12/30

Well, I finally made it to YouTube.

And I didn't even know it.

I was watching old concert videos of the band NRBQ (still one of the great American bands) and during one of 'Shake, Rattle and Roll' there I was in the front of the stage with my friend Janet. Just for a split second about 4 minutes into the song. I have this goofy grin on my face and look like I've had more than a few beers. Crazy. The Paradise in Boston. 1982.

I also saw the Robert Frank show at The Met a month or so ago and it was really interesting to see the entirety of 'The Americans' on exhibit. It was the exact order from the book and having them displayed side by side allowed viewers to see how the images refer to each other in a much different way. Plus seeing entire walls of photos on the same theme made you realize how much consideration Frank had given to how this work was organized. It's an incredible body or work and still packs a wallop. My only complaint was the quality of the prints. They seemed to have been compiled from people's personal collections so they varied both in size and quality. Some were beautiful and some looked like bad work prints; over or under exposed, dust spots etc. I couldn't help but wonder why The Met hadn't had a new pristine set of exhibition prints made for this occasion (it's the 50th anniversary of 'The Americans') instead of showing a group of mismatched prints. I could only help but wonder if Frank (notoriously prickly) wouldn't allow it or if the original negatives had been lost, damaged or destroyed.

Still, the best show I saw last year was 'Intersected: The Photography of David Goldblatt' at the New Museum. An amazing retrospective of work he's done in South Africa, both before and after apartheid. It's great documentary photography and great art. Most importantly it makes you think. Bravo.

8/8

I read in the NY Times this morning that singer Willy DeVille had died yesterday of cancer. He was 58.

Willy was one of my all-time favorites and someone who was completely underrated as both a singer and a songwriter. He originated in the NYC punk scene in the late 1970's, playing CBGB's in the band Mink DeVille. They were tremendous, but more Spanish Harlem street corner meets Doc Pomus than the Ramones, Blondie or Television.

The first time I saw them was 1980 at Lupo's in Providence, RI. and I was completely hooked. Willy came out in his usual skin tight suit pants, purple ruffled tuxedo shirt, his hair in a shiny black pompadour. The band looked like they were in the mob, dressed entirely in black with leather jackets, pork pie hats; everyone smoking cigarettes. I don't remember if they wore pinkie rings. By the end of the show, Willy was so loose the roadies had to carry him back onstage for the encore.

I saw him four or five more times after that in Boston and he was amazing each time. He also made a bunch of great albums. 'Cabretta', 'Return to Magenta', 'Le Chat Bleu', 'Backstreets of Desire' and 'Loup Garou' were my favorites. These recordings feel timeless and are filled with great melodies, incredible lyrics and soulful singing. Willy never got his due but made great music his entire career. He was one of the best.

New Work pt 7 (Chelsea iphone photos)

New Work pt 6

New Work pt 5

2/28

I met with my new mentor a few weeks ago for the first time so I wanted to show her all the work I had done in my first two semesters. After she looked at about six of the urban landscape photos she stood up and grabbed a book from her bookshelf. It was Lee Friedlander's 'Sticks and Stones Architectural America' and when I looked at it, it was the closest thing I had seen to what I was trying to do. It was really nice to see something similar to my own work (especially being Friedlander) but I wondered later why not a single faculty member had mentioned this book or seen the connection between what Friedlander had done and what I was trying to do (medium format black and white images taken mostly in cities). The best anyone could come up with at the time was to either shoot color or to look at Lewis Baltz.
Lewis Baltz? His work was of suburban houses from California in the '70's and other than being black and white had little or nothing in common with what I was trying to do with an urban environment in 2008. When I thought more about it I realized that Friedlander probably isn't considered postmodern enough to be relevant. So even though Friedlander is one of the most important and prolific American photographers, a book of his work published in 2004 (and produced in the previous ten years) is either ignored, discounted or unknown by the faculty. It took about twenty seconds for my mentor to see the connection, but not a single faculty member could do the same. It's stuff like this that makes me want to beat my head against the wall.

2/16

The response to my Chelsea street portraits was overall pretty positive, but most of the faculty felt it wasn't enough. That they'd seen similar things in the past and that I needed to expand my ways of portraying the city. That simple portraits weren't enough. People suggested reading up on 'sense of place', which while sounding good remains one of the most nebulous terms thrown around art school. I even had a faculty member tell me he had no idea what it meant. I agreed, although I did find a short one by political geographer John Agnew that I liked. By 'sense of place' he means the 'subjective and emotional attachment people have to place'.
So I'm trying to incorporate some representation of my emotional attachment to Chelsea. How I do this is still unclear but I think it will include urban landscapes, more formal portraiture, and possibly still life's, panoramas and architectural details. After that, who knows?
I'm also continuing to use the idea of 'All-American' city as a way to frame all of these disparate ideas. The All- American City award is given by the National Civic League annually to ten cities in the United States. Chelsea won in 1998, the year I moved here. So one of the questions I keep asking myself is what is American and what does it mean to be All-American? Can there ever be a single definition or is this one of those things that's forever changing. Fluid.
I also like the idea of my work questioning the traditional notion of All American. Given the current political discourse regarding immigration, the fact that Chelsea is largely Hispanic (more than 50%) challenges directly, conservative views as to what is and who are Americans.