Amsterdam

Submarine on the Ij

Been busy working on a grant proposal about photographing megachurches. See posts below. Today, we joined a protest march against the imprisoning of an illegal alien child awaiting expulsion with his mother from the Netherlands. This is but one of hundreds of cases. Children in jail. The Netherlands. Land of tolerance. Home of the World Court.

Amsterdam

Shells collected by Brendan, my son.

Yesterday the United States Senate led by the Republicans and a few cowardly Democrats betrayed the fundamental values of my country by passing a bill that nullifies the Geneva Conventions even as it says the opposite, unconstitutionally undermines habeas corpus rights, and gives to the President potentially dictatorial powers.

Meanwhile, here in the Netherlands where I am for the moment, an 8 year old sits in a prison cell with his mother, an illegal alien from China, awaiting deportation. The boy was born in the Netherlands, has been educated in the Netherlands, and has lived nowhere else. He has zero rights to residence in the Netherlands. He and his mother will shortly be thrown to the wolves.

New York/Korean Presbyterian Church

Continuing the post of a few days ago, I traveled out to Queens to photograph the Korean Presbyterian Church, a so-called megachurch designed by the noted architect Greg Lynn. Although this building has significant architectural merit (article here), what interests me most is the new religious landscape, the way in which religious expression manifests itself physically in society. This, I hope, will be the first of many such places that I explore with my camera. The pictures posted here are digital snaps made in addition to 4x5 color film.


The Korean Presbyterian Church in the distance

Traditional American churches are typically cruciform structures, their steeples punctuating the skyline, and are often located in a prominent spot on a major street or town square. The new churches for reasons economic or social are more likely to be found in peripheral locations convenient to their congregations, usually accessible by automobile. That is as true for this Korean immigrant community in New York City as it is for white suburbanites on the fringes of cities around the U.S.


Northern Boulevard


Northern Boulevard

Northern Boulevard

I took the subway to Northern Boulevard, a wide swath of asphalt leading out from the Queensborough Bridge (59th Street Bridge). The church is near the Sunnyside train yards used by the the Long Island Railroad and Amtrak. It's a hard stretch of streetscape with car dealers, auto body shops, strip malls--as well as a few strip joints--diners, and fast food outlets. The church is located directly adjacent to the rail yard amidst factory buildings and warehouses. An immense new car lot with hundreds of vehicles lies just to the north. Every few minutes a train passes by the church, and the passengers can clearly see the words "is it nothing to you, all you who pass by?" afixed to a metal screen attached to one side of the building. Just out of view on the other side of the rail embankment is Sunnyside Gardens, a historically important planned community, once the home to urban planner and critic Lewis Mumford. (Google Map)




Former entrance to the Knickerbocker Laundry

Greg Lynn's church building is actually an adaptive reuse of the Knickerbocker Laundry, an art deco factory that stood abandoned for years. The symmetricality of the older building, however, has been disrupted by the new addition, and the former entrance is now covered by the aforementioned steel screen placed off center to the original doors. Despite all that has been done to the original, the strong forms and curves of the deco design remain clearly visible along the street.


North side of church complex

The main entrance to the church is through a gateway and faces a huge parking structure, which dominates views of the building from that side. On the north side of the building, a series of nested polygons contains stairs leading from the different levels of the sanctuary. It's the most striking design element of the whole complex--industrial, angular, mettalic--not the usual stuff of churches. I could easily imagine a jumbo jet parked at the edge of this structure.


Just outside the church compound

I photographed the building from as many places as I could easily reach. I was there without any special access, and was actually surprised to be able to walk about the compound so freely. I did not seek to go inside, but there are some nice interior views on the Greg Lynn website. I also did a number of shots looking toward the building from some distance away. It's hard to get a vantage point that explains the setting of the building, but that's the way it is in this strange somewhat alienating landscape. The only recognizable religious iconography is the abstracted cross formed by white steel beams.

New York/Korean Presbyterian Church

Korean Presbyterian Church, Queens, New York

Looking past the Lower East Side to a new project I'd like to do, I took the subway out to Queens to photograph the Korean Presbyterian Church. For some time, I have been interested in the phenomenon of megachurches and the way in which they are redefining and/or fitting in to the urban landscape--often suburban landscape. I am tentatively calling my project the New Religious Landscape, and while I expect that it will center on megachurches, I am open to other forms of religious architecture or display. The Korean Presbyterian Church is a megachurch, but atypical in that it is in New York City, and that it was designed by an architect very much on the cutting edge, Greg Lynn. More photographs and comments to follow.

Boston

I took the train to Boston to visit Rodger Kingston a photographer, collector, and Walker Evans scholar, among other things. We met online recently after I posted my reactions to the Evans show at the UBS gallery in New York. Rodger is a great conversationalist and generous with his time, and I had a most enjoyable stay, however short. While in Boston I met the staff of the Photographic Resource Center and the photography curators at the Museum of Fine Arts. Unfortunately, I couldn't spend much time in Rodger's house in Belmont (near Cambridge) because of my rather severe allergy to cats. I actually picked up a face mask at a nearby hardware store so that I could go inside for at least a little while. Fortunately, however, the weather was unusually balmy for late September, and we were able to sit on the back porch, look at photographs, and talk.


The view from Rodger Kingston's porch

Rodger showed me some of his cibachrome prints featuring pop art imagery not unlike the iconography of Andy Warhol. One picture prominently displaying a Mao poster was particularly vivid. I showed Rodger work prints of my ongoing Lower East Side project. We also exchanged books--my Lost Border and Rodger's bibliography on Walker Evans. I took the late train back to New York.


Rodger Kingston with his digital camera

New York/Botanical Garden

Crowd at the New York Botanical Garden

On Sunday I traveled to the Bronx to see Dale Chihuly's glass sculptures set among the plants of the New York Botanical Garden. While on the train I read in the Times about Hiroshi Sugimoto's photographs of Richard Serra's sculpture Joe, which is situated in the new Pulitzer Foundation for the Arts in St. Louis designed by Japanese architect Tandao Ando. Like much of Sugimoto's recent work, the photographs are minimal black and white images deliberately made out of focus. Originally, the photographs were to be a collaboration with Serra, but he, evidently, was uncomfortable with the idea, and left Sugimoto to his own devices.


Richard Serra's sculpture Joe as photographed by Hiroshi Sugimoto

Reducing Serra's tactile reddish steel sculpture into fuzzy monochrome light and shadow does not compute with my reading of Serra's work. Ando's building was designed to contain the spiraling form of Serra's sculpture--a collaboration between the artist and architect--but nowhere in Sugimoto's pictures is there any evidence of the surrounding architecture. One could argue that Sugimoto uses Serra entirely to create his own separate reality, linked to the original source, but not intended as a document. Well okay, if you think that transforming Serra's tough, tightly wound masterpiece into a series of ephemeral two dimensional compositions is a worthwhile project.


Chihuly glass sculpture reflected in water

Thinking of Richard Serra massive steel objects it's hard to transition to Dale Chihuly's multi-colored blown glass. Chihuly is the ultimate eye candy, easy to like, and easy to dismiss. As one visitor to the Botantical Garden exclaimed in New Yorkese, it's gawgeous. You can't really disagree with that. The installation is a spectacular crowd pleaser. But there are moments of more sublime pleasure like the column of blue and green writhing glass tubes set among palm trees, or the silvery glass spikes hanging amidst grey/green cactuses. Here are some visual impressions of the show.

New York/LES

On Saturday I continued my Lower East Side project walking down Eldridge Street to Chinatown. As usual I used a 4x5 view camera, and snapped similar images with the digital camera. Some are quite close to the 4x5 frame, some not. All the pictures below were taken with my Ricoh GR.


Eldridge Street


Chrystie Street

I walked all the way down Eldridge to where it meets Division Street and runs into the massive structure of the Manhattan Bridge. Near the bridge is the newly restored Eldridge Street Synagogue dating back to 1886 when this part of the Lower East Side was largely Jewish. The immediate area is now predominately Chinese, and I am trying to get a photograph of the building that shows the present context. For now, here is a straight architectural view.


Eldridge Street Synagogue

The corner of Eldridge and Division is another spot I've been trying to do justice to. There's a small hill where the synagogue stands, and then the space opens out in front of the Manhattan Bridge. There is a cocophany of architectural styles, signage, crowds, outdoor markets, and queues for catching the many cheap buses to Boston. On Saturday I climbed the walkway over the Manhattan Bridge and took several shots with the digital camera. Unfortunately, there is chainlink fencing along the railing making it impossible to get a view camera lens through an opening. Up the bridge there are other possibilities that incorporate the bridge elements themselves. I plan to return a bit earlier in the day. Here is a view of Eldridge and Division from the bridge.


Eldridge and Division Streets

New York/Suzanne Vega

This is the poster for the exhibit I am doing in the Czech Republic of early portraits of Suzanne Vega. I've known Suzanne since the late 1970s when I first arrived in New York. Here is a previous post with some of the images in the show.

Amsterdam/New York

Back in New York, an overnight two day shoot of interiors at a golf club in the Hamptons. Then scans, color correcting, and delivery to the client. A busy week. Monday, of course, marked the fifth year since the destruction of the World Trade Center, and I was happy, in a way, to be busy with other things. I did, however, take the time to post a picture of the Twin Towers taken in the 1980s that when enlarged in Photoshop revealed the scratched signature of Phillipe Petit the French street performer who tightrope walked between the towers in 1974. It's currently in the Outtakes section of my homepage.


My son gave me the this drawing a while ago depicting the Twin Towers and me with my camera. He was too young to have any memory of 9/11, but much to my amazement he seems acutely aware of the importance of the event, and its importance to me personally.

Here are some more digital pictures of the Haarlemerbuurt (neighborhood around the Haarlemerdijk in Amsterdam) taken last week. Scroll down for earlier pictures.


Haarlemmerdijk


Moroccan food store, Haarlmmerdijk


Haarlemmerdijk


Bickerseiland

Amsterdam/Haarlemmerbuurt

The Movies, an art house on the Haarlemerdijk


Woody Allen at The Movies on the Haarlemmerdijk


Brendan, my son, Tussen de Bogen

Continuing my walk in the neighborhood around the Haarlemmerdijk in Amsterdam. I photographed my son along the railroad viaduct leading in and out of Central Station. Brendan stands before a night view of the scene behind. It's a straight shot, not a composite.

Amsterdam/Haarlemmerbuurt

On the bus near Central Station


Haarlemmerdijk

Walking the Haarlemmerstraat and Haarlemmerdijk one comes across lots of odds and ends in the store windows. Here Elvis makes yet another appearance. Amsterdam is not known for Art Nouveau architecture, but it can be found in various spots around the center of the city. A bit later the Amsterdam School with its organic forms echoed the older style. These two storefronts survived the 20th century relatively intact.


Courtyard just off the Haarlemmerdijk

Urban renewal in the '70s and '80s nearly destroyed a number of picturesque neighborhoods in Amsterdam including the Haarlemmerbuurt (see above) and the nearby Jordaan. Dutch planners and technocrats have rarely exhibited great sensitivity to the existing urban fabric, but fortunately they have moved on to, literally, the greener pastures of the polders outside the city. Amsterdam, like other European cities, is blessed and cursed with its now immutable historic heart.

Amsterdam/Haarlemmerbuurt

Today, I walked from Central Station to the Haarlemmerpoort. Once you clear the touristy mess near the station and walk west on the Haarlemmerstraat and Haarlemmerdijk one finds a lively mix of shops, mostly mom and pop operations, and the odds and ends of urban street life. It is, perhaps, Amsterdam's best street for window shopping, noshing, and capricious purchases. Here are a few pictures. More to follow.


Central Station under construction. A couple of goth kids navigate the strange landscape of modern Amsterdam.


Shops on the Haarlemmerdijk


Op-art in a passage off the Haarlemmerdijk

Amsterdam

Pont 13. An old ferry transformed into a floating restaurant.