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"Street photography New York (State) New York."
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Manhattan Sunday
Manhattan Sunday' is part homage to a slice of New York nightlife, and part celebration of New York as palimpsest -- an evolving form onto which millions of people have and continue to project their ideal selves and ideal lives. In the essay that accompanies his photographs, Richard Renaldi describes his experiences as a young man in the late 1980s who had recently embraced his gay identity, and of finding a home in 'the mystery and abandonment of the club, the nightscape, and then finally daybreak,' each offering a 'transformation of Manhattan from the known world into a dreamscape of characters acting out their fantasies on a grand stage.' Drawing heavily on his personal subcultural pathways, Renaldi captures that ethereal moment when Saturday night bleeds into Sunday morning across the borough of Manhattan. This collection of portraits, landscapes, and club interiors evokes the vibrant nighttime rhythms of a city that persists in both its decadence and its dreams, despite beliefs to the contrary. 'Manhattan Sunday' is a personal memoir that also offers a reflection the city's evolving identity -- one that still carries with it and cherishes the echoes of its past.
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Street : photographs
Original book of photographs by Phil Penman who has documented the NYC streets for over 25 years, capturing celebrities, street personalities, and the general landscape of the world's greatest city.
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How the Other Half Looks : The Lower East Side and the Afterlives of Images
New York City's Lower East Side, long viewed as the space of what Jacob Riis notoriously called the \"other half,\" was also a crucible for experimentation in photography, film, literature, and visual technologies. This book takes an unprecedented look at the practices of observation that emerged from this critical site of encounter, showing how they have informed literary and everyday narratives of America, its citizens, and its possible futures. Taking readers from the mid-nineteenth century to the present, Sara Blair traces the career of the Lower East Side as a place where image-makers, writers, and social reformers tested new techniques for apprehending America--and their subjects looked back, confronting the means used to represent them. This dynamic shaped the birth of American photojournalism, the writings of Stephen Crane and Abraham Cahan, and the forms of early cinema. During the 1930s, the emptying ghetto opened contested views of the modern city, animating the work of such writers and photographers as Henry Roth, Walker Evans, and Ben Shahn. After World War II, the Lower East Side became a key resource for imagining poetic revolution, as in the work of Allen Ginsberg and LeRoi Jones, and exploring dystopian futures, from Cold War atomic strikes to the death of print culture and the threat of climate change. How the Other Half Looks reveals how the Lower East Side has inspired new ways of looking-and looking back-that have shaped literary and popular expression as well as American modernity.
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Rebirth of the cool : discovering the art of Robert James Campbell
\"A visionary of the Greenwich Village nightlife scene in the 1950s and 60s, photographer Robert James Campbell vigorously documented New York's jazz era, and its metamorphosis into the beat and folk movements. Despite Campbell's artistic prowess-- evident in his arresting images of the people who would shape the American cultural landscape for generations to come-- Campbell died alone in a homeless shelter in Burlington, Vermont in 2002. His identity, and former life as an esteemed photojournalist for The Village Voice and Downbeat Magazine, would only be revealed by the unlikely discovery by a young college graduate of his ephemera and personal belongings within a trove of cardboard boxes. [This book] is the story of Robert James Campbell as reconstructed by Jessica Ferber, and born from tragedy; Campbell, once a wildly talented artist, but wrought by mental demons, financial hardship, and health failure, had to give up his passionate work at what should have been the prime years of his career, having succumbed to his deteriorating body and mind. Campbell left New York for LA and then disappeared into New England with little hope, but resolute to keep and care for his art he managed to diligently transport his negatives and images with him throughout his turbulent life, and ultimately with him into homelessness ...\"--Amazon.com.
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New York in the 1970s
The luminous and compelling photographs in New York in the 1970s capture the essence of a city in a way best described as \"place portraiture.\" Trager's images present the architecture of Manhattan with time-defiant clarity and beauty. Although Trager selected his subjects for aesthetic and visual reasons--rather than from an historical or documentary point of view--with the passage of time his distinctly imaginative photographs have also acquired value as historical documents. The negatives for the images in this book, only recently rediscovered, had originally been archived for printing but Trager began other projects before any prints were made. New York in the 1970s reveals Trager's more concentrated attention to the interaction between the city's architecture and the dynamics of the street.
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