Just last week Barack Obama became the first sitting US President to visit a Federal Prison. This is in large part the result of cries for change after decades watching a bruised prison system. Photographer Joe Rodriguez spent time in that system when he was at Rikers Island for his own offenses in the 1970s, but it opened his eyes to the pipeline that feeds in and out of American prisons. Through his two books “East Side Stories” (2000) and “Juvenile” (2004) Joe explored how different systems, both governmental and cultural create lifelong criminals and uphold each other. For Joe, it’s not just about shining a light on these issues, but also making room for them to enact change. “The magic word for me is redemption,” Joe says. “A lot of us people can make mistakes, and mess up our lives, but people can turn [their] lives around.” Joe likes
Few cities are better known for their people than San Francisco. Photographer Jason Madara counts himself among the artists of San Francisco, operating his studio with George McCalman, Art Director of MCCALMAN.CO. Together they decided to take a look at their community and document the individuals that make their hometown so unique. Photographers, Writers, Chefs, Architects, Designers, Florists are all featured in “Individuals.” These are the people that stand behind storefronts and prepare the morning coffee. They design the buildings and paint the walls inside them. They are how a city works. “For me and George this is to show the creativity of San Francisco,” Jason tells Bernstein & Andriulli. “It’s such an amazing, creative place where a lot of people just stay in the shadows. They don’t really come out and be seen. Especially artists.” “Individuals” is an ongoing collaboration and Jason and George intend to continue with the
Joey L was so captivated by the conflict in Kurdistan that he felt compelled to head into the fire and see what he could find there. “I set out to uncover the truth, or at least to better understand the nuances behind the headlines,” he explains on his blog. “Portrait photography has a strange way of humanizing even the most distant of situations, and that was my goal with this project.” He knew it was going to be a terrific challenge, too much to ask his regular crew to attend, so he ventured out on his own. What he found on the ground is incredible. His images show these usually shadowy fighters in a way that we are not used to seeing them. But they remind us that they are human beings fighting for a land they love and for a people they call their own. “Most residents and refugees
In 2015 color photography is everywhere. To capture life in full color all we need to do is pull out our phones and take a quick snap. But we forget how recently color photography was a modern marvel. Photography as a science was perfected two centuries ago, and over time was developed into an art form. When the technology to print photographs in color arrived in the 1930s, artists were slow to adapt, preferring the history and heft of the black and white image. But not all artists ignored the new trend, and Joel Meyerowitz was on the cutting edge. Joel picked up a camera after putting down paintbrushes, but continued his artistic investigation in full color becoming one of the first to employ color photography and call it art. He started his work in 1962, and because of the unique medium secured a solo show at MoMA in 1968.
Mallory Morrison’s latest project, “Fog,” is an exploration in uncertainty. Fog hides the path in front of the walker, but it is how they react to the fog that shows their measure. Mallory was inspired into this project when she was faced with fog in Los Angeles similar to her home of San Francisco. The fog represented not only the weather of her native town, but the murkiness of her homesickness, challenging her to navigate these feelings that neither inspire joy nor suffer being ignored. For Mallory, fog is a visceral experience. She needed to reflect it visually in her work, so she chose underwater photography. Processing it in a unique way, and often cropping the images into non-traditional dimensions, the images in “Fog” almost look like paintings surrendered by the ether. “There is a feeling of being lost in the fog and trying to make your way through,” she
As the temperatures began to rise in New York City this spring, photographer Yvonne Albinowski (Winner of the 2015 APA NY Photo Contest) traveled up to Schroon Lake in upstate New York to experience their annual ice fishing derby. One by one fishers from all over (including one father and son pair from Japan) converged on the lake, many under cover of early morning darkness. Holes were drilled through the ice, making the lake’s surface like Swiss cheese, but despite Yvonne’s initial hesitance the ice held firm. “Having no experience at all with the ice fishing sport, I had my doubts as to whether the ice would be safe,” she writes in The Huffington Post. “Those doubts quickly subsided after seeing the amount of SUVs, cars, and four wheelers that seemed to be safely gliding along the lake.” The derby acted almost as a mockery of summer, with temperatures plunging
The national landmarks of the UK are steeped in time and nature. The history of England and her sister countries dates back millennia, and that history has collected in the corner of her lands, tucked under hills and at the heads of fields. The canonical photographs of Stonehenge and the arboretum feature signature British overcast countryside and the vibrant green stretches of outlying fields. But there is an inherent dishonesty in these photographs, as Simon Roberts proves in “National Property: The Picturesque Imperfect,” his latest exhibition on view at the Flowers Gallery in London. “They’re places that are tied to the British psyche. They have some historic tie to our real and imagined experiences of the landscape,” Simon explains. His photographs bring in the representation of that psyche by photographing visitors to these landmarks while they explore. In doing so, he humanizes these places, drawing them down from the Parthenon of
What is more personal than food? Every meal can be an expression of love and inspiration for those we surround ourselves with, and the beauty we see in the world (or wish to). For Chris Fischer’s latest cookbook, The Beetlebung Farm Cookbook, created with Catherine Young, Gabriela Herman took the food very personally. Shooting many of the dishes, and even their processes, Gabriela got her hands dirty, but still finger lickin’ good. The project was not a simple one, unlike many of the incredibly accessible recipes; instead it took a huge commitment. The ideology of the farm is to live in tandem with the land and cover an entire year of eating. As Chris cooks with what each season surrenders to the plate, Gabriela was there for every sizzling slice of pork back fat, smoky roasted cabbage, and delicate squid. The cookbook offers easy to understand menus, dated and explained,
Like an inheritor to David Lynch, Tamar Levine’s newest film reel shows off a unique style that is dramatically ethereal. The images are something out of a Freudian dream where the subjects of Tamar’s work come in contact with their worlds in pointed and symbolic ways. Her high concept imagery is magnetic and provoking, strange in its conceit but emotionally illustrative. This point of view extends into her photography, both fine art and commercial. Much of her work involves models in vivid environments, like a housewife bathing in milk, or a model gracefully lounging adjacent to vicious cacti. These strange compositions provide a space for the characters that she creates to stop in constructed moments that are thoughtful and hover like a posed but unanswered question. Perhaps the highlight of Tamar’s work is her underwater projects. Creating a three dimensional space that is completely navigable, the water represents a rejection
CONFINE, selections from Ward Roberts’ “Court” along with illustration work from Karan Singh, opens tomorrow at Chasm Gallery in Brooklyn. Ward has become known for his conceptual landscapes that are jarring in their composition. They show pastel worlds, like a blanket of faded watercolor draped over concrete and cement. They are a washed Barbie’s dream city, vast in their emptiness and cheery in their loneliness. They are supremely walkable in their constructed nature, but you fear disturbing their stillness. Ward admits that his work is centered around loneliness and isolation in the modern world, while keeping his images fresh and engaging. These are not the images we’ve come to expect that are “the moment between the moment,” relying on lens flare and stolen glances. Instead, their effortless grace is gently eked out of the hard surroundings, through exposure and color balancing. They are impressionist in conception and effecting in reflection.
Whenever social issues are in flux, our culture immediately fears for the protection of the children. It’s the natural and positive response to ensure the future is happy and healthy. But the wisdom comes from the older, those who grew up in a different time. Those who are, potentially, locked in the old way. With the forthcoming Supreme Court ruling poised to potentially end the debate about Marriage Equality, the question is being asked again, “…but what about the children.” If you ask the old guard, nothing good can come of it. But, there’s no way to know what the actual affect is for years to come. If only we could ask the kids who have lived with gay parents and inhabited that world. But, we actually can. Gabriela Herman’s latest collection of photographs for The New York Times, featured in a piece called, “What Could Gay Marriage Mean for
This month, David Graham’s “Where We Live: Photographs of the American Home” is on view and the show includes work from his entire 30-year career. Compiled from a handful of separate projects, the collection presents the spaces of every day Americans. In most, we even get to see the people that live in these homes. They regard the camera as a welcome stranger. They are guarded, but not too much, and we are permitted entry with no attempt at explanation. After all we are their guests. We’ve been admitted to their world, and it is up to us to understand them, not for them to rationalize for our benefit. It reminds us that there is no one American way of life. We can live our lives almost however we want in millions of homes. We carry the most essential parts of our homes with us: ourselves. We bleed into our