happy holidays! Ill be back with plenty of news to share in the new years. For now, enjoy your friends and family!
I'LL BE BACK!
Sunday, December 26, 2010
Sunday, December 12, 2010
Vanderbuilt Foundation Dec 16th
Tickets are $100 (not the $75 i had posted before) and allow you one piece of art from the wall on a first come first served basis so arrive early! I have one AP in this mixed in with a LOT of talented artists including Kwaku Alston, Phil Toledano, Antone Verglas and James Worrell to name a few. You can also join the party with no art for the low cost of $10 in advance. For details please click here
Tuesday, December 7, 2010
Wednesday, December 1, 2010
Fountain Miami opens Thurday Dec 2nd
Setting 40x60 edition of 5
I am in Miami as i post this, very excited to be a part of Fountain this year! I am one of the featured artists exhibiting with Front room Gallery and the show is looking GREAT! Please stop by to say hello and visit the other galleries exhibiting. Fountain is just a few minutes walk from SCOPE, Art Miami, Red DOT, and PULSE so give yourself some time to check out all of them!
Dates: December 2–5, 2010 Location: 2505 N. Miami Ave at the corner of 25th St., Miami FL Website: fountainexhibit.com Schedule: Thursday, December 02 12pm – 6pm: VIP/Press Preview Friday, December 03 11am – 7pm: Open to the Public 7pm – midnight: Opening Reception Saturday, December 04 11am – 7pm: Open to the Public 7pm – midnight: Miami New Times Party Sunday, December 05 11am – 7pm: Open to the Public 4pm – 7pm: Live Silk Screening Closing Party |
Wednesday, November 24, 2010
Sunday, November 7, 2010
Group exhibition TRASH opens Friday Nov 12th in NYC
I am very pleased to post that I am going to be in the group show TRASH, featuring the works of Adler A.F., Kim Holleman, Michael Kareken, Al Wadzinski and ME!
Curated by: Zeina Assaf
Saran, 40x60 digital c-print edition of 5 2008
Curated by: Zeina Assaf
Hope to see you there friday nite, the artist will be present.
NY Studio Gallery
154 Stanton St.
New York, NY
November 11, 2010 - January 8, 2011
Artists Reception: November 12, 2010 7-9pm
Adler A. F. “Trash Queen” performance November 12; 8pm
Tuesday, October 26, 2010
tis the auction season
Auctions are a nice way to help out, you dontate a print, people get a chance to purchase your work and support a cause, and you get that nice warm fuzzy feeling that you did something nice.
the auctions close at different times and benefit different organizations - check them all out!
tony gale,
manjari sharma, and more friends are in
The Young Photographer's Association auction is here
this ap from next stop atlantic is at the aperture auction
the auctions close at different times and benefit different organizations - check them all out!
tony gale,
manjari sharma, and more friends are in
The Young Photographer's Association auction is here
this ap from next stop atlantic is at the aperture auction
Coalition for the Homeless at Artwalk-
camera works here
vanderbuilt foundation- little bit different then an auction but still good to be at!
Wednesday, October 6, 2010
Closing party and BROOKLYN RAIL- Latest press for Next Stop Atlantic
The show was extended until oct 10th and we are going to celebrate the end of the exhibition at Front Room Gallery This friday night Oct 8th from 7-9.
Here is the latest review of the show in the Brooklyn Rail- I am pretty flattered with who they are also talking about in this article!
“Weeks 297” (2010). Digital C-Print. Courtesy of Front Room Gallery.
“Virginia Placement” (2010). Digital C-print. Courtesy of Front Room Gallery.
Here is the latest review of the show in the Brooklyn Rail- I am pretty flattered with who they are also talking about in this article!
STEPHEN MALLON Next Stop Atlantic
by Charles SchultzFRONT ROOM GALLERY | SEPTEMBER 10 – OCTOBER 3, 2010
“Weeks 297” (2010). Digital C-Print. Courtesy of Front Room Gallery.Imagine you’re riding the subway while reading this. Do you know where the subway car you are riding may eventually end up? On the bottom of the Atlantic. Over the last nine years the N.Y.C.Transit Authority has worked with the national artificial reef building program to sink around 1,800 subway cars. Beginning in 2007, Brooklyn-based photographer Stephen Mallon embedded himself with the maritime company in charge of the dumping operation. Since then he’s photographed four “drops” and two “load-outs.” His solo exhibition, Next Stop Atlantic, draws from these six outings, charting the progress of the trains as they are stripped bare, loaded on barges, and pushed into the ocean.
Mallon is a self-proclaimed “industrial photographer” whose work skirts the fringe between photojournalism and fine art, with context often being the determining factor. His choice of subject matter and his project-oriented practice make Mallon an heir to the long photographic tradition of recording industrial activity. What sets him apart from peers like Edward Burtynsky, Thomas Struth, or Robert Polidori, is Mallon’s preference for the digital camera over the antiquated and cumbersome large-format view camera. This sacrifices optical clarity and chromatic saturation for speed and versatility. A view camera requires a tripod and stillness. It simply isn’t what you want out on a boat with ocean waves chopping against the hull.
For most of us in N.Y.C. the silvery Brightline subway cars that have serviced commuters since the 1960s are emblematic of urban transportation. To see them stripped bare—no windows, doors, seats, even the oily undercarriage and steel wheels are gone—hauled out into the ocean, and dumped overboard is pure surrealism. There’s also more than a tinge of irony in the notion that these icons of the city and of movement are ultimately reclaimed by nature as new homes for crustaceans.
Mallon is a self-proclaimed “industrial photographer” whose work skirts the fringe between photojournalism and fine art, with context often being the determining factor. His choice of subject matter and his project-oriented practice make Mallon an heir to the long photographic tradition of recording industrial activity. What sets him apart from peers like Edward Burtynsky, Thomas Struth, or Robert Polidori, is Mallon’s preference for the digital camera over the antiquated and cumbersome large-format view camera. This sacrifices optical clarity and chromatic saturation for speed and versatility. A view camera requires a tripod and stillness. It simply isn’t what you want out on a boat with ocean waves chopping against the hull.
For most of us in N.Y.C. the silvery Brightline subway cars that have serviced commuters since the 1960s are emblematic of urban transportation. To see them stripped bare—no windows, doors, seats, even the oily undercarriage and steel wheels are gone—hauled out into the ocean, and dumped overboard is pure surrealism. There’s also more than a tinge of irony in the notion that these icons of the city and of movement are ultimately reclaimed by nature as new homes for crustaceans.
“Virginia Placement” (2010). Digital C-print. Courtesy of Front Room Gallery.Two features in Mallon’s Next Stop Atlantic are immediately striking: there are no people in the images, and the subway cars retain their old working insignias. The absence of people enhances the sense that these exoskeletons are abandoned. The fact that the cars go into the ocean with their MTA logos, American flags, and fleet numbers still attached enables viewers to distinguish one hulking metal shell from the next. Consequently, the cars retain a degree of their individual identity despite having their bodies stripped to a uniform starkness.
Mallon’s best work is done out on the ocean where the quick speeds of his digital camera are fully utilized. In “Virginia Placement” the visual tension is as tight and decisive as any moment frozen by Henri Cartier-Bresson. The subway car has been pushed off the barge and is caught in a mid-air spin, sunlight glistening off the metal exterior, dappling—for the last time—its torn-out insides. In the distance is the infinity of the ocean’s horizon. It’s the kind of photograph you feel in your spine, possibly because it makes visual the chilling reality of life’s final transition, like the first shovel full of dirt on a closed coffin lid.
Mallon’s best work is done out on the ocean where the quick speeds of his digital camera are fully utilized. In “Virginia Placement” the visual tension is as tight and decisive as any moment frozen by Henri Cartier-Bresson. The subway car has been pushed off the barge and is caught in a mid-air spin, sunlight glistening off the metal exterior, dappling—for the last time—its torn-out insides. In the distance is the infinity of the ocean’s horizon. It’s the kind of photograph you feel in your spine, possibly because it makes visual the chilling reality of life’s final transition, like the first shovel full of dirt on a closed coffin lid.
The foundation of Next Stop Atlantic is the larger theme of recycling, which ties Mallon’s project to numerous current trends in contemporary art. Transforming yesteryear’s cultural modalities into something topical, timely, and altogether functionally different is definitely in vogue. (Consider the Bruce High Quality Foundation’s Whitney Biennial contribution, a revamped Cadillac hearse with a resuscitated title, “We Like America and America Likes Us.”) Mallon may not have transformed anything himself, but he recognized the artistic potential of what Weeks Marine—the largest provider of dredging services in the U.S.—was doing. For artists who operate in the realm of photojournalism, (e.g. Nina Berman, Lorraine O’Grady: both 2010 Whitney Biennial selections) this is a textbook project.
Wednesday, September 15, 2010
The NPR interview
My interview by Richard Hake on NPR. I have to tell you this was one of my OS moments, not really sure why, something about being interviewed on a radio station that I used to make fun of my parents for listening to and now I'm a fan of a number of their shows. It was quite surreal and sweet. The "pre" interview felt much easier for me on the phone with the reporter. Once we got into the sound booth, I think I should have spiked my coffee... In the end - and with a great edit from NPR - I think it worked out nicely! Click here to see the full interview.
Tuesday, September 14, 2010
Review of Next Stop Atlantic in The L Magazine
Artists Gone Wild! | General | The L Magazine - New York City's Local Event and Arts & Culture Guide
I really like this review. My friend and Colleague William Lamson who also opened at Perogi's Boiler room Sept 10th is also reviewed in this. I have admired Will's photography ever since i was introduced to it a few years ago- check him out!
I really like this review. My friend and Colleague William Lamson who also opened at Perogi's Boiler room Sept 10th is also reviewed in this. I have admired Will's photography ever since i was introduced to it a few years ago- check him out!
Wednesday, September 8, 2010
Next Stop Atlantic on Miss Rosen
STEPHEN MALLON: Next Stop Atlantic
September 8, 2010
Photograph © Stephen Mallon
Stephen Mallon’s photographs of the New York City Transit Authority’s artificial reef building project make me craaazy. There is something about access to this kind of madness that gets me all kinds of excited. It’s visceral, for sure. But more that that, it’s that beyond the sheer physical response to these images, my mind starts spinning trying to get a grip on the context for these images. Subway Cars = Barrier Reefs? This must be 2010.
How did you get involved with the NYC Transit Authority’s artificial reef building project?
I had shot around Bayonne in the past and was looking for a location for a portrait shoot that had a nice industrial background. As we were scouting I spotted Weeks 297 (the number of the barge) parked there with a bunch of old subway cars stacked on top of it. I had read about the red birds being retired in the ocean but wasn’t aware that the program was still ongoing. The gate to Weeks Marine’s yard was open so I drove in and got the contact info for the yard manager who introduced me to Jason who was the senior manager on the project. Fortunately for me he is a fan of photography and so after showing him my existing work on the recycling industry he told me to come on down!
Photograph © Stephen Mallon
Photograph © Stephen Mallon
Please talk about the issues of innovations in salvation and industrial waste as they pertain to this project.
The MTA doesn’t sell any of the subway cars to the general public or to anyone that they are not sure on how they are going to be deposed of. You can’t scrap these cars without doing an asbestos abatement but that isn’t an issue underwater. The tourism boards along the east coast purchased the subway cars ( not sure how much, I heard different numbers from FREE to $300 a car, min one barge + SHIPPING which is quite expensive!) to help the sports fishing and to create interesting locations to go diving to.
What were the emotional and intellectual challenges of working on this project ?
Learning not to try to review images on a rocking crew boat! You do need to be very safety conscious on these sites, there was a moment after shooting where one of the MTA guys told me “You know those cables can break right?” Just after I had been directly under it taking a pretty picture of the underbelly. Some New Yorkers are a little freaked out seeing these images, I think because they have spent so many hours holding on to the polls in the middle of these cars so your third eye can put you back in the car and then you see a kind of Titanicesque moment of the water washing in instead of the commuters at the next stop.
Photograph © Stephen Mallon
What did you find to be the most powerful and provocative aspect of this project ?
Remember how i was talking about my heartbeat and the bulldozer? Now imagine what its like watching the bulldozer tossed into the ocean like a toy in the bathtub! Its the largest splash photography i have done to date, sports action with no athletics, just unique moments of each subway car going down. Sometimes knowing that you got the moment, sometimes praying to the photo gods that you did get it, sometimes going SHIT missed it!!!!!
How does this project fit into your larger “American Reclamation” work ?
It’s a chapter in the project. There was originally only about 5 images shot of the subway cars but after really positive response from Communication Arts (got into the photo annual in 2009!) and during the VERGE art fair in Miami, the directors at Front Room Gallery and I thought it would be good to go back and explore some more photography of the subject.
Photograph © Stephen Mallon
STEPHEN MALLON: NEXT STOP ATLANTIC
Friday, September 10 from 7–9pm
Front Room Gallery, 147 Roebling Street, Brooklyn
Exhibition continues through October 3
Friday, September 10 from 7–9pm
Front Room Gallery, 147 Roebling Street, Brooklyn
Exhibition continues through October 3
Friday, August 20, 2010
PDN photo of the day!
A daily selection by the editors of Photo District News
Next Stop Atlantic
© Stephen Mallon
Next Stop Atlantic – an exhibition of Stephen Mallon’s work is opening at the Front Room gallery on September 10th, 2010. This stunning series features the process of artificial reef building off the East Coast in the U.S. The exhibit will be running September 10th through October 3rd.
See more of Stephen Mallon’s work here.
Tags: Front Room Gallery, Next Stop Atlantic, Stephen Mallon
Next Stop Atlantic
© Stephen Mallon
Next Stop Atlantic – an exhibition of Stephen Mallon’s work is opening at the Front Room gallery on September 10th, 2010. This stunning series features the process of artificial reef building off the East Coast in the U.S. The exhibit will be running September 10th through October 3rd.
See more of Stephen Mallon’s work here.
Tags: Front Room Gallery, Next Stop Atlantic, Stephen Mallon
Tuesday, August 3, 2010
next stop atlantic on The Heavy Light
Friend and collegue Dirk Anschutz recently did an interview with me for his blog The Heavy Light-
Stephen Mallon’s Subway Submarines
DA: Let’s talk about the subway shoot. How did you learn about the fact that old subway cars were being dumped in the ocean?
SM: I’d first read about it in the New York Times in maybe 2004 and I thought that project was all finished. But in April 2008 I spotted a barge loaded with subway cars while location scouting in New Jersey. I drove to adjoining yard which belonged to Weeks Marine, the company that turned out to be the owner of the barge. I talked to the security guard and told him that I was interested in photographing the barge. The guard passed me on to Lou, the yard manager, and Lou passed me on to Jason, the senior engineer. I told Jason about my ongoing photo project about recycling “American Reclamation”, and gave him my website. He was himself interested in photography and liked my work, and after I secured permission to photograph from the MTA (Metropolitan Transit Authority) he gave me full access to the “loadout”.
When the loadout came I drove to the 207th Street rail yard in the Bronx where the old stripped down subway cars were loaded onto Barge 297. It took about 2 days to load the barge with as many cars as possible. Then the barge shipped back to Bayonne, NJ where it sat for a few days. I wasn’t allowed on the loaded barge for safety reasons. I was also not allowed to stand under subway cars for safety reasons, but I only found that out later.
DA: Tell me how this personal project has influenced your career so far.
SM: The subway project was what introduced me to Weeks Marine, so when the plane went down in the Hudson, I called Tom Weeks to see if they would do the salvaging. When they got the job, Tom asked me if I wanted to work. I had to get permission from National Transportation Safety Board and after that got full access to the proceedings. I had been staying in touch with Front Room Gallery for about 3 years, showing them my work and going to openings, so when they saw my series “Brace For Impact: the aftermath of flight 1549″ they decided to give me a solo show.
That work also got a Lucie Award and led to a commercial assignment for Maytag, which turned out to be the biggest job of my career so far.
Stephen Mallon‘s show “Next Stop Atlantic” will open at The Front Room Gallery in Williamsburg, Brooklyn on September 10th.
Stephen Mallon’s Subway Submarines
DA: Let’s talk about the subway shoot. How did you learn about the fact that old subway cars were being dumped in the ocean?
SM: I’d first read about it in the New York Times in maybe 2004 and I thought that project was all finished. But in April 2008 I spotted a barge loaded with subway cars while location scouting in New Jersey. I drove to adjoining yard which belonged to Weeks Marine, the company that turned out to be the owner of the barge. I talked to the security guard and told him that I was interested in photographing the barge. The guard passed me on to Lou, the yard manager, and Lou passed me on to Jason, the senior engineer. I told Jason about my ongoing photo project about recycling “American Reclamation”, and gave him my website. He was himself interested in photography and liked my work, and after I secured permission to photograph from the MTA (Metropolitan Transit Authority) he gave me full access to the “loadout”.
When the loadout came I drove to the 207th Street rail yard in the Bronx where the old stripped down subway cars were loaded onto Barge 297. It took about 2 days to load the barge with as many cars as possible. Then the barge shipped back to Bayonne, NJ where it sat for a few days. I wasn’t allowed on the loaded barge for safety reasons. I was also not allowed to stand under subway cars for safety reasons, but I only found that out later.
DA: Tell me how this personal project has influenced your career so far.
SM: The subway project was what introduced me to Weeks Marine, so when the plane went down in the Hudson, I called Tom Weeks to see if they would do the salvaging. When they got the job, Tom asked me if I wanted to work. I had to get permission from National Transportation Safety Board and after that got full access to the proceedings. I had been staying in touch with Front Room Gallery for about 3 years, showing them my work and going to openings, so when they saw my series “Brace For Impact: the aftermath of flight 1549″ they decided to give me a solo show.
That work also got a Lucie Award and led to a commercial assignment for Maytag, which turned out to be the biggest job of my career so far.
Stephen Mallon‘s show “Next Stop Atlantic” will open at The Front Room Gallery in Williamsburg, Brooklyn on September 10th.
Friday, July 23, 2010
Wednesday, July 14, 2010
Tuesday, July 6, 2010
Next Stop Atlantic Opens Sept 10th
Can you imagine if you were on the last drop? You get on the train expecting to get out at Atlantic Station and end up hitting the Atlantic Ocean instead. Seeing these massive mechanisms being tossed into the ocean like a toy in the bathtub is a ping in my heart. I have always been attached to these machines, their surreal beauty integrated into their functional engineering At first I was stunned the moments of violent recycling, watching the water quickly adapt to its new underwater houses. After being pushed and stacked like a sardine in these subways cars over the past decade, it is nice to see the sardine actually getting one of these as its new steel condo. These unbelievable photographs were captured over the past three years from Delaware to South Carolina. Since the 1600's man has artificially created reefs. The Metropolitan Transit Authority's recycling program has been involved for the past decade, retiring over 2500 subways cars to the ocean to help rebuild underwater reefs along the eastern seabed. These are my images, seconds before these mass transit vessels join history in building homes for life under the sea
September 10th—October 3rd, 2010
Reception: Friday, September 10th, 7-9pm
Viewing hours: Fri-Sun 1-6 and by appt.
The Front Room Gallery • 147 Roebling St. • Brooklyn, NY 11211 • www.frontroom.org
For more information please contact: Daniel Aycock •(718) 782-2556 • daniel@frontroom.org
Monday, June 28, 2010
Interview on Miss. Sara Rosen's blog
Sara and i met via a cold call for the asmpny folio review, she came, she reviewed, she conquered, we stayed in touch for the past few and she was kind enough recently to request an interview with me- Here it is!
I first met Stephen Mallon when he was organizing a portfolio review last year. It was quite a spectacular, as I had the distinct pleasure of meeting Stephen, as well as Sarah Small and Landon Nordeman in my sessions. And I don’t know if you’ve ever sat through reviews before, but meeting one—let alone—three dynamic and fantastic photographers (as well as people) is a rare treat.
The world, being the insanely small place that it is, reconnected me to Stephen, not once but twice in the past month. First I noticed he was organizing the Heart for Haiti photography auction benefiting Doctors Without Borders. Then I discovered a portfolio of his “American Reclamation” series on aCurator. They say three is the magic number, so I contacted Stephen directly this time, asking to chat about his work as an industrial photographer. Suffice to say, the work blows me away.
Please talk about your formative years in North Carolina, when you used to visit airports, rail yards, and construction sites. What was the allure of these places?
The expansion of one of the local roads in Chapel Hill was a huge construction project and I would go and sit on the hill to photograph the machines rolling by. I need to find that film! These were the images I would make at the end of the day after Junior High School. I was drawn to the machine moving the earth after years of pretending to do this with Tonka, seeing a machine in operation doing this was (and still is!) a treat for me. It’s hard to describe but my heart starts racing when I think about bulldozers!
At what point did you decide you wanted to become an industrial photographer, and how did you get into the game?
It was always in my heart to be photographing the sandbox, I just got off track chasing ideas, fashion, and lifestyle shoots for fifteen years or so. It came back to me when we were in the south of France and I was staring at the radio antennas to the disapproval of my companion at the time…
Please talk about your project, “The Salvage of Flight 1549.” What was it like to have exclusive access to this process?
INSANE. Every once in a while I would talk to one of the guys standing next to me on the pier: “There’s a plane in the water right there.” When NTSB granted me access to go inside the airplane I almost asked, “Are you sure its ok?” but decided not to double check! I am still grateful for all of the support that NTSB, Weeks Marine, ASMP, and the entire photo community had for me during the process of having the images up and down, up and down, and up again!
How did working on this shoot affect you as both a photographer and New Yorker?
I am really proud that I have these two bodies of work that is connected to the history of New York. I get introduced to people a lot as “that’s the guy that shot the plane in the water.” It’s a treat to have a body of work that was so widely seen.
I love your “American Reclamation” project. It is so beautiful, and so disturbing to see the way we dispose of our industrial waste. How did you get involved with this project?
A conversation with Jayne Rockmill during a portfolio review that ASMPNY hosts. She was interested in publishing a book of my work and I felt I needed a project that is more interesting then the random collection of images I had. I started brainstorming with my wife to have a theme that was current and had not been tackled yet. The idea came up to focus on the recycling industry in America, which has ranged from the artificial reef program to the cement factory in California to the Fresh Kills landfill, slated to become a park!
What are your thoughts on dumping waste into the ocean?
The only project that I am in support of are the artificial reef programs, some of which started hundreds of years ago. The next solo show, opening Sept 10th at Front Room Gallery in Williamsburg, is titled “Next Stop, Atlantic.” This body of work are images of the MTA retiring over one thousand subway cars in the Atlantic Ocean to build reefs along the east coast.
I particularly love your portrait work, as there is an ease and a comfort between you and your subjects that does not always exist in documentary work. What are your on-site relationships like?
Thank you! I get comfortable with the workers by hanging around a LOT! We talk, I introduce myself, tell them what i am working on, ask if itis ok to take some photos, I usually ask what their favorite food or drink is and then we start talking about that. People love to think about their favorite dish or drink so its a good common ground to cover.
“My Heart Starts Racing When I Think About Bulldozers”
June 15, 2010
Photograph © Stephen Mallon
The world, being the insanely small place that it is, reconnected me to Stephen, not once but twice in the past month. First I noticed he was organizing the Heart for Haiti photography auction benefiting Doctors Without Borders. Then I discovered a portfolio of his “American Reclamation” series on aCurator. They say three is the magic number, so I contacted Stephen directly this time, asking to chat about his work as an industrial photographer. Suffice to say, the work blows me away.
Photograph © Stephen Mallon
Please talk about your formative years in North Carolina, when you used to visit airports, rail yards, and construction sites. What was the allure of these places?
The expansion of one of the local roads in Chapel Hill was a huge construction project and I would go and sit on the hill to photograph the machines rolling by. I need to find that film! These were the images I would make at the end of the day after Junior High School. I was drawn to the machine moving the earth after years of pretending to do this with Tonka, seeing a machine in operation doing this was (and still is!) a treat for me. It’s hard to describe but my heart starts racing when I think about bulldozers!
At what point did you decide you wanted to become an industrial photographer, and how did you get into the game?
It was always in my heart to be photographing the sandbox, I just got off track chasing ideas, fashion, and lifestyle shoots for fifteen years or so. It came back to me when we were in the south of France and I was staring at the radio antennas to the disapproval of my companion at the time…
Please talk about your project, “The Salvage of Flight 1549.” What was it like to have exclusive access to this process?
INSANE. Every once in a while I would talk to one of the guys standing next to me on the pier: “There’s a plane in the water right there.” When NTSB granted me access to go inside the airplane I almost asked, “Are you sure its ok?” but decided not to double check! I am still grateful for all of the support that NTSB, Weeks Marine, ASMP, and the entire photo community had for me during the process of having the images up and down, up and down, and up again!
How did working on this shoot affect you as both a photographer and New Yorker?
I am really proud that I have these two bodies of work that is connected to the history of New York. I get introduced to people a lot as “that’s the guy that shot the plane in the water.” It’s a treat to have a body of work that was so widely seen.
Photograph © Stephen Mallon
Photograph © Stephen Mallon
Photograph © Stephen Mallon
A conversation with Jayne Rockmill during a portfolio review that ASMPNY hosts. She was interested in publishing a book of my work and I felt I needed a project that is more interesting then the random collection of images I had. I started brainstorming with my wife to have a theme that was current and had not been tackled yet. The idea came up to focus on the recycling industry in America, which has ranged from the artificial reef program to the cement factory in California to the Fresh Kills landfill, slated to become a park!
What are your thoughts on dumping waste into the ocean?
The only project that I am in support of are the artificial reef programs, some of which started hundreds of years ago. The next solo show, opening Sept 10th at Front Room Gallery in Williamsburg, is titled “Next Stop, Atlantic.” This body of work are images of the MTA retiring over one thousand subway cars in the Atlantic Ocean to build reefs along the east coast.
Photograph © Stephen Mallon
I particularly love your portrait work, as there is an ease and a comfort between you and your subjects that does not always exist in documentary work. What are your on-site relationships like?
Thank you! I get comfortable with the workers by hanging around a LOT! We talk, I introduce myself, tell them what i am working on, ask if itis ok to take some photos, I usually ask what their favorite food or drink is and then we start talking about that. People love to think about their favorite dish or drink so its a good common ground to cover.
Friday, June 25, 2010
$26,874
That's how much we were able to raise during our HeART HAITI auction. Doctors without Borders lists a statistic that for every $5500 has enough funds for an emergency health kit to care for 10,000 displaced people for three months. That means that we raised enough money for 50,000 emergency medical kits- INCREDIBLE! Thank you to everyone who helped with this fundraiser, to the artists who donated such amazing work, the collectors who came and purchased, to our star curators HeART ART ladies Celeste Holt Walters and Audrie Lawrence. Thank you to Agatha Maciejewski of AGMAC and Sally Berman of Run Red Creative - we never would have been able to do this without you! Thank you to Jim from Benefit Events for all of the work and support with the auction site to make this possible. To Everyone at APERTURE for your help and support. To Josephine for being so patient with us while we were packing all of the artwork. To my wife Sascha for coming up with the idea. To David Hutchinson for writing the rolling projection script. Thanks to ARC rentals for supplying the laptops. To Mandy at Mirrorball for getting us sponsored by Perrier, to WAGMAG for the Pernod And to all of the volunteers that spent so many hours helping with this!
Monday, June 14, 2010
HeART HAITI at APERTURE reception June 16th
Over $10,000 already raised! Please download the new press release here-
Here are here are a few that i love.
Monday, May 31, 2010
HeART Haiti Auction until June 17th
I am very proud to share our HeART HAITI auction. I have been working on this with Sascha, Heart ART productions, AGMAC, Benefit Events, David Hutchinson, and Run Red Creative. The auction has raised almost $8000 already and we are hoping for much more! Please join us at APERTURE on June 16th to see the work in person!
Full press release is below- happy bidding! 100% of the auction goes to doctors without borders as a relief fund in HAITI.
FOR IMMEDIATE RELEASE Contact: Agatha Maciejewski agmac23@gmail.com 646-315-4096 HeArt for Haiti Launches Art Auction To Benefit Haiti Relief Art Donated By World Renowned Artists To Benefit Doctors Without Borders / Médecins Sans Frontières May 17, 2010. New York, NY. A team of humanitarians and art lovers have gathered together to create HeArt for Haiti, an impressive bevy of artwork to be auctioned off, with all proceeds going to Doctors without Borders/Medicines Sans for Haiti Earthquake relief. World renowned photographers and artists including Ture Lillegraven, Danny Clinch, Stephen Wilkes, Peter Hapak, Martin Schoeller, Phil Toledano and Pamela Hanson, to name a few, have donated signed prints to the cause. The campaign is a collaboration of four organizations dedicated to healing the world through art: Heart Art, Sascha and Stephen Mallon, Red Run creative and agmac. The auction, generously hosted by BenefitEvents.com, will take place online at http://benefitevents.com/auctions/heartforhaiti starting May 19th at 9:00 AM, and will be active until June 17th at 11:59 PM. There will be a one-night gallery opening on Wednesday, June 16th at Aperture Gallery, where potential buyers will be taken through how to register for the site and will have the opportunity to view the work they want to bid on in person. Four months after the earthquake, the devastation in Haiti is still apparent to all who live there. There are still more than 1 million displaced, homeless people. While many governments are promising aid, there is still a lot that can be done with personal contributions.
Links to some of the existing press -
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FOR IMMEDIATE RELEASE Contact: Agatha Maciejewski agmac23@gmail.com 646-315-4096 HeArt for Haiti Launches Art Auction To Benefit Haiti Relief Art Donated By World Renowned Artists To Benefit Doctors Without Borders / Médecins Sans Frontières May 17, 2010. New York, NY. A team of humanitarians and art lovers have gathered together to create HeArt for Haiti, an impressive bevy of artwork to be auctioned off, with all proceeds going to Doctors without Borders/Medicines Sans for Haiti Earthquake relief. World renowned photographers and artists including Ture Lillegraven, Danny Clinch, Stephen Wilkes, Peter Hapak, Martin Schoeller, Phil Toledano and Pamela Hanson, to name a few, have donated signed prints to the cause. The campaign is a collaboration of four organizations dedicated to healing the world through art: Heart Art, Sascha and Stephen Mallon, Red Run creative and agmac. The auction, generously hosted by BenefitEvents.com, will take place online at http://benefitevents.com/auctions/heartforhaiti starting May 19th at 9:00 AM, and will be active until June 17th at 11:59 PM. There will be a one-night gallery opening on Wednesday, June 16th at Aperture Gallery, where potential buyers will be taken through how to register for the site and will have the opportunity to view the work they want to bid on in person. Four months after the earthquake, the devastation in Haiti is still apparent to all who live there. There are still more than 1 million displaced, homeless people. While many governments are promising aid, there is still a lot that can be done with personal contributions.
Sunday, May 30, 2010
Flight 1549 exhibition opens at the University of the Arts in Philadelphia
Stephen Mallon Photo Exhibition Documents Flight 1549's Recovery from the Hudson River print version 'Brace For Impact: The Aftermath of Flight 1549' runs through August at the University of the Arts
May 21, 2010
On January 15, 2009, the world became fascinated with the story of a U. S. Airways jet that splashed down into the Hudson River in New York City and then floated along calmly as passengers crowded its wings for rescue. Soon afterward, a salvage team used the East Coast's largest floating crane to extricate Flight 1549's fuselage and engine from the nearly frozen water.
Industrial photographer Stephen Mallon documented this process and reveals it to the world in the exhibition "Brace for Impact: The Aftermath of Flight 1549" at the Sol Mednick Gallery at the University of the Arts May 28 through August 7. Mallon's large-scale photographs impart a physicality and scale to these incomprehensible occurrences. The images present the viewer with the aftermath of this disaster, reminding them how it was averted despite nearly unbeatable odds through the mastery and bravery of the pilot and crew.
Mallon found his calling in industrial photography. He has been fascinated by industry since his teenage years and his photographs convey his sense of wonder at the engineering of concrete and steel.. His commercial clients have included Publicis and Sudler & Hennessey. Mallon, whose photos have been honored by Communication Arts, the New York Photo Festival and the Lucie Awards, is also a leader in the photo community. Since 2002, he has been a board member of the New York chapter of the American Society of Media Photographers and served as president from 2006 to 2009. He lives in New York with his wife and their daughter.
This exhibition is concurrent with Barbara Yoshida's "Megaliths/Night/Sky" in Gallery 1401 (the Sol Mednick Gallery’s sister space).
The Sol Mednick Gallery, located on the 15th floor of Terra Hall (211 S. Broad St.) in the Media Arts department, offers a regular schedule of exhibitions of contemporary photography. The only endowed gallery in Philadelphia dedicated solely to the exhibition of photography, the gallery earned the Photo Review Award for service to photography and celebrated its 30th anniversary in 2009. Associate Professor of Media Arts Harris Fogel has been the director of both galleries since 1997. Summer gallery hours are Monday through Friday, 10 a. m. – 5 p. m.; weekend hours by appointment. Call 215-717-6300 for further information.
Tuesday, May 18, 2010
Monday, April 19, 2010
Next Stop Atlantic preview at Grand Central Station
Weeks 297, 2008 30x45 chromogenic print edition of 5 in two sizes
I am pleased to announce that two images from my upcoming New York solo show "Next Stop Atlantic" will be on display at Grand Central Station, courtesy of The Metropolitan Transit Authority in conjunction with Earth Day, April 22nd. Please stop by April 19th until April 23rd for a preview of the show opening this September at Front room gallery. These images are from the artificial reef project of the MTA to form sanctuaries for marine life by using former subway cars deep in the Atlantic ocean to form steel condos for fish! You can read a story from 2008 about the project in the New York Times here. You can also see a documentary on how they look underwater here. I am really honored that they are on display at Grand Central Station!
Monday, April 19 to Saturday, April 24th from 10AM to 7PM
Please note the MTA booth will not be open Saturday April 24th
Please note the MTA booth will not be open Saturday April 24th
• The Venue: Grand Central Terminal is an extraordinary Beaux Arts landmark in the heart of New York City . Grand Central is served by Metro-North commuter trains, 31 commuter and 15 city bus routes, 7 subway lines, buses to and from the area’s three airports and two million taxis a year. Vanderbilt Avenue is located on the west side of the Terminal.
• The Giant Earth Images: April 19th-25th; 10am-8pm. The week-long show will illuminate the historic landmark’s soaring main concourse with inspiring environmentally themed quotes, messages, photographs and graphic images contributed by artists such as Andy Warhol, Keith Haring, Roy Lichtenstein, and Rafal Olbinski, among others. The show, projected onto two of the north columns in the concourse, will run 10 hours a day.
• The Giant Earth Images: April 19th-25th; 10am-8pm. The week-long show will illuminate the historic landmark’s soaring main concourse with inspiring environmentally themed quotes, messages, photographs and graphic images contributed by artists such as Andy Warhol, Keith Haring, Roy Lichtenstein, and Rafal Olbinski, among others. The show, projected onto two of the north columns in the concourse, will run 10 hours a day.
• EarthFair Indoors: April 19th -24th; We are planning a week long exhibit in Vanderbilt Hall from Monday 4/19 through Saturday 4/24 highlighting major substantive displays and exhibits.
• EarthFair Outdoors: April 23rd and April 24th; A two-day festival of art, music and the environment on Vanderbilt Ave. A large exhibit area highlighting green businesses, organic food and environmental groups will include interactive displays that not only educate, but provide an opportunity to take positive action. EarthFair also features live musical entertainment including numerous well-known performers and regional bands.
For a Full List of our Sponsors and Exhibitors, Please Click Here
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