Charles Henri Ford’s Publications Select list, including publications for which Charles Henri Ford was the editor.
50
51
Descharnes, Robert, and Gilles Néret. Dalí: The Paintings, Part I, 1904-1946, Taschen, Cologne, 2002, p. 730. 64 See, for example, photographs of Nusch Eluard in: Man Ray: Photography and Its Double, ed. by Emmanuelle de l’Ecotais and Alain Sayag, Ginko Press, Corte Madera, ca, 1998. For portraits by Pablo Picasso of Nusch Eluard and Maar, see: Picasso and Portraiture: Representation and Transformation, ed. by William Rubin, The Museum of Modern Art, Abrams, New York, 1996. 65 Herschel B. Chipp et al, Theories of Modern Art, University of California Press, Berkeley, 1970, p. 412. 66 See View, September 1940, vol. 1, no. 1. 67 Published comment on rear jacket cover of Parker Tyler, The Divine Comedy of Pavel Tchelitchew. 68 July 11, 1997 letter – quoted in the film Sleep in a Nest of Flames – from Burroughs to James Dowell and John Kolomvakis. 69 Rorem quoted in the film Sleep in a Nest of Flames. 70 Kelley, Robin D. G. “Ted Joans, 1928-2003,” obituary, The Village Voice, May 16, 2003. 71 Duncan, Michael. High Drama: Eugene Berman and the Legacy of the Melancholic Sublime, The Marion Koogler McNay Art Museum, San Antonio, and Hudson Hills Press, New York and Manchester, 2004, p. 94. 72 Rosenblum, Naomi. A World History of Photography, 3rd edition, Abbeville, New York, 1997, p. 499. 73 Ibid., p. 486. 74 Ibid., p. 485. 75 Ibid. 76 I am grateful to Katherine Rose Rainbolt for this observation about Ford’s use here of the “decisive moment.” See Rainbolt. 77 Naomi Rosenblum, p. 274. 78 In answer to comments by Gerard Malanga, Kitaori, p. 8. 79 Ford, Water from a Bucket, p. 204. 80 Ibid., p. 63. 81 According to James Dowell and John Kolomvakis; see on-line biographies of people interviewed in the film Sleep in a Nest of Flames: www.sleepinanestofflames.com/interviews.htm 82 Duncan, High Drama, p. 114. 83 Ibid. 84 Vogel, Carol. “Exposure for a Nude,” The New York Times, September 30, 2005, Section e, p. 35. 63
Duncan, High Drama, p. 114. 86 Information from a July 24, 2006 letter from Stevenson to me about the photo’s date, place, and model’s name. 87 Goodie Magazine, no. 23; Romy Ashby, editor; New York, 2004, p. 21. 88 Dowell quoted in the film Sleep in a Nest of Flames. 89 Williams quoted in Goodie Magazine, no. 23, p. 21. 90 The children’s names are Sarah Scott and Stephen Mullinnix. 91 Information from August 2006 telephone conversation with Shelley Scott. 92 One of Gertrude Cato [Ford’s] paintings, Jimmie Lonesome, depicts flowers and a cat and is reproduced on p. 5 of the February-March 1942 View, vol. 1, nos. 11-12, Kraus reprint edition, 1969. 93 Tillman, Water from a Bucket, p. vii. 94 Kirstein, Tchelitchev, 1994, p. 15; see also Victor Koshkin-Youritzin, Pavel Tchelitchew, Fred Jones Jr. Museum of Art, University of Oklahoma, Norman, 2002, p. 6. 95 Soby, James Thrall. Tchelitchew: Paintings, Drawings, The Museum of Modern Art/Arno Press, New York, 1972 reprint edition of original 1942 edition, p. 32. 96 Water from a Bucket, November 1951 entry, p. 126. Regarding Tchelitchew’s art and his inclusion of the butterfly, it prominently appears next to the crucial, central figure in Hide-and-Seek and also in the foreground of Tchelitchew’s large, 1936-38 oil Phenomena (State Tretyakov Gallery, Moscow). Fascinatingly, the 1988 reprint edition of Ford’s and Tyler’s The Young and Evil includes six watercolors by Tchelitchew; in one of them – a beautiful, frontal portrait head of Ford – a huge white butterfly covers, almost like a mask, much of his face, including his nose and eyes. This painting contains provocative similarities to Ford’s self-portrait-in-a-mirror photograph with a butterfly in this show. 97 See Watson, The Young and Evil, p. xxxvi, note 46. 98 Tillman, Water from a Bucket, p. ix. 85
The Brass Monkey (a school broadside which Ford edited). Blues: A Magazine of New Rhythms, established 1929 (9 issues); Ford, editor. The Young and Evil (with Parker Tyler); Paris, 1933, Obelisk Press; reprint edition, illustrated with paintings by Pavel Tchelitchew and an introduction by Steven Watson; A Sea Horse Book, Gay Presses of New York, 1988: novel. View: Parade of the Avant-garde: An Anthology of View Magazine (1940-1947), Charles Henri Ford, editor; Thunder’s Mouth Press, New York, 1991. Water From a Bucket: A Diary, 1948-1957 (with an introduction by Lynn Tillman); Turtle Point Press, New York, 2001). Volumes of Charles Henri Ford’s Poetry:97 A Pamphlet of Sonnets (1936). The Garden of Disorder (1938). ABC’s (1940). The Overturned Lake (1941). Poems for Painters (1945). The Half-Thoughts, The Distances of Pain (1947). Sleep in a Nest of Flames (with a preface by Edith Sitwell, 1949). Spare Parts (collage poems in color-photolitho; 1966) Silver Flower Coo (collage poems; 1968). Flag of Ecstasy: Selected Poems (1972) 7 Poems (1974). Om Krishna I, II, III (1979, 1981, 1982) Haiku & Imprints (1984) Handshakes from Heaven (1985) Emblems of Arachne (1986). Out of the Labyrinth: Selected Poems (City Lights, 1991)98 Operation Minotaur: Haikus and Collages by Charles Henri Ford, Photographs by Indra Tamang; Shivastan Publishing; Kathmandu, Nepal and Woodstock, New York; 2006. Please note: Yale University’s Beinecke Rare Book and Manuscript Library contains a substantial collection of Ford’s papers listed under “Papers of Charles Henri Ford”; the Beinecke Library also possesses photographs of Ford. The Harry Ransom Humanities Research Center at the University of Texas at Austin has extensive holdings by Ford, as well as by Parker Tyler, in the Center’s manuscript and photography collections.
Photogra phs by C ha rl es H enri Ford
Fred Jones J r. Mus eum of A rt • The U ni vers i t y of Okl ahoma
no. 25. In an August 29, 2006 telephone conversation, Leslie Tonkonow said that these photographs by Ford were “in the manner of Cartier-Bresson.” Regarding this exhibit, see also: Grace Glueck, “Charles Henri Ford and Allen Frame: ‘Photographs from Italy and Elsewhere,’” The New York Times, July 4, 1997, section C, p. 24. 55 Smith, Roberta. “Charles Henri Ford: ‘Printed Matter 1929-1969,’” The New York Times, June 25, 1999. The Ubu Gallery press release for this 1999 show states: “The Poem Posters were published in 1964/65 in the workshop of the printer, Vassily Papachrysanthou in Athens [Greece]….The Poem Posters were produced in extremely limited runs employing an industrial photo-offset lithographic process and many are monotypes. Ford, in conjunction with the Papachrysanthou engineers, employed camera, filters, inks, film coatings, plastic and aluminum plates and the ‘roaring, fully-automated press’ to devise his compositions ‘on the spot.’ The results are large ‘collage-like’ posters – unique syntheses of cut-up words and images.” 56 Oisteanu (who ends his obituary of Ford with this haiku). 57 The information in this paragraph was provided by Indra Tamang. In 2006, New York’s Mitchell Algus Gallery paid homage to Ford by giving him a small retrospective – curated by Jack Pierson – containing photographs and many other aspects of Ford’s highly varied artistic career; see Michael Kimmelman’s review of this show in the January 24, 2006 New York Times. 58 Water from a Bucket, May 1954 entry, p. 183. 59 See also Katherine Rose Rainbolt’s Photographs by Charles Henri Ford: A Gallery Guide, issued by the University of Oklahoma’s Fred Jones Jr. Museum of Art to accompany this exhibition; 2006. 60 According to Indra Tamang, who provided information regarding the locations, subjects, and dates of most photographs exhibited here, this is a street in Italy. However, particularly considering the design of the background architecture, this may be a view of New York City. 61 Rainbolt. 62 Webb, Peter, “Erotic dreams in Paris, Obituary: Leonor Fini,” The Guardian, Manchester, January 23, 1996.