Steve Lacy Series
1977-78
Introduction
This body of work was inspired by the music of American composer and soprano saxophone performer Steve Lacy (1934-2004) who left the States to live in Paris so he could play his music free of compromise. I met him several times before he died (from cancer of the liver). He was a kind and humble person who lived his music, which was lyrical and aggressive, funny and philosophical. He spoke of music as an impersonal force that blew through him. His duty was to honor the Music, to allow it to go where It wanted to go. I have tried to allow my creative process to have the same freedom, inspired in part by Lacy's music and his musical credo.
I was especially impressed (in the mid 1970's) by Lacy's original and gutsy solo soprano saxophone recordings. I loved his beautiful tone and the East Asian influences. I loved the way he would bend and stretch notes; I loved the way he used silence; I was fascinated by the way he structured his pieces and repeated phrases (see my later Triadic Memories project inspired by composer Morton Feldman); I loved his solo musical portraits of animals and things and feelings and situations, and the way he titled his compositions: The Crust, Breath, Trickles, The Wane, Blinks, The Owl, Naked Lunch, Stamps, Deadline, Flakes--an ice skating piece, and The Way.
In 1978 I exhibited the Lacy photographs at the Renaissance Society Galleries, University of Chicago. I arranged the unmounted prints 16x20" gelatin silver prints, behind glass (and some smaller prints as well) on the wall in such a way that the images became like a graphic musical score. (See this link click here for archive installation photos and the Gallery's brief description.)
Susanne Ghez, director of the Gallery from 1973 to 2013, invited Lacy to come and perform at the opening of the exhibition. The idea was to bring the music back full circle through the photographs via a live concert in which Lacy would respond improvisationally to the images and the installation. He could not come to the States at the time so Susanne invited members from the Chicago based jazz group AACM (Association for the Advancement of Creative Musicians, Chicago), to perform at the opening, and they accepted! Henry Threadgill and Doug Stewart and several others moved through the exhibition with their instruments and improvised to the individual images and to the installation. And I was told they had written some pieces specifically for the opening based or several visits to see the gallery and the installation. I was thrilled when I saw one musician actually put his horn right up to a photograph and blow into it!
Recordings of Lacy's music was played in the galleries throughout the duration of the exhibition. The art critic for the Chicago Tribune, Alan Artner, wrote that it was one of the best photography exhibitions of 1978 in Chicago.
Three years before Lacy passed away I saw him perform in Chicago. I was having an exhibition at the Carol Ehlers Gallery at that time. We devoted a wall in the Gallery to works from the Steve Lacy Series to pay homage to this wonderful man and musician who would be coming to Chicago to perform. Lacy made time to visit the Gallery and see my show.
When I talked to him after his concert, he told me he really liked my work and could see what I was trying to get at in the Lacy photographs. I felt reassured by his words, and I think he was reassured by what he had seen, for this was probably the first time he saw some of the actual photographs made in response and in homage to Lacy and the Music.
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The exhibit at the Renaissance Society Galleries began as an idea formed between myself and the painter, poet and jazz musician Dan Kaniess, who passed away in 2012. He was a student in one of my photography classes at the time. When he learned of my Steve Lacy project, we eventually became collaborators for the installation of the project at the Galleries. We spent many hours together listening to Lacy's recordings, talking together about the music, the visual images, and possible installation strategies. Then he helped me install the exhibition at the Renaissance Society Galleries.
I had shown the photographs to David Travis, curator of photography at the Art Institute of Chicago. He referred me to Susanne Ghez, Director of the Renaissance Society Galleries. David's wife Leslie worked at the Gallery; when she saw the photographs she encouraged Susanne to see the work as well. Susanne then wholeheartedly embraced the idea of the exhibition and concert.
I am grateful to Dan Kaniess, Susanne Ghez, Leslie and David Travis, Henry Threadgill, Doug Stewart and the other musicians of the AACM who performed at the concert for their support and participation. This exhibition was my break-through moment as a young artist in Chicago. The show led to being represented by the Ehlers-Caudell Gallery, a show at the Young Hoffman Gallery, and then a mid-career retrospective at the Art Institute of Chicago in 1982.
I send my heartfelt gratitude to Steve Lacy who no doubt continues to make that ineffable music which remains for me a living inspiration.
I am grateful to Dan Kaniess, Susanne Ghez, Leslie and David Travis, Henry Threadgill, Doug Stewart and the other musicians of the AACM who performed at the concert for their support and participation. This exhibition was my break-through moment as a young artist in Chicago. The show led to being represented by the Ehlers-Caudell Gallery, a show at the Young Hoffman Gallery, and then a mid-career retrospective at the Art Institute of Chicago in 1982.
I send my heartfelt gratitude to Steve Lacy who no doubt continues to make that ineffable music which remains for me a living inspiration.
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Note: the original 1977-78 gelatin silver prints are 13.75 x 13.75" (image size) on 16x20 paper. The 2011 and 2019 digitally revised images presented here are printed the same size. Be sure to see my related project in homage to the great jazz pianist and composer, Thelonious Monk, Monk's Quirky Music. Monk was Steve Lacy's teacher and mentor. Lacy performed in Monk's band for a short time; he composed music in honor of Monk, and he devoted entire concerts to his own improvisations on Monk's compositions.
The Photographs
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This project page was created in 2011
and revised in July 2019
This project page was created in 2011
and revised in July 2019
Museum of Wisconsin Art's Installation of Steve Lacy photographs in their Downtown Milwaukee Gallery, located in the Saint Kate Art Hotel during the SPE Midwest Chapter Conference, October, 2019
Renaissanace Society Archive Link to the 1978 Steve Lacy Exhibition
Monk and his Quirky Music.
Makom : Milwaukee "Place" Photography projects
Also Visit:
The Complete list of my Music Inspired Photography Projects
Welcome Page to The Departing Landscape website which includes the complete hyperlinked listing of my online photography projects dating back to the 1960's, my resume, contact information, and more.
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