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![]() Still, the artifacts of his original major remain embedded in his work. He initially studied history and jokes that he switched to photography after realizing he could get more dates with a camera than a textbook. Horenstein’s early career during the 1970s is a snapshot of photography in its adolescence, before the medium was fully accepted as a fine art. His images exemplify the decades they were made in: women with beehive hairstyles half a foot high, men in bell bottoms sitting on wicker chairs, and Chamie, his mother’s poodle, regally posed on a floral comforter in front of baroque wallpaper. Later, as a graduate student at the Rhode Island School of Design, his mentor Harry Callahan advised him to “find what you love, and shoot it.” This advice led him back into the dancehalls of his youth and has inspired every project since. In another, a drunken couple leer at the camera next to a tabletop vending machine proclaiming “hot nuts.”Īs a child growing up in rural Massachusetts, Horenstein became enamored with the music of country bars and dancehalls. ![]() ![]() In one portrait a young, bright-eyed Dolly Parton smiles angelically, dimple cheeked amongst a mass of blonde curls. ![]() His photographs of the 1970s honky-tonk country music scene include everyone from rising stars to drunken spectators. Henry Horenstein is as much of a fixture in honky-tonks and dive bars as cold beer, neon lights, and Elvis figurines. ![]()
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