After we got outside, a friend said "going up." For
the next year or so, I photographed the end of the
Beat scene. McClure and Ginsberg gave me the
access but my honesty, skill and professionalism kept
me in good graces with all concerned. Then the
Haight-Ashbury and the hippies came out of the
Beat movement, so I was well placed to continue
shooting the counter-culture. I caught the cultural
transition in photographs and that is my legacy.
Bill: Any particular memories about Ginsberg, Dylan,
or anyone from that scene?
the next year or so, I photographed the end of the
Beat scene. McClure and Ginsberg gave me the
access but my honesty, skill and professionalism kept
me in good graces with all concerned. Then the
Haight-Ashbury and the hippies came out of the
Beat movement, so I was well placed to continue
shooting the counter-culture. I caught the cultural
transition in photographs and that is my legacy.
Bill: Any particular memories about Ginsberg, Dylan,
or anyone from that scene?
Larry: All memories from those days were positive. I
was treated with respect by the Beats they were
very nice to me, besides they were receiving
mounted 11x14 prints every week. I would go to a
party with McClure and people would come up to me
and ask who I was. I would tell them I was nobody.
To my surprise they would say, "No man, you have
to be somebody, you came here with McClure."
My only bad experience was when I was shooting
Dylan in the City Lights alley. I brought 2 cameras,
was treated with respect by the Beats they were
very nice to me, besides they were receiving
mounted 11x14 prints every week. I would go to a
party with McClure and people would come up to me
and ask who I was. I would tell them I was nobody.
To my surprise they would say, "No man, you have
to be somebody, you came here with McClure."
My only bad experience was when I was shooting
Dylan in the City Lights alley. I brought 2 cameras,
| Left: "Shiva/Raven", Emeryville 2004 On his web site. Keenan says, "Shiva is a model, artist and photographer whose totem is the raven. She is flat-out amazing. I asked her to pose for this site once I saw her back. I did have to remove 6 other tattoos in Photoshop to get to the essence of what I wanted to show for my project. Flying women have been a lifetime obsession of mine since Catholic grammar school. I was never good enough in grammar school to get a holy card. As an artist, even then, I saw how beautiful they were, so I have spent my life creating my 'holy cards.' " |
| Above: Hell's Angel Freewheelin' Frank and poet Michael McClure (typing), 1966. On his web site, Keenan says, "Michael McClure introduced me to Freewheelin. They were doing a book together for Grove Press and needed a cover shot. Frank was the secretary of the San Francisco branch of the Hell's Angels. He would dictate the book to McClure who would type the words. I liked Frank very much; he was always good to me. He gave me a Hell's Angels protection card, just in case. He would invite me to parties, drive-in movies, etc., but I was too afraid to go." |
| Above: San Francisco, 2003 - Keenan photographed Diane di Prima reading from her works at City Lights Books |
| Larry Keenan Interview, Page 2 |
one for me, and one for a girlfriend of mine. It is long story but to keep it short, she did not come
to the session. In the frenzy of the shoot with the crowd being kept at bay by Ginsberg, I used the
camera I brought for her. It had no film in it (she was going to use her own film). When it seemed
as if the end of the roll would never come, I realized there was no film in the camera. It said #40 on
the film counter and I knew it should only be #36 if there was film in the camera. The first camera
was hurried work because I did not know how long we were going to be able to work with these
cats. My best stuff was with the camera without film (when I was calmer).
to the session. In the frenzy of the shoot with the crowd being kept at bay by Ginsberg, I used the
camera I brought for her. It had no film in it (she was going to use her own film). When it seemed
as if the end of the roll would never come, I realized there was no film in the camera. It said #40 on
the film counter and I knew it should only be #36 if there was film in the camera. The first camera
was hurried work because I did not know how long we were going to be able to work with these
cats. My best stuff was with the camera without film (when I was calmer).
Bill: I know that Dennis Hopper is into photography,
and I know you have taken pictures of him. Has he
ever asked you for tips or advice?
Larry: No, he does not need my help. He is a very
good photographer and artist.
Bill: Ok, this question is off-the-wall, but I've always
wanted to ask someone who is an expert in the
field. I once heard a story about a murder mystery
being solved because, while the culprit was in the
victim's room, there was a flash of lightning, which
burned a photographic image of the killer onto a
mirror in the room. Is that possible?
Larry: It really depends on what the image looks
like. Anything is possible and I share the same
philosophy as Marilyn Monroe. We believe a little in
everything.
and I know you have taken pictures of him. Has he
ever asked you for tips or advice?
Larry: No, he does not need my help. He is a very
good photographer and artist.
Bill: Ok, this question is off-the-wall, but I've always
wanted to ask someone who is an expert in the
field. I once heard a story about a murder mystery
being solved because, while the culprit was in the
victim's room, there was a flash of lightning, which
burned a photographic image of the killer onto a
mirror in the room. Is that possible?
Larry: It really depends on what the image looks
like. Anything is possible and I share the same
philosophy as Marilyn Monroe. We believe a little in
everything.
| Above: San Francisco 1996 - Keenan photographed: Dennis Hopper, Allen Ginsberg and Ginsberg's date at the opening of the Whitney Museum of American Art's exhibit Beat Culture and the New America: 1950-1965 at the H. M. de Young Museum in San Francisco. |
Bill: I think it's fascinating how physics and math is intertwined with nature and aesthetics. Like
the Fibonacci number and all. Would you mind talking about that briefly?
LK: I love the fact that art and science go hand in hand. I like how Fibonacci's number string seems
to hit the number of flower petals at least up to 233 or so. Number sequences do not do it for me.
Personally, I like how M.C. Escher has worked his art out mathematically. Even more abstract and
beautiful are the fractal geometric equations by professors Benoit Mandlebrot and Gaston Julia.
The first time I saw a Mandlebrot I recognized it as a primal image. I feel most art is dicks and
pussies anyway, so I was not surprised. I have attached 2 examples each of my Mandlebrot and
Julia pieces that I have created in the computer and incorporated into my work. I really loved
messing with their calculations to come up with my own work using their math. I did this work on
an Amiga 1000 computer in 8 bit.
the Fibonacci number and all. Would you mind talking about that briefly?
LK: I love the fact that art and science go hand in hand. I like how Fibonacci's number string seems
to hit the number of flower petals at least up to 233 or so. Number sequences do not do it for me.
Personally, I like how M.C. Escher has worked his art out mathematically. Even more abstract and
beautiful are the fractal geometric equations by professors Benoit Mandlebrot and Gaston Julia.
The first time I saw a Mandlebrot I recognized it as a primal image. I feel most art is dicks and
pussies anyway, so I was not surprised. I have attached 2 examples each of my Mandlebrot and
Julia pieces that I have created in the computer and incorporated into my work. I really loved
messing with their calculations to come up with my own work using their math. I did this work on
an Amiga 1000 computer in 8 bit.
