STEVEN ARNOLD - Creator of these Baroque Tableaux is an artist who exercises his birthright, which is the expression of his own particularity of vision. A vision thrust forward by the agitation deep beneath the recesses of his chthonic cave. The cave ceiling lined with broken bits of reflecting devices in which we see new angles of men, of women, of glamour, angels, beauty, sex, fabrication, androgyny and exultation.

- Ellen Burstyn -

A favorite model and friend Ellen Burstyn, Steven had said "She saved me repeatedly with her encouragement and support; she showed me Rome, we wept together at the Vatican."

- Reliquaries, Twelve Trees Press, 1983

JAMIE LEO HERLIHY
(Author of "Midnight Cowboy"):

The images in Steven's work cover the broadest possible range, from the commonplace to the most arcane. There are drag queens and gods, fishes and angels, nudes and fools; trivia mingles with idealism esoterica with Kitsch. He wants you to have a good time, he wants you to be transformed forever, he wants to trouble you and amuse you, poke fun at you and put you in a sweat,, he wants you to feel wonderful and we are all invited to the party he's giving in heaven. Black tie optional: you might prefer yourself in polka dots and globs of golden goo.

- Epiphanies, Twelve Trees Press, 1987

PANDORA'S OFFERING

PANDORA Star of "Luminous Procuress"
Steven's Muse & Life-Long Friend:

The first time I really connected with Steven was in high school...He was very delicate in nature and had a sense about him that was a quiet explosion... We were creating all the time through our blessed art teacher Violet Chew...

We made a pact that we would collect enough wigs, make-up, jewelry and high heels, and go to this club (on the Embarcadero where we saw all these fabulous women)...which reminds me, he stole my first tight skirt!

Steven , Kaisik Wong and I went to New York to show Salvador Dali Luminous Procuress (1969 full length color feature) . Dali had arranged to premier Luminous Procuress in the basement of Rizzoli¹s Bookstore but their projector broke. So he arranged to show it at the Louis XIV room in the St. Regis Hotel. It was quite a spectacular event. He had ice sculpture, all kinds of wines and hors d¹oeuvres , - The crème de la crème of New York society, Vogue Magazine and Andy Warhol were there. Dali fell in love with Luminous he played it upside down, backwards and sideways. He thought it was a work of genius, which it was.

I believe Dali understood a place where Steven was coming from and wanted to enhance that space... It was a wonderful time for Steven working on Dali's Museum. We dressed differently every night for Dali for a minimum of five years.

HOLLY WOODLAWN ON STEVEN ARNOLD
(Star of Andy Warhol's & Paul Morrissey's TRASH)

When I came to Hollywood Steven took me under his wing.

He immediately invited me to one of his salons. There would be his patrons, a countess, a baroness, sex changes talking to lawyers, lots of beautiful boys Ðhalf of them running around naked like angels... and tons of food, and it was free and we were all starving to death. Everyone was so free.

All these artists going into this fortressÐ like Sleeping Beauty's Castle. It was covered with thorns and suddenly you're in an artist's heaven. And there was this Emperor - Steven was very soft spoken and just made everyone as comfortable as possible for hours and hours - you never wanted to leave.

And one day there was no more salons and no more Steven. It was very sad.

Comparing Warhol's evenings to Steven's salons: Being from New York and going to lots of Andy's parties at the Factory was fun because you got to meet a lot of famous New York people. It was very electric because obviously everyone was on speed and drugs, it was rock and roll - The pace was so fast it was non-stop like New York is and no one took the time out... They met you, went to bed with you, you know whatever they did.

But Steven's Salons were sort of like Versailles, but without the guillotine... Versailles versus Andy Warhol... Alcatraz where you could go in and out or Sing Sing or Bellevue with a little museum of modern art.

ruth weiss ON STEVEN ARNOLD

ruth weiss innovated poetry with jazz at the Cellar when it opened in 1956 in San Francisco's North Beach.

Steven and I had a deep friendship. We were two artists on the same beam. He was the first person ever to make me feel comfortable in front of the camera. He always did my makeup for his films and I was in all of his films. He knew how to make me feel beautiful - that was his magic.

Steven told me about this fabulous group called the Cockettes. They had called him and asked if they could appear at the Palace Theater where he had been hosting midnight movie shows he called the Nocturnal Dream Shows.

The showings first began at the 17th St. studio and moved to the Palace Theater in North Beach when he and Michael Wiese decided to show their film "Messages, Messages "to a larger audience. This film would later win Steven Best New Director at Cannes in 1970. When I arrived at the theater the marquee was lit with "ruth weiss and The Joseph" aka Joseph Zaccarella, the featured actors.

JUAN FERNANDEZ ON STEVEN ARNOLD
(Actor/artist/model for Dali, Scavullo, Antonio Lopez and many others)

The first cover of the Steven's first book Reliquaries, Luna (the first black model to appear in Vogue, passed away). Lee and Alex, friends of Steven's had created these amazing wings for Luna to wear in a Playboy Shoot. One of the things I inherited from Luna were the wings.

Steven and I worked for an hour on the set. We decided to have the candles symbolized the passage of light and time. The gauze was to create that sphere between what is human - what is real and what is angelic. Sarah Richardson, associate of Diana Vreeland's, did the make- up and dressing.

Luna had tied the wings so tight that Sarah had to help and I had to go through this ceremony of the untying of the wings.

I did what the energy guided me to do. Steven cried through the entire shoot. He could not stop crying. It was the most magical photo shoot that I ever had with Steven. And that's how every photo shoot I had with Steven was a process where you prepare what the image is going to be like after you do all the preparaton for cooking a meal and then you sit down. If you put in you heart , which Steven always put in his heart and soul into everything he did, which is what I always do - That's why we collaborated so well.

STEPHANIE FARAGO

Every one of the 25 people I interviewed about their relationship with Steven Arnold, all used the word magic or magical. I have always felt that my friendship with Steven was, and is, a religious experience.