These photographs were taken by photographer Billy Monk in Cape Town nightclubs in 1967-69. The unusual narrative of his life and work has often been related and embellished upon, and has become entwined with our perceptions of the images. In essence, he was born in 1937, and worked as a nightclub bouncer for Les Catacombs Club in Cape Town in the late 1960s when he was around 30 years of age. He later moved to the West Coast and lived in Port Nolloth periodically until his death in 1982.
Using a Pentax camera with 35mm focal-length lens, Billy Monk photographed the nightclub revellers and sold the prints to his subjects. His close and long friendships with many of the people in the images allowed him to photograph them with extraordinary intimacy in all their states of joy and sadness. His images of nightlife seem carefree and far away from the scars and segregation of apartheid that fractured this society in the daylight.
In 1969 Monk stopped taking photographs at the club. Ten years later his contact sheets and negatives were discovered in a studio by Jac de Villiers who recognised the significance of his work. He arranged a first exhibition of the work in 1982 at the Market Gallery in Johannesburg. Monk could not make the opening and two weeks later, en route to seeing the exhibition, he was tragically shot dead in a fight and never saw his exhibition. Recently De Villiers revisited Monk's contact sheets and curated the exhibition of the classic images along with some that have not been shown before.
Since the images were first seen in 1982, they have been critically acclaimed and celebrated on the rare occasions that they have been shown. The images raise the question why they continue to resonate so strongly with viewers 40 years later, and it is perhaps because of the remarkable pathos and empathy Billy Monk had for his subjects, regardless of their disposition, circumstances and transgressions.
(via Michael Stevenson)
Using a Pentax camera with 35mm focal-length lens, Billy Monk photographed the nightclub revellers and sold the prints to his subjects. His close and long friendships with many of the people in the images allowed him to photograph them with extraordinary intimacy in all their states of joy and sadness. His images of nightlife seem carefree and far away from the scars and segregation of apartheid that fractured this society in the daylight.
In 1969 Monk stopped taking photographs at the club. Ten years later his contact sheets and negatives were discovered in a studio by Jac de Villiers who recognised the significance of his work. He arranged a first exhibition of the work in 1982 at the Market Gallery in Johannesburg. Monk could not make the opening and two weeks later, en route to seeing the exhibition, he was tragically shot dead in a fight and never saw his exhibition. Recently De Villiers revisited Monk's contact sheets and curated the exhibition of the classic images along with some that have not been shown before.
Since the images were first seen in 1982, they have been critically acclaimed and celebrated on the rare occasions that they have been shown. The images raise the question why they continue to resonate so strongly with viewers 40 years later, and it is perhaps because of the remarkable pathos and empathy Billy Monk had for his subjects, regardless of their disposition, circumstances and transgressions.
(via Michael Stevenson)
Love the silly energy in these.
ReplyDeleteAwesome captures of shadows and light.
ReplyDeleteNot a dry seat in the house.
ReplyDeleteThat first picture was taken during the 2012 Olympics closing ceremony. Paul has just started singing the na nana nanana na in Hey Jude, and the poor lass' ears are bleeding!
ReplyDeleteI have silly energy, you would defiantly love me!
ReplyDeleteAwesome!!!! This is one of the best series I have ever seen.
ReplyDeletethese photos are captivating! Monk's intimacy with his subjects is palpable. It's amazing how art can transcend political realities. Reminds me of the escapism in a game like Snow Rider 3D, where you can briefly forget the world and just enjoy the ride. I wonder if Monk felt a similar sense of freedom behind the lens. Great historical insight!
ReplyDeleteBilly Monk's 1960s Cape Town nightclub photos offer a raw glimpse into a world untouched by apartheid's harsh light. It's fascinating how his lens captured such intimacy, a stark contrast to the era's societal divisions. The discovery of his work and tragic death add another layer to the story. It's a poignant narrative reminding me of overcoming obstacles, like mastering the challenges in Slope Game. These images resonate deeply, echoing Monk's empathy.
ReplyDeleteThese candid photos from Cape Town are amazing! It's like stepping back in time. Makes you wonder what stories those faces hold. Kinda makes me want to play around with a Doll Generator and see if I can recreate some of that vintage vibe!
ReplyDeleteNo matter the year, the way people entertain themselves and express their emotions is the same. These photos are not surprising. But it is quite surprising that these images have been preserved for so long.
ReplyDelete