Filtering by Tag: Mark Cohen

Mark Cohen's 'Dark Knees' Best Photobook of 2013 by Lensculture

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This photobook, Dark Knees, and the accompanying exhibition in Paris at Le Bal, opened my eyes to one of my new favorite photographers, Mark Cohen — a new discovery for me of a man who has been making photographs since the 1960s!

I love the obsessive, cinematic nature of these tightly cropped images that seem too close for comfort, but endlessly fascinating all the same. These are compulsive images, rather than compassionate. But they have the intensity of actually seeing through someone else’s eyes — you see what he notices, you notice what he repeatedly sees — and there is consistency of vision and subject matter decade after decade after decade. There is a celebration of abstract shape and form here, as well as the love of luck and chance. There’s also a strong sense of voyeurism, perhaps a little too strong, but that is a significant factor in the success of these images, too, I think.

The book is beautifully edited by Diane Dufour of Le Bal, and the pairings of images seem perfect and add to the appreciation of the work. The simple titles are printed by hand, making it feel like a very personal photo album of stunningly unique images.

Here is the excellent introduction that accompanied the exhibition:

Mark Cohen was born in 1943 in Wilkes-Barre, a small Pennsylvania mining town. A figure of the street photography genre which dominated American photography in the early 1970s, he is also the inventor of a distinctive photographic language, marked by a fleeting arrangement of lines and, at the same time, an instinctive grasp of the organic, sculptural quality of forms. Two photographs hang opposite each other in his studio: one from Henri Cartier-Bresson's surrealist period and another by Aaron Siskind. The elegant geometry of one and the dry plenitude of the other transpire in the work of Mark Cohen, which John Szarkowski showed at the MoMA as of 1973.

Over the past 40 years Mark Cohen has walked the length and breadth of the streets in and around his hometown, seizing - or rather extracting - fragments of gestures, postures and bodies. In his photos we see headless torsos, smiling children, willing subjects yet still frighteningly vulnerable, thinly sketched limbs and coats worn like protective cloaks. Thus Mark Cohen slices and sculpts the very thick of the world to impose, in successive touches, a Kafkaesque vision, ruthless and poetic, of an environment that encompasses him. A vision from within.

This remarkable body of work - Cohen rarely uses the viewfinder, holding the camera at arm's length - is rooted in impulsions that last just fractions of a second. A disconcerting strangeness emanates from his subjects, some caught in the dazzle of the flash. Bodies seem uncomfortable, threatened, lost, grinning too wildly or reduced to their erotic dimension. Ordinary objects appear isolated, mysterious, sinister. The decline of this small mining town is right there, in its yards, at its bus stops, on its porches, but Mark Cohen's intentions are anything but documentary. Repetitive to the verge of obsession, he has no idea what brought him there or what he hopes to find. Rather he is driven by the beauty of a chance encounter, by the torments or delights he detects in another's substance.

There is, in the brutality of his gaze, a rawness and a nervous energy, an ambivalence and a grace through which the making of a photo becomes the expression of a revelation.

If you treat yourself to just one photobook this season, this is my personal recommendation.

— Jim Casper

To view Casper's other selections please click here.

Mark Cohen Featured in Republican Herald

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Wilkes-Barre Photographer Has Gained International Recognition

By Nancy Honicker

When I was a kid living on Greenwood Hill in Pottsville, we staged a Tom Thumb wedding at the local playground. Everyone got involved, even the bullies, decked out in their Sunday best. We girls wore frilly dresses and plastic hair bands with veils attached. In the empty lot that was our playground, we lined up for photographs and a few days later, there we were, on display in The Pottsville Republican.

I still have that photo, I can still name the kids huddled around the bride, and, what strikes me is how dusty we were. Despite our finery, despite our efforts to look our best, our patent leather Mary Janes had lost their sheen and the boys' oxfords looked shabby and gray. It wasn't our fault. We had done our best, but the playground was no more than coal dirt and every step we took stirred up a cloud of dust.

Playing baseball, when we slid into base, we blackened our pants and sneakers. Wearing shorts, we darkened our bare knees. Blackened sneakers, dark knees, the stuff of summers spent on coal banks and coal dirt lots.

I've just been to a photography exhibit in Paris bearing that name - "Dark Knees." The photographer, a pioneer of street photography with an international reputation, is from Wilkes-Barre. His name is Mark Cohen and for more than 50 years, night after night, after days spent in a commercial photography studio, he has tracked pictures, an affair of choice and chance, in the streets of Wilkes-Barre, Scranton and towns in between.

I did not know Mark Cohen's work and I discovered him listening to the radio, listening to an announcer struggle in French with the pronunciation of "Wilkes-Barre," as I asked myself if he was really talking about the Wilkes-Barre I know.

Listening more closely, I learned that a photographer from that town was showing his work at "Le Bal," an exhibition space in Paris devoted to photography. Checking out the information on the web, I promptly got on the metro and went to see the show.

There, against blood-red walls, I discovered a continuous line of 16-by-20 photographs, mostly black and white, traveling across the four walls of a large underground exhibition space. I did not discover Wilkes-Barre or the coal region: no breakers, no strip mines, no deserted downtown that had once seen better days. There was nothing that deliberately drew attention to a specific time or place. There weren't even people, at least not people posing, composed faces, bodies shot from head to toe.

From Dark Knees

Instead, there are fragments: a coat collar, a pearled eyeglass chain, a chin, a brooch, two calves wrapped in rayon knee socks, two feet wearing leather buckle shoes. Sometimes there is only a forehead, a hairline, bodies without head or feet, hands folded in the lap of a girl wearing cut-off jeans, a bare bony torso, dark knees against a background of vacant lots and clapboard houses, with a stairway leading to paradise…

There are also still lifes: the tops of unlaced boots, a string of outdoor lights, tomatoes ripening on an old wooden table in somebody's backyard.

These fragments, these photos, often beautiful and shot through with a disturbing grace, are not restful. Cohen's exhibition is not restful. Truncated bodies, defiant or frightened eyes, a fist slammed against a car window with the photographer inside, connote aggression and this notion is inherent to his technique and work.

Cohen has defined himself as a "trigger-happy gunslinger" and he has called his way of taking photos "grab shots."

Working for 35 years as a commercial photographer, when he closed shop each day, he began a second life, becoming a different person from the man "doing" weddings or annual reports.

At nightfall, he set out, a stalker of sorts, with three rolls of film, a lightweight camera and a flash, entering a world filled with pictures, out there waiting for him. What was necessary, as much as style and technique, was the courage to make the "grab."

Walking through the streets of Wilkes-Barre, Cohen, like a gunslinger, shot from the hip, camera in one hand, flash in the other. Constantly on the move but using a wide-angle lens, he had to get close to people, dangerously close at times, confronting raised fists, threats, insults and run-ins with the police. Approaching his subjects, according himself "artistic license" to burst into their lives, Cohen "flashed" them, grabbing the picture and then, just as quickly, merging back into the flow of street life.

Returning to his studio after having shot more than 100 photos, he might make no more than eight prints. In many of the shots, choice and accident did not mesh-or the picture he envisioned did not take off once he captured it within the rectangle that is his signature format, one he never crops.

The next night, he was back in the street, following instinct, believing chance, luck, fate, call it what you will, would deliver new treasures, fragments of himself as much as of the place where he anchored his work.

Night after night, Cohen forayed into the streets of Wilkes-Barre, fueled by a shot of adrenaline and the desire to delve deeper into himself.

Recognition and critical acclaim came early and in 1973, at age 30, the photographer had a one-man show at the Museum of Modern Art in New York. Had he settled in the city, he might have become a star of the New York photography world. Instead, after a quick visit, Cohen got back in his car and drove home to Wilkes-Barre because he "felt like he wasn't done there."

Forty years later, the photographer moved to Philadelphia. It took a long time to wrap things up.

Cohen claims he could have just as well taken his photos in Elmira, N.Y., as in Wilkes-Barre. I'm not so sure. Too much coal dust, too much darkness, too much grace born of a violent, mystical marriage between a man and a place: the coal region of northeastern Pennsylvania, an intrinsic part of that self he mined for nearly 50 years.

Some readers may already know Cohen's work. Some may have seen his 2010 exhibit at the Philadelphia Museum of Art. There is also a book, "Grim Streets," published in 2005. But, except for a college show in the early '60s, there has never been an exhibit of his work on his home turf. Too close for comfort? I wish we could have a chance to tell.

To read the article in the Republican Herald, please click here.

Mark Cohen's new exhibition 'Dark Knees' reviewed in TimeOut Paris

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Time Out says:

In the 1970s, when Mark Cohen began to take his first pictures, ‘street photography’ dominated the American photographic scene. This Pennsylvanian native appropriated the movement while putting his own spin on it: instinct. Without conforming, his camera always at the ready, Cohen pinched bits of ideas from his contemporaries and reassembled the pieces into an infinite puzzle.

Hands, shoulders, legs and mouths mix together like a kaleidoscopic portrait, brave and immediate. Sometimes rendered sepulchral by the shock of the flash, other times touched with a strange overtones, as if his lens managed to capture what the eye didn’t have time to see, his impulsive images always surprise. They see reality differently and tell, in counter-relief, the decline of a small mining town.

To read the article on the TimeOut Paris site, please click here.

Mark Cohen at Maslow Gallery - Last Day

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MARK COHEN: Italian Riviera, 2008

Maslow Gallery

Apr 13, 2013 - Jul 03, 2013

A selection of works from Mark Cohen’s ‘Italian Riviera’ series will be the first presentation of these photographs in the United States, having first been exhibited in 2008 at the Antico Castello sul Mare, Rapallo, Italy, curated by Francesco Zanot.

Woman with Cigarette and Coffee, Genoa, 2008, gelatin silver print

Mark Cohen, born in Wilkes-Barre in 1943, was included in the 1969 exhibition ‘Vision and Expression’ that was presented at the International Museum of Photography at the George Eastman House in Rochester. This exhibition, curated by Nathan Lyons, was instrumental in expanding the dialogue on contemporary image making. Three years later Cohen had his first one-person exhibition at the Museum of Modern Art in 1973. Cohen’s work is included in major museum collections world wide, including: the Metropolitan Museum of Art; the Museum of Modern Art, New York City; the Museum of Fine Arts, Houston; the Corcoran Gallery, Washington, D.C.; the Art Institute of Chicago; and the Musee de la Photograhpie, Belgium, among many others. The Maslow Collection at Marywood University also includes 16 works by Mark Cohen from the 1970s and 80s.

The selection of works for this current exhibition at Marywood is from a series of photographs Cohen took in Rapallo and Genoa, Italy in 2008. Cohen was asked to visit the Italian Riviera as the guest artist for ‘Rapallo Fotografia Contemporanea’. The photographic images that Cohen captured for this series reflect his signature ‘street photography’ approach that he has followed since the late 60s.

These photographs were first exhibited in 2008 at the Antico Castello sul Mar, Rapallo, Italy, curated by Francesco Zanot. This Marywood exhibition will be the first for these works in the United States.

This installation was carried out by the curator, along with the assistance of Nicole Zarick, the student intern working with The Maslow Collection this semester.

click here to view additional installation images

Text and images courtesy of  Marywood University.

Mark Cohen - NYT Lens

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Bright Flash, Small City

by James Estrin

December 7, 2012

Brassaï had Paris. Weegee had New York.

Mark Cohen, well, he has Wilkes-Barre.

He has lived in the down-on-its-luck small city in northeast Pennsylvania for 69 years — his entire life. He started taking pictures of car wrecks for the local newspaper while he was in high school and ran a photo studio from his house for more than 35 years. In between the weddings, portraits and commercial assignments — on which he raised a family — he shot quirky street images for his own pleasure.

The photos were relentlessly sad, often disturbing. He was not interested in documenting, but in making images that were “a psychological imprint” of what he was looking at. Holding a little Vivitar flash in one hand and his Leica in the other, he waded right into his photographs, running up to people and photographing them from a few feet away.

Mark Cohen, Boy and Bag, 1974.

It’s an approach that’s been replicated by other street photographers, but under much different circumstances.

“I’m photographing in the backyards and alleys of Wilkes-Barre and nearby coal towns,” he said. “On Fifth Avenue in New York, there’s a lot of people there. If you go into a back alley in Elmira, it’s not the same thing — and it’s very suspicious to set off a flash.”

His habit of approaching unsuspecting subjects has led to altercations, including a few that turned physical. More than once, while making a detail of someone’s clothing with his 28 mm lens, he has been called a pervert.

Though he photographed almost exclusively in Wilkes-Barre and two neighboring counties, he often took a bus to New York to see exhibits and take classes. In 1973, John Szarkowski gave him a one-man show at the MoMA and included him in the 1978 group show, “Mirrors and Windows: American Photography Since 1960.” His photo (slide 2) appeared on the cover of The New York Times Sunday Magazine on July 23, 1978, in an article by Hilton Kramer called “The New American Photography.”

In the fairy-tale version of his life, he might have gone on to move into a SoHo loft, hobnob with artists and become a luminary in the photography world while continuing to produce innovative work.

That’s not what happened.

He had to support a family, and there was not much of a market — or money — for street photography. He recalls exhibits where his prints sold for $75, next to photos by Harry Callahan selling for $150.

So he stayed where he was and produced his personal work between weddings and portraits. Wilkes-Barre may not have been the best place to be an art photographer, but it turned out to be a pretty good place to develop his personal work.

DESCRIPTIONMark Cohen, Bare Thin Arms and Aluminum Siding, 1981.

There are many street photographers in big-city galleries showing images from Manhattan or Paris. But Mr. Cohen has Wilkes-Barre all to himself. Though he insists that his photos are not documentary, the Rust Belt city and two nearby counties have been a perfect canvas for his upsetting imagery.

“You can make these pictures anywhere,” he said. “You could make them in Cincinnati or in Elmira, they don’t have to be made in Wilkes-Barre.”

And while Mr. Cohen is not a household name in photography, he has a small, devoted following. His book, “Grim Street,” published in 2005 by powerHouse Books, has become a cult classic among street photographers. In the last decade his prints started selling — for much more than $75 — in galleries in New York and Los Angeles.

He has closed his commercial business and is concentrating on his personal work. He lives in a 4,000-square-foot house and now feels that staying put allowed him to produce better work.

“If I came to New York City and started horsing around and getting in long aesthetic discussions with professors of art, or hanging out with artists at the Cedar Bar? It would have been incredibly distracting.”

DESCRIPTIONMark CohenBreasts, Lips, Hair, 1973.

Text courtesy of the New York Times Lens Blog.

Mark Cohen: Strange Evidence

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Mark Cohen: Strange Evidence At the Philadelphia Museum of Art 22 October 2010 through February 2011

Mark Cohen (born 1943) appeared on the American photography scene in the early 1970s and, in the ensuing decades, distinguished himself as one of the most original American street photographers. Working primarily in the small Rust Belt cities of Scranton and Wilkes-Barre, Pennsylvania, where he lives, Cohen photographs people and places encountered at random.

Cohen’s pictures are often unsettling, showing us a world filled with anxieties, accidents and desires. He approaches these motifs, however, with surprisingly gentle humor. While Cohen’s photographs seem to reveal elemental aspects of human behavior and urban life, they are far from objective documents. He often employs an aggressive flash and radical cropping, so the resulting images are clearly shaped as much by Cohen’s encounters with his subjects as by the people and places themselves.

This exhibition surveys a select group of fifty of Cohen’s black-and-white and color photographs made over the past forty years. Together, these pictures chart the transformations that have happened in cities such as Scranton and Wilkes-Barre in those decades, demonstrating that even the most subjective photographs can reveal historical truths.

Curator: Peter Barberie, The Brodsky Curator of Photographs, Alfred Stieglitz Center

Location: Julien Levy Gallery, first floor, Perelman Building