Hal Fischer: Seminal Works

(Paperback)

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Hal Fischer: Seminal Works collects Gay Semiotics with Fischer's rarely seen early photography and features a range of essays that provide vital perspectives on the enduring themes of his work.

In the late 1970s, as gay men in San Francisco were enjoying a new era of liberation following the Stonewall Riots, Hal Fischer made a signal photo-text project that categorized denizens of the Castro and Haight-Ashbury neighborhoods by social type. Sly and systematic, Fischer's Gay Semiotics portrays the sartorial codes of queer street style-earrings, handkerchiefs, jeans, or leather-that broadcast a range of desires to potential sexual prospects. Fischer annotated his black-and-white photographs with commentary about gay archetypes, such as the jock or the hippie, with an occasional sense of irreverence. The series was published as an artist's book in 1978 and quickly became an influential record of a libertine era before AIDS, the rise of internet dating apps, and tech industryaccelerated gentrification transformed queer life in San Francisco forever. Hal Fischer: Seminal Works includes Gay Semiotics together with Fischer's rarely seen early photography and features essays that offer vital new perspectives on the enduring themes of his work, from the history of San Francisco to the gay rights movement's impact on shifting visions of race and masculinity.

Author Bio

Hal Fischer (born in Kansas City, Missouri, 1950) is an artist, art critic, and museum professional. Fischer's work has been presented in solo and group exhibitions and is featured in both public and private collections, including the Museum of Modern Art, New York. His books include Gay Semiotics (1977) and 18th near Castro St. x 24 (1978). Jarrett Earnest is a writer and curator. His books include What It Means to Write about Art: Interviews with Art Critics (2018) and Valid until Sunset (2023). Evan Moffitt is a writer, journalist, and critic whose work has appeared in the Guardian, the New York Times, Financial Times, Artforum, Art in America, Aperture, and Frieze, where he was formerly senior editor.