The fire alarm chirped voraciously, like a cricket in a bad mood. Immediately, every eye in the room was focused on me, the idiot that opened the fire door.
I saw them staring.
Rather than hide, which was my natural instinct, I raised my hand and waved it around. “It was me,” I said. “I did it. I’m the idiot.” That done, people went back about their business. As I’d made fun of myself, it made no sense for them to bother.
I stood in the middle of the lobby in the CUNY Graduate School of Journalism, awaiting the beginning of the second day of the New York Times Portfolio Review, and I’d just made a fool of myself. (Albeit briefly.)
The day before, as everyone filed out after Saturday’s review, I was instructed to use the Fire Exit by the gruff-yet-friendly security guard behind the desk. So I approached her, after my faux pas, and said, “You told me it was OK to use the Fire Exit yesterday.”
“That was yesterday,” she said, glaring at me sardonically. “Today is today.” Is that not the perfect incarnation of New York City herself? Take nothing for granted. Make no assumptions. Or you’ll end up looking like a schmuck.
I only mention this to you, as it seems like every time I head out on the road, something embarrassing happens. Last year, at the same event, I mocked a dude in a Mexican wrestling mask only to find out I knew him. Poor form.
But I was there for a reason, which was to review portfolios and then share work with you, our loyal readers. In so doing, we at APE get the chance to give a boost to deserving young photographers, and also show you what is being made by the next generation. (In the 21st Century, we call that a win-win.)
This was the second year of the event, and it is free, which is rare. It’s announced via a Lens blog post, and then the photographers are selected from applicants all over the world. Even the application process is free, so you might consider applying next year.
As is often the case with start up ventures, the second year was definitely smoother than the first. Last year was fun, but this year was more efficient. I reviewed a few portfolios on Saturday, as a rover, but mostly focused my attention on the younger photographers who were invited to Sunday’s event.
Last year, we showed the work of two photographers. This year, everyone I reviewed had something worth sharing with you. As is often the case with younger artists, the work was inconsistent. Great images would be followed by clunkers, like the end of the batting order on a bad baseball team.
But all of them had a voice, and showed me at least one picture I found worth publishing here. The only problem, such as it is, is that I ended up seeing more than 10 artists, which can make for a muddled viewing experience below.
So we’re going to break it up into two articles. This week, I’ll show you half of the artists, and next week…the rest. I was genuinely impressed by the passion and talent in the room both days, so I can only hope you’ll respond to some of what you see over the next two weeks.
I reviewed Andi Schreiber’s work on Saturday, and we met briefly in Santa Fe last summer. She’s a photographer, and mother, based in Scarsdale. Andi makes pictures with an honest-but-not-quite-pitiless view of family and aging in America.
Wenxin Zhang is an artist based in San Francisco. She describes her photo series as novels, and hopes to figure out innovative ways to present the work in book form. Her portraits were my favorites.
Arno De Pooter is a painter, photographer and digital artist from Belgium. Most of his work was pretty good, but one series in particular, called “Bleach,” was really terrific. His symbol choices were perfectly now, and the desert mirage aesthetic heightened the futurism.
Cassandra Giraldo showed me a portfolio of images made of “Gentle Punks” in St. Petersburg, Russia. As opposed to Skull-crushing-Aryan-racist Punks. She shoots mostly editorial, but is also pursuing photography as art.
Patrick McNabb, from NYU, was working in a theatrical, stage-it all-and-go-big-on-drama, kind of style. Some felt heavy-handed, but a few were really smart, strange, cinematic and believable.
Mark Dorf is based in Bushwick, and is working on some fresh digital images that manage to feel relevant without being too Geeky. Some, but not all of his work, is also somewhat photographic in nature.