The Art of Exotic Dance – Photographer Elizabeth Waterman Explores the World of Female Strippers

You may never have considered strippers and exotic dancers as subjects of fine art photography. But Elizabeth Waterman did with her MONEYGAME project, and viewers are the richer for it.

The project began last year with a book of these photographs. Waterman spent five years of Saturday nights in the strip clubs of Los Angeles, New York, Las Vegas, Miami, and New Orleans, capturing uniquely personal photographic images of the women earning a living there. From arraying themselves in glitzy performance attire to climbing the pole, and counting their dollar tips at closing time, she captures both the strenuousness of this work and the agility it requires, a combination of competitive athletics and charismatic performing styles.

Now, images are on view at ArtBarLA in Mar Vista, with a closing event set for Sunday ,August the 14th, and more exhibitions planned through 2023 in London at BOOGIE-WALL, in the fall, and at Boston’s Howard Yezerski Gallery next spring, among other locations.

Beautifully lit and elegantly sinuous,  whether in vibrant color or pristine noir black and white, the photographs are both art and activism. Waterman has used the images to help support  LA strippers who are currently on strike in the local area. A picket line at North Hollywood’s Star Garden Topless Dive Bar is in its fourth month, with the performers locked out for speaking up about safety issues, working conditions, an attempt to unionize the club. If they succeed at realizing their demands, it would be a very needed first in this country. The often elaborately costumed picket line has started the Stripper Action Fund to cover their basic needs, and Waterman will be donating a portion of the proceeds from print sales of her work on the 14th, to support the Stripper Action Fund.

When MONEYGAME itself opened last month, one of Waterman’s subjects and one of the strikers, performed and spoke about the strike’s goals. At the August 14th closing event, strip performer Tess, also on strike, will participate in a short Q & A about it, and perform a pole dance.

 

Along with supporting the laudable goals of the stripper’s strike, attending the closing exhibition will garner a look at the intimate look at stripper life that Waterman reveals. The intimacy she depicts was hard won, after months of struggling to access clubs to shoot her images and working to establish genuine relationships with the dancers. Saying that she herself has been changed by the experience she notes, “I’ve taken on some of their audacity.” She shoots in a bold, highly cinematic and narrative style, engaging both her viewers and subjects with a sense of immediacy through her fluid style.

Recasting the women’s work through a feminine perspective allows viewers to see stripping and exotic dancing as a rigorous job, one that requires skill and grace, as well as the grit to endure the often-fraught setting of performing and cultural mores about the job. Waterman’s gaze is both nuanced and relatable, celebrating the humanity and commitment to craft that the dancers share in their work and to their separate personal lives and future plans.

Curated by Juri Koll, founder of the Venice Institute of Contemporary Art, the exhibition includes photographs taken from the book, and others that have not been seen previously. The images, shot primarily on 35mm and 120mm film, capture both the skill and effort of performing, and the societal position of the performers. One could easily say that despite the skill required in their work, the dancers do not receive the reverence bestowed upon those performing classical ballet, nor as respectful an audience.

The photographer’s beautifully realized exhibition photographs, and those in her coffee-table book MONEYGAME, published last year from XYZ Books, reveal a profession, the lives behind it, and their unique challenges, all with a genuine beauty in presentation. A very limited quantity of the book will be available for collectors who purchase prints at the exhibition.

Devoted to her subject and the complexities and nuances of this type of “women’s work,” the Los Angeles-based Waterman plans to continue photographing strippers and exotic dancers, the better to support them in their efforts for better working conditions.

ArtBarLA gallery and stage is located at 12017 Venice Blvd., on the west side.

  • Genie Davis; photos probided by the artist

Let There Be Light: Linda Sue Price and Michael Flechtner Glow the Fine Arts Building

 

Neon artists Linda Sue Price and Michael Flechtner presented new and glowing neon works at the Fine Arts Building, in a stellar summer show. While the exhibition just closed, Price and Flechtner will be back in mid-January at the venue, one perfectly suited to their medium and very different but brilliantly illuminated aesthetics.

Price makes abstract and figuratively abstract works that seem to grow as they shimmer, an appearance perfect for many of her current subjects, imagined plants with names like “Kapeeno” and “Critacy.”

Price’s use of neon beading is riveting. Another smart touch are neon plants springing from unique planters. Making the flora and fauna seem even more alive.

Some works on display are collaborative with artist Tracey Weiss, using Weiss’s found plastic elements to shape floral images woven with neon.

 

Flechtner uses more traditional components of neon work than Price. There’s signage styles turned wild as in his moving “x’s” in “Dos Equis,” and a life size figure of a robotic man in “Arms Akimbo.”

Cats wave their lucky arms in “Jan Ken Pon (rock-paper-scissor); rats pursue cheese in “Hickory Dickory (Who moved my cheese?).” Wit and fun merge with superior creativity in his work, which often moves from a homage to the age of kinetic neon signs to something insanely futuristic and shot through with the whimsical.

Together, the two artists’ highly accomplished works are extremely different in approach, but each astonishingly fresh and bold, tributes to imagination, joy, and lighting up their own respective messages.

Their commitment to craft – no spoiler here, neon bending is not a simple task, is beautiful and compelling.  Take a look at some of their work here, and be sure to look out for their next show together in the beautiful glass encloesd niches of the Fine Arts Building lobby come January, a just-past-the-holidays present to savor.

  • Genie Davis, photos by Genie Davis