Search results: neighbors

Arne Svenson Takes a Voyeuristic Look Inside the Apartments of His Tribeca Neighbors

Arne SvensonArne Svenson, The Neighbors #1, 2012, pigment print, 63 x 26″, ed. 5

Documenting the Migrant Crisis in Bangladesh in Photos

Since August 2017, more than 700,000 people have fled Rakhine State, Myanmar to seek safety in Cox’s Bazar, Bangladesh. Theirs has been a treacherous journey, made all the more dangerous since arriving at sprawling camps on the unstable hillsides of Kutupalong, their lives put in jeopardy with every passing monsoon and cyclone season.

Many arrive injured, malnourished, and traumatized, these refugees live in structures made of bamboo, plastic, cardboard and sometimes corrugated metal sheeting. Heavy rain, flooding, landslides, cyclones, and water-borne illnesses are all real threats to the families living in these temporary homes.

With support from the American Red Cross, these families are now working to prepare for the onslaught of weather emergencies that continue to threaten their survival. Photographer Brad Zerivitz shares his experiences documenting the migrant crisis in this distant corner of the world.

An Intimate Look at the Secret Life of April Dawn Alison

“Everyone has three lives: a public life, a private life and a secret life,” the novelist Gabriel Garcia Marquez knowingly remarked, reminding us that what we see and what we believe is often just an illusion of sorts. Beneath it all, lays the true self, an identity we often keep hidden from the world — including ourselves.

But there are those who dare to delve into the person they are we no one else is there to witness it. These moments are a manifestation of something beyond the person others see: it is the self that exists within our deepest being. To record this, to document it, to create evidence of that which exists for no one else — this takes nerve. It is here our story of April Dawn Alison begins.

In 2017, a painter named Andrew Masulio donated an archive of over 8,000 Polaroids to the San Francisco Museum of Modern Art (SFMOMA) — previously unseen self-portraits of April Dawn Alison, the female persona of Alan Schaefer (1941-2008), an Oakland-based photographer who lived in the world as a man. The archive reveals to us a fully-realized secret life beautifully revealed in the exquisite monograph, April Dawn Alison (MACK), selections from which are currently on view at SFMOMA through December 1, 2019.

Looking at San Francisco Through Hamburger Eyes

Mark Murrmann

Ted Pushinsky

Back in 2001, brothers Ray and David Potes were putting out photo zines the old fashioned way. Ray would edit and art direct while Dave ran copies while working in a college copy department. The one titled Hamburger Eyes really stood out — and began attracting photographers who wanted to share their work.

Ray, who was living in Hawaii at the start, moved to San Francisco where David was, and the city became home base for a vital street photography culture that recalled the glory of Garry Winogrand and Joel Meyerowitz.

Hamburger Eyes that quickly became a cult sensation in the photo underground, as the classic black and white format made the strange and mundane scenes of daily life all the more profound. In its back to basic approach, Hamburger Eyes elevated the photo zine into a work of art.

Over the years, Hamburger Eyes has gone on to publish 37 issues, as well as over 200 titles by artists, as well as two books — their latest SF Eyes: The Continuing Story of Life, Loss, Tragedy, and Triumph in the City of San Francisco as Captured by the All-Seeing Lens of Hamburger Eyes Photography Magazine just released by Hat & Beard Press in conjunction with a documentary film produced by Aaron Rose.

SF Eyes is a picture perfect postcard of San Francisco, when it was punk AF by crew members Jason Roberts Dobrin, Kappy, Dylan Maddux, Alex Martinez, Mark Murrmann, Ted Pushinsky, Andrea Sonnenberg, Stefan Simikich, and Tobin Yelland, among others.

Hamburger Eyes spent its formative years in San Francisco, becoming an integral part of the scene. With the sweeping changes to the city, and to photography as a whole, most of the crew have decamped, but the love for the town never grows old.

To celebrate two decades of San Francisco street photography, we have brought together some of the artists at the core to share the continuing story of Hamburger Eyes.

Remembering the Life and Legacy of Patrick D. Pagnano, Street Photographer

On October 7, 2018, the photographer Patrick D. Pagnano died, leaving behind a treasury of classic American street photography and documentary work made over more than 50 years.

While attending Columbia College Chicago, Pagnano developed his “stream of consciousness” approach to street photography, a narrative technique inspired by Robert Frank, Garry Winogrand, and Walker Evans. Pagnano strove to capture the essence of the moment while simultaneously indicating a larger story beyond the photograph, creating a dynamic exchange between the subject and the environment in each photograph.

In 2002, Pagnano published Shot on the Street, a collection of his color work made during the 1970s and ‘80s that evokes the visual poetry of Helen Leviitt and the intimacy of Joel Meyerowitz.

In the preface, Pagnano writes, “’Shot on the Street’ refers not only to the images having been taken on the street, but more importantly, to the psychological effect of the street. It is a place where races of people and social classes converge and vie for space and mobility with ever increasing urbanism. It can excite, anger, defeat, and inspire. The street’s influence and energy never ceases.”

That electric energy comes alive in Pagnano’s work, whether capturing candid scenes of daily life on the pavement or taking in the pleasures of Empire Roller Disco, his series documenting the legendary Brooklyn skating rink. Here, Kari Pagnano, his wife of 44 years, gives us a deep, heartfelt look at Pagnano’s life and legacy.

Rolling Deep with the Black Cowboys of the Mississippi Delta

You wouldn’t know it from the films or the television shows, but the Lone Ranger was a Black man by the name of Bass Reeves. Born into slavery in Crawford County, Arkansas in 1838, Bass won his freedom during the Civil War by beating up Colonel George R. Reeves, a member of the slaveholding family.

Bass fled north, living among the Cherokee, Seminole, and Creek Indians until 1865. His knowledge of Native languages made him highly desirable to the U.S. marshals who were expanding west, and in 1875, Reeves became the first Black deputy U.S Marshal west of the Mississippi. Over a period of 32 years, Reeves nabbed 3,000 felons, and is said to have killed 14 outlaws in self-defense. By the time he died at 71 in 1910, Reeves was a legend — though his legacy was whitewashed and stolen.

Reeves is one of countless great Americans whose contributions have been rewritten, revised, or erased to fed the voracious appetite of those who craft self-aggrandizing tales to cover up their darkest sins. Yet, the beauty of history is that the truth will always out, and those who have inherited the great traditions of the past continue to practice and elevate the culture to this very day.

Hailing from Maine, photographer Rory Doyle headed South and set up shop, working as a freelance editorial and commercial photographer in Cleveland, Mississippi, the heart of the Mississippi Delta. Here he began a series of work titled Delta Hill Riders, a portrait of Black cowboys today. Here, Doyle shares his experiences creating these photographs, portraits of a way of life whose history is still being told.

A Breathtaking Portrait of Women Amid a Primordial Landscape

From Where We Came


“At dusk and dawn, the edge of slumber and first light, these figures awaken out of the darkness and live in the hours when others dream,” LilIi Waters writes in the artist statement for her disquieting series, Others Dream, which features women amid an otherworldly landscape that is equal parts foreboding and curious.

Photographed across Western Australia, the images from Others Dream offer a mystical, mythical portrait of the primordial essence of life that begins in utero before being launched upon the earth. They offer themselves as wordless poems, silent revealing secrets to us, offering a moment of meditation where we can escape the artifice that civilization demands and return to something infinitely simpler albeit impossible to fully comprehend.

Here Waters shares her journey, revealing the path that brought her to the creation of this body of work, offering insight on the effortless synergy of life and art.

Picturing the Horrors of Climate Change in Southern Iran

Pitgy is a village in the Jazmurian section in the southern Rudbar. A man carries a big tree to his house. He will make fences with this tree.

Village of the galo: The central part of Qaleh Ganj city, Kerman. The trees of the village are dried and their water reservoir is ruined.

As climate change ravages the globe, we bare witness to one of the greatest human-made catastrophes as it unfolds before our eyes in a series of increasingly inhospitable weather patterns that are decimating the landscape far and wide.

In Iran, climate change has taken the form of a drought, one that affects several regions across the nation including West Azarbaijan Province, Khorasan Province, Bushehr, and Kerman Province, where the drought is now going on 30 years in length. Encompassing 11.5% of the country’s landmass and 3.9% of its population, the drought has presented a larger problem in recent years as lowered rainfall has resulted in thousands of dried up wells. The native economy has taken a hit, as local farmers are no longer able to sustain their palm tree crops. Without income, the people now face a new series of challenges including lack of health care facilities and adequate plumbing to fend off disease.

Documentary photographer Mohammad Baghal Asghari traveled to the Kerman province during ten days of Iranian New Year, creating Forgotten Dried Land, which was nominated for the 2018 International Photogrvphy Grant. Here Asghari shares his observations photographing the plight of people living through the dawn of the sixth major mass extinction on earth.

Ekaterina Solovieva Takes Us Inside “The Earth’s Circle”

A baptism. Kolodozero, Karelia, Summer 2014.

Fireworks at Christmas. Kolodozero, Karelia, Winter 2015.

Viktor fishing on the lake. Kolodozero, Karelia, Summer 2017.

In northernmost Russia lies the village of Kolodozero, a series of small hamlets including Lakhta, Isakovo, Ust’-Reka, Pogost, Zaozerye, and Dubovo that are concealed within the woods of Pudozh on the border between Arkhangelsk Oblast and Karelia. Around the turn of the millennium, three friends from Moscow made their way to Kolodozero in search of the meaning of life and their purpose on earth. They began raising money to build a new church to replace the one that burned down in 1977.

In 2005, Arkady Shlykov, one of the three friends, was ordained as priest of the new church. At first he was looked upon with suspicion, but over time the locals came to love the shaggy red-haired rebel and punk whose peaceful character embodied the ethos of the church. His presence and leadership restored to the people all that had been lost, creating a new parochial life that renewed the ties between families, neighbors, and the earth.

Like the friends, Russian photographer Ekaterina Solovieva traveled from her native Moscow to Kolodozero to document their world, exploring what keeps the community united as a people. The result is The Earth’s Circle. Kolodozero (Schilt).

Intimate portraits of Americans in their bedrooms (NSFW)


What goes on behind closed doors? It’s a curious thought that might pass our minds when walking through familiar or alien territory, though we seldom get a glimpse inside the  bedrooms of strangers. And yet the bedroom—a space synonymous with intimacy—may well offer the best impression of a person stripped of all the personas that we wear in public.

For the past two and a half years, Maine photographer Barbara Peacock has been travelling across the United States photographing people in their bedrooms. Her ongoing series American Bedroom is a sensitive, anthropological portrait of individuals, couples and families in the private dwellings we seldom see; the possessions with which they’ve surrounded themselves provide insight into their character, while the familiar environment and unthreatening presence of the photographer allows them to drop their guard. Each image is accompanied with a quote from the person portrayed, providing the viewer with a deeper sense of the subject’s character.

To witness the myriad of different cultures and personalities portrayed by Beacock that coexist in this vast territory—and vary regionally and based on factors such as class—the image of a homogenous cultural landscape that one might associated with this capitalist country is shattered.

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