Filtering by Tag: New York City

The New York Public Library: Podcast #117: Bruce Davidson and Matt Dillon on Lasting Impressions

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by Tracy O'Neill, Social Media Curator

Award-winning photographer Bruce Davidson's prolific body of work includes documentations of the 1960s Civil Rights movement and the gritty underbelly of New York City in the late 70s. He came to the Library this spring for a conversation with Academy Award-winning actor Matt Dillon, who is a great admirer and collector of Davidson’s work. In this riveting discussion between the two great artists, Davidson and Dillon talk about images, storytelling, and the joy of working in silence.

Please visit NYPL for full video.

Big Town, Big Camera, John Chiara photographs New York for Exhibition, on The New York Times

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I wanted it to feel like a fragment of a memory,” he said. “It’s like the visual you get when you’re staring into space, trying to reconcile what you remember with what you saw. You don’t get the whole thing at once. You have moments of clarity, but it’s elusive.
— John Chiara
West 135th Street at 12th Avenue , 2016. Negative Chromogenic Photograph Unique © John Chiara, via Yossi Milo Gallery, New York

West 135th Street at 12th Avenue, 2016. Negative Chromogenic Photograph Unique © John Chiara, via Yossi Milo Gallery, New York


We can agree that New York has been photographed beyond comprehension.  The bustling city is a subject of the lens of countless photographers each with varying perspectives and unique approaches. Artist John Chiara is no exception to the pool of artists who work within the Manhattan perimeters.  But it is John's heavy lifting and elbow grease to make unique photographs the hard way that differentiates him from his contemporaries.  With two homemade cameras the size of kitchen cabinets, stocked with photosensitive paper, John worked throughout the city, veering up at the city's concrete infrastructure, turning the skies black and silhouetting the trees, fiery red and radiating with oranges, reds and greens. 

There’s no better way to fall in love with a place than to sincerely photograph it. The tone did change.

John Chiara's exhibition West Side at Tioronda will be on display at Yossi Milo Gallery until 21 May 2016.
Read the The New York Times article with an image gallery with 10 new Chiara images.



John Chiara "West Side at Tioronda" at Yossi Milo Gallery

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San Francisco-based artist John Chiara is premiering new work made in New York at Yossi Milo Gallery in Manhattan's Chelsea district.  The exhibition West Side at Tioronda is on view from 14 April through 21 May with a reception for the artist on Thursday 14 April from 6 - 8 PM.

"For the first time in his career, San Francisco-based artist John Chiara is working in New York, capturing Manhattan and the Hudson River Valley with his distinctive photographic equipment and singular developing process. In approaching two areas with undeniably rich histories as subjects of photography and painting, Chiara presents the familiar in unfamiliar ways, often boldly inverting color and abstracting the image by finding unique perspectives. Drawing inspiration from early photographers such as Edward Steichen, Chiara creates similarly evocative photographs that meditate on place and speak to the environment as it is felt, rather than seen. He extends the lineage of collective memory embedded in these locations with his own sensibility and vision."

For more information on John Chiara please visit his ARTIST PAGE.


Inner-city Transformations Captured in Time-lapse Photography by Camilo José Vergara

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Focusing on poor and segregated neighborhoods across America, Camilo José Vergara has photographed transforming cities for more than half of his life.  For maximum impact to illustrate changes, Vergara photographs the same intersections in cities known for their dilapidation and growth of gentrification such as New York, Detroit, Chicago, Los Angeles as well as many others. His series "Tracking Time" is an ongoing series.

Ransom Gillis Mansion, Alfred at John R St., Detroit, shown in 1993, 2000, 2002, 2012, 2015 and again in 2015. 

Vyse Ave. at East 178th St., Bronx, New York, shown in 1980, 1984, 1986, 1988, 1993 and 2013.

Taken from the Huffington Post:

"Vergara differentiates his work from photographs that are meant to stand alone and “astonish” a viewer. Instead, his work is best digested a dozen or a couple hundred images at a time. He sees himself as an archivist, both creating the original documents and then curating them.

“You find meaning in some aggregate images, and that’s what I’ve done all my life,” Vergara said. “That’s the great function of photography, is that it’s not so much focused on the extraordinary — it’s the everyday.”

Vergara’s entire collection is a portrait of decline and renewal at both a neighborhood and national level, one that particularly resonates as many cities grapple with rapid gentrification and the displacement of long-time residents and small businesses. His method of time-lapse photography has created a record of those everyday surroundings that might otherwise be lost."

New St. and Newark St., Newark, New Jersey, shown in 1980, 1981, 1985, 1987, 2014, 2015.

Things disappear so quickly,” he said. “And then you realize … your city doesn’t look like that anymore.

Views Along Fern St., Camden, New Jersey, shown in 1979, 1988, 1997, 2004, 2009 and 2014.

To see more city transformations by Camilo José Vergara please visit



Beauty to the Bluntness of Bruce Davidson's Lens, Stanford Arts Review

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The Stanford Arts Review surveys the work of Bruce Davidson now on exhibit at de Young Museum in San Francisco, CA.  42 vintage prints spanning from The Dwarf (1958) through the revisitation of his former neighborhood in 1998--as photographed in the series East 100th Street--are on display through 11 September, 2016.

"There’s a certain beauty to the bluntness of Davidson’s lens. There’s nothing transcendent about Davidson’s work — not in the dictionary sense of the word (hear no hallelujah chorus when you’re viewing his photographs). This is life as it is, the photographs seem to say: gritty, grungy, un-gorgeous. Davidson found this pore and turned an unflinching eye on its subjects. The resultant photographs are transcendent in the sense that they draw their viewers deep into the simultaneous cruelty and beauty of 1960s America.

The de Young’s new exhibit on Davidson’s work, running until September 11th, showcases the photographer’s work in 1960s Los Angeles, New York, and the South during the Civil Rights movement. Across three regions of the country, Davidson managed to provide a concise summary of the decade’s contradictory claims to war and peace." -M. Xiao of Stanford Arts Review

Read the column in it's entirety on 

Does William Eggleston Love Women? “You’re Damn Right!”

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The father of color photography on life, love, growing up Southern, and standing up to Cartier-Bresson.


William Eggleston, the near-mythic southern gentleman and father of color photography, who is placed in the pantheon of the greats alongside Walker Evans and Robert Frank, greeted me with a courtly little bow at his favorite hangout in New York City, El Quijote restaurant, the joint adjoining the Chelsea Hotel.

It would be a liquid lunch for the 76-year-old Mr. Eggleston, who pointed out, in his wry, gracious way, that if he had felt like lunch he would have surely had one of El Quijote’s small, signature lobsters. He began with champagne mixed with vodka, in a tall glass.

“You look well,” I said.

“Thank you,” he said in his light southern accent. “A compliment is always nice.”

He still lives in Memphis, Tennessee, where he was raised a son of privilege on a 12,000-acre plantation. “Ever used a gun?” I asked. “Certainly,” he replied, “but not seriously.”

For comlpete text please visit VanityFair