John Cohen Knihy

Pull My Daisy is a collectable object featuring Robert Frank’s iconic 1959 film on DVD, accompanied by a text booklet with an introduction, film transcript, and lyrics to the opening song, as well as a photo-magazine of on-set documentary images by John Cohen. This work epitomizes the Beat Generation, directed by Robert Frank and Alfred Leslie, and adapted from an unfinished stage play by Jack Kerouac. Kerouac also lends his voice for improvised narration. The film stars notable figures such as Allen Ginsberg, Gregory Corso, Larry Rivers, and Frank’s infant son, Pablo. It narrates an incident involving Neal Cassady and his wife Carolyn, focusing on a railway brakeman whose painter wife invites a bishop for dinner, only for the brakeman's bohemian friends to disrupt the evening with humorous consequences. Initially celebrated as an improvisational masterpiece, it was later revealed by Leslie in 1968 that the film was meticulously planned and rehearsed. Robert Frank, born in Zurich in 1924 and a U.S. immigrant since 1947, is renowned for his influential book The Americans, published in 1959, along with other significant works like Black White and Things and Lines of My Hand. He currently splits his time between New York City and Nova Scotia, Canada.

John Cohen was a founding member of the New Lost City Ramblers, one of the folk revival’s most authentic and respected musical groups. In the 1960s he made a series of photographs of the last years of Woody Guthrie’s life, and early portraits of Bob Dylan on his arrival in New York, depicting two titans of American music at opposite ends of their careers. In the process, Cohen portrayed one of the great moments of American folk music history. The book contains other images from the 1960s including the music scenes at Washington Square and on MacDougal Street in Greenwich Village, images of Jerry Garcia and the musicians in San Francisco’s “Family Dog,” as well as the psychedelic “Sky River Rock” festival. In 1970, Dylan requested Cohen make another set of color photographs of him with a “camera that could take photographs from a block away.” By then, he had become world-famous. Bob was seen walking unrecognized on the streets of the city and at a farm in upstate NY. The photographs were used in Dylan’s album “Self Portrait.”

Introduction by Greil Marcus. Preface by Patti Smith. Art Direction by Yolanda Cuomo. Be it in the Peruvian Andes, in Kentucky bluegrass country, in the Gospel churches of Brooklyn, or in Greenwich Village with Bob Dylan and the Beats, famed musician John Cohen's vision transcends history, even while it distills the spirit of a period and a place. There Is No Eye, Cohen's first monograph, is a guided tour through the worlds of outsider artists, poets, and musicians. Cohen's lyrical stories of the cultures he has encountered complement his photographs taken over the past five decades. Featuring never-before-seen photographs of legendary Beat generation icons, from literary lions Jack Kerouac, Allen Ginsberg, and Gregory Corso to artists and photographers Grace Hartigan, Franz Kline, Red Grooms, and Robert Frank, and a panoply of American Roots musicians, from Bob Dylan, Woody Guthrie, and Muddy Waters to Doc Watson, Elizabeth Cotton, and Roscoe Holcomb, There Is No Eye captures some of the most influential artists of our time.

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Photographer and musician John Cohen's final testimony: a lyrical flow of images from his 60-year career One cold sunny morning in December 2018, Gerhard Steidl drove from New York City to see John Cohen (1932-2019)--photographer, filmmaker and founding member of the New Lost City Ramblers--at his home in upstate Putnam Valley. The purpose of the visit was to collect images for Cohen's 2019 book Look up to the Moon. In Cohen's barn-cum-studio they stumbled across another group of prints from across his 60-year career. Steidl took the boxes under his arm, and the photos now appear for the first time here, in Cohen's most lyrical and personal book, as well as his last. Sequenced wholly by mood and intuition and eschewing titles and dates, the portraits, landscapes and still lifes, along with drawings, unify disparate subjects--his wife Penny, Roscoe Holcomb, fragments of the Parthenon--into a dreamlike flow. Cohen's text, recalling his intertwining dreams across decades, explores the line between dream and reality, memory and book.

A rich and intimate portrait of the New York downtown art scene between 1957 and 1963 Cheap Rents … and de Kooning revisits the New York downtown art scene between 1957 and 1963, when the Tenth Street galleries were the center of the art world and inexpensive lofts were still available. John Cohen was there, and portraying the artists' haunts--among them the Cedar Tavern, the Club and the Tanager Gallery--and creating a definitive photographic impression of a lively, hedonistic, highly sociable scene. Abstract Expressionists, Pop artists and Beat writers could be found at these bars and galleries; Willem de Kooning's studio was in the middle of the block, and is also documented here. This volume, by one of the leading chroniclers of the era, provides its richest and most intimate portrait.John Cohen (born 1932) is a photographer, musicologist and founding member of the New Lost City Ramblers. He has extensively documented Bob Dylan, the Beat writers and folk musicians in Appalachia. He has been one of the most important "discoverers" of traditional musicians and singers, recording Dillard Chandler and Roscoe Holcomb among others.

Walking in the Light is John Cohen’s photographic journey towards and through gospel music. From 1954 to 1964 he photographed in the black churches of East New York, on the streets of New Haven, in the home of blind Reverend Gary Davis, as well as in the darkness of a boxing gym and the blackness of coal shovelers at an industrial site. Of all these images, those of worshippers at a small church in Harlem form the emotional centerpiece of Cohen’s journey, where music leads to spiritual release in trances and dances. The last destination of this odyssey is Johns Island, South Carolina, where Gullah children connect to African ancestors through games and play. Cohen’s photographs of musical performances in religious settings reflect the inner sound expressed on the face of a singer, a soulful expression, the quality of light that illuminates the face of a child, or the intensity of a prayer. Sound, song and religious feeling are permanently rendered in black and white.