• the pictorial mag

in conversation with: MERYL MEISLER




In a new book and exhibition, New York PARADISE LOST: Bushwick Era Disco, New York street photographer Meryl Meisler chronicles the hedonistic nightlife scene of the late 1970s and pairs it with the daylight images of those who loved and thrived in a burnt-out Bushwick in the 1980s. Meryl documents a tumultuous time in the city’s history, marred by epidemics of crime, addiction, and AIDS, intensified by a paralyzing blackout and political and economic crises.


Meryl’s effervescent photographs are a personal memoir - love letters filled with compassion, humour, and angst as well - kept secret for decades until she retired from teaching. Meryl was headed to Studio 54 the night of the ’77 blackout, and the next day, she and the world first heard of Bushwick - a troubled neighbourhood where fires and looting had erupted. Much later, in 2013, at Bizarre (a Bushwick drag/burlesque nightclub), Meryl noticed a disco ball in the restroom along with another one above the dance floor. This was an epiphany. Bushwick was now the sizzling club scene, and in her mind the disparate worlds of Bushwick and disco collided, becoming intertwined strands of New York City’s story and her own journey. This is when Meryl realised her photographs of Manhattan nightlife and Bushwick daylight belonged together.


Meryl was born in 1951 in the South Bronx and raised in North Massapequa, Long Island, New York. Inspired by photographers such as Diane Arbus and Jacques Henri Lartigue, as well as her father, Jack, and grandfather, Murray Meisler, Meryl began photographing herself, family, and friends while enrolled in a photography class taught by Cavalliere Ketchum at the University of Wisconsin, Madison. In 1975, Meryl returned to New York City and studied with Lisette Model, continuing to photograph her hometown and the city around her. While working as a freelance illustrator by day, she frequented and photographed the infamous New York discos by night. As a 1978 C.E.T.A. Artist grant recipient, Meryl created a portfolio of photographs that explored her Jewish identity for the American Jewish Congress. Then, Meryl began a three-decade career as a NYC Public School Art Teacher.


Upon retiring from the New York City public school system in 2010, Meryl began releasing large bodies of previously unseen work. She continues to live and work in New York City, working on the photographic memoir she began in 1973. Meryl's street photographs are her own unique American story. They radiate joy, but do not shy away from contrasting this with a background of hardship. In this interview we are delighted to speak to Meryl about her first steps into photography, her time as a school teacher, how she got into the disco scene, her inspirations, and working and living during this challenging period of Covid-19.



© Meryl Meisler, Two Standing Next to Sort of Palm Tree, 1977
© Meryl Meisler, Two Standing Next to Sort of Palm Tree, 1977

How did you become interested in photography?


I got my first camera, 'The Adventurer' as a 7th birthday present from my parents Sunny and Jack. Dad, a printer by trade, was a terrific photographer. Grandpa Murray Meisler, a machinist, always had a camera and light meter on him. It didn't matter if you ever saw the photographs, the action of photography (like singing to oneself) was essential and satisfying in itself. As a 7-year-old, I photographed my family, friends, and trips. Those have been my life subjects.


When I took my first photography class, 1973, I didn't have a flash while enrolled at the University of Wisconsin-Madison. I walked around the streets of Madison, taking my first rolls of B/W film. When I moved to NYC in 1975, my camera came with me everywhere. If I saw something interesting on the street on my way to where I was going, I'd pause to photograph it. In retrospect, I didn't go to photograph. I photographed where I was going.



Meryl Meisler, Magnolia Tree, 1983
© Meryl Meisler, Magnolia Tree, 1983
© MMeryl Meisler, Spring Snowstorm Through Classroom Window, 1982
© Meryl Meisler, Spring Snowstorm Through Classroom Window, 1982

How did you get into the disco scene in New York in the 1970s, which must have been quite a contrast to your daytime job as a school teacher?


In 1977, I was taking a class about making a photo book at The New School. The instructor, Bob Adelman, told me about the upcoming “COYOTE Hookers Masquerade Ball” on Valentine’s Day at the Copa Cabana. I put on my Girl Scout uniform, brought a camera and flash, and talked my way into the wild party. It was my first big extravaganza disco event. I loved it. On a bus returning from Mardi Gras in LA, in 1977, I met Judi Jupiter. We became friends and hit all the hottest clubs together. In 1979, I became an NYC Public School Art Teacher. That cut my nightlife back a lot. I never went out on school nights, but there were still weekends.



© Meryl Meisler, Back Doorway at COYOTES Hookers Masquerade Ball, 1978
© Meryl Meisler, Back Doorway at COYOTES Hookers Masquerade Ball, 1978
Meryl Meisler
© Meryl Meisler, Five Fashionable Rejects (With Judi Jupiter), 1978
© Meryl Meisler, Grace Jones in Hallway with Judi Jupiter and Others at Farfalle's Opening Night, 1978
© Meryl Meisler, Grace Jones in Hallway with Judi Jupiter and Others at Farfalle's Opening Night, 1978

Tell us a bit about Bushwick, what is it's background, it's demographics then and now, how has it changed from the time you took those photos?


Bushwick is a neighborhood in the northern part of Brooklyn, bordering Queens. It was a Dutch Settlement purchased from the Canarsie Indians in 1638. For a short introduction to Bushwick’s history and current community, I suggest starting with the Community Board 4 (representing Bushwick) on the NYC.gov site.


When I arrived in December 1981 to be a teacher in Bushwick, it was a tough, difficult time - socially and economically in NYC and this neighborhood. There were many burnt-out buildings and garbage-strewn lots. Flash forward four decades, the buildings are occupied, lots of new construction and most of the lots are cleaned up. Bushwick is a hub of new music, art, fashion, literature, nightlife, and creative thinking. However, many bemoan the gentrification of neighborhoods like Bushwick. There is nostalgia and sorrow for what is lost in the process of change.



© Meryl Meisler, Shirtless Man Wearing Hood and Jeans, 1982
© Meryl Meisler, Shirtless Man Wearing Hood and Jeans, 1982

How do you find your inspiration to keep shooting?


Photography is something I enjoy doing and am challenged by at the same time. It lifts my spirits and makes me feel more attuned to everyday experiences of life. In my opinion, it is vital to find a community of supportive people who have similar passions or interests. For example, I’ve been a long-time member of Professional Women Photographers. Artists communities give one another advice, share, and make opportunities to exhibit, provide critical feedback and become role models to keep on and going forth, whether or not you get timely recognition.



© Meryl Meisler, Anklet Socks and Heels, 1978
© Meryl Meisler, Anklet Socks and Heels, 1978
© Meryl Meisler, Couple Embrace, 1977
© Meryl Meisler, Couple Embrace, 1977

With the pandemic over the past year and a half, it has been tough on many artists. How have you been feeling through this time, both personally and as a photographer. Do you have any advice as an artist to get through these tough times?


Health and well-being come first. If you are going through temporary or long-term difficulties, seek professional help. I am fortunate to be in a long-term relationship and was not isolated. Emotionally, it was very challenging. To help maintain a sense of safety and balance during quarantine, I set up a routine with zoom - therapy, movement class, spiritual community, and social activism. Working on this book and exhibits, and building a darkroom, helped me stay physical and mentally healthy and grounded.



© Meryl Meisler, Tasty Pretzel Bakeries, 1983
© Meryl Meisler, Tasty Pretzel Bakeries, 1983
© Meryl Meisler, Family Picnic, 1982
© Meryl Meisler, Family Picnic, 1982
© Meryl Meisler, The Gospel Tabernacle and Linden Bakery, 1983
© Meryl Meisler, Three Is 291 Grads Posing Near Cars, 1982

What photographers made the most impact on you at the beginning of your photography journey?


As a child, I looked up to my dad's photographs of family events before and during my lifetime. The 1972 Diane Arbus retrospective at MoMA captivated and inspired me. The following year I enrolled in an introduction to photography class while in grad school at the University of Wisconsin at Madison. When professor Cavalliere Ketchum showed the playful childhood photographs on the streets of Paris by Jacques Henri Lartigue, I decided to photograph my friends and family on my visits home to Long Island. Walker Evans encouraged me to capture subway riders. Margaret Bourke White made me more conscientious of juxtapositions. Brassaï inspired me to capture the nightlife I was living. Roman Vishniac heightened my awareness that life as we know it can be taken away, cease to exist. Lisette Model's snapshot aesthetic and encouragement when I studied with her kept me photographing from the heart and gut. Helen Levitt whispered in my ear as I documented children playing on the street.



© Meryl Meisler, Four on Deck at Star Wars Party, 1977
© Meryl Meisler, Four on Deck at Star Wars Party, 1977

Where has been your most favourite place to photograph?


New York City is my “magic city.” Every time I set foot in NYC, its energy recharges me. The variety of people, food, arts, architecture, old and new, young and forever young, wise souls and inquiring minds, longtime residents and recent arrivals, history in the making, bright sunlight, the mysteries of the night - they all enchant me.



What happens when you go out with your camera? Do people respond positively to you, or do you sometimes get negative reactions? If yes, how do you handle it?


Most of my street photographs are not candid. Then and now, I usually ask the subjects verbally or with non-verbal cues if I may take their photograph. People usually gave their permission. Pre-covid, in the heights of the pandemic, and now - if a person replies no, I respect their wish not to be photographed. It is no big deal. I am very selective about who and what I photograph and often tell the person what sparked my interest.



© Meryl Meisler, Nose Ring, Earring, Mustache and Hickey, 1991
© Meryl Meisler, Nose Ring, Earring, Mustache and Hickey, 1991
© Meryl Meisler, School Cafeteria Middle Finger, 1990
© Meryl Meisler, School Cafeteria Middle Finger, 1990
© Meryl Meisler, Student Interviews Police Officers, 1982
© Meryl Meisler, Student Interviews Police Officers, 1982

When you take pictures, do you usually have a concept in mind of what you want to shoot, or do you let the images just 'come to you', or is it both?


Unless on an assignment, I don’t have a preconceived concept of what I will photograph. Of course, if I am going to a specific event, for example, a drag performance, I want to photograph the performers. I photograph things that look so familiar; they might seem like a Norman Rockwell painting reenactment. I photograph things I’ve never seen before. I’m drawn to the ordinary and extraordinary.



Does the equipment you use help you in achieving your vision in your photography? (What camera do you use? Do you have a preferred lens/focal length?)


In the 1970s, I used a Norita Graflex - 120 SLR medium format, Vivitar flash, and TriX 400 film. If the Norita Graflex was in repair, I used a Minolta SRT101 loaded with color slide film (preferably Kodachrome 64). When I started teaching in Bushwick in the 1980s, it felt risky to carry an expensive camera. So, I bought an early point-and-shoot pocket camera (I think it was a Canon Sure Shot) and used color slide 35mm film. I have used a variety of cameras over the decades - analog and digital. When the Norita Graflex became “arthritic”- no longer worked in the cold area, I bought a Pentax 6x7. It’s a bit too heavy for me to carry around. Two years ago, I found someone who could repair the Norita - so I am back to using it and found another used one as a backup. I prefer a wide-angle lens, the equivalent of a 35mm lens in 35mm photography. The medium format wide angle equivalent is 55mm. Currently, my “carry around” is a Fujifilm X100. Ironically, with the Fuji autofocus - too many of my images are out of focus. I prefer a split image focusing system.



© Meryl Meisler, Andy Warhol Smiling With Eyes Closed (Between his Friend and Judi Jupiter), 1977
© Meryl Meisler, Andy Warhol Smiling With Eyes Closed (Between his Friend and Judi Jupiter), 1977


What are some of your goals as an artist or photographer? Where do you hope to see yourself in five years?


My immediate goals, after the exhibits, release and events related to New York PARADISE LOST Bushwick Era Disco are: Work on a monograph that EYESHOT will publish. It will be an overview of my street photography from 1973-2021. In October 2021, I'm scheduled for my first solo exhibit in Europe at Fotogalerie Friedrichshain in Berlin. Another book of the 1970s and 1980s never released photographs of hot spots across the USA that I've had on the backburner urges to be realised. There are thirty-six years of my insider's point of view photographing NYC schools that yearn to be edited, made into a book, and exhibited. In addition to continuing to dig through my vast archives, I plan to create a new series of self-portraits and continue carrying my camera along to familiar places and new adventures. From time to time, I get messages from people who find themselves, their family, or friends in my 1980s Bushwick photos. I've toyed with the idea of photographing those people now long enough. I might begin doing it. Where would I hope to see myself in five years? A solo museum exhibit would be divine. Most importantly, I hope to be alive and well and going forth.



© Meryl Meisler, Potassa Potassa de la Fayette Poised on Grand Piano, 1977
© Meryl Meisler, Potassa Potassa de la Fayette Poised on Grand Piano, 1977
© Meryl Meisler, Two Women on Floor Next to Judi Jupiter During the Prom Party, 1978
© Meryl Meisler, Two Women on Floor Next to Judi Jupiter During the Prom Party, 1978
© Meryl Meisler, Two Queens at the COYOTE Hookers Ball, 1977
© Meryl Meisler, Two Queens at the COYOTE Hookers Ball, 1977

“When I am not out photographing, I (like to)…


...I like to spend quality time with my life partner Patricia, close family, and friends. I enjoy dining at home or out, catching up with life, laughing and making new memories together. Live musical theatre is my entertainment of choice - I look forward to Broadway & Off-Broadway reopening and traveling more. I can’t carry a tune but like belting it out with the crowd at a piano bar."



Thank you Meryl!


Meryl Meisler | New York PARADISE LOST Bushwick Era Disco

ClampArt 247 West 29th St., Ground Floor, NY.

Exhibition Dates June 3 – July 9, 2021

For more information: info@clampart.com I www.clampart.com


Pre-OrderNew York PARADISE LOST Bushwick Era Disco (Parallel Pictures Press 2021)

Signed 1st Edition Hardcover Book – 272 pages, 130 duotones, 132 color photos, $48 USD


All photos © Meryl Meisler

See Profile