Steven P. Harrington and Jaime Rojo are Brooklyn Street Art (BSA), one of the most successful and influential websites dedicated to the underground ART scene that has taken the world by storm. Since 2008, BSA has been documenting the creative energies that take root and flourish in the street, like an insistent flower spouting through slabs of concrete.
Street Art is public art, usually unsanctioned work, which is executed outside of traditional art venues. Because much of it is posted illegally, it exists as a conversation between artist and audience independent of traditional realms for making, selling, and displaying art. With Street Art, there is no product. There is simply the idea made visual and expressed in physical form for all the world to observe.
Today, artists who choose the streets as their gallery are sharing their work in every corner of the globe, which makes BSA one of the most important hubs in the publishing world. BSA documents the trends in Street Art, covering the new hybrids, new techniques, and new mediums as they continue to expand our understanding of public art, speaking at length with The Click about the way in which photography and publishing preserve what is amongst the most ephemeral of all the arts.
Mr. Harrington and Mr. Rojo recall, “BSA started as an abbreviation for our first book Brooklyn Street Art (Prestel/Random House) and a way for people to quickly refer to us. The site initially was a simply page to give people an online location to learn more about the book with additional information about the scene on the street. We didn’t have any idea that it would grow into a clearinghouse for a global scene—in fact our first month we got 53 visits.”
Read the Full Story at THE CLICK.
July 22, 2014
“We thrive on confusion, on not being pinned down. You should not have to be the same person you were five minutes ago,” Connie Hanson says, sharing of a point of view that has endowed Guzman with a wit and a joie de vivre. Guzman itself embodies the Dada charm of the absurd, as the husband/wife team of Russell Peacock and Ms. Hanson let it be known that Guzman had a back story. He was a fifty-five year old Czech man with a grey Mercedes. Guzman had also lived in various hotels throughout Paris. And perhaps this is because Guzman is a spirit that inhabits the space between the photographer, the subject, and the stage.
Shoots will have unlikely things, like bouquets of bok choy. Or they will unfold as happenings, a way of art and life that was of a place and a time that defined New York as a bohemia and into this personalities appear. It is just this ability to create alternate universes that makes a Guzman photograph a complete affair. Whether constructing suits of various checked patterns to be born alongside Louis Vuitton accessories (because the brand did not yet have apparel lines), Guzman came along with a complete vision of how Vuitton appears in our lives. It is in this same way that they fully inhabit fashion as a way of life that Geoffrey Beene collaborated with Guzman throughout his career.
The quintessential outsider, Mr. Beene had his own way of doing things. He created Summer/Winter, just because he could. He broke every rule and created another in its place, and in his indomitable way, he was decades ahead of the curve. It was this vision of design that Mr. Beene brought to Guzman, and together they created a series of images that blur the boundaries, as we see not only a dress and a design, but the very idea of the way in which fashion can make us feel. It appears as architecture for the body. It lays between us and the world itself, and it is this which appears as the metaphor dancing across the photograph. It is both object and idea at the same time, and in this space Guzman plays with dark and light, with a blur of boundaries and the transformation of space, as the garment slips from three dimensions into two, and what remains is a beautifully selected collection of images that take us back into time to the glamorous life that New Yorkers do so well.
Guzman shares stories of Geoffrey Beene with THE CHIC.
July 18, 2014
For the past three decades, Ziggi Golding has set the bar for a standard of originality and creativity in the fine art and commercial photography worlds. She is devoted to cultivating talent and style within her roster of artists. As she notes, “I’m an enabler. I like to help people develop and realize their dreams.”
Since first becoming an agent in 1983, Ms. Golding has developed the careers of many of the top talents in the art, photographic, fashion, film, and music industries today. She sits down with The Click to discuss a life in photography.
Ms. Golding remembers, “Growing up in Jamaica, my mom always had a Roliflex. It was the one you looked down in. It was unusual then. It’s interesting that photography wasn’t my love. It was painting and drawing, art in its trues form. But I got interested in photography when I fell int modelling at the end of the 70s.
“As a job, I didn’t find modeling that interesting. I was more into the process of photography itself. After about six years in the industry, I started my own agency, the Z Agency. I wanted to protect models, as they were young and put in compromising positions. I also thought modeling was what you do when you didn’t know what to do with your life.
“I chose interesting people with a good look, amazingly talented people, and I started representing photographers early on like Andrew McPherson, and Geoff Stern, who had made the film, ‘Underground.’ It was part of my role to make things happen on a bigger level. For the ‘Underground’ I helped make a deal with Palace Pictures and Collin Callender, who went on to be the President of HBO Films. I made an early point of generating original work, in addition to booking people.
“With i-D and The Face, all through the 80s, two thirds of the content was connected with Z Agency, whether it was the photographers, models, stylists, make-up or hair. However I was not fulfilled by the modeling side of the industry. I was more interested in being the master of the project.”
Read the full story at THE CLICK.
July 17, 2014
The happiness of your life depends upon the quality of your thoughts.
July 15, 2014
Freddie Leiba is the embodiment of elegance. He is at once both very cool, and warm. His lyrical voice soothes and charms. Once seated in his resplendent abode in midtown Manhattan, Mr. Leiba begins to reflect on the early days, and how they laid the path to a life in fashion, photography, and style that is undeniably glamorous. His vision has been seen on some of the most beautiful women of our time, from Iman to Beyonce, Meryl Streep to Sandra Bullock. He recounts his humble beginnings, and the path he took, back and forth across the Atlantic, though our story begins in the Caribbean.
Mr. Leiba recounts, “I was born in Trinidad and left at the end of the 1950s to go to England. When I grew up, there was no TV. Instead you joined the library and hopefully, you for a good book. I remember as a young boy, my mother took me for a walk one Sunday, as we often did, and we saw Rita Hayworth filming ‘Fire Down Below.’ I had never seen anyone like that in life. I was fascinated by this woman who looked like a goddess on a Caribbean island.
“I would go to the library and research books, then to the movies where it would cost twenty-five cents to see a double feature. I felt at home in this world, but it still felt untouchable. I didn’t think there was any way I would ever be a part of a world like this.
“When I went to London, I really found my place. I just fell into the right group of people. I was attending the Royal College of Art, the most prestigious, most respected art school in the world. I drew incessantly. I drew women in dresses. I was obsessed.
“My mother was broad-minded and had no problems with me doing dress design. She sewed for a living, and taught herself how to sew, and how to play the piano. She worked and worked and worked—and never complained about anything. Everything starts at home, no matter how rich or poor you are. She was a single mother. She did everything to make everything possible for me. I will never forget that. I wouldn’t ever disappoint her even though she’d dead now. She worked so hard to get me to the place I am. I still feel I have to shine. I just have to do it.”
Read the full story at THE CHIC.
July 11, 2014
The world is a ghetto. We of the first world forget this but it is everywhere, more common than not, people living below the poverty line in conditions too raw for us to fully comprehend. When we do consider it, we vilify or romanticize; we imagine it not as it is, for rarely do we venture into the world of the underclass. Yet artists venture forth, exploring lands unexamined and unexplored, discovering stories waiting to be told. Douglas Mayhew does just this in his first monograph, Inside the Favelas: Rio de Janeiro (Glitterati Incorporated).
Mr. Mayhew observes, “The World Cup is a diversion driven by politics to keep people in line. Just like soap operas and Carnaval, they are a form of control—powerful tools the government has always used to take people’s minds off their problems and those of the country. And so, the climate of public dissidence that occurred prior to the start of the games is remarkable. Given the country’s colonial origins, public demonstrations as a form of social protest are shocking and the government hasn’t a clue of how to deal with angry citizens who are rising up, crossing class barriers, and fomenting against one of the basic tenants of Brazilian culture – corruption. The government’s reaction has been to increase police presence on the streets, ease regulatory restraints on the use of force, use increasingly confrontational forms of crowd control, and to restrict, in an informal way, access by journalists and photo journalists to protest events. Once the games are over, the elation of winning the right to host the games will quickly fade in light of their cost.”
Douglas Mayhew speaks with THE CLICK, taking us inside the favelas of Rio de Janeiro. Read the full story at THE CLICK.
July 9, 2014
Some days it storms,
some days it shines.
This is how flowers grow.
July 8, 2014
Photographer and subject have a distinct relationship that is based on the sharing of ideas in mutual exploration of that which does not yet exist until the two come together to bring forth the work, the image that holds the wall or rests, nestled inside the book. The photograph is the space where two become one and what we see is the way in which they create something the world has never seen before.
“Every hat I have ever made has begun in my mind as a photograph. I can see it on the model, at the right angle, before I even begin. I can see what the girl’s going to look like and how it’s going to be worn. But it’s something that’s just for me,” writes celebrated milliner Philip Treacy at the introduction to Philip Treacy by Kevin Davies (Phaidon), an intimate and breathtaking retrospective of Mr. Treacy and Mt. Davies’ two decade-long partnership.
Mr. Treacy continues, “Photography, like design, is an obsession: an obsession with the final image. And most photographers, like most designers, are control freaks, because they care so much that it all looks incredible in the end. We believe in it. Whether you’re a make-up artist, stylist, designer, architect, photographer or anyone working in the creative industries, your work is a point of view. It’s your point of view.”
Mr. Treacy’s hats recall nothing so much as a time long gone, a time when men and women dressed head-to-toe before stepping out of the house. Hats are the last hurrah of a bygone era, a time when attention to detail was as important as expression of self. Mr. Treacy’s hats remind us that glamour is a state of mind, for to carry off one of his superb chapeaus one must have presence, power, and fearlessness.
Kevin Davies’ photographs of the hats themselves are a spectacle of the simplest effect. Set upon a faceless mannequin head, set against a white backdrop, there is nothing to see except the hats themselves. Photography is a comfortable reminder that this is likely as close as we shall ever get, but this closeness will set your heart aflame. That the hats can be worn seems almost too grand. To simply gaze upon their eloquent and effortless form would be enough.
Mr. Davies speaks with THE CHIC about his partnership with Philip Treacy as it developed throughout the years. Read the full story at THE CHIC.
July 7, 2014
If you weren’t surprised by your life you wouldn’t be alive.
Life is surprise.
In the magical universe there are no coincidences and there are no accidents.
Nothing happens unless someone wills it to happen.
Happiness is a byproduct of function, purpose, and conflict;
those who seek happiness for itself seek victory without war.
There is nothing more provocative than minding your own business.
Photographs by Sean Kinney
Quotes by William S. Burroughs
July 6, 2014
I am not afraid of storms,
for I am learning to sail my ship.
July 4, 2014
Believe in fate, but lean forward where fate can see you.
July 3, 2014
W.M. Hunt is renovating his Upper Westside apartment. We stroll through the rooms, perusing the collection of art that exists in two dimensions and in three. Everything appears to be as he describes a photography collection to be: “I like pictures that are incredibly orderly and incredibly chaotic.” This effect is echoed in the renovations going on outside a humble room filled with gens. Flat photographs laid out, stacked, rolled, stored, safe and secure. The photographs represent Mr. Hunt’s two collections: Blind Pirate and Dancing Bear.
From these collections, primarily the former, an exhibition will reveal itself, an exhibition like no other that opens Monday, July 7 at the Rencontres D’Arles in the South of France. Mr. Hunt returns to his old stomping grounds with “Foule: Hunt’s Three Ring Circus” which will run through September 21, 2014. “Foule” features more than 250 works dated from the late 19 century through 1950, in large banquet or panorama style, several of which are more than two meters in length.
Mr. Hunt reveals, “I collected pictures in which you cannot see the person’s eyes. That first collection began forty years ago at an auction. It was a portrait of a veiled woman. It went for $325. I went and bought another one in a gallery. When it was pure instinct, I never made a mistake. Knowledge became the great stumbling block.”
“It took awhile in my own collecting to have the confidence in my own ‘eye’ to be image driven as opposed to being caught up in the reputation of the artist. A long time ago, I taught some classes about collecting. People seemed to burden themselves with knowledge. You ought to have some connoisseurship to collect but the best thing to bring to it is nerve. A little knowledge goes far. Educated decisions are not as instructive. The hardest thing is to get back to reacting to what’s immediate, to walk in and be present and have it hit you. Everyone is going to insist everything is great—but it ain’t. If you see a couple of really good photographs a year, celebrate that. Dance around with it. Whatever the neurosis is about collecting, I worked my way through it. The picture that makes you fart lightning… Who knew your nipples could see?”
Indeed. Not we, that is, until Mr. Hunt sat down with us to speak about photography. Read the full interview at THE CLICK.
July 2, 2014
Passion is a flower, a strange and exotic thing, an energy that burns deep within and underneath and through it all, the candle that lights the dark, the darkness forevermore vanquished, vanished, or at least it seems to be, for once we can see, we believe we know.
The photograph does this, reminds us time and again. The more passionate the photograph the more we return to it. And so it is that a specimen arrived the other day, between two long slips of hardboard were pages sewn together at the spine, and between these two large slips of board the pages turned. Long white layers upon which a flower appeared, not just any flower but dozens I had never seen until I laid my eyes upon Flora by Nick Knight (Schirmer/Mosel).
Flora is a garden of earthly delights, an archive of pressed flowers, each photographed like a portrait. Each plant is from the herbarium of the Natural History Museum in London, a collection which contains more than six million plants from all corners of the world. The book, first published in 1997. is being reissued on the occasion of the publisher’s 40 anniversary. And rightfully so, for Flora is a treasure trove, a magical portal, a veritable repository of soul.
In the book’s preface Mr. Knight observes, “I was struck by the fact that these plants didn’t look dead. Life was very apparent. I could see the movement of the wind blowing through their leaves ad petals. Sense the water flowing through their vessels and their flowers straining to turn and open into the suns’ rays. But these plants had one important difference—the fragility, the tragic urgency that had gone and they had taken on a new certainty of being; a statement like boldness. They have escaped their fate.
“There are few things that make me happier than discovering a new way of seeing the familiar. Seeing in a way I could not have imagined. It is a very liberating seeing and one that makes me feel very optimistic.”
Indeed, for a photographer, the act of seeing is the act itself. To be able to see anew, again and again, to take it all in, to set it down, on paper slipped between boards, to edit from a collection of hundreds until the final 46 came forth. Forty-fix flora taken at full size, collected in this bouquet unlike any other. To see is to believe is to know that we need to feed our eyes to serve the soul. We consume, effortlessly, endlessly in all that exists, but to charge one’s self with looking—that is the next level. Mr. Knight knows life, and now he knows death. The flora here are eternal, preserved forever more as we peruse the pages of Flora.
Valentina Ilardi Martin is the Editor in Chief of GREY Magazine, a sumptuous compendium of fashion photography, fiction and poetry that has been published in a hardcover periodical every spring and every fall since 2009 featuring photographs by Nobuyoshi Araki, William Eggleston, Nan Goldin, Sarah Moon, Martin Parr, Robert Polidori, and Ellen von Unwerth among many more.
The photograph comes first for Ms. Ilardi Martin, whose native Roman passion for the grandeur of everyday beauty belies each story produced in the book. She is nothing if not a womanist by nature, honoring the power and influence of the female mind, body, and heart.
GREY maintains a structural integrity to the construction of the photographs, collaborating in the creation of a shared reality that integrates the clothing into the photograph as though it were not so much a matter of fashion as it were the architecture of the life of the body. How we sheath and clothe, hide and seek, play dress up, how we dress to express, to impress, to pretend, to reveal who we see ourselves as.
Ms. Ilardi Martin recalls, “When I was young, I was illustrating, then I decided to become a painter. My parents were both more structured people; they woke up every morning at 7 a.m. I didn’t want to do that. I wanted to be an artist because I thought they could do whatever they want, whenever they want.
“Then I moved forward. (Laughs). I followed my parents’ advice and went to business school. Then I had a really big accident with a motorbike. I was in a coma for two days. When I came out of it, I said to my father, ‘I’m leaving business school and I am going to art school instead.’ They said yes.”
“I have always had a visual life. I feed myself with my eyes. When I am in places where I cannot feed my eyes, I feel really sick. I would not be able to work in an office which does not have a view,” Ms. Ilardi Martin mentions as the breeze wafts through the window of her ninth-floor home.
Read the Full Story at THE CHIC.
June 30, 2014
Poetry isn’t as much an art as it is an act. It is a way of being, a way of seeing, a way of feeling life. It is respiration. Breath drawn in, words expelled. Words that float through the mind and burst upon the lips, fingertips, the pen to paper or the stroke to key, and with each and every moment, the rhythm hits me, then you, then we. Poetry, it is it’s own means, but there is no end, but rather a flow along which we go, should we wish to share the experience.
Daria Ann-Martineau publishes her poem, “Mine” at Narrative today. A native of Trinidad and Tobago, Miss Martineau recently received her MFA in Poetry from New York University. We met at a reading, where she looked resplendent in a wispy peach shift, something like a Bellini, crisp and sparkling. She takes a moment today to chat about the place of poetry in her life…
Miss Rosen: It is evident from the moment anyone lays eyes upon you that you are meant to be a muse as well as a poet alike. Your energy is deliciously elegant while also cutting edge. Please speak about the early period, when you discovered the word and the way in which it could be used as a pillow—or a sword.
Daria-Ann Martineau: First of all, thank you for that incredible compliment. It is a lot to live up to. I do not know that there was a specific moment of discovery for me. The way poetry found me was more gradual and cumulative—almost like a poem: there are lots of tiny details (teachers, books, performances) that build to this bigger idea.
I grew up with two lawyers for parents and I think complex, nuanced language was almost revered in my house. My mother collects dictionaries. I think I inherited a craving from her for the depth and meaning of language. I wrote a lot of bad “secret diary” kind of poems growing up. Nothing serious but I started taking Creative Writing at university and by my senior year, I was ready to dedicate my life.
As for the pillow/ sword thing: I think the night I saw Patricia Smith perform “Skinhead” on television was a moment I saw what crazy things a poem could do. I was about ten when that happened. I didn’t understand the moment’s gravity until much later.
How do poems arrive ? I ask as I have heard verse. Like one time I was making the bed and a voice was like, “Stop. Now write this down.” It doesn’t always happen like that, but when I am in the flow it is as if I can hear words being said. And when I read certain people’s verse, I feel that same intuitive rhythm. Do poems come to you ? Do you go to them ? Do you meet in the park by the big oak ? Or over a cone of ice cream ?
Some poems come quite naturally. Some I chase them and hunt them down. I think my most successful poems usually start off with a perceived connection between two seemingly disparate things. This idea, this association of them sits in my brain like a seed, often for months or years, before I finally get a poem from it. The poem “Mine” started when I saw the word “canary” one day and I thought about it as a colour and a bird: how to link its purpose in either context. I had just one line for months and months and that never even made it into the poem. Then one day, I sat down and wrote it in minutes.
What is the experience for you of reading your poems aloud ? How important is it to liberate them from the page ?
I hadn’t thought about it with my poems too much. Yusef Komunyakaa says the ear is the best editor and of course I will read a line over to make sure it “sounds right.” I think, though, when I read my whole poems aloud they sound more or less as I have predicted they would. There are exceptions of course, like the time I burst into tears while sharing a piece I’d written without much thought.
I love the communal feeling of sharing my work and listening to others share theirs. It’s quite thrilling. I think I get more from hearing other people’s work. When I read a Komunyakaa poem for example, I can see and feel the music without ever opening my mouth. He’s so known for that. But when I read it out loud I hear it even more and when he reads his poems out loud, it’s almost quaking. This year I’ve also been lucky enough to perform with Pop-Up-Poets, memorizing and performing famous poems. It’s this great, expansive, bodily experience. The best way for me to understand the depth of a poem is to memorize it. Recite it like a prayer.
Read “Mine” at Narrative Magazine