Sorry I’ve been lagging on posting the rest of my photos from the recent Italian excursion but better late than never!
One of the perks of going to Europe is seeing graffiti on trains. Since I missed the golden days of NYC subway graffiti, seeing painted trains is the next best thing. People always come back from Europe telling me how all the trains are covered with graffiti from end to end. I was ready to document millions of trains with many gigs on my camera, but the reality was that for every ten trains I saw I was lucky to find one piece. I’m not sure how it is in other countries but it looks like the the buff is catching up with the Italian nighttime beautification squads. Since we had such a hectic time traveling from town to town I didn’t have too much time on my hands to hunt down trains but here’s what went by me while hanging at the station.
Seoul native Eunjeong Yoo is an illustrator who now lives and works in New York City. In addition to Eunjeong’s strong conceptual approach, the quality I admire most in her work is her use of color; its placement has a haphazard feel and her palette choices both emphasize the narratives and instill a sense of in-the-moment movement.
Ryan Duggan‘s posters are hilariously colorful and eye catchy. Although the illustrations are simple, combined with various elements and symbols, they make up for one great event poster. He has been working for the last few years in Chicago and his greater work contains series of poster for different art and music events.
Alex Wein is a 19 year old photographer in the BFA Photo program at Maryland College of Art. He seems to have a background in skateboarding, having already been published in mainstream skate magazines (Transworld, Thrasher, etc.), though a great deal of his work, much of which is black and white, has little to do with skating. He particularly excels at portraits.
Led by graphic designer and illustrator Jerome Castro, Hellofreaks is a graphic design studio based in Paris, France. I’m loving these twisted, almost grotesque illustrations juxtaposed with color palettes that basically put rainbows to shame.
Manal Al Dowayan is a Saudi Arabian contemporary art photographer based in London, Dubai and her native land of Saudi. The basis of her work is black-and-white photography, however she recently introduced more layers to her work by working on sculpture and installations .
Suspended Together, first displayed on the 54th Venice Biennale’s The Future of Promise exhibition is comprised of 200 fiberglass doves that hang from the ceiling by transparent nylon thread. Each of these doves are imprinted with images of written postcards and stamps.
The piece is visually striking and it evokes an interesting set of complex emotions and ideas that challenge the spectator’s view on Saudi women and their initiatives and downfalls to find freedom. At first glance, Suspended Together gives the impression of movement and freedom, however, a closer look, leaves the spectator looking at doves that are static in movement, suspended in flight. Manal tells Nafas Magazine that the written text and images imprinted in the doves are real “permission documents issued by an appointed guardian when they [women, in this case successful professionals] have to travel [get surgery, or any type of important procedure]” ; women in Saudi are not able to conduct themselves freely, and although reforms to improve the visibility and freedom of women look promising, they don’t seem to pass through King Abdullah, Saudi Arabia’s leader. This struggle is visually present in Manal’s work, as she successfully implements imagery that illustrates the contradiction of many important women that found success in their profession [the dove], yet find themselves suspended in flight, as they try to find their way to do the small tasks of everyday life with volition and freedom from their ‘guardians’.
Andy Freeberg‘s “Art Fare” series is currently on view at Kopeikin Gallery in Culver City, CA. The series captures gallery owners and artists, usually hidden behind desks and gallery walls, in plain sight at major art fairs. Simultaneously “real-life” and narrative drama, the photos depict the business of the art world in stark, natural light. The results are humorous, seedy, and honest.
The exhibition is up until October October 27th. See more photos from the show after the jump.
Images courtesy of Andy Freeberg and Kopeikin Gallery.
“Takeesha was working one of the streets in an empty industrial area. She called me over and said, ‘Hey, take my picture,'” Arnade recalls. “I was relatively cautious initially because I didn’t want to be insulting, but she opened up and started telling me her life story.”
A former Citigroup financier of 20 years, Chris Arnade, became disillusioned by the narrow-mindedness and greediness of the corporate world. As a way to escape his unhappiness in Wall Street, he started taking long walks with camera in hand. He strolled through Hunts Point in the Bronx, one of the city’s most dangerous neighborhoods. It was there, while on a walk around town, where he met a very friendly and honest prostitute named Takeesha.
She opened up, he photographed her. Astonished by her honesty, Chris insisted in creating a positive and honest image of her friend Takeesha.
From then on his life changed for the better. He traded his job for his new-found hobby: Taking honest and vibrant photographs of prostitutes, homeless people, and drug addicts in the South Bronx. He would not only take photographs of them, but he would also get acquainted and makes friends with these ‘rejects of society.’
“Hunts Point is a dark cloud with a silver lining. It’s people who are seemingly in the lowest of the low positions who are still somehow resilient. Those moments of resilience can be very optimistic.”
Although there are many whom are against his work (some calling it ‘exploitative’), Arnade stands by his images and his daily walks with pride. In a way, this is Arnade’s way to give back. See, Aranade grew up with the Catholic Church, a doctrine which taught him to do good in order to make up for the sins he’s committed in the past. Although always a very honest man, Arnade’s past with Wall Street haunts him daily, and his new found love of the camera and new friends make up for the piled guilt he felt for many years.
I want to make conventional portraits for unconventional people.
His images are simple, yet quite powerful. He captures these reject’s livelihood in a very honest and nonchalant way. The background is their native space and not a studio. Their clothes is not borrowed, but its theirs. Arnade’s images are crammed with damaged, but optimistic outlooks- he does not what to portray anything different; vulnerability is key. (via PolicyMic)