The English Wikipedia entry establishes the core biography: Jimmy DeSana (1949–1990) was an American photographer born in Detroit who worked in New York City from the early 1970s. It describes his staged, deliberately artificial images of bodies — subjects bound, masked, or crossed by light — and ties his practice to the downtown art, music, and queer subcultures of the era, and to the loose grouping later called the Pictures Generation. It also records his self-published 1972 book 101 Nudes and his death from AIDS-related illness in 1990, supplying the basic biographical frame for all further records.

Aperture, the photography publisher, issued the monograph Jimmy DeSana: Submission in 2022 in association with the Brooklyn Museum survey. The publisher’s page documents the book’s scope — reproductions of the artist’s photographs together with scholarly essays — and its role in returning a body of work to print after decades of limited visibility. Because Aperture is a dedicated photography publisher, its catalog page is a reliable record of the publication, its contributors, and the editorial claim that DeSana’s images reshaped how the photographed body could be staged and circulated.

The Brooklyn Museum’s exhibition page documents Jimmy DeSana: Submission (2022–2023), presented as the first museum survey of the artist. The page frames the show around DeSana’s engagement with the body, desire, and constraint, and around the social worlds of downtown New York that he photographed. As a major institutional presentation, it supplies curatorial framing, exhibition history, and the authority of a collecting museum — evidence that DeSana’s practice has been reassessed as central, rather than marginal, to late-twentieth-century American photography.

Salon 94, the New York gallery, lists Jimmy DeSana among the artists it represents, acting for the Estate of Jimmy DeSana. The gallery page is a direct source for representation and for the posthumous management of the work, and it typically links onward to exhibitions and available works. Gallery representation matters here because DeSana’s market and institutional presence were largely built after his death; the page evidences who has stewarded the estate and how the photographs continue to be exhibited and placed.

The Metropolitan Museum of Art’s page for The Pictures Generation, 1974–1984 (2009) documents DeSana’s inclusion in that landmark survey of appropriation-based American art. The exhibition frame is significant evidence because it places DeSana alongside artists who interrogated mass-media imagery, and it locates his staged photographs within a curatorial argument about how pictures constructed identity in the 1970s and 1980s. The Met page therefore supports his art-historical positioning as well as the museum’s own collecting interest in the work.