Tearsheet Time Capsule: Life Magazine 1983

By the time I wandered into the offices of Time/Life on 6th avenue in 1983, I had produced ay least a few dozen of my contact print photo collages. I had work in a few different shows, including two solo shows in 1983, and I was always walking my portfolio around. My work caught the attention of John Loengard and Bob Ciano, who put a portfolio spread into the ‘Camera At Work’ section. It was a big deal for me, and I awaited anxiously that Summer for the issue to hit the newsstands. When it did, the first thing I thought was: WTF is Willie Nelson doing on the cover of MY LIFE magazine? Why not Elvis Costello or something?? And why in Gods name did they set up the spread with the Boat collage across from that crass yellow weight-loss ad? And why the subscription card there?? And who printed this this thing anyway, it’s all dark and plugged up! It was my initiation into a lifetime of seeing my precious work get mangled in printing. Ahh, but I digress. It really was a great experience. My parents, my father: “That’s my boy! That’s my son, in LIFE magazine!”. It was a big deal for those of their era. I think they paid an honorarium type fee of a few hundred dollars, but when they lost the original art to my ‘Photo Booth Collage’ (see alternate below) they forked over $1,500 which was the going rate for lost original photography art. My mother couldn’t wrap her head around this valuation. “$1,500 for a few photo booth photographs??” Anyway these three images were some of my more popular at the time. The Shea Stadium picture was done on a not-so-well-attended fan appreciation day. Paula, Francine and Jerald were with me, and if you look carefully you’ll see how I had them move around to fill the empty seats. Some part of Paula is visible in each of the 15 strips making up the 360°. The Boat collage has been in many a show since, and the Pool collage, made in 1979 at the shallow end of the pool with my sister Tracy as the de-facto assistant/model, was made into a 3D sphere for another later show. As it turns out, my work was a precursor to VR, and I eventually converted a handful of these into VR environments a few years ago.

SHEA STADIUM 1982 – 16″ X 20″ C Type Contact Print, Ed. 10
BOAT, CAPE COD 1981 – 11″ X 14″ C Type Contact Print, Ed. 10
POOL CAPE COD 1979 – 16″ X 20″ C Type Contact Print, Ed. 10

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David McGlynn

David McGlynn is an artist living and working in New York City and Beverly, MA. Born and raised in the Bronx, NY, he received a BFA from SUNY Purchase in 1979.  Mr. McGlynn enjoys success as both a fine art photographer and as a professional commercial photographer. His specialty is photo collage, and he has been refining his unique style for the better part of three decades. He has shown his work at several group and solo shows, including the Alternative Museum, Queens Museum, Hudson River Museum, Luring Augustine Gallery, the Neuberger Museum and Broadway Windows. His work is included in the collections of the Brooklyn Museum, the Erie Art Museum, the New Britain Museum of American Art, the Forbes Gallery Collection, and various private collections. In addition, he has created large-scale works for permanent installation for a variety of clients, including Disney/ESPN Zone restaurants, Fox Network headquarters, and AT&T Corporate Headquarters.  His work has appeared in publications including WIRED, Newsweek, Time, Money, Forbes, Vibe, ESPN, New York Times, Traveler, Popular Science and Metropolitan Home. Corporate and advertising clients include Miller Brewing Company, ‘Absolut McGlynn’ for Absolut Vodka, Kodak Funsaver cameras, Compaq, American Express, Disney, Dime Bank, Polygram/Mercury Records, and the World Financial Center. Mr. McGlynn has received several awards including: American Photography Annual 7, 10, 11, 35; Society of Publication Designers Annual 18, 23, 27, 28 and 30; Graphis Poster and Graphis Digital. Portfolio spreads of his artwork have been published in: Life Magazine, Popular Photography, Idea (Japan), Photo Magazine (France), and Photo District News.