www.amysteinphoto.com, the artist’s blog and her previous feature on my website with Women and Guns.
“In October of 2003, my husband and I moved to New York and found an apartment on 112th Street in East Harlem. That Halloween, I decided to take my camera out and capture the colorful stroll of kids taking part in the same holiday activity happening in every small town, suburb and city in America.
In Harlem, children dress up as witches, fairies and their favorite comic book heroes, but they don’t go door-to-door asking their neighbors for treats. Instead, they walk up and down Lexington and 2nd Ave collecting candy from the many liquor marts, dollar stores, beauty shops and bodegas. It is a ritual that is at once completely familiar and yet wholly unique to this culturally vital and rapidly gentrifying area of Manhattan.
Halloween in Harlem is an ongoing project largely inspired by the work of Helen Levitt.”
Print for sale on 20×200
Print for sale on 20×200
“Ponder food as love – to nurture and to feast upon.
In Consuming Passion, the body becomes serving plate, altar, banquet and booty. Still life transforms into emotional landscape as the line between serving and self blurs. After countless hours at the kitchen counter preparing food for our families, we began to investigate the delicate and compelling nature of nurturing.”
This is for sale on collect.give and all the benefit goes to Voices and Faces, an US documentary project created to give voice and face to survivors of sexual violence.
www.andreajsmith.com and her representative works on Forum Gallery.
“Andrea J. Smith’s work is derived from a classical tradition, but translates into a contemporary context. Her influences are varied and range from the simple, ordered compositions of the Early Renaissance artists, to the broad textural boldness of the colour field painters.
In 2003 Andrea co-founded and is currently the director of the Manhattan atelier, The Harlem Studio of Art. From 2005-2007, she taught periodically at The New York Academy of Art in Tribeca.”
I was once left in a car at a young age. I don’t know when or where or for how long, possibly at the age of four, perhaps outside Tesco’s, probably for fifteen minutes only. The details don’t matter. The point is that I wondered if anyone would come back. It seems trivial now but in a child’s mind it is possible to be alone forever.
Around the same age I began to feel a deep affinity with animals – in particular their plight at the hands of humans. I remember watching TV and seeing footage of a dog being put in a plastic bag and being kicked. What appalled me most was that the dog could not speak back. It’s muteness terrified me.
I should say that I was a well-loved child and never abandoned and yet it is clear that both these experiences arose from the same place deep inside me: a fear of being alone and unheard. Perhaps this is a fear we all share at some level, I am not sure.
The images in this series explore that feeling, both in relation to myself and to animals in general. The camera is the perfect tool for capturing a
sense of silence and longing: the shutter freezes the subject for ever and two layers of glass are placed between the viewer and the viewed: the glass of the lens, the glass of the picture frame and, in this instance, the glass of the car window further isolates the animal. The dog is truly trapped.
When I started this project I knew the photos would be dark. What I didn’t expect was to see so many subtle reactions by the dogs: some sad, some expectant, some angry, some dejected. It was as if upon opening up a box of grey-coloured pencils I was surprised to see so many shades inside.
I hope that these pictures are engaging and perhaps a little amusing. I want to show that there is life in the dark places within us.
I will stop writing now and you can stop reading. Words can only get us so far. After all, we are all animals.
Martin, Sept 2010
more images on www.martinusborne.com and his blog, found on Foto8
“They say that life is grey, but maybe they just can’t capture the nuances. Look at Mrs Maggie; a mother and wife of the fabulous fifties; a life of many colourless hues. Maggie is in her early thirties and has a problem: she lives in an ultra-tidy and monochromatic limbo.
Colourful objects disturb her when they enter her little detached house against her will. Today is her birthday and she cannot seem to avert her gaze from that loud box sitting on her living room carpet. She knows that once her guests have gone home, she will have to face up to all her fears and open that present.
In the meantime, Dad has just come back from his game of golf; alas, it had to be cut short due to a sudden downpour. The Country Club lent him an umbrella to shelter him from the rain. An umbrella which is annoyingly… not red. No, it’s more than red. It’s magenta. Poor Dad cannot immagine how much disquiet he has brought home that day.
But that’s not all: Maggie’s son has stuck up a drawing near the kitchen door; a drawing of his Mummy against the backdrop of a world bright with colour, to celebrate Mother’s Day. Unmistakable colour.
Maybe Mrs Maggie will have to decide today: to carry on living with her phobia or simply to surrender to colour and to life. Maybe she has already decided. It’s there, at her fingertips.”
you should also see his project named 1503,
“nine still characters from a visionary Renaissance
portrayed in solemn, die-cut costumes to die for.
But their glances are seducing each other despite you, the observer”
found on Feature Shoot