Tag Archives: Savannah Ga

Robert Herman: The New Yorkers

Brooklyn born photographer, Robert Herman began working as an usher at a movie theater owned
by his parents. The exposure to a wide range of films during his formative
years provided him with a unique vision: “Working for my father allowed me to
view the same movie repeatedly,” he recalls, “until the story line began to
recede and the images became independent of the narrative.” 

Robert received a BFA in film making from the Tisch School of the Arts at New York University and received his Masters in Digital Photography from the School of Visual Arts in NYC.  Later as a production still photographer on
independent feature films, Herman discovered the life at the periphery of film
locations was more compelling than the film sets. His book of his NYC color street photographs, The New Yorkers, to be self-published in the fall of 2013 with help from a successful Kickstarter campaign. His is currently also working with Fractured Atlas to defray additional costs and accepting additional tax deductible donations.
His work is part of the permanent collections of the George
Eastman House and the Telfair Museum in Savannah, GA. His photographs are also
in many private collections and has exhibited across the United States including
the Museum of Modern Art, the galleries of the Savannah College of Art &
Design, The Los Angeles Center for Digital Art and The Henry Gregg Gallery in
DUMBO. This spring, photographs from The
New Yorkers
were included in a traveling exhibition that originated at the
Istanbul Photography Museum, and then moved to Ankara, Turkey with more venues
to be announced in the coming months.

The New Yorkers

York City is like a diamond mine. The pressure will turn one into coal dust or
a multi-faceted jewel. To survive with some sort of evolving grace, it is
absolutely essential to cultivate a Zen-like awareness. Consciously choosing to
be in a state of openness is also useful for making photographs. To paraphrase
the art critic John Berger: A photograph that surprises the photographer when
he makes it, in turn surprises the viewer. No matter how hardened and cynical
one becomes, the act of taking a picture, forces one to try to return to an
innocent wonder. Every time I go out to make photographs, I ask myself this
question: Can I see the world with vulnerability and clarity?

New Yorkers is a body of work that I began when I was still a student at NYU,
when I was learning to be a photographer. I was living in Little Italy at the
time and everyone around me seemed to be a subject: the man who changed tires,
the superintendent of the building next door.  I discovered Harry Callahan’s magnificent book: Color and
Robert Frank’s The Americans. These images opened my mind to what a strong
photograph could be. If imitation is the sincerest form of flattery, then this
was my starting point. Both of these photographers re-made the mundane, the
ordinary and the everyday and transformed them into small and transcendent

the years, I lived in several different apartments and I continued making pictures
in whatever neighborhood I happened to be living in. Becoming comfortable in my
new surroundings would ease the way for me to make the authentic photographs I
was seeking. Key to this body of work was letting the subject matter determine
the outcome. I would make myself available, allowing my intuition to be my guide
and let the content rise to the surface. The true epiphany was not to embellish
or to judge: with the removal of the internal impediment strong subject matter
would speak for itself. Like a man searching for water in the desert with a
dousing rod, I became a vessel and allowed the images to pass through me onto
the film.

As an illustration of this, “Eldorado” was made
on a day when I was sitting around my loft with my girl friend at the time when
suddenly I said, “ I’ll be right back, I have to go out and take some
pictures.” Ann nodded her ascent and with my Nikon F in hand, I walked around
the corner onto Mulberry Street. 
In the bright afternoon sun two luxury cars were parked angling in from
the street towards a large green garage door. I chose my framing just as two
boys walked into the shot and I made my picture.  I was back at home five minutes later and knew I had captured
something truly special. I was at a loss to explain what had just happened. It
was truly a mystery. I realized that if I were wiling to relinquish some
control, I would occasionally be rewarded with strong photographs.
I went out to search for water
in order to survive, and I was led to something shining down from the sky
and bubbling
up from the ground.

is synchronicity and coincidence present everywhere. Photographs are a way of
revealing hidden relationships that are only present for a moment in space and
time, seen from a unique vantage point. The New Yorkers is the record of my
self-discovery as a photographer, inside and out, manifested on the streets of
New York City.

Greer Muldowney, Cheung Sha Wan #3

Greer Muldowney, Cheung Sha Wan #3

Greer Muldowney

Cheung Sha Wan #3,
Kowloon, Hong Kong, 2010
From the 6,426 per km2 series
Website – GreerMuldowney.com

Greer Muldowney is an artist and photography professor based in Boston, Massachusetts. She received an undergraduate degree in Political Science and Studio Art from Clark University, and MFA from the Savannah College of Art and Design. She has worked for photographers Stephen DiRado and Henry Horenstein, and has acted as the curator for the Desotorow Gallery in Savannah, GA and as an assistant curator at the Panopticon Gallery and Panopticon Imaging in Boston, MA. She currently teaches at the New Hampshire Institute of Art and the New England Institute of Art.

Carson Sanders

Carson Sanders has had the good fortune be educated on two continents at the same school. He spent last year at Savannah College of Art and Design’s Hong Kong campus and is now back at the Savannah, GA campus working towards his BFA. Born in Dallas, Texas, Carson is an editor at aint-bad magazine, a quarterly art journal focusing on images that discuss human existence, culture, and contemporary issues. Carson is continuing to document the south and is about to take a road trip across the lower half of the U.S.

I am featuring two bodies of work he produced in China, Yuen Po Street Bird Marketand Happy Valley Racecourse.

Yuen Po Street Bird Market: The Yuen Po Street Bird Market located in Prince Edward is a place that I grew accustomed to during the ten weeks that I spent in Hong Kong in the Fall of 2011. Witnessing the love that these men and women have for their birds is something that I never thought I would come across while studying abroad. For me, this body of work transcribes the beauty that can often go un-noticed when passing through the heavily congested market.

One must stop and watch, as these men do each day, to understand why these creatures mean so much to this culture as a whole. Men spend hours staring past the bars of the cages and into the souls of these birds; as if they are trying to understand exactly what it is that these little creatures are doing here on this planet. This question may go unanswered for hundreds of years, but the men will keep staring, day after day.

Happy Valley Racecourse is located in Wan Chai, Hong Kong and is completely surrounded by skyscrapers. Standing inside the complex is surreal as you look in each direction and see tall buildings all around with a clearing in the middle for a grass track. Men and women flock to the horse races that take place on Wednesdays and Sundays. For some, this is the only excitement that they will have all week. For others, it’s a chance to finally make it big on a winning ticket. Regardless of why; they come. And they come each night, each week, and sit in the stands, or in the indoor sections, watching small televisions mounted on walls. They are all watching to see if the horse that they chose will make them a winner.

As the horses round the final corner, the noise is almost too much to handle. Screaming and shouting at a television set that has no control over the outcome of the race is common practice at Happy Valley. The winners are known immediately and can be heard from almost anywhere in the stadium. Their eyes fill with tears of joy as they proceed to the counter to collect their winnings. The losers can be heard as well, but it’s a different sound. They are not shouting with joy but rather cursing with anger. And while walking to the counter, they aren’t smiling, but rather fidgeting for coins and other money that can be spent on another race, another chance to have a better tomorrow.

Daniel George, West Bay Street

Daniel George, West Bay Street

Daniel George

West Bay Street,
Savannah, Georgia, 2011
From the Natural Selection series
Website – DanielGeorgePhoto.net

Daniel George is a Savannah, GA based artist and educator. He graduated in 2011 with an MFA in photography from Savannah College of Art and Design and was the recipient of the departmental Outstanding Achievement Award. He has exhibited work in galleries across the United States. Recently, his body of work, Natural Selection, was featured in Fraction Magazine Issue 26. Daniel currently teaches photography part-time at Savannah Country Day School and continues to make photographs that explore eccentric displays of landscape manipulation.

David Strohl

David Strohl received his undergraduate degree from the Savannah College of Art and Design in Savannah, Georgia. After graduation he returned to his hometown of Austin, Texas, to work as a freelance commercial and editorial photographer. But as what so often times happens when your passion is made into a business, the flame goes out. With this realization, David decided to return to SCAD and work on an MFA to be completed in the near future. This return to his photographic roots has re-ignited that flame and his love of the photographic medium.

David has created a number of series, several about Savannah, including his most recent, Qualifies for a Dreammaker. The project explores the impoverished east side of Savannah with a compassionate eye and an abililty to see beauty in the a place and people often overlooked.

Acting in the role of the flaneur (one who walks the city in order to experience it), I have walked the neighborhoods of Eastside Savannah, GA, using photography as a tool to understand the story of the area. Through repeated exploration, I have discovered a rich tapestry of cultural heritage — the people, the details, and the landscape itself have become a deep and interwoven narrative.

While many residents of the Greater Savannah area write off the Eastside as a blighted and impoverished cluster of neighborhoods, I have instead discovered an often times beautiful area that is burgeoning with the potential for positive and inclusive progress.

This body of work has become not only a series of personal connections in my quest to comprehend the community, it has also become a historical record of the neighborhood as it is before impending gentrification and revitalization. The act of photographing has gotten me involved in the day-to-day of the area, and has resulted in my own integration into the community. My hope is that these photographs will illustrate to the residents that community awareness and involvement is essential in maintaining the neighborhood’s inherent culture.