We’d drink Côtes du Rhône, smoke joints, and sit around the fireplace and discuss feminism.” “We’d have all these different women over for chicken dinners-Gloria Steinem, Marisol Escobar. “Kate was one of my great teachers,” MacAdams says. “We felt like we could just put ourselves out there and declare what we felt and thought, or were willing to work for.” In that time of community, Millett’s loft on the Bowery was a hub. In her artist statement for the book, MacAdams was a bit more blunt: “I looked for women who could say, ‘F- off,’ if they didn’t agree with you, for women who had strength and softness in their eyes and a directness in the way they dealt with their life.”įor the actress Lily Tomlin, Emergence continues to be a touchstone: “It’s an important part of our history that focuses on a pivotal moment.” Those were innocent times, Tomlin observes. Cynthia captures them boldly, without trying to be complex or intellectual.” “The spirit of that struggle is in the pictures. “This work is pertinent because we want to see what these amazing women looked like when they were in their prime, shaking things up,” he says. He surmises she hadn’t been offered such a significant show until then because the directness and politics of her photos might have been a turnoff for other dealers. Steven Kasher, who specializes in photography that intersects art and social struggle, presented MacAdams’s work at his New York gallery in 2010. Now, 40 years after Emergence was published, a documentary inspired by the book, Feminists: What Were They Thinking?, is in the making. She’s perhaps best known for her 1977 second-wave-feminist book, Emergence, a collection of portraits of ordinary women as well as artists, activists, and intellectuals on the verge-women like Phillips, Gloria Steinem, Patti Smith, Jane Fonda, Mary Ellen Mark, Lily Tomlin, Laurie Anderson, and Judy Chicago. Her work is stylish and stark yet sensual, clear, and as unabashed as the close-up she once took of a clitoris. That fearless, searching curiosity has led MacAdams through a career that has made her an art world outsider but also someone who often finds herself at the nexus of a movement. I think we’re fools when we stop going with the wind, because the wind is a great guide.” “I was 30 years old and went wherever the winds took me. “Yeah, I was a nudist, but I also impressed them with my blow-dart-gun skills,” MacAdams says.
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It’s no wonder the men who navigated the boat that took them on an excursion down the Amazon while on location for the film never forgot the topless blonde standing at the helm, her arms outstretched in homage to the local gods. Phillips characterizes MacAdams as someone who follows her passions and makes strong impressions along the way. MacAdams, who studied at the Actors Studio, in New York, with Lee Strasberg, has been friends with the Mamas & the Papas singer ever since.
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She pops the cork of a Champagne bottle, pours a couple of glasses, and recounts the time she went to Peru to act in Dennis Hopper’s infamous The Last Movie-a cocaine-, LSD-, and sex-fueled 1971 production that costar Michelle Phillips jokingly says “almost became the last movie for all of us.” And then there’s the looming image of the Hindu goddess Kali-fierce, ready to fight-whom MacAdams views as both her protector and a destroyer of obstacles. She’s surrounded by her work (including a large framed print of an Egyptian pyramid) and simple drawings of nudes by her former lover, the artist and feminist writer Kate Millett.
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The photographer Cynthia MacAdams, 77, is sitting in the dining room of her Los Angeles apartment admiring two walls she recently painted red, in accordance with feng shui principles.