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The love affair between street photographers and New York City is rich, lucid, sometimes sordid and, seemingly, unbreakable. Images shot on the fly on the streets of the Big Apple form a significant part of the canon of photographic history — think Helen Levitt’s photos of kids at play, Weegee’s crime scenes crowds, Bruce Davidson’s subway, Jill Freedman’s brilliantly observed moments, Louis Mendes’ fifty-years of street portraits, and Jamel Shabazz’s polychromatic pictures of hip-hop culture. Perhaps the patina of time leads us to romanticize these bygone eras? Perhaps the stand of time between us and the fashions, hairstyles, automobiles and shop-fronts of yesteryear makes looking just simple, uncomplicated fun? Either way, Carrie Boretz’s work is wonderful.

 

 

Between 1975 and 1994, Boretz traversed NYC. From Brooklyn to Midtown Manhattan, from Queens to the West Village, and from Harlem to Studio 54, Boretz sought out busy, public scenes that would turn viewers’ attention back toward the everyday wonder of everyday life.

Street: New York City — 70s, 80s, 90s is a book of 103 images from the New York boroughs. It’s an elegy to a time when the city was a bit rough and tumble.

“New York seems less interesting now and more sanitized,” says Boretz.

Carrie Boretz’s Street is published by PowerHouse Books.

Read and see more: These amazing street photos show 20 years of New York’s gritty glam era—through one woman’s eyes

 

 

       

 

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There are countless numbers to keep youth out of custodial settings, not least the threat of waste and violence jail brings.

In New York, one group is using art, photo and video as an alternative to jail. The Young New Yorkers intervenes at the juvenile court, and with sanction of the judge, allows children who are convicted of non-violent misdemeanours (turnstile jumping, graffiti, public disturbance) to embark on 3-day or 8-week art programs instead of heading to jail for 3 months or taking on a long community service stint.

The Young New Yorkers (YNY) uses art to help children imagine different lives for themselves, to conjure new possibilities for their neighbourhoods and to interrogate what community justice is and might be.

Yesterday, YNY kicked off its #ArtNotJail campaign to raise funds for 2018’s programs.

“We are raising $10,000 to cover the costs of the next 6-months of public art projects,” writes YNY on its IndieGoGo crowdfunding page. “The next generation of Young New Yorkers will then use art to advocate for themselves, and advocate for a transformed criminal justice system.”

This humanising program listens to children, it opens up new potential and I’m a huge fan. Please consider giving to The Young New Yorkers.

 

Follow YNY on Facebook, Tumblr, Instagram, Twitter and Vimeo.

 

 

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Thomas Roma‘s book In The Vale Of Cashmere is probably familiar to you. It has had enjoyed widespread press and positive comments. And rightly so. It’s one of my favourite books of the year. I just did a review of the book and project for Vantage.

Roma’s arresting photos go inside the Vale of Cashmere a renowned casual hook-up spot that has, for decades, hidden in plain sight on the northern side of New York’s prospect Park–an overgrown, knotty pocket of criss-crossing paths that is of Brooklyn’s most active gay cruising spots. The Vale of Cashmere is commonly, but not exclusively, frequented by African American and Caribbean men.

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Not only are Roma’s portraits–that take us on long and repeated walks through the foliage and dappled light–wonderful so too is the contributing essay by G. Winston James. Between the two of them we are able to encounter, pass or pause with the men who meet among those trees.

I write:

James reminds us that sex is an activity designated for private spaces, namely the domestic space of the home. But for gay men living in the late nineteenth and early twentieth century, homosexual sex could not be expressed at home so it became a public act in public space. Crucially though, gay cruising and meeting spots only function as such at designated times.

“The most defining characteristic of queer space is its temporality. Queer space is not a permanent fixture of the urban landscape, but a sudden transformation that briefly renders traditional public spaces as something more dynamic,” Shaw once wrote.

James adds, “It is precisely this process of transformation (witnessed by a relative few), this dynamism, this history, that Thomas Roma has photographed.”

Read the full review: Loving Portraits Of Gay Black Men Cruising In Prospect Park

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I wrote about the Greenpoint Glass Selfie Window for Vantage, on Medium — All Of Us, Looking at You, Looking at You.

“Molly’s living room window — Greenpoint’s own ‘Selfie Window’—is a local landmark. Over the past year, a small patch of Brooklyn pavement has become a haven for impromptu portraits, in-jokes among friends and street performances.”

Follow @greenpointglass on Instagram — they’re one of my favourites.

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Chalkdrawing

My friend Graham MacIndoe made this photograph a couple of years ago in the Gowanus/Cobble Hill area of Brooklyn, NY. “The bit that lies between the projects and the ever expanding gentrification,” explains MacIndoe who just came across the negative again this week.

A second time round, it was one of those not unusual moments of revelation that photographers have. MacIndoe saw story in this old image he’d forgotten since the first go around.

“There were two or three kids about 9 or 10 years old,” recollects MacIndoe of the day he made the shot. “If I recall there were no adults around. The kids had just finished a game and were starting another. One kid was teasing the other about going to jail.”

This photograph, this reality, floors me.

Directly, the image’s visual elements spell-out the school-to-prison-pipeline? It’d be too obvious if it weren’t for the fact, there’s no political statement being made here. This is play. This is play?

Pavement chalk, used by children for generations to invent new games is the type of material that any kid has access to, right? Right. But some kids have access only to chalk and probably not more expensive toys or educational games. The chips are beer bottle tops (Heineken I can identify; the others Bud Light? Maybe Sam Adams?) Is this what happens without XBox? Do children draw themselves acutely closer to reality than adults dare? Does childhood imagination work the other way too? Do we lose brave imagination in adulthood in order to inoculate ourselves against our terrifying, divided reality?

The game the kids have pathed out has depressingly few number of options; in fact it seems to be that you survive outside of prison only until you don’t — it is a case of when, not if.

This is an imagination particular only to poor kids. How horrified would we be if every American child’s imagination turned to these dark concepts? How broken our country would be, huh? Well, as long as we’ve communities so broken that kids dabble in make-believe about jail as easily as Santa then our country IS broken. No child should occupy such a dour imaginative landscape?

SCRAWLS ABUNDANT

Photography has recently focused on, and relied upon to some degree, untrained scrawls to tell stories. From Hetherington’s War Graffiti and Broomberg & Chanarin’s Red House to idiots like me pointing my iPhone at scribbles on walls. It is easy for us to lean on the narrative and evocations of anonymous or near anonymous humans. In prisons, cell walls are etched full with writings coming from a point of deprivation. Photographs reflect that. I’m saying this because, often the motif of photographing writing is dismissed (such is our level of expectation, at this point, is there anything more boring than a not-funny-protest-sign?) And, I’m saying this because I don’t think MacIndoe’s picture deserves to be overlooked.

This picture is literally what is happening on the ground. We’re told about it from the mouths — and minds — of babes.

These kids have created a game for their own world experience. They’ve created a thing not meant for anyone’s consumption but their own. But it is a public thing. In the absence of political awareness rises the most powerful political statement. It is fierce and it is scary. We want to fight back. But we cannot. We cannot doubt these children or discredit the uncomfortable truth they’ve presented. Instead, we are forced to justify this world they’re in. This world is ours and hopefully ours to improve for younger generations.

PICTURE OF THE YEAR

This is the most thought provoking image I have seen all year. I’ve not allowed myself time on a single image like this for a while.

And, yet, I know next to nothing about it. Please help me understand. Are games like this common in that area of Brooklyn? In NYC? In other American cities? These games might be commonplace and it might be merely my inexperience that explains my astonishment. But, of course, knowing the rampant inequality in this country and the exceptionally harsh treatment it reserves for the poor, I should not be surprised.

There’s a new photo festival on the scene. It’s called Photoville and it is in New York. Specifically, it is in Brooklyn Bridge Park. Photographs will be displayed in 30 shipping containers. Public submissions will hang on a big fence.

Hester Keijser, my co-curator, and I are honoured that Noorderlicht selected Cruel and Unusual as the exhibition to represent them on these American soils.

We’ll have two containers to fill. Cruel and Unusual showcases 11 photographers work in the main part of the exhibition. I shall be installing a wall with the images of 20+ more photographers that I met during Prison Photography on the Road.

PANEL DISCUSSION

Yesterday, Photoville announced its schedule of talks and events.

Included is a panel discussion that I’ll be moderating titled “Cruel and Unusual: The Prisons, the Photography or Both?” Panelists include the hyper-talented Deborah Luster, Brenda Ann Kenneally, Lori Waselchuk and Yana Payusova.

Photoville literature describes a talk by me “about documentary, institutional, vernacular and legal photography and the political uses of images by media, activists and families” but this is in fact going to be a very brief introduction by way of explaining my interests. The majority of the time will be exploring the stories behind the Luster, Kenneally, Waselchuk and Payusova’s images (sampled below).

The panel discussion “Cruel and Unusual: The Prisons, the Photography or Both?” is from 3:30pm – 4:30pm, on Saturday, 23rd June. It would be great to see you there.

Stick around for Michael Shaw/BagNewsNotes‘ discussion about “The State of the News Photo” immediately after. I’m looking forward to that.

BITTERSWEET MOMENTS

This welcome opportunity for the photographers, Hester and I at Photoville comes at a worrying time. Well-documented is the threat of Noorderlicht’s closure (here, here, here, here and here) after being refused 500,000 Euros of funding from the Dutch government for the years 2013-2016.

Ironically, the Dutch Advisory Board to the Cultural Council thinks that Noorderlicht doesn’t engage enough with other global organisations. This is false. Cruel and Unusual at Photoville is a typical example of Noorderlicht – a pioneering institution of international scope and influence – collaborating with an equally pioneering organisation.

PHOTOVILLE

Photoville director, Sam Barzilay, used to work with the New York Photo Festival (NYPH). He doesn’t any more. If it is a schism, or a parting of ways, a clash of ideologies or just new opportunities being seized I don’t know.

I do know NYPH had come under some criticism for poor prints, a certain lack of organisation and even elitism. I should say I have never attended NYPH; these are things I’ve read or heard. I have not heard how this years NYPH (last month) went either.

Given that Photoville runs over nine days with six days of viewing, given that it is free, given that they’re involved the public’s photographs, given that there’s a beer garden and a dog park and it is in a park, I suspect Photoville with be quite different in character to many photo festivals, NYPH included. I’m imagining something quite free and easy, welcoming and fun, underpinned by serious photography. It wouldn’t surprise me if I end up juggling a hacky-sack while discussing the merits of the documentary tradition!?

I digress.

On the talks and events schedule alone there is Ed Kashi, Janelle Lynch, Ben Lowy, Michael Itkoff, Taj Forer, ICP, Adriana Teresa, Wyatt Gallery, Elinor Carucci, Lori Grinker, Glenn Ruga, Lomography, Mediastorm, ASMP, En Foco, Michael Foley, Ariel Shanberg, CFAP, Jennifer Schwatrz and Camera Club of New York.

I’m intrigued by the ‘Activism & Photography’ panel, but the panelists are yet to be announced. It’s the mystery card, so to speak. There’s a stack of socially engaged photographers I’d like to hear speak. We’ll have to wait and see.

The exhibition containers will showcase an impressive line up of which you should just read through.

PANELISTS

© Deborah Luster

© Yana Payusova

© Brenda Ann Kenneally

© Lori Waslechuk

MORE ON PHOTOVILLE

Running from June 22nd – July 1st, 2012, Photoville is a new Brooklyn-based photo destination; “a veritable village of 30 freight containers transformed into temporary exhibition spaces.”

Occupying more than 60,000 sq. feet in the heart of Brooklyn Bridge Park, Photoville includes exhibitions, lectures, hands-on workshops, nighttime projections, a photo dog run, a camera greenhouse, and a summer beer-garden with food trucks to “create a photography destination like no other.”

Photoville will be located on the uplands of Pier 3, along the Brooklyn Waterfront between DUMBO and Atlantic Avenue.

It is a project by United Photo Industries.

NOORDERLICHT

In operation since 1980, Noorderlicht is a many-faceted and international platform, originally only for documentary photography, but now for any photographer who has a good story to tell. It has a sharp eye for new developments, but averse to trends and hype.

Noorderlicht organizes an annual photography festival, mounts exhibitions in its photo gallery, organizes photographic commissions and arranges discussions, lectures and masterclasses. Noorderlicht publishes exceptional catalogues and photo books.

With its distinctive, cutting-edge programming and outstanding publications, Noorderlicht has built up an international reputation as an institution that is able to couple engagement with visual beauty. Noorderlicht productions are imaginative and compelling, enthusiastic and critical, personal and socially committed.

Noorderlicht is headquartered in Gronignen, The Netherlands.

CRUEL AND UNUSUAL

The title of the exhibition refers to the English Bill of Rights from 1689 and the Eighth Amendment to the America constitution, which stipulates that citizens must not be subject to  ‘cruel and unusual punishment.’ But when is punishment cruel and unusual? To assist in the public discussion of this issue, photography helps by providing insight into the various facets play a role in the question.

Cruel and Unusual looks at how the prison system is presented in images, and how these images are created, distributed and consumed. How do citizens – tax payers and empathetic humans – come to an understanding of life in prisons on the basis of the information – politicized or not – which they receive? 

Photographers Alyse Emdur, Amy Elkins, Araminta de Clermont, Brenda Ann Kenneally, Christiane Feser, Jane Lindsay, Natalie Mohadjer, Deborah Luster, Lizzie Sadin, Yana Payusova and Lori Waselchuk, each use their own strategies, materials and techniques. Given the extent of access to prisons, they work with amateur photography, alternative processes, texts, painted images, digital manipulation or traditional black and white documentary photography.

Cruel and Unusual takes a startling and sometimes disconcerting look behind prison walls around the world. It asks: how do current practices of mass incarceration reflect our changing sense of decency and justice?

Jim Linderman just posted some original 1950s mugshots from Brooklyn, NY on Dull Tool Dim Bulb (one of my favourite photography blogs).

Of the images he says:

“Given attitudes, practices and institutional racism from 50 plus years ago, these sharp-dressers might have been just walking to work.”

Possibly, but we will probably never know the circumstances of their arrests.

I am fascinated by the tilted heads of many of the detained men and women. I read a hell of a lot of knowing defiance in the way many of the subjects gaze to the camera. It’s as if they are simultaneously acknowledging the photograph as a component in the apparatus of police power and the primary record of that unequal power. As such, they don’t hide or shrink but confront the photographic act.

All photos: Group of Original Mug Shot Photographs, New York City 1949 – 1955 Collection Jim Linderman

LOVE

Had a fun time in New York last week. Stayed with Jack and Marisa. Below is not Jack. Below is Chris by Jack.

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We went to Christopher Anderson’s book launch for Capitolio. It was great to see it after recent reviews, heated debates (check out comments) questions and wot not. I don’t think the selection of the images was the best.

At the Metropolitan, Surface Tension: Photographs from the Permanent Collection was a pleasant whimsy into some mesmerizing works, notably Adam Fuss’ UNTITLED (1997) made by the metronome shimmers of snakes upon black dust upon white dust. Image Source: Cheim & Read

Fuss, Adam

The Met’s photography department was putting together the final touches on Robert Frank’s The Americans which opened this week. It was all hands to the pump as evidenced by besuited Malcolm Daniel – who I spied carrying large, heavy object (post?) behind a partition and into the exhibition space.

Egg and Cheese Bagel.

Over at the Museum of Modern Art, I was pleased to see Russell Lee‘s work Bulletin Board in Post Office Showing a Large Collection of “Wanted Men” Signs, Ames, Iowa (1936). Who doesn’t love a mug shot?

Lee, Russell, MoMa Bulletin BoardCRI_61685

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Bringing the practice of mapping of transgressions into the 21st century, the Spatial Design Lab from the Graduate School of Architecture, Planning and Preservation at Columbia University exhibited its Million Dollar Blocks Project (2006).

Brooklyn. Million Dollar Blocks

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On Monday night I sat with Andrew Lichtenstein. We talked. Andrew recommended Brennan Linsley‘s work and was quite emphatic about the book ‘Concrete Mama‘. He also spoke highly of Max Kenner and the work at the Bard Prison Initiative

Tuesday, I met Emiliano Granado. We were first in contact over his San Quentin Giants pictures. We talked about many things including Trevor Paglen, Argentina, the Burke Gilman, and the Horticultural Society of New York, which recently lost Barbara Margolis who was an inspiring leader. Emiliano recommended Alessandra Sanguinetti‘s work.

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On Sunday, I’d been at the WTC construction site. There was some portraiture on display in a window. The space behind the window was closed but would usually be open. The photographs were easy on the eye.

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On my last night I checked out Steven Hirsch’s Courthouse Confessions.

That’s Matt Kelley looking at Steven’s work. He’s coordinator for Change.org Criminal Justice, online communications for the Innocence Project and all together nice bloke. Matt’s double identity is twittered and can be followed here and here.

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Hirsch takes street portraits of folk going to court, secures (in some ironic twist) a non-binding statement and then transcribes it verbatim to go with the portrait. Constantly moving the camera, Hirsch uses hard flash and distorted angles/zoom to depict these individuals as shape shifters; as anomalies. The fact Hirsch’s subjects (in most cases) seem alien to the logic of the courts – that any lessons arising from their cases are unlikely to effect sentencing laws in the future – should but be a source of disquiet for us as an audience.

Hirsch, Steven

One last thing. On Saturday, I saw John Baldessari sat outside a Grennwich Village coffeehouse, but I bottled saying anything. I’ve learnt that famous people abound in Manhattan and you see ’em everywhere.

Thanks to everyone who altered their orbits a little to coincide with mine.

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