But Bidgood could not be cowed; instead, he did it all, working as a window dresser, photo stylist, photographer, filmmaker, fashion, costume, and graphic designer with equal aplomb – his vision rivalled only by Busby Berkeley’s Technicolor films. Unlike the Hollywood director, Bidgood was woefully underfunded, though you might not know it from the spectacular productions built inside his humble apartment.
Kelly McKaig, Manager and Executor of the James Bidgood Estate, first met the artist in 1999, helping him to produce a benefit party for God’s Love We Deliver at Bowery Bar in New York’s East Village. Bidgood recreated the sets he used for 1960s shoots for Photoplay Magazine, each room a hand-crafted fantasia of sequins and glitter. “He recreated the pan shot that’s so famous,” McKaig says. “He hand-painted the background, built the throne, and for the willow tree, we cut out 1000s of chiffon leaves. The best part was that all of the Go Go boys were from Honcho magazine.”
At 67, Bidgood had finally had his moment in the spotlight, his influence on reigning queer image-makers like Pierre et Gilles and David LaChappelle simply undeniable. “Jim had a photo exhibit at Paul Morris, which was one of the first Chelsea galleries, he was being profiled in the New York Times, and everything was going great, but I could see it wasn’t going to last,” says McKaig.
“I stepped in, not really as a manager, but just as a protector and somebody who wanted to preserve his legacy,” he continues. “I was able to get him food stamps and on Medicaid, help him pay his rent so he wouldn’t get evicted, and just stabilise him. He was an artist, and the work came before everything.”
