“Since his youth, Branko Lenart has travelled widely across the world. He is often “on the road,” so to speak; and apparently he is most attracted to the southern hemisphere. He has always combined travelling with his other passion, which became his career – photography.”
Photon Gallery Vienna
Zieglergasse 34, 1070 Vienna, Austria
OPENING RECEPTION WITH THE ARTIST:Friday, November 3 5:00 p.m. – 7:00 p.m.
“Portraits features several bodies of work which all address the formal portrait, presented in oval, round or arched frames. Von Zwehl taps into historical iconography, staging scenarios reminiscent of allegorical paintings. In Tallulah and Jasmine, a young girl stares at the camera holding a dead fish; in Sari (Lampropeltis Triangulum Nelsoni), an adolescent girl confronts the viewer with a milk snake wrapped around her neck; in her series Made Up Love Song, we see a woman in profile, photographed in the same position over the course of six months; The Sessions presents silhouetted portraits of a young girl printed on photographic paper which is then torn, suggesting the fragility of youth; and in her latest series Dog Portraits, pugs, terriers, and all breeds of dogs are elevated to a regal status normally affiliated with royalty. Whether photographing young girls, women, or canines, von Zwehl honors the past, creating an intimacy often lacking in art making today.”
Catherine Edelman Gallery
300 W. Superior Street, Chicago, IL 60654
The black-and-white photos in Mean Streets, collected in print for the first time, offer a look at the infamous hardscrabble New York City of the 70s and 80s, captured with the deliberate and elegant eye that propelled Grazda to further success. Grazda has photographed the world over in Mexico, Afghanistan, Pakistan and Latin America and a half dozen other countries. His images have been in style magazines and collected by major museums. I would describe his documentary style as reportage, mixed with a healthy serving of something akin to a Robert Frank/Weegee gumbo. Grazda’s camera doesn’t look away from the humanity in front of it – good, bad or ugly – and his discerning eye gives us wonderful visual political and social commentary that is open to interpretation and debate.
Cars play an important role as icons of the era, whether they are makeshift homes, cruisers, or hunks of metal trash lining the streets. We see the grit and spit of the streets blanketing the sidewalks that serve as both bedroom and boardroom for its residents. Three-card monte is hustled by men in ill-fitting suits, while the prostitutes and preachers look on. When night falls, Grazda’s camera keeps going. The images are direct, and unapologetic, and they don’t need to, because he was an insider. These mean streets were Grazda’s home base for over forty years.
Most of New York City’s traditional industries had already left in the late 1970s and early 80s. The banks and power brokers in charge of new support systems for the bankrupted city government retreated to their high rise buildings, and left the streets to the hustlers, preachers, and bums; the workers struggling to get by; and a new generation of artists who were squatting in the empty industrial buildings downtown and bearing witness to the urban decay and institutional abandonment all around them. For the tough and determined, the quick and the gifted, a cheap living could be scratched out in the mean streets.
In addition to the great images in Mean Streets, and Grazda does not disappoint, the project is wonderful in book format. The book feels very personal; almost like holding a collection of 8×10 prints. The pages are black, with images centered on the page. The hand-lettered front cover reminds me of a promo stapled to a telephone pole, and the back cover looks just like a contact sheet of 35mm negatives. The size and feel of the book really works, and lends itself to feeling like you are interacting directly with Grazda’s work; and we get an honest look inside a world that no longer exists.
Mean Streets: NYC 1970-1985 by Edward Grazda
Trim Size: 7-1/2 x 9
Page Count: 112
To order a copy of Mean Streets: NYC 1970-1985, please visit Powerhouse Books website.
To see more work by Edward Grazda, please visit his website at www.edwardgrazda.com
Edward Grazda is from Flushing, Queens, NY, and he studied photography at the Rhode Island School of Design. His work has appeared in The New Yorker, Vanity Fair, Double Take, and Granta and is in the collections of the Metropolitan Museum of Art, the New York Public Library, The San Francisco Museum of Modern Art, and MoMA, New York among others. In 2009, with Jeff Ladd and Valerie Sonnenthal, Ed founded Errata Editions–a publishing company dedicated to making important rare photo books accessible with its “Books on Books” series.
All photos are from Mean Streets: NYC 1970-1985 by Edward Grazda, published by powerHouse Books. Used by permission.
F-Stop Magazine: How did you first become involved in photography and what led to you working in this medium as an artist?
Uno Yi: I know it will be a typical story just like other kids’ dreaming to be a war photographer. But here is the cliche: I was one of those office workers who got tired of his job. I happened to see Tim Hetherington’s Infidel and I was fascinated right away. I quit the job to be in Missouri to study photojournalism about a month later.
F-Stop: The current issue of F-Stop Magazine includes images from your project “Lost Children” can you tell us how this project came about?
UY: I spent almost a decade in the U.S. staying away from my family. I always missed my niece the most. Whenever I saw kids around her age, I could see myself getting interested in them. When I drove around the town to find a story, I happened to meet Abby playing outside the house with her siblings. Abby was curious enough to ask me what my name was, who I was, where I was from and others. I liked to hang out with her and her siblings. At the beginning, they just reminded me of my niece, but inside the house was shocking and I decided to start working on the story. Later, I found the town is full of broken families.
F-Stop: Can you discuss your process of making these pictures?
UY: As I mentioned earlier, I enjoyed hanging out with them. But it’s another issue to photograph them. I mean they are children who are ready to pose for photo shoots all the time. I needed to make sure that they got used to being around the camera. It took time but I could see the family was getting used to being around the camera and myself.
F-Stop: How did you meet the people you photographed?
UY: I saw a guy on the street with a tattoo showing a confederate flag. I asked him if he was a KKK member and he laughed at me — remember I am Asian. Later, we talked and he told me about his family. This is how I met the second family. I already told you about the first one. I approached other families in the story a bit differently. But I believe it can always be good to talk to people to find stories out of them.
F-Stop: How much time did you spend with these families as you photographed them?
UY: I think I photographed them for about 3 months. I could visit the town three time a week; but I couldn’t visit them at all in other weeks. Still, I would like to go back to see them.
F-Stop: What do you hope people experience or feel when they look at your photographs?
UY: Each viewer probably has a different reaction to it. It’s sort of something I can’t control. But I hope them to find the children in the photos are no different from their family, just as I felt about them.
F-Stop: What photographers or other artists inspire you?
UY: It’s the hardest question. I think it depends on the mood. I believe Renee C. Byer’s A Mother’s Journey is a classic. I was freaked out when I first saw Larry Sultan’s work. I should mention Tim Hetherington, Eugene Smith, Eugene Richard, Yunghi Kim, Barbara Davidson, Alex Soth, photographer friends of mine and many others. But sometimes I can find great looking snap photos on Facebook inspiring me.
F-Stop: Are you working on any other projects currently?
UY: I am currently trying to save money for the next project, picking up freelance works as a writer and a photojournalist. I am also working on a book translation. I don’t know what it is going to be about—I have too many ideas in my mind. But I would like to go to Uzbekistan or California first.
Opening Reception: Thursday, October 26th, 2017
“I knew I had to shoot the Poor People’s Campaign when the murdered Martin Luther King, Jr. I had to see what was happening, to record it and be a part of it, I felt so bad. Besides, it sounded too good to miss…. Always have been poor people, still are, always will be. Because governments are run by ambitious men with of no imagination. Whose priorities are so twisted that they burn food while people starve. And we let them. So that history doesn’t change much but the names.”
– Jill Freedman, 1971
Steven Kasher Gallery
515 W. 26th St., New York, NY 10001
“This project, created in collaboration with Dr. Vanessa Fabbre, assistant professor at the Brown School of Social Work at Washington University in St. Louis, combines photographs of transgender and gender non-conforming people over the age of 50 with interviews about their life experiences in regard to gender, identity, age, and sexuality and provides a nuanced view into the complexities of aging as a transgender person. In these moving portraits, Dugan and Fabbre seek to bring older members of the trans community, many of whom are Chicago residents, into the foreground.”
Center on Halsted, located at 3656 North Halsted Street Chicago, Illinois
“The exhibition presents landscapes from 1844 to 1914 by William Henry Fox Talbot, Sir John Herschel, Henri Le Secq, Joseph, vicomte Vigier, Frederick H. Evans and Gustave Le Gray – who is represented by both a landscape and the only seascape in the exhibition – among others.”
Hans P. Kraus Jr. Fine Photographs
962 Park Avenue at 82nd Street in New York City
Opening: Friday, 29th September 2017, at 20:00
The participating photographers are: Virgilio Ferreira, Dominika Gesicka, Efi Haliori, Demitris Koilalous, Ellen Kooi, Maria Mavropoulou, Lia Nalbantidou, Camilo Nollas, Rea Papadopoulou, Andreas Theologitis, Chrissa Tsovili, Dimitris Yeros.
“Our environment is influenced and shaped by information which creates a picture of everyday life common to all the peoples, wherever they may be, faithfully following the trends and imperatives of a globalized paradigm. Nevertheless, we all live somewhere and that somewhere is a specific place. The school, the kiosk, the pharmacy, the restaurant, as well as the people we meet everyday define our local neighbours and are part of this microcosm that surrounds us.”
DL Gallery, Messologiou 55A, 18545 Athens, Greece
Opening Reception: Thursday, October 26th, 2017
“Three bodies of work are on view in the exhibition. Gitmo at Home, Gitmo at Play portrays the residential and leisure spaces of both the prisoners and the guards, juxtaposing implied comfort and forced restraint. Gitmo on Sale depicts the commodification of American military power through Gitmo’s gift-shop souvenirs. Beyond Gitmo investigates the lives after detention of 14 men once held as accused terrorists, now cleared and living in nine countries, from Albania to Qatar.”
Steven Kasher Gallery
515 W. 26th St., New York, NY 10001
“Vanley Burke is often described as the ‘Godfather of Black British Photography’, whereby his iconic images have captured the evolving cultural landscape, social change, and stimulated debate in the UK over the past four decades.
Burke played a key role in documenting protest in 1970s and 80s Birmingham, including Anti-Nazi League demonstrations and the Handsworth uprising. He also photographed life in South Africa in the 1990s, as the Apartheid system crumbled, including the Sharpeville demonstration and Nelson Mandela’s birthday party. Both bodies of work are presented in this special exhibition No Time for Flowers. ”
Hillhead Library, Glasgow