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Posts from the “Exhibitions” Category

Builder Levy: Appalachia USA

Posted on February 22, 2016

Photo: Builder Levy. Sisters, Osage, Scotts Run, Monongalia, West Virginia, 1970. Gold-toned gelatin silver print.

Photo: Builder Levy. Sisters, Osage, Scotts Run, Monongalia, West Virginia, 1970. Gold-toned gelatin silver print.

Appalachia that stretches across the eastern United States, running from New York down to northern Mississippi. The former hunting grounds of the Cherokee and other indigenous groups, Appalachia became home to colonists seeking to escape oppressive British rule. Later, it was marked by the routes and hideouts of slaves escaping on the Underground Railroad. Growing into a center of abolitionism, more than a quarter million southern mountaineers joined the Union army during the Civil War.

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But it was after the war that things began to change, as Appalachia was recognized as a distinctive cultural region in the late nineteenth century. Large-scale logging and coal mining firms brought industry to the region, taking advantage of the abundant natural resources of the land. Miners were recruited from southern prison conscript labor, local subsistence farms, African American communities in the south, and even towns and villages throughout Europe.

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Despite the profits made by the mining and logging companies, the people of Appalachia have long struggled with poverty, as health care and educational facilities failed to meet the communities’ needs. At the same time, the region became a source of enduring myths and distortions about its inhabitants. As the media began focusing on sensationalized stories like moonshining and clan feuding, Appalachia became seen as America’s white ghetto, home to an uneducated and violent underclass.

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Read the Full Story at Crave Online

Categories: 1960s, 1970s, 1980s, Art, Books, Crave, Exhibitions, Photography

Chris “Daze” Ellis: The City is My Muse

Posted on February 18, 2016

Chris “Daze” Ellis, The Odyssey, 2015, Oil and spray paint on canvas, Courtesy of the Artist

Chris “Daze” Ellis, The Odyssey, 2015, Oil and spray paint on canvas, Courtesy of the Artist

The New York City of Chris “Daze” Ellis’s world is a beautiful, hypnotic siren singing the softest of lullabies or just as quickly drop a beat and rhyme on top of it. She’s demanding, but she gives as good as she gets. She’s the queen befitting a king, and has found herself the subject of Chris “Daze” Ellis: The City is My Muse, on view at the Museum of New York, NY, now through May 1, 2016. Ellis observes, “This exhibition is a testament to my love affair with New York as my muse. It is an endless source of subject matter and an inspiration for many years. A muse is someone or something that captures your attention and imagination in a way that presents endless possibilities. New York is like that for me.”

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Read the Full Story at Crave Online

Categories: 1970s, 1980s, 1990s, Art, Bronx, Brooklyn, Crave, Exhibitions, Manhattan, Painting

Exhibit | Warhol by the Book

Posted on February 17, 2016

Artwork: Andy Warhol (1928–1987). “So Sweet,” 1950s, The Andy Warhol Museum, Pittsburgh. © 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ Artists Rights Society (ARS), New York.

Artwork: Andy Warhol (1928–1987). “So Sweet,” 1950s, The Andy Warhol Museum, Pittsburgh. © 2015 The Andy Warhol Foundation for the Visual Arts, Inc./ Artists Rights Society (ARS), New York.

 

“I just do art because I’m ugly and there’s nothing else for me to do,” Andy Warhol said. His dedication to the creation of beauty in both the glamorous and the commonplace forever changed the course of art, culture, and communication. He worked in both commercial and fine arts, always able to build a bridge between these two worlds and he used the book as a vehicle throughout his career. In celebration of his works, the Morgan Library & Museum, New York, presents Warhol by the Book, a four-decade retrospective on view now through May 5, 2016.

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Featuring more than 130 objects dating back to his student days, the exhibition includes the only surviving project from the 1940s. It also features a remarkable collection of drawings, screen prints, photographs, self-published books, children’s books, photography books, text-based books, unique books, archival material; and his much-sought-after dust jacket designs. To call Warhol prolific would be an understatement. He simply was a one-man factory who aptly advised, “Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.”

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Read the Full Story at Crave Online

Categories: 1960s, 1970s, 1980s, Art, Books, Crave, Exhibitions, Manhattan

King of the Forest: Adventures in Bioperversity

Posted on February 16, 2016

Artwork: Rebecca Clark, Albatross, graphite, colored pencil, and pastel on paper, 2013

Artwork: Rebecca Clark, Albatross, graphite, colored pencil, and pastel on paper, 2013

We have entered the Anthropocene Age, the era when human activities have begun to have a significant impact on the Earth’s geology and ecosystems. Soviet scientist began using the terms as they recognized the shift in the 1960s; the Holocene era had been completed, as human civilizations had completed their expansion across the globe, nestling into every corner, and in doing so, exterminating native populations, flora, and fauna. With the expansion of humanity came the inevitable shift, one that has just occurred and more than accounts for a vast cultural longing for a return to “the good old days,” or the blind denial of the significant and irreversible advent of climate change.

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Although the international commissions and unions have not officially approved this term as a recognized subdivision of geological time, there is mounting evidence that we have incontrovertibly entered a new age, many have become increasingly sensitive to the dawn of a new day. In addition to scientist, a number of artists have been at the vanguard of this conversation. King of the Forest: Adventures in Bioperversity, currently on view at the Arlington Arts Center, VA, is a powerful exploration of humanity’s changing relationship with other species.

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Curated by Megan Rook-Koepsel, King of the Forest features the work of thirteen contemporary American artists from the mid-Atlantic region, including Joan Danziger, Rebecca Clark, and Leslie Shellow. As Roek Koepsel observes, “We don’t understand the power of the natural world to adapt around us an in spite of us.”

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Categories: Art, Crave, Exhibitions

The Fence: A Conversation with Sam Barzilay

Posted on January 31, 2016

Fence 2014 by Jan Fields

Fence 2014 by Jan Fields

The fifth edition of The Fence has returned. Brooklyn’s best public photo project is seeking submissions now through March 7, 2016, and I am honored to be on this year’s jury. Produced by United Photo Industries (UPI), the pioneering Brooklyn-based producer of public photography installations and events, The Fence has expanded to include five major cities across the United States, expecting to draw three million visitors in New York, Atlanta, Houston, Santa Fe, and Boston. Forty photographers will be chosen by the jury to participate, and the Jury’s Choice winner will receive a cash prize of $5,000 to support their work, a Leica T camera package, and a solo exhibition at Photoville 2016. Oo la la! Sam Barzilay of UPI sat down to chat about The Fence, offering his insights into UPI’s dynamic mission to introduce photography to the public on a major scale.

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So excited to see The Fence is now in its 5th edition. Please speak about the inspiration for The Fence. Where did the idea come from and how did it manifest?

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Sam Barzilay: The idea for The Fence was born while walking through Brooklyn Bridge Park back in the winter of 2011. At that time, the park was in its early stages of development with Piers 1 and 6 open to the public while the rest of the areas that we now get to enjoy where still under construction. What connected the two finished sections was a long “greenway” that offered for a safe and pleasant route for pedestrian and biking traffic between DUMBO and Atlantic Avenue—and lots of construction fences all along that same route. The combination of a large and “captive” audience (the greenway acting as a long and scenic corridor) and the presence of so many fence surfaces made us see the huge potential of presenting powerful photographic narratives in a large format public setting, rather than more traditional advertising displays one would find outdoors. Brooklyn Bridge Park was immediately receptive to our idea of bringing photography to the Park, and after a brilliant meeting with Lauren Wendle at PDN Magazine, a new partnership was born, we dove right into it and never looked back!

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It’s now grown into a five­city phenomenon, with partnerships around the country! I’m truly amazed by the success, Can you speak about why you decided to expand The Fence beyond its original Brooklyn location?

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Since its inception, The Fence has been singularly focused on cultivating new and wider audiences for photography everywhere – a goal that can only be achieved through long ­term partnerships with forward ­thinking cultural organizations. Brooklyn Bridge Park has been a staunch supporter of the project since Day 1, and it has proven a fantastic launching pad to propel the project’s geographical reach and expand our audience further every year.

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I love your approach to public art, and incorporating photography into the mix. What are the biggest challenges of producing The Fence?

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The biggest challenges we face in producing The Fence are two­fold. Ensuring that we can secure the best possible location for each exhibition ­ combining the right mix of organic foot traffic and accessibility ­ and adapting to the ever­changing landscape inherent in working with sites that are by definition under construction and therefore in constant flux (as The Fence primarily relies on appropriating construction­fence surfaces).

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What do you find to be the most satisfying aspect of producing The Fence?

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Perhaps the most satisfying of The Fence has been the reaction of the public when a new Fence exhibit goes up. The Fence has been a labor of love for all of us since its inception 5 years ago, and we are always part of the install team in each city when a new exhibition is unveiled. At every city we’ve travelled, people of all ages and all walks of life go out of their way to tell us about how much they enjoy seeing the work time and time again, and share their thoughts and comments about each year’s exhibit.

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Knowing that we’ve made an impact in people’s daily lives and perhaps helped introduce even one more person to the love of photography ­ what more could we ask for? And of course we also love hearing from the photographers about new job opportunities coming their way, selling prints, and seeing a marked increase in the audiences for their work, as a direct result of being featured on The Fence.

Fence 2015. Courtesy of United Photo

Fence 2015. Courtesy of United Photo

Categories: Art, Bronx, Exhibitions, Photography

This Light of Ours: Activist Photographers of the Civil Rights Movement

Posted on January 18, 2016

Photo: Matt Herron, Selma–Montgomery March, Alabama, 1965: Rev. Martin Luther King leads singing marchers toward Montgomery.

Photo: Matt Herron, Selma–Montgomery March, Alabama, 1965: Rev. Martin Luther King leads singing marchers toward Montgomery.

In 1857, Frederick Douglass observed, “This struggle may be a moral one, or it may be a physical one, and it may be both moral and physical, but it must be a struggle. Power concedes nothing without a demand. It never did and it never will. Find out just what any people will quietly submit to and you have found out the exact measure of injustice and wrong which will be imposed upon them, and these will continue till they are resisted with either words or blows, or with both. The limits of tyrants are prescribed by the endurance of those whom they oppress.”

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A century later, Dr. Martin Luther King Jr. brought these words to life with the Civil Rights Movement. He made A demand and, with the 1964 Civil Rights Act, a measure of the demand was met. But it was not met without retaliation, and ultimately Dr. King would pay with his life, a life that the government who had him killed now honors with a Federal holiday.

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Read the Full Story at Crave Online

 

Photo: Maria Varela, near Canton, Mississippi, 1966: A hand-drawn black panther indicates a change of movement symbolism as young men joined the Meredith March in response to the call for Black Power.

Photo: Maria Varela, near Canton, Mississippi, 1966: A hand-drawn black panther indicates a change of movement symbolism as young men joined the Meredith March in response to the call for Black Power.

Categories: 1960s, Art, Crave, Exhibitions, Photography

Ishiuchi Miyako: Postwar Shadows

Posted on December 21, 2015

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #73, 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 43.7 x 53.7 cm (17 3/16 x 21 1/8 in.) Sheet: 45.4 x 55.7 cm (17 7/8 x 21 15/16 in.) Accession No. 2009.96.3 Copyright: © Ishiuchi Miyako Object Credit: The J. Paul Getty Museum, Los Angeles

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #73, 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 43.7 x 53.7 cm (17 3/16 x 21 1/8 in.) Sheet: 45.4 x 55.7 cm (17 7/8 x 21 15/16 in.) Accession No. 2009.96.3 Copyright: © Ishiuchi Miyako Object Credit: The J. Paul Getty Museum, Los Angeles

This year marked the seventieth anniversary of the bombing of Hiroshima and Nagasaki, which killed over 129,000 people and decimated the country of Japan. Although nearly half the people died on the first day, the other half clung to life in desperate shape, only to die from the effect of the burns, radiation sickness, and other injuries compounded by illness and malnutrition. The only use of nuclear weapons for warfare in history, the bombings destroyed primarily civilian populations.

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In the decades that followed, the bombings continued to have effect on subsequent generations born into the post-nuclear landscape. Self-taught photographer Ishiuchi Miyako was born two years after the war and stunned the Japanese photography establishment in the late 1970s with grainy, haunting, black-and-white images of Yokosuka—the city where Miyako spent her childhood and where the United States established an important naval base in 1945.

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Working prodigiously over the next forty years, Miyako has created an incredible body of work that has been collected for “Ishiuchi Miyako: Postwar Shadows”, now on view at the J. Paul Getty Museum, Los Angeles, through February 21, 2016, and is published in a book by the same name.

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Read the Full Story at Crave Online

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #58, 1976 - 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 45.5 x 55.8 cm (17 15/16 x 21 15/16 in.) Framed: 54.4 × 65.7 × 4.5 cm (21 7/16 × 25 7/8 × 1 ¾ in.) Accession No. EX.2015.7.76 Copyright: © Ishiuchi Miyako Object Credit: collection of Yokohama Museum of Art Repro Credit: Photo © Yokohama Museum of Art

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #58, 1976 – 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 45.5 x 55.8 cm (17 15/16 x 21 15/16 in.) Framed: 54.4 × 65.7 × 4.5 cm (21 7/16 × 25 7/8 × 1 ¾ in.) Accession No. EX.2015.7.76 Copyright: © Ishiuchi Miyako Object Credit: collection of Yokohama Museum of Art Repro Credit: Photo © Yokohama Museum of Art

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Crave, Exhibitions, Japan, Photography, Women

Art Basel Miami Beach 2015 Edition

Posted on December 11, 2015

art_basel_miami_2015_lapostferia

Check Out
Art Basel Miami Beach 2015
Coverage at Crave Online

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A few highlights from the week include:

Incas wallpaper panel, 1818, Joseph Dufour et Compagnie (founded Mâcon, France, 1801–23), manufacturer, Block-printed on handmade paper, Courtesy of Carolle Thibaut-Pomerantz

Incas wallpaper panel, 1818, Joseph Dufour et Compagnie (founded Mâcon, France, 1801–23), manufacturer, Block-printed on handmade paper, Courtesy of Carolle Thibaut-Pomerantz

“Philodendron: From Pan-Latin Exotic to American Modern”
Wolfsonia-Florida International University
© Lorna Simpson. Direct Gaze, 2014 (detail)

© Lorna Simpson. Direct Gaze, 2014 (detail)

Top 5 Highlights at
Art Basel Miami Beach

 

Amarillismo by Wilson Diaz

Amarillismo by Wilson Diaz

Wilson Diaz: Amarillismo
at Instituto de Vision at Art Basel
© James Rieck. Flared Bell Bottoms, 2015.

© James Rieck. Flared Bell Bottoms, 2015.

Top 5 Highlights at
PULSE Contemporary Art Fair

© Guy Richards Smit

© Guy Richards Smit

Guy Richards Smit: Mountain of Skulls
Charlie James Gallery at PULSE

Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Latin America, Painting, Photography

Julio Larraz: Epic Daydreams

Posted on November 12, 2015

“Sunset at Cape Laplace”, 2014 Oil on canvas, 60 x 72 inches, 152.4 x 182.9 cm © Julio Larraz

“J. Campamento y Madrigales”, 2015 Oil on canvas, 60 x 72 inches, 152.4 x 182.9 cm © Julio Larraz

 

Julio Larraz describes the vivid images that he paints as visions that come to him as dreams he sees during the day. These images may come on and off over the years, though some, Larraz reveals, “are recent ones, other are long-time friends. There is a mixture of it. I don’t like to do theme works. I prefer to take something and see it from fresh eyes, rather than see it forever.”

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The result is a distinctive mélange of dynamic imagery that makes for an incredible collection of work, offering something for everyone in a delightful compendium of endless innovation. From seascapes, landscapes, and aerial views to still lifes, imaginary portraits, and other figurative works, the work of Julio Larraz takes us into a fantastic world brimming with an elegance, grace, wit, and charm.

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Read the Full Story at Crave Online

“J. Campamento y Madrigales”, 2015 Oil on canvas, 60 x 72 inches, 152.4 x 182.9 cm © Julio Larraz

“Sunset at Cape Laplace”, 2014 Oil on canvas, 60 x 72 inches, 152.4 x 182.9 cm © Julio Larraz

Categories: Art, Crave, Exhibitions, Latin America, Manhattan, Painting

Warhol & Mapplethorpe: Guise & Dolls

Posted on November 11, 2015

Photo: Andy Warhol, Camouflage Self- Portrait , 1986. Synthetic polymer paint and silkscreen on canvas, Wadsworth Atheneum Museum of Art, Hartford, Conn. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, with a partial gift of The Andy Warhol Foundation for the Visual Arts, Inc., 1994.12.1. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Artwork Andy Warhol, Camouflage Self- Portrait , 1986. Synthetic polymer paint and silkscreen on canvas, Wadsworth Atheneum Museum of Art, Hartford, Conn. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, with a partial gift of The Andy Warhol Foundation for the Visual Arts, Inc., 1994.12.1. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Photo: Robert Mapplethorpe, Brian Ridley and Lyle Heeter, 1979. Gelatin silver print, The Robert Mapplethorpe Foundation, N.Y. © Robert Mapplethorpe Foundation. Used by permission.

Photo: Robert Mapplethorpe, Brian Ridley and Lyle Heeter, 1979. Gelatin silver print, The Robert Mapplethorpe Foundation, N.Y. © Robert Mapplethorpe Foundation. Used by permission.

New York City in the 1970s and ‘80s was a deliciously decadent time and place where art, gender, and sexuality came together in a miasma of creative energies. As the gay rights movement ushered in a new era, a new sense of expression took hold as gender became an area ripe for exploration. The ideas of masculine, feminine, and androgynous began to capture the imagination of visual and performing artists. Musicians lead the way, as crossdressing came out of the closet and groups like the New York Dolls took advantage of it’s curious effect on their female fans. It was an era of gender fluidity and sexual freedom which held to a deep abiding sense of “anything goes” as bath houses and clubs like Plato’s Retreat flourished in the city.

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Andy Warhol and Robert Mapplethorpe were two of the most significant artists in New York at this time. As portrait artists, both engaged with gender, identity, sexuality, beauty, performance, and disguise in their lives and their work, revealing the intricacies and nuances of the many-splendored personalities that populated the city then. Each artist focused on their subjects as a means to discovering their truth in a complex series of questions that directly and comfortably challenge the viewer.

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Read the Full Story at Crave Online

Andy Warhol, Ladies and Gentlemen, 1975. Acrylic and silkscreen ink on linen, The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 2002.4.22. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Andy Warhol, Ladies and Gentlemen, 1975. Acrylic and silkscreen ink on linen, The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution Dia Center for the Arts, 2002.4.22. © 2014 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Categories: 1970s, 1980s, Art, Crave, Exhibitions, Painting, Photography

Joseph Rodriguez: Mi Gente

Posted on November 10, 2015

Photo: Friday night at the Dominoe Social Club, 1987 © Joseph Rodriguez

Photo: Friday night at the Dominoe Social Club, 1987 © Joseph Rodriguez

Spanish Harlem. It’s an attitude, a mood, a way of living that is open, emotional, and warm. It is dominoes on the street as the sun sets as the music of Tito Puente and Eddie Palmieri wafts through the air from passing car stereos. It’s a place where open bottles and open fire hydrants are welcome in equal measure. Spanish Harlem is the city’s oldest barrio, dating back to the 1940s, when Puerto Ricans first established themselves in this little corner of upper eastside New York. Home to 120,000 people, half of which are Latino, the neighborhood has been forced to confront some of the city’s endemic problems of crime, drugs, AIDS, and chronic unemployment, many times as a result of systemic racism. Yet, like most true Yorkers, the people have a spirit and a will to survive.

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For photographer Joseph Rodriguez, Spanish Harlem is sacred ground, a place he has returned to throughout his life to engage with the community. Born and raised in Brooklyn, Rodriguez first went uptown to visit his uncle who had a candy store in el barrio. Then, in 1984, as a student at the International Center of Photography, he was given the assignment of documenting the gentrification of East Harlem.

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Read the Full Story at Crave Online

Photo: Vietnam Veteran, 1988 © Joseph Rodriguez

Photo: Vietnam Veteran, 1988 © Joseph Rodriguez

 

Photo: Night scene, 1988 © Joseph Rodriguez

Photo: Night scene, 1988 © Joseph Rodriguez

Categories: 1980s, Art, Crave, Exhibitions, Manhattan, Photography

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