Curt & Al Goldstein A Miller Ringma Hoppe Collaboration

The Photo Session, Screw Offices, NYC, November, 1978

Marc H. Miller and Al Goldstein
Marc H. Miller and Al Goldstein
Bettie Ringma giving Al Goldstein a hug.
Bettie Ringma giving Al Goldstein a hug.
Al Goldstein with Curt Hoppe (photograph used for the painting)
Al Goldstein with Curt Hoppe (photograph used for the painting)

Gallery Show

Miller, Ringma and Hoppe posing with the finished painting.
Miller, Ringma and Hoppe posing with the finished painting.
Paul Tschinkel documenting the Robert Freidus opening.
Paul Tschinkel documenting the Robert Freidus opening.
Curt introducing Al Goldstein.
Curt introducing Al Goldstein.
Al Goldstein seated at the gallery.
Al Goldstein seated at the gallery.
Audience at the Robert Freidus gallery
Audience at the Robert Freidus gallery
Audience at the Robert Freidus gallery
Audience at the Robert Freidus gallery
Al Goldstein signing the painting.
Al Goldstein signing the painting.
An audience member poses for a polaroid with Al Goldstein.
An audience member poses for a polaroid with Al Goldstein.
Al Goldstein with Miller, Ringma, Hoppe and Neke Carson (performance organizer)
Al Goldstein with Miller, Ringma, Hoppe and Neke Carson (performance organizer)

Curt's Good Buddy Al Goldstein
New York, 1979

Video by Paul Tschinkel

The painting "Curt's Good Buddy Al Goldstein" would take the Miller Ringma Hoppe team to new artistic heights with a well attended performance at a Soho gallery starring New York's controversial peddler of smut. Goldstein published Screw, a cheaply produced sex paper often criticized for its extreme crassness and lack of taste but also admired for its humor and creativity. Curt chose Goldstein to be the subject of his "Paparazzi Self-Portrait" because he had long admired the publisher's openness about sex and his intolerance of hypocrisy. When we approached Al to see if he would participate, we found he was not only willing but eager. Together we hatched an ambitious plan that concluded with the live event at the Robert Freidus Gallery where the painting was signed and members of the audience got their own photographs with Goldstein. Every step of the process was videotaped by Paul Tschinkel. While Curt’s admiration of Al was undoubtedly sincere, he also had another reason for involving the publisher. "Just watch," Curt predicted, "when this is over Al will offer me a job." Sure enough, as the performance came to an end and Al headed towards the elevator, he turned to Curt and asked if he wanted to paint centerfolds for Screw. Curt enthusiastically accepted!