Andrea Modica, a renowned photographer and professor, has revisited her formative years as an artist with her latest book, Catholic Girl, which documents the vibrant personalities of teenagers attending Catholic girls’ schools in New York and New Haven during the mid-1980s. In the book's afterword, Modica reflects on the initial stages of her project, likening it to the excitement of a first kiss. “You’re mad about the subject,” she shares, emphasizing the exhilarating and almost addictive nature of that first connection.
During her second year as a graduate student at Yale, Modica struggled to find her artistic voice. Years of effort yielded technically sound photographs, but they lacked the emotional depth she sought. That changed in March 1984, when she visited her old high school in Bay Ridge, Brooklyn, to reconnect with her art teacher, Len Bellinger. On a whim, she asked if she could photograph some of the students. Much to her delight, Bellinger agreed, and Modica took several photographs of the girls.
Even though they wore the same uniforms, the individuality of each girl shone through, enhanced by their fashion choices that blended elements of punk and disco. “It’s at the confluence of disco and punk,” Modica recalls. Bay Ridge, known as the filming location for Saturday Night Fever, had a rich cultural backdrop that influenced the girls’ styles. She describes one girl with a classic Farrah Fawcett haircut, ankle bracelet, and rolled-up skirt, capturing a snapshot of youthful rebellion.
Other subjects displayed a bolder punk aesthetic, adorned with black eyeliner, leather jackets, and piercings. Modica notes, “They look tough, but also a little quaint.” One girl, photographed during a non-uniform day, combined her edgy style with three religious medals, embodying the dual influences of Catholic upbringing and adolescent self-expression.
While Modica views the series as a nostalgic glimpse into the music and fashion of the time, she acknowledges the subtle yet significant role of religion in her work. The punk attitudes displayed by her subjects were often a reaction to the conformities of their Catholic education. However, Modica describes her own experience as relatively liberal, recalling radical nuns who encouraged open discussions about controversial topics like abortion and premarital sex.
Following her initial photographs, the students expressed enthusiasm about being photographed, with many clamoring to participate. Modica used an 8x10 large-format camera, making the process slower and allowing for a sense of collaboration between her and the subjects, who often adjusted their poses and invited friends into the frame.
Although she didn’t publish the series at the time, the project proved influential, serving as a precursor to her later works, including l’Amico del’Cuore, which delves into the dynamics of friendship. Her fascination with uniforms continued in her 1993 book Minor League, where she documented New York baseball players proudly showcasing their attire.
During the pandemic, Modica rediscovered her high school photographs and decided to transform them into a book. To her surprise, many of the girls she had photographed still possessed the prints she sent them years ago. Reconnecting with them has been a joyous experience. She recounts one woman’s transformation from a shy student to a vibrant art teacher, highlighting the impact of time and growth.
As a photography educator, Modica encourages her students to embrace their initial artistic passions, recognizing that their first experiences of connection with a subject are often the most impactful. “The first time it happens for somebody is unlike any time thereafter,” she observes.
The cold spring day in 1984 marked a significant turning point for Modica, and the spirited girls she photographed—teetering on the edge of adulthood—continue to influence her work to this day.
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