Under the FDR Drive, 1981 — © Brian Rose/Edward Fausty

A photograph made underneath the FDR Drive in 1981 in the area of the Fulton Fish Market. Early in the morning the area under the highway would have been busy with trucks and all the hustle and bustle of the market. Later in the day, like in the Meatpacking District, the storefronts were shuttered and the streets relatively devoid of people. The Twin Towers loom in the distance.

This is one of the photographs in my upcoming book WTC. Please consider supporting the book on Kickstarter. Thanks.

Mulberry, Bleecker, Lafayette triangle — © Brian Rose

After a mild winter, a stingy spring, finally aflower.

Brian Rose in 1980 on the Lower East Side — Photo by Edward Fausty

A little indulgence on my birthday — a photograph of myself made in 1980 while doing the Lower East Side project with Edward Fausty. We were out shooting with the 4×5 view camera, and Ed took this picture. I was 25 years old. Looking very determined and focused.

WTC, my book about the World Trade Center, is now complete. It starts with pictures made when I was 22, and comes all the way up to the present. All the pieces are in place, the last being a wonderful essay written by Sean Corcoran, the photo curator of the Museum of the City of New York. I will be launching a Kickstarter campaign on April 17, which will then run about a month. Stay tuned.

Sean writes about the way in which the book came together:

Looking through his archive recently, he realized he had created something very profound and personal that he needed to assemble and share. Serving as a form of personal catharsis, Rose’s words and pictures reflect on the nature of tragedy, remembrance and resilience. He never obtained special access to photograph from particular vantage points, but rather he stood amongst New Yorkers and captured views from the sidewalks they tread every day.

Wiliamsburg, Virginia — © Brian Rose

You reach a certain age, perhaps effortlessly if you are fortunate, aware that your time is not unlimited, but there is enough to play with, to seek further satisfaction in career and family. And just as you reach this age of fulfilling potential, your sense of hard-earned equilibrium is shattered by the fact that your parents — if they have been equally fortunate — are now bumping up against doors that signal the end, yet will not open.

They find themselves stranded in the grip of infirmity and declining capacity to care for themselves. Roles are reversed — parents become children — even as they hold onto to the belief that they can fend for themselves in a world that increasingly becomes alien, even hostile, dangerous. Things can quickly spiral out of control.

Police Headquarters, Hampton, Virginia — © Brian Rose

Such was the case with my mother. I am not going to go into detail here, but cascading events necessitated hastily arranged trips down to Virginia, visits to assisted living facilities, discussions with a lawyer, entreaties for help from friends in the community, and even meetings with police detectives. Things are stable now. It’s been an emotional time.

Proposed cover of WTC with silver/blue foil lettering — © Brian Rose

An update on my forthcoming book WTC, the completion of my New York trilogy:

This has been the most difficult book I’ve worked on. Spanning five decades, different bodies of work, different formats — 4×5 film, 35mm slides, digital. It a slice of history, both personal and public. And while the book pivots on September 11th, it is not a book about that event per se . It attempts, rather, to embody the nature of New York City; to locate the city in our shared  cultural consciousness. It is a story told not so much through my interactions with people, but through my perception of the city as architecture, street, and as a grand stage for human endeavor.

Jersey City, 1977 — © Brian Rose

Text is integral to the book, and I’ve worked very hard to make it descriptive and poetic. The narrative  is essentially chronological, but it takes various twists and turns. Some may find these discursive elements confusing, but to me they are what makes the book conceptually more interesting and challenging. There is a cinematic logic to the flow of the narrative.

In a few weeks I will be launching a Kickstarter campaign, and it is critical that I raise a significant percentage of the production costs. This will be the third book working with Bill Diodato of Golden Section Publishing. As before, I’m self distributing. Let me tell you, doing this is scary as hell. But I know it will be a success. I hope you will be there to help make WTC a reality.

Norfolk Street, 2013 — © Brian Rose

The former Iron Curtain border, Germany, 1985 — © Brian Rose

It was fearsome thing up close, the walls and fences that divided Europe during the Cold War years. From a distance it sometimes appeared more benign — silvery ribbons of steel following the contours of the landscape. But the reality was plain — it was an apparatus created by autocratic governments for repression — and its dual purpose was to keep its own citizens imprisoned, and to limit the influence of western culture. Hundreds died trying to escape.

It was also a dangerous line in the sand between nuclear powers, and any incident along that line had the potential for triggering global catastrophe. I photographed the border in the 1980s, and I documented the fall of the Berlin Wall in 1989.

Mexican/American border 2016 — Photograph by Kirsten Luce  (New York Times article)

The border between the United States and Mexico can appear similar to the old Iron Curtain with miles of steel fencing snaking through the undulating desert Southwest. It is not the Iron Curtain — it serves a very different purpose — but it, too, is a deadly and dehumanizing scar on the land.

The leading presidential candidate for the Republican Party proposes to extend the fencing across the entire border with Mexico and make it taller, more impenetrable. A beautiful wall, as Donald Trump says.

There Berlin Wall, 1985 — © Brian Rose

The problems of illegal immigration and the desperate flight of refugees seeking freedom will not be solved by a higher, stronger, more efficient — and deadly — wall. It’s a fool’s errand. And the antithesis of American values.

The East Germans euphemistically called their border fortifications the Antifaschistischer Schutzwall, or anti-fascist protective rampart. Trump’s beautiful wall is fascism — nakedly expressed, for all to see.

Brian Rose and Suzanne Vega, backstage at the Bottom Line — 1990

Sadly, The Magic Shop, one of New York’s great recording studios is closing. It’s for the usual reasons. As owner Steve Rosenthal said in the Times: “As the city becomes more of a corporate and condo island, some of us wish for a better balance between money and art, between progress and preservation, and we hope that one day we will see a reversal of the destruction of conscience and community we are witnessing.”

Musicians like Lou Reed and David Bowie recorded albums there. And a much less known project. An unfinished album of my songs produced by Suzanne Vega. Here is my tribute to to Steve and the Magic Shop — recorded there in 1990 — with Greg Anderson on bass, Frank Vilardi on drums, Jon Gordon on guitar, Lisa Gutkin on violin, and Suzanne Vega background vocals.

The Magic Kingdom:

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.

“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.

In the previous post I compared two images taken on the corner of the Bowery and East 4th Street made in 1977 and 1980. Now, 35 years later, I am still hanging around the neighborhood. I’ve lived overseas, of course, and have hardly been sitting on a stoop passively watching the world go by, but this part of New York remains my base of operations.

It is a dramatically changed place to be sure — for better or worse. I said to someone yesterday, that the impetus for everything I’ve done as a photographer springs from that moment I arrived in New York on a train in 1977, the day of the blackout, the summer of the serial killer Son of Sam, the year the Yankees won the World Series and the Bronx was burning. I ended up here in this neighborhood.

A few contemporary street views:

Cooper Square at East 7th Street — © Brian Rose

Cooper Square in flux. A picture taken just after the wreath laying in honor of Peter Cooper, the founder of Cooper Union.

The New Museum on the Bowery — © Brian Rose

A mashup of buildings, boxes, snow, and trash — a midwinter medley.

Chrystie Street between Houston and Stanton — © Brian Rose

More architectural wonders arrive in the neighborhood. Ian Schrager’s hotel, 215 Chrystie — forcibly wedged into the urban fabric — designed by the Swiss architects Herzog & de Meuron under construction around the corner from my studio.

East 4th Street and the Bowery, 1977 — © Brian Rose

In 1977 I was fully engaged in shooting color, and although I still had a black and white lab set up in my tiny East 4th Street apartment, once I began making color prints, I took down my lab and never looked back. My early color work tended toward spontaneous quick grabs of things seen while going about my business. The picture above was taken while making the three block walk to school just up the Bowery to Cooper Square.

There was a Shell station on the corner of East 4th and the Bowery, and I used to walk cater-corner across it. I came upon a family dressed in colorful plaids and stripes moving in a little group, and photographed them compressed against several other people passing by, or filling up at the gas pump. The low winter sun cast a shadow of the gas station sign against the moving mingling of coats, and that was enough to make a photograph. It was about a moment more than about place — about phenomena more than information — although one may take note of the Mercedes filling up at the pump, or the fact that gas was 75 cents a gallon. You can tell it’s New York only because of the tenements glimpsed in the rear. It’s a cool picture — a keeper.

East 4th Street and the Bowery, 1980– © Brian Rose/Edward Fausty

Three years later, standing in almost the same spot, I was onto something else all together. I had assimilated my instincts for formal elements into a carefully considered investigation of place, a documentation of the Lower East Side made in collaboration with Edward Fausty. In this picture, visual anecdotes are still present — the little knot of kids in the background, the reflection in the pool of water — but instead of chasing after them, I am allowing these moments to play out within a broader scene.

In the first image I am following my instincts and showing off (a little bit) my visual chops with the camera. In the seond image I am trusting my instincts to show rather than tell — and I am relying on the viewer to bring something to the process. In a sense, asking the viewer to look with me at this place and to discover its multi-layered details.

Interestingly, you might notice that the gas station has closed. The pavement has been torn up, and dirt and rubble have accumulated. There are abandoned cars strewn about, and the kids are hanging out in the middle of the street oblivious to traffic.The door to the apartment building at right stands open to anyone off the street to enter. In 1980, when this picture was taken, New York was still in economic free fall. Eventually, a subsidized housing project for seniors rose on this lot. A drably monolithic box of good intentions, it’s still there today.

The Bowery near East 4th Street, 1980 — © Brian Rose/Edward Fausty

When I moved to New York in 1977, I lived on East 4th Street between the Bowery and Second Avenue. It was a relatively stable block compared to East 3rd, which was the location of a large homeless shelter with dozens of derelict men milling about in the street much of the day. The picture above was taken between 3rd and 4th Streets on he Bowery. Why it didn’t make it in my book Time and Space on the Lower East Side I can’t explain. Things fall through the cracks.

The buildings in the photograph are still there, relatively unchanged, but the facades have been cleaned up, and just to the right, there is a shiny new apartment tower with a 7-Eleven in the storefront. Why anyone goes there I can’t imagine since there are any number of better stocked bodegas and delis nearby. I guess the Bowery is 7-Eleven’s idea of a flagship location. It was a pretty rough scene in those days, and I have no intention of romanticizing its gritty authenticity. It certainly was authentic — and they were not serving Slurpees.

It was also a time of great creativity. CBGB was in the next block with the usual gaggle of black jacketed musicians out front, and lots of artists occupied lofts in or near the Bowery, the legendary end-of-the world skid row of New York. The apocalyptic nature of the neighborhood was both a scourge and an inspiration — at least it was for me. I wrote songs about the place, and of course, I photographed it.

Brian Rose in 1980 — © Alex Harsley
Masking tape on camera to make it look less attractive to potential muggers.

The reality, however, looking at the photograph of myself above, is that we artists and musicians were to a great extent middle and upper middle class expats from the suburbs, products of America’s finest schools — and white. I was going to Cooper Union. Free tuition notwithstanding, it was an elite place, and you didn’t stumble in by accident. A recent article in Artnet News postulates that most successful artists come from relatively privileged backgrounds, and certainly, from my perspective, that is absolutely true. The starving artist is largely a myth, though no doubt there are easier and more reliable ways to make a living. And the other reality is that most artists are not doing fine art, either by necessity or by choice. They are in media, design, illustration, branding, advertising, commercial photography and film, etc. New York is full of these jobs — more now than ever.

Going back to the Bowery and the Lower East Side of the 70s and 80s — art was not so much born out of the decay and poverty of the neighborhood, as it was the place we chose to make art, to reinvent ourselves, to run away from mom and dad, and for many, to waste time. It was cool, and a little dangerous. It helped that it was cheap — my parents had basically cut me off financially — and I often got by on pizza slices and falafel. When I graduated from Cooper, debt free, I began photographing the Lower East Side. But 4×5 film was bloody expensive, and I struggled to complete the project. One day, however, a check arrived in the mail — for $9,000 — which (looking it up) would be worth over $27,000 in today’s dollars. A relative had died and left me the money. It saved the day, and made the LES project a success. There was also a grant from New York State, and the Seagram Corporation bought a dozen prints for what would eventually become the collection of the Canadian Centre for Architecture. The print sale happened because of a connection made at Cooper Union.

There’s nothing wrong with sudden windfalls or connections made in school, but let’s put aside the idea that artists are impoverished denizens of rotting neighborhoods. That’s not to say that gentrification has no impact on artists who need workspace to paint or create installations. It does. The truth is, however, that artists are entrepreneurs who calculate profits and expenses like everyone else — who network and negotiate — who create works that are often very expensive to produce. It helps to start with some money, and success breeds more success, fairly or not.

Do I still believe that art can express the highest aspirations of humanity? The deepest emotions? Can it still address the social and political issues of the day? Yes. That’s why I started, and why I’m still doing it.

But now, on to my next Kickstarter campaign.

I visited Ocean of Images at the Museum of Modern Art with some trepidation – for me, any foray into the museum is a challenge given the mobs of tourists and the pervasive sense that we are all there on a sort of obligatory pilgrimage. It’s been that way for a long time, so nothing new about that.

As a working artist myself, I am of two minds about going to museum survey shows that present contemporary work. On the one hand, I want to know what is going on, or what is perceived as representing the zeitgeist. On the other hand, I want to protect and cultivate my own process of working and seeing, which sometimes requires keeping blinders in place, staying focused on one’s own path. Knowing the risks, I usually go.

DIS. A Positive Ambiguity (beard, lectern, teleprompter, wind machine, confidence). 2015

Ocean of Images is the latest installment of the photography department’s New Photography series, which attempts to target the most interesting or innovative work of the present. Although the curators assert that their selection for the current show was driven by the work of the artists rather than fitting into some preconceived idea – “post-internet,” e.g. – let me just say, it has been observed by others, that very little in the show consists of what might be called recognizable photography. Actually, there are plenty of pieces that utilize photography in a fairly direct way, but when they do, they are displayed as components of installations. The whole exhibition is itself a kind of installation of installations. A simulacrum of an exhibition, if you will.

I lasted about five minutes in there. My ability to think was overwhelmed by a loud humming. Like a lizard’s brain. Or the sound of an ocean of images roaring from a conch shell. For a brief moment I entertained the notion that I was hopelessly out of step, and that I hated installations, even though, truth be told, I am presently working on a large installation piece making use of photographs from my World Trade Center project.

Splitting by Gordon Matta-Clark

Anyway, I wandered into another gallery, this one an exhibition called Endless House about the concept of “house” using drawings, photographs, models, and films, and I was enthralled by all of it. I watched, mesmerized for ten minutes, Gordon Matta-Clark’s grainy super-8 film documentation of his piece Splitting, in which he physically cuts a house in two with power tools and his own sweaty brawn.

Vacation House for Terrorists by Thomas Schotte

And I was momentarily thrown for a loop by a drawing by Thomas Schütte of a glassy modernist house entitled Vacation House for Terrorists, which sent a shiver through me as I contemplated the dissonance between the bourgeois comforts of modernism and the destructive violence of terrorism, and the idea that terrorists might want or desire a vacation house. There was also an immersive and disorienting photo environment by Annett Zinsmeister, a repeating window pattern of a highrise housing project that could be walked in, and on.

Virtual Interior by Annett Zinsmeister

And then I saw the Jackson Pollock exhibition, which is spectacular, and I felt all right again. Art can be exciting, groundbreaking, thought provoking, moving, even beautiful.

Back to work.

One World Trade Center (4×5 film) — © Brian Rose

A final punctuation mark for the end of the year, and for my forthcoming book WTC. This was taken with my new Travelwide 4×5 camera. It doesn’t have movements, but it is feather light and can be handheld — though this was made on a tripod.

It’s been a tumultuous year in our household with any number of highs and lows. But the new year is looking bright as it approaches. Bring it on!

Williamsburg, Virginia — © Brian Rose

Nativity scene, Williamsburg, Virginia.

Jacksonville, Florida, 1978, Kodachrome — © Brian Rose

Back when I first started shooting color. Happy Holidays!

Framed prints from Metamorphosis, Meatpacking District 1985 + 2013

I heard a few days ago from someone in Italy who bought a set of my prints — a selection of images from Metamorphosis, Meatpacking District 1985 + 2013. I don’t normally sell small prints, although there is an 8×10 included with the limited edition of the book. After all, my last show had 4×5 foot prints, which were pretty impressive. But I went along with the request and sold 18 small prints figuring they’d end up in a portfolio box.

Well, they’ve ended up on the wall, each separately framed, to form a grid of about 3×4 feet. I think it looks spectacular! Anyone else want something like this? Get in touch.

And just a reminder. Metamorphosis remains on sale for $50 on my website.

Metamorphosis, Meatpacking District 1985 + 2013

TWA Terminal, photograph by Ezra Stoller

A lot has been written in recent years about the pernicious effect of Photoshop on fashion photography and photojournalism. In fashion the discussion has focused on body types and the digital air brushing of unwanted (presumably unsightly) details. In photojournalism, controversy abounds, and the contest held by World Press Photo has instituted a code of ethics with specific restrictions on manipulation and captioning. Reuters recently announced that it was requiring all its photographers to submit jpegs instead of RAW image files because the latter, essentially digital negatives, offer greater opportunity to manipulate the images.

“As eyewitness accounts of events covered by dedicated and responsible journalists, Reuters Pictures must reflect reality. While we aim for photography of the highest aesthetic quality, our goal is not to artistically interpret the news.”

Mmm. Kind of calls into question the entire profession, if you ask me. I’m not sure what the difference is between highest aesthetic quality and artistically interpreting the news. Whatever the case, it is clear that we have a drastically changed photographic landscape where fine art photographers are encouraged to construct and manipulate images, while photojournalists are reprimanded for touching even a single pixel. Meanwhile, documentarists operate in a hybrid zone, often placing themselves squarely in the middle of the visual exploration of place or situation, sometimes manipulating reality to better express “truth.”

Stahl House, photograph by Julius Shulman

Which brings me to architectural photography, a small niche in the professional photography world, but overlapping with those who generally photograph the built environment — certainly my area of concern. Architectural photography has almost always been about idealization, certainly going back to Ezra Stoller and Julius Shulman whose black and white distillations of modern architecture defined the aesthetic. There was lots of staging of people and objects, and time of day and weather were not left to chance.

Staging, however, has been joined by digital manipulation, which is not just common, it has become de rigueur. Clients routinely instruct photographers to remove undesired objects, wires, appendages, background distractions, you name it. I had a client a few years ago who was unhappy with the quality of the stucco work on his building and he told me to “Photoshop the hell out of it” to make it look more like the rendering. The image became reality on steroids.

El Centro building, Chicago, Illinois
Air conditioning units edited out above, an undoctored photo below.

Blair Kamin, the esteemed architectural critic for the Chicago Tribune recently called into question the awarding of an architectural prize given to a building based, primarily, on the submission of photographs seen by the jury. It seems that large, visually distracting, air handling units on the roof had been removed from the pictures. The result was the depiction of a building that expressed the architects intentions, but not exactly the reality on the ground.

The fact is, when it comes to images, there is almost no architectural equivalent to photojournalism. Architects hire photographers, the images are manipulated as desired, and then the architects submit the pictures to magazines and contests, and show them to prospective clients. No one in this sequence of events ever suggests that there is a context to be considered outside this closed loop.

Elofts, David Baker Architects, Emeryville, California — © Brian Rose
Gritty industrial neighborhood.

Crescent Cove, David Baker Architects, San Francisco, California — © Brian Rose
Elevated highway adjacent to the project.

Different architects have different perspectives, of course, and different aesthetic intentions. One client who I have worked for many times, David Baker, based in San Francisco, designs his buildings to integrate, or create a dialogue with, the urban fabric. Even if the architectural vocabulary takes on modernist forms that contrast with the surroundings, the tension thus produced is actively addressed. He has given me a free hand to find images of his projects that show that relationship, even when it is jarring or uncomfortable. Many architects, however, prefer to see their buildings purely as abstract art objects, and choose images that tend to edit out the real world. The architectural press generally goes along regardless of the degree of fiction put forward.

That’s not to say there isn’t a legitimate place for photographs that express the pure design elements of architecture. We’ve all seen — or even made ourselves — beautiful images that are reductive compositions, that express the geometry and formal elements of architecture, intentionally leaving out the extraneous details of the prosaic world beyond. That is a kind of reality, as well.

Salt Shed, New York, NY — © Brian Rose
Photoshop out the wires and foreground signs? Or not?

But I think things have gone too far, and for too long. Aside from a handful of newspaper critics, and a few independent writers, most of the architectural press is about commercial promotion. Digitally enhanced photographs and hyper-real computer renderings are an intrinsic part of that food chain. We all have to pay the bills. But as a photographer — and an artist concerned with the landscape as I find it — God (or is it the devil?) is in the details of a messy world.

Holiday Price Cut! 

Metamorphosis is available for $50 through the holidays. The quintessential gift book about New York City — a stunning, and perhaps, sobering look at the change that has swept over Manhattan in recent years. Desolate streets of the former meat market that now bustle with shoppers and tourists.

Jeremiah Moss writes in his vivid and classic introduction:

Those of us who remember, who dream that gorgeously decaying world as it existed right up to the end of the last century, might sometimes wonder if we were imagining it. The shells remain, but the guts have all gone. Meat on hooks, libertines in leather, sex-shifters, artists, poets, the indescribable stink of it all, that mud-luscious and puddle-wonderful (to crib e.e. cummings) underbelly of the old New York—was it all a collective hallucination? Was it ever real? The bewildering change happened in a blink. Thankfully, Brian Rose was there, in reality, with his camera. In Metamorphosis: Meatpacking District he gives us the stunning evidence to prove that the old world wasn’t just a dream.