Sophia Banda poses for a photo on W. 14th Street near 8th Ave. on Wednesday evening. She wears a fleece-lined hat, a scarf, a hooded jacket, leggings, a cashmere sweater, and two socks.
Jess Kellner, a street canvaser, poses for a portrait on Park Ave. along Union Square on Wednesday afternoon. Spending all day outdoors, he dresses extra warmly. In addition to a warm hat and fur-lined hood, he wears two layers of long johns under his pants.
Lee Friedlander, from the series Nudes and Mannequin
Friedlander’s playful spirit is evident in this dual presentation of his work, on the 2nd and 9th floors of Pace MacGill Gallery, currently in its final weeks of exhibition. The female forms of Mannequin and Nudes are larger than life. His Nudes are colossal structures amidst their domestic settings. Surprisingly, they are neither pornographic nor intimate in the unabashed expression of the naked body. Somehow, Mannequin feels more familiar—shop windows frame female figures towering over apartment buildings, yet with a statuesque grace. The selections from these collections find the enigmatic female form as muse, without losing a sense of humor to challenge the way we see the world.
Both exhibitions are on view through December 22nd. To see more from these series, and to find out more from the gallery, visit pacemacgill.com.
Wait! Don’t shave it yet. You may be a grower, but will be you be a shower?
Here’s the deal. We want to feature the best and hairiest mustaches grown this Movember on the website.
If you’d like to get mustache-famous, please please please email a photo of your mustache to firstname.lastname@example.org (include name, age, and general location for better chances that we’ll publish it!) or tag it #newsbeaststaches.
Deadline: END OF DAY TODAY (because it’s the weekend and y’know, Frydayyyyy).
A Tale of Two Holidays in Sandy’s Aftermath
It’s beginning to look a lot like Christmas, except in places ravaged by superstorm Sandy. While most people have recovered from the hurricane’s devastating winds and storm surge, pockets of New York and New Jersey are still reeling from the damage. Thousands have been displaced from their homes and lost everything with the storm. Yet, the extravagant holiday decorating continues apace in New York City. The Daily Beast looks at the disparity between the haves and have nots this holiday season.
Above, clockwise from top left:
Kathy Kmonicek / AP: A woman looks at a pair of jeans amongst the pile of clothing in front of Long Beach city hall donated for victims of Superstorm Sandy, November 6, 2012.
Peter Foley, Bloomberg / Getty Images: Women browse handbags at a Macy’s Inc. store in New York on Black Friday, November 23, 2012.
Mark Lennihan / AP Photo: Christmas decorations, salvaged from the charred remains of a home, are shown in Breezy Point, Queens, November 13, 2012.
Don Emmert / Getty Images: Christmas decorations are displayed at a Walmart store in Norwalk, Connecticut, November 17, 2012 .
Camille Lepage, Childbirth in Yida - Born Refugee
Toma Tutu Jama, 42 year old is refugee from Nuba Moutains, Sudan. She walked to Yida refugee camp in South Sudan to avoid the bombing and shellings from the Sudanese Army and that are happening in South Kordofan, country located at the border between Sudan and South Sudan. Toma Tutu Jama is about to give birth to her 4th baby at the IRC centre for women and girls at Yida refugee camp, South Sudan. 393 babies were safely delivered in the centre in the last six months. one in seven south sudanese woman is to die while pregnant or during childbirth. Maternal death is the biggest threat to women’s life in South Sudan, with the higgest rate reported in the world with 2,000 women die for every 100,000 live births. Nevertheless this figure is likely to be lowered than the reality as many maternal deaths go unreported. The maternal death rates are related to infections (from puerperal fever and retained placenta), hemorrhaging, or obstructed births, with a lack of infrastructure which makes access to healthcare facilities more complicated and play a large role in their deaths. Their babies are also at risk and 25% die from common, often curable childhood illnesses before they reach their fifth birthday.
Doug Rickard: A New American Picture
Exhibition at Yossi Milo Gallery & artist talk at Aperture Foundation
Doug Rickard is a photographer and artist intent on representing the mythologies and contradictions of American identity. Unable to road trip throughout the country, and with a proclivity for online research, the massive visual catalog of Google Street View became his window for exploration. Over the course of four years, Rickard compiled his own collection of images, amidst long virtual walks throughout the country, with the very physical process of shooting pictures of his computer screen from a tripod mounted camera. Though Google Street View does not have explicit aesthetic intentions, Rickard’s work from A New American Picture incorporates countless landscapes and decisive moments, uncannily continuous with the history of American street photography.
Tonight, at 6:30PM, Aperture Foundation will host an artists’ lecture by Rickard for the launch of A New American Picture. Originally released in 2010 (but since out of print), and featured last year in the New Photography 2011 exhibit at MoMA as well as on The Daily Beast, a newly updated edition of this project has now been published.
This Thursday, October 18, Yossi Milo Gallery will host an artists’ reception, book signing, and exhibition of prints from the project. A New American Picture will be on view through November 24.
All of the above images are courtesy Yossi Milo Gallery, NY & © Doug Rickard
Singular Beauty: Photographing Cosmetic Surgery Clinics
As the adage goes, document what you know. Cara Phillips has never gone under the knife of a plastic surgeon, but she has photographed dozens of plastic surgery rooms around the country — all under the glare of florescent surgery lights. A former child model, Phillips chose photography as a way to turn her own lens on an industry she felt objectified women — and to battle her own body image demons. The result is Singular Beauty, a book of haunting portraits of the insides of cosmetic surgery offices and their promise of a better you.
What drew you to document the beauty industry?
Before I became a photographer, I spent most of my life in the beauty business, first as a child model and later as makeup artist. From a very early age, I learned that being beautiful was both valuable and required of women. These experiences left me with some serious body-image issues. So the decision to focus my camera on beauty started off as a personal exploration, but as the project progressed, my focus shifted to the larger cultural issues of aging, desire, and physical perfection. The cosmetic surgery industry is the ultimate expression of the relentless American pursuit of youth and beauty.
Hurray for our recently-departed, much-missed photo editor Cara Phillips!