal Fischer, Addison Gallery of American Art, Andover
TITAN, Kurimanzutto, New York
Manifesta 13 | Les Parallèles du Sud, Furiosa Studio, Monaco
Masculinities: Liberation through Photography, Gropius Bau, Berlin
Reading Pictures, The Berkeley Art Museum and Pacific Clip Archive, University of California, Berkeley
Direct Message: Art, Language, and Might, Museum of Contemporary Art, Chicago
Masculinities: Liberation through Photography, Barbican Art Gallery, LondonThought Pieces
What It Was Like to Be a Gay Male in s San Francisco
Hal Fischer’s book, Gay Semiotics, is a tongue-in-cheek gaze at gay life in San Francisco’s Castro neighborhood. If the same type of work were attempted today, say in Novel York’s Hell’s Kitchen or Chicago’s Boystown or even in the Castro, the work wouldn’t walk the same fine line of artistic expression and anthropology. That’s because Fischer was uncovering a way of life that wasn’t acknowledged outside of the queer world.
“I was exposing something and I was celebrating it by using message and a certain way of photographing in a very deliberately artificial way to disarm it, to not make it threating,” Fischer said. “This isn’t Mapplethorpe doing S&M perform, this is a degree opposite.”
The work feels favor a precursor to some modern-day blogs that combine street photography and portraiture—like The Sartorialist or Advanced Style—but with a focus on the various subcultures within the same-sex attracted community. In the labor, Fischer provided a humorous take on the various subtle methods of message and identification gay men partook in during tha
Gay Semiotics ♂ by Hal Fischer
A Photographic Study of Visual Coding Among Gay Men
Publisher: Cherry and Martin
Year:
Format: Softcover
Edition: Second
Condition: New
Gay Semiotics is one of the first conceptual works to deliver the language of structuralism and linguistics into photographic exercise. First seen in Hal Fischer’s exhibition at San Francisco’s Lawson de Celle Gallery, Gay Semiotics presents the codes of sexual orientation and identification Fischer saw in San Francisco’s Castro and Haight Ashbury districts as a tongue-in-cheek anthropological essay. Twenty-four photographs—with text printed into the photographs—are codified as “Archetypal Media Images,” “Signifiers, “Street Fashion, and “Fetish.”
One of the key artworks related with s California conceptual photography, Gay Semiotics is marked in particular by Fischer’s insistence on the visual equivalence of word and image. The use of words as pictures—in additional to providing textual content—is one of conceptual photography’s most important contributions to art today and a hallmark of the l
Project Native Informant
In Focus: Writing for the Camera, Getty Center, Los Angeles
Language, Sequence, Structure: Photographic Works by Lew Thomas, Donna-Lee Phillips, and Hal Fischer, Addison Gallery of American Art, Andover
Masculinities: Liberation through Photography, FOMU, Antwerp
Masculinities: Liberation through Photography, LUMA Foundation, Arles
Language, Sequence, Structure: Photographic Works by Lew Thomas, Donna-Lee Phillips, and Hal Fischer, Addison Gallery of American Art, Andover
TITAN, Kurimanzutto, New York
Manifesta 13 | Les Parallèles du Sud, Furiosa Studio, Monaco
Masculinities: Liberation through Photography, Gropius Bau, Berlin
Reading Pictures, The Berkeley Art Museum and Pacific Clip Archive, University of California, Berkeley
Direct Message: Art, Language, and Might, Museum of Contemporary Art, Chicago
Masculinities: Liberation through Photography, Barbican Art Gallery, LondonThought Pieces