Photograph by Miron Zownir from NYC RIP
Released in September, the book NYC RIP features 156 photographs by Miron Zownir of New York City in the gritty 1980s, focusing a large part on the sex workers along the West Side “Sex Piers” and former nudist area, gay parties before the AIDS crisis, the desperation along the Bowery, and subcultures that were once a fixture on city streets. Numerous NSFW images are published on Dazed Digital (h/t Vanishing NY) and show what is described as his “uncompromising” eye – images that will certainly make those only familiar with the more sanitized New York flinch. While the focus is on human subjects, the environment is key to the photographs which explains why Zownir has been compared to Weegee.
The majesty of churches often derives from their architectural beauty and grandeur. And while we can tilt our heads upward and gaze at the expanses, it is nearly impossible to capture that majesty through a lens. Photographer Richard Silver has, however, with his new series of vertical panoramas entitled “Vertical Churches.”
The 2010s have been the era of the teenage urban explorer, all motivated by many different reasons. Some for sheer brashness, some for Instagram fame, some for architectural preservationist reasons. It is also a response, we believe, to the shrinking numbers of places in New York City to explore without rules and regulations. With social media, we have seen more entrants into the urban explorer community, the expected clash between old school and new school, and a faster rise in awareness for the savviest of urban explorers.
On the opposite end of the spectrum is photographer Dave Frieder, also known as “The Bridge Man.” Over the last 22 years, he has been patiently documenting New York City’s bridges using film, predominantly from foot tingling perspectives up top. In 2013, we accompanied him to his favorite bridge, the George Washington Bridge, where he recounted the long quest to get his work known.
The photography exhibit Only One at a pop-up gallery at 345 Broom Street opens September 4th, exhibiting the work of Michael Tischler, with part of the proceeds going to the National September 11 Memorial & Museum. If you’re a fan of HDR (the real technique, not the iPhone filter), on display are twenty large-scale photographs of iconic New York City scenes. Each photo is actually a compilation of three photos of the same scene at different shutter speeds, creating a bright, a medium, and a dark photo that are combined to form a layered, and detailed image. Each are printed on archival aluminum, and there is only one print of each sold–hence the exhibition title Only One.
These old Manhattan photos look like they were shot 120 years ago – but amazingly they were created in the present day. Taken by artist Jefferson Hayman, the shots are reminiscent of the work of ground-breaking 19th century photographers Coburn, Steichen, and Stieglitz.
The black and white prints, which are handcrafted in silver gelatin and platinum, hark back to a film noir world of rain, trench coats, and cigarettes. Hayman reinforces this appearance of age through his use of antique or self-designed frames, which act as time capsules through which the viewer can step into the world of the photographs.
Although the Picasso tapestry at the Four Seasons Restaurant is now on display at the New York Historical Society, the iconic restaurant in New York City’s Seagram Building has offered yet another reason to stop by. A new exhibit, Side by Side by photographer Robin Hill launched yesterday, and for architectural fans it’s a must-see. The Seagram Building by architect Mies van der Rohe is a fitting backdrop, as Philip Johnson designed both the interior of this Park Avenue skyscraper as well as the Glass House in New Canaan, Connecticut. But the juxtaposition of the Glass House and the Farnsworth House–at least in such a formal study–is new.