Category Archives: Williamsburg

New York/Williamsburg


Williamsburg, Brooklyn — © Brian Rose (Painting by Damien Mitchell)

Trump unmasked.

Update — a quote from Simon Schama’s piece in the Financial Times. I first came across Schama when living in the Netherlands. His book The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age is highly recommended along with his later Landscape and Memory.

He writes:

The challenge, as with all such imaginative counter-attacks, is the capacity to project the message beyond the halls of college and museum and into the street where it counts. Prints lend themselves perfectly to poster polemics but the most effective challenge may yet come from creative adventures in the digital media, where inspired derision coupled with the defence of truth can go viral. Should that happen, the complacent dismissal of resistance art as the self-indulgent playtime of a defeated “elite” will die on the faces of the powerful. Aux armes, les artistes!

https://www.ft.com/content/0ded5de4-fe6d-11e6-96f8-3700c5664d30

New York/”Freedom Tower”

oneworldtradeflag
Paul Avenue, The Bronx — © Brian Rose

Whatever happened to the Freedom Tower? That is what former Governor George Partaki called One World Trade Center when it was still an architectural concept. And if you wander through the crowds of tourists downtown, you will still hear people refer to David Child’s 1,776 foot tall skyscraper as the Freedom Tower. The Port Authority, however, abandoned that name years ago, and few New Yorkers seem inclined to use it.

One section of my forthcoming book WTC is comprised of vernacular images of the Twin Towers — posters, murals,and graffiti. And there are books and photographs for sale in the street, many of which graphically show the destruction of the Trade Center. It has been 15 years, but helped by constant visual reminders, the Twin Towers remain fixed in the mind’s eye. Images of One World Trade, however, are harder to find.

One World Trade — or Freedom Tower — was envisioned by some as a patriotic gesture, not just real estate. Some might argue that in New York City real estate and patriotism go hand in hand. Whatever the case, One World Trade Center has only slowly begun to achieve the iconic status of its progenitors, the Twin Towers. Maybe it never will. So, I was stopped in my tracks yesterday while walking through the Bronx. There on the ground was a pizza box with One World Trade and an enormous American flag printed in red white and blue. The Freedom Tower lives…perhaps.

And then in Brooklyn — there it is again —  standing tall in support of Bernie.

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North 3rd Street, Williamsburg, Brooklyn — © Brian Rose

Please help make WTC possible by supporting my Kickstarter campaign.

New York/Death of Photography (greatly exaggerated)

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S1st Street, Williamsburg, Brooklyn — © Brian Rose

Every few years someone or other, usually an art/photo critic, declares photography dead. Or if not dead, then relegated to a quaint sideshow off the midway of progress. I’ve written about it before, way back in 2007, in response to Peter Plagens’ Newsweek article “Is Photography Dead?” An article that ends with the line: “The next great photographers—if there are to be any—will have to find a way to reclaim photography’s special link to reality. And they’ll have to do it in a brand-new way.”

Last August, Stephen Mayes repeated many of Plagens’ assertions in a Time article that keeps popping up in my Facebook newsfeed, no doubt because hundreds of my “friends” are photographers. His article ends by conjuring up the old Elvis meme: “It’s very far from dead but it’s definitely left the building.” Which means, all you losers waiting for an encore should go home because the show is over. It has moved on to a new venue.

The argument for the death of photography generally revolves around how technology has stripped the medium of its claim to veracity. Never mind that photographic reality has since its inception held a tenuous grip on reality — despite the faith placed in it. Mayes believes that the nature of digital capture is fundamentally different from lens based imagery, and touts the infinite arrangeability of pixels as a transformative phenomenon.

No doubt, of course, technology has changed the medium, but Mayes flails about trying to describe what that change might look like. Having just drowned in MoMA’s inchoate “Ocean of Images,” the latest installment of the museum’s New Photography series, I can only conclude that no one seems to know where things are, much less where things are going.

Arrangements of digital data in the post internet image vortex. That’s where we are, apparently.

Lauder4-jumbo
“THE VIOLIN (MOZART/KUBELICK)”
Georges Braque, 1912

There is one paragraph of Mayes’s article in particular that illustrates where his argument about photography goes wrong. He compares the present image revolution as comparable to the period when Picasso, and the other Cubists, deconstructed the traditional way of seeing, which forever transformed the nature of representation. Cubism was definitely a transformative movement in the history of art, but it did not kill off painting.

True, critics have called painting dead, too. And for quite a while, it appeared that the march of art history was essentially reductive — from Cubism to Abstract Expressionism to Minimalism to the grave. But lo and behold, painters have continued to paint, and the medium remains alive and well within the multiplicity of ways that artists approach the task of making art — of expressing the nature of human existence — in the age of image capture.

Photography, and its tenuous tether to reality, will continue to be important to culture, as is music, film, and literature. The digital revolution will not render these things irrelevant. The act of observation, of bearing witness, will not become less important — it may in fact become more important as we increasingly live in a world alternating between the real and the virtually real. Sometimes, going to contemporary photo exhibitions is like experiencing one bad Holodeck adventure after another. I’m mean come on, let’s get real.

Here is a comprehensive list of articles on “painting is dead” vs. “painting is back.” One could easily do a similar list about photography. Actually, I think it’s the “such and such is dead” paradigm that is dead.

New York/Williamsburg

Williamsburg 2011-2015. Four photographs made on the same corner — N 6th Street and Bedford Avenue.  The wall painting changes frequently, every couple of weeks, and life passes by — people dance, compose poetry, make music, and otherwise maintain the cool vibe. But watch out for the baby strollers.

brownwall

poetryman

saxpayer

aboutbrooklyn

New York/Williamsburg

charlie
Bedford Avenue, Williamsburg, Brooklyn — © Brian Rose

JE SUIS CHARLIE.

Well, actually a more nuanced perspective. This is something I posted today on the blog Daily Kos as a reply to a diary writer who does not support the kind of provocative satire practiced by Charlie Hebdo. The full discussion is here.

Theo van Gogh

I am coming to the discussion rather late, but want to add some thoughts about another similar incident in the Netherlands, where I lived for 15 years. Some years ago, the columnist/TV personality Theo van Gogh was murdered by an Islamic extremist. Van Gogh was well known for his provocative statements about Islam and just about everything, and he collaborated with Ayan Hirsi Ali on a film that attacked Muslim persecution of women. But it was, in my view, a recklessly inflammatory film.

I considered Van Gogh an odious person, even though there was truth to some of what he had to say. He poured gasoline onto the fire, and didn’t seem to care about the consequences.

However, when he was attacked and stabbed to death in the street in Amsterdam, I was left with no choice in the end, but to side with those who defended Van Gogh’s right to live and to speak out. The attack on him was an attack on all of us. As is the case with the attacks in Paris.

So, while I sympathize with the points made in this diary — and I do not endorse many of the cartoons in question — I have to say, in the end, “Je suis Charlie.”

Sat Jan 10, 2015 at 09:56:43 AM PST

 

New York/Dueling Portraits

My 15 year old son Brendan had a school photography assignment to do this weekend — to make pictures of his family. When given the option to take painting or drawing, or architectural rendering, Brendan thought it would be “easier” to take photography, given that’s what his father does. We had a little time Saturday afternoon to take pictures before guests came over for dinner. So, Brendan and I walked around the Williamsburg waterfront together taking turns shooting with my Sigma DP 1.

Here’s Brendan:

brendan_blackshirt
North 3rd Street, Williamsburg, Brooklyn — © Brian Rose

Brendan wanted to take off the cuff pictures of me walking around, and we did some of those. But one of my favorites is something in between. Despite all the development in this part of Williamsburg, there are still desolate areas — some fenced in industrial sites — that will not be there long. I stopped along a chain link fence with the skyline behind me. The light was beautiful.

Here’s Brendan’s photo of me:

skyline-portrait
River Street, Williamsburg, Brooklyn — © Brendan Rose

And finally, a snapshot I did looking, more or less, in the other direction.

vespasNorth 3rd Street, Williamsburg, Brooklyn — © Brian Rose

 

New York/Brooklyn Panorama

july4panoramaBrooklyn Panorama, July 4, 2014 — © Brian Rose

Before the fireworks on July 4th. Rain and clouds dissipated as a front passed through leaving clear skies and chilly (for the season) temperatures. To the right is One World Trade Center, the Williamsburg Bridge and the chimney of the Domino Sugar Refinery.

 

New York/Williamsburg

dominobridge
The Williamsburg Bridge and the Domino Sugar Factory — © Brian Rose

After visiting the Kara Walker installation in the Domino Sugar in Williamsburg, Brooklyn, I decided to go back with my view camera and do a few photographs of the factory and the surrounding area. The picture above was taken with my digital camera placed on top of the view camera — so it’s roughly the same composition. Much of the sugar plant will be demolished to make way for a large housing development. The large brick structure at right, however, will be retained as an architectural landmark. While I was there, a crew was already at work, and I could see men climbing through the former conveyors angled between two of the structures.

It was early in the morning when I took the photograph, and few people were around except for dog walkers. There’s a sort of dialogue going on here between the chain link fencing with interwoven diamonds and the criss-crossing steel of the bridge. The top of One World Trade Center can be seen poking up at center left. This view will be dramatically different in a few years.

 

 

New York/Williamsburg

vespucciMetropolitan and Graham Avenues, Williamsburg, Brooklyn — © Brian Rose

A random view of a Williamsburg street corner with pigeon.

I am now at 50% of my goal 9 days into the Kickstarter campaign to help fund the printing of Metamorphosis: Meatpacking District 1985 + 2013. Pledge $50 and pre-order a copy of the book to be released in July. Other reward levels available. The campaign runs through April 1.

Your support is greatly appreciated.

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