thinking about it

NYC DOT Marathon Video

2012-01-25T12:07:00.000-05:00

Each year, the Staten Island Ferry brings runners from all over the world to Staten Island for the start of the New York City Marathon.
22,000 runners took the ferry in 2011 in what John Garvey, the Director of Ferry Operations, called the "largest rush hour we have for the year."
Participants in the marathon come from all walks of life, but on that day they're all runners, as seen in this compelling short documentary of their voyage across New York Harbor.

Flight 1549 January 15, 2009

2012-01-15T08:41:00.000-05:00

"On Jan. 15, 2009, a few Canadian geese with bad timing became snarge, a steely pilot became a hero, and the world became fascinated with images of a jet splashing into the Hudson River and then floating calmly as passengers crowded it's wings.

But until now, few people have seen the equally surprising pictures of the second half of the story; when a salvage team used the biggest floating crane on the East Aoast to puck the ill-fated Airbus A320 from the frigid water."

-Matthew Shechmeister, Wired Magazine

It is very difficult to encapsulate the events that happened during and following te crash of flight 1549, but Stephen Mallon's large-scale photographs, taken during the salvage of the fuselage and engine, impart on a physicality and scale to these incomprehensible occurrences. Mallon's photos present us with the aftermath of this disaster and remind us how it was overted despite nearly unbeatable odds through the mastery and bravery of the pilot and crew.

Never before has a commercial aircraft crashed in the Hudson River with the complete survival of all passengers and crew. Rescuers included the crews of the Half Circle Line tour boats, and a Staten Island Ferry support vessel, as well as boats from the New York Waterway. Men, Women, and children waited their turns patiently standing on the wings of the plane, half-submerged in the icy water on what felt like the coldest day of the year. This feat is a testament to the bravery of the crew, passengers and rescuers.

As the fuselage and engine of the aircraft were later brought up intact by a gigantic crane and a team of divers in heated wetsuits, Stephen Mallon captured the moment standing on the deck of the crane-barge. In Mallon's uncanny photographs the plane sometimes appears to be a metaphorical wounded animal, like a whale lifted completely out of the water. It is damaged, beat up, and missing one of it's engines, but it nevertheless survives. The divers, in their heated wetsuits and huge face-gear, seem like astronauts floating through an icy void in space. And, we finaly get a glimpse of the famous engines disabled by some unfortunate Canadian geese in a stunning pseudo-portrait by Stephen Mallon as it is lifted from some eighty feet of icy water.

Weather it was seeing the video on the local news, or hearing a broadcast on the morning radio show, the feeling of shock and disbelief saturated our emotions as we tried to wrap our minds around the scale of this disaster. What boggled our minds even more was the caliber of the pilot's flight skills, his ability to remain calm in the worst case scenario, and finally utilize all of his resources to save the lives of all of his passengers and crew. It is safe to say that everyone who heard the story of flight 1549 was amazed by the unbelievable events of the cold January day.

Time moves on and memories fade. Three years later, it is difficult for one to recall the moment when he heard the news of a plane landing in the Hudson River. It is easy to forget how one felt upon hearing the news os a plane landing in the Hudson River just a few years ago. However, Stephen Mallon's photos facilitate the recollection of faded memories and emotions. The feelings of shock, awe, disbelief, and amazement come rushing back when seeing a wing of an airplane protruding from the icy water.

Stephen Mallon in typologica

2012-01-12T11:41:00.000-05:00

The submerged subway: NYC

Making the rounds this morning is a fascinating article on New York City’s ghost subway system, comprising dozens of partially built or fully built but never used tunnels and platforms interwoven among and between the city’s currently bustling tracks and stops. Mainly originating from the 1920s and ’30s, these forgotten subterranean spaces represent the thwarted ambitions of city planners who once envisioned an expansive, interconnected future for every neighborhood in New York—until the fiscal repercussions and socio-political re-prioritizations of the Great Depression and World War II changed everything.

Reading all this brought to mind Stephen Mallon’s stunning 2010 photographs of the MTA’s ongoing “loadouts” and “drops” of retired subway cars into the Atlantic Ocean for the dual purposes of disposal and reef building. Coming to rest deep in the waters off the Maryland coast, the skeletal remains of obsolete trains circumscribe a virtual space of the sub-marine variety, existing as yet another invisible incarnation of the New York subway system’s many lives.

“New York’s Lost Subways (Complete with Map and Dusty Pics)” at Transportation Nation

Great interview with the artist in “Stephen Mallon’s Subway Submarines” at The Heavy Light
Next Stop Atlantic, Mallon’s exhibition at The Front Room
Stephen Mallon’s website
…
images: © Stephen Mallon, from The Heavy Light
thanks: The Home Base, for their February 2011 post, Old subway cars

Stephen Mallon in MARE

2011-12-21T12:07:00.002-05:00

HIER IST ENDSTATION by Martina Wimmer
German to English translation provided by Google

For almost forty years they were a part of the traffic arteries of New York duration of movement. Now at the bottom of the Atlantic Ocean, the old subway cars are laid to rest - as artificial reefs for marine life.

Down there, where they lie, it's quiet and cool. No one who lives there knows their names: R26, R28, R29, R32, R33, R36. More than 2500 cars of the decommissioned New York subway are laid on the seabed to eternal rest, on the east coast along the American continent, from Delaware, and New Jersey, down to North Carolina, Georgia and Virginia. Gutted and windowless they fall down, the hardest workers in the mobile world to the new base, where they are now for ever to serve another population.

Depending on the type, the car is 50 to 65 feet long, three meters wide and 3.70 meters high, they are "luxury apartments for fish", as Jeff Tinsman, head of the Environmental Protection Agency in Delaware, has all contrived to say. A "Win- win situation, "wrote the" New York Times "in May 2011 on the unusual measure. The old cars are now artificial reefs that contain asbestos, which is difficult to dispose of land, but in the water, the state Environmental Protection Agency , harmless. The subway operator is therefore a much cheaper option, the getting rid of a good 40-year-old scrap. And the sea creatures take shelter and benevolent Tern mussels form and need solid ground to flourish. Since 2001 the project has run, to date there has been a 400-fold increase in biomass says Tinsman.

Myths are made of steel to the larder of the fish. When the R32 on 9 September 1964 pulled in for the first time in the Grand Central Station, a 20-member band played in uniform. The series was the first, the outer skin of stainless steel was a classic, fluted horizontally, bright silver, which they called the New York "Bright Liner".

The front car of the former couple's maiden voyage is at the New York Museum of Transportation, two others at an airport in Brooklyn, police forces use it in order to practice terror threats in the subway. A few hundred of them are lying in the sea. Others cars down there wear another part of the history of the city, they had decades of service, as the name attribute. "World's Fair" called a few cars from the series 36 constructed from 1963 to 1964 by the St. Louis Car Company, to go to on line 7 people to the World's Fair Flushing Meadows in Queens, where a progressive faith-and future-happy America 51 millions of visitors with the slogan "Peace Through Understanding", presented a few months before the war in Vietnam escalated.

About 1000 cars on the ocean floor shine in vermilion, the "Redbirds", named after the graffiti-resistant paint, which they have been applied in the early 1980s - the beginning of the end of an era in which in the city their wild anarchy not only on subway cars acting out.

New York's subway network is the longest in North America and one of the largest and oldest in the world. More than 6400 wagons are in use every day, 1.6 billion passengers were transported in 2010. Once you've been in this city, the subway trip will send you home with memories, the smell, the Gerappel, the squeaking and screeching of the brakes when she enters one of the 468 stations. The noise they caused it lies above the recommended by the World Health Organization limits, but who has traveled to New York City to be healthy?

Rather, because of the pictures of the many films that tell the city's story. Hardly anyone gets away without the subway as a performer from - with Gene Hackman that mimics a bull in "French Connection" drug dealer on the train, alongside John Travolta also known as Tony Manero, the bringing in "Saturday Night Fever," a night journey to reason , next to King Kong, who angrily throws with cars around, or next to the "Warriors" on their odyssey through the city. "The Taking of Pelham 123", the classic of all NYC subway films, in which Walter Matthau in a hostage raid free subway passengers in nerve-sapping 104 minutes has been remade two years ago, this time with a terrorist goes Travolta, Denzel Washington plays the savior. The city, knowing the power of pictures, maintains a separate department to meet the requests and desires of the film and TV productions.

Who wants the old moans and groans of the "Bright Liners" on location experience, has a few years time. Abut 200 of them remain in use until 2017, except for the C-line of Washington Heights, Brooklyn. If they are sunk in the sea also, then they would be for a second time, the last of their kind. The program was halted in 2010, due to lack of suitable materials. Younger coaches who were driven to the sideline, are processed with too much plastic, which makes removal of the interior too expensive.
Next, they say, off the east coast, a decommissioned U.S. Navy destroyer will be sunk.

Check out the article at Mare Online

Interview on Rob Galbraith Photography Insights

2011-12-07T12:31:00.000-05:00

Feature: Stephen Mallon shoots a bridge's journey
Wednesday, November 23, 2011 | by Eamon Hickey

Industrious: Photographer Stephen Mallon (Photo by Doug Menuez)

After more than 100 years of supporting, literally, every imaginable walk of New York City life, the Willis Avenue Bridge was ready for retirement.

For nearly all of the 20th century, it had stretched more than 200 ft/60m across the Harlem River, carrying over 70,000 vehicles a day (and runners in the New York City Marathon) between Manhattan and the Bronx.

But by the summer of last year, a new bridge had been built to replace it. Made of steel, the new structure—the section that actually spans the river, to be precise—is about 350 ft/105m long, 65 ft/20m high, and 77 ft/23.5m wide. It weighs nearly 5 million pounds (2.3 million kilograms).

There was one catch—the new bridge wasn't anywhere near the Harlem River. It had been pre-fabricated in a huge construction yard near Albany, New York and would have to be transported more than 100 miles to get where it was meant to be.

Heavy Lifting: Canon EOS 5D, 24mm, ISO 200, 3.2s, f/8. Click to enlarge (Photo by Stephen Mallon)

At this point, do you find yourself fascinated by the question, "How the &^%#$ do they do that?" Then you share something in common with photographer Stephen Mallon, who is making a career in significant part out of a drive to shoot the answers, for this and many other industrial projects.

In this case, the answer is they floated it, and Mallon made a fascinating time-lapse film of the whole operation. At the construction yard, which is adjacent to the Hudson River, engineers pushed the bridge onto two barges that had been welded together. Then the whole apparatus was towed by three tugboats on a stately trip down the Hudson, around Manhattan, up the East River, and into place on the Harlem River. Actual travel time totaled three days.

Mallon's four-minute time-lapse video, called "A Bridge Delivered," was created from more than 30,000 still photos shot over five days, beginning in the construction yard near Albany and ending with the obligatory speeches by politicians as the bridge was bolted into position.

Moving Pictures: A Bridge Delivered (Video courtesy Stephen Mallon)

Chasing barges

Mallon's unique access to the bridge was the result of his ongoing connection, formed several years before, with Weeks Marine, a large marine construction, dredging, and salvage firm headquartered in Cranford, New Jersey. Weeks had been given the contract to handle the waterborne portion of the bridge's journey to its new home.

"I had done a time-lapse project years ago but wasn't really happy with the results," Mallon says, remembering the day when Weeks told him they would be moving the bridge. "[I thought] the complexity of [the move] would be an interesting segue into another time-lapse feature. I've had a lot of thoughts about video. I'm interested in it. I wanted to move into doing video without having to take on a giant investment. It made sense for me to go in and shoot this as a great piece for my reel. So I started pulling everything together."

As an established commercial pro in New York and mentor to many young photographers, Mallon had a network of colleagues, assistants, students, interns, and associates he could call on. Ultimately, nine photographers worked in 22 different locations as camera operators over the five days of the shoot.

Typically, he had three to four cameras operating on any given day, but eight were running on day two. They were manned by several different crews shooting simultaneously and in sequence along the bridge's route in Manhattan, Brooklyn, and the Bronx.

The most surprising footage was shot on the bridge itself as it was moving in New York Harbor and up the East River. "We weren't 100% sure until the last minute, because of safety issues, whether we were going to be able to [be on the bridge]," Mallon says. "But the water was calm enough, so that was fantastic."

Photographer as director

Mallon acted, in essence, as the maestro of a camera symphony, conducting with a cell phone instead of a baton. "Part of the purpose of this was getting into the role of director and having some other people actually operate the cameras," Mallon says. "It's the director/producer role, and I'm loving it. My goal is to increase this exponentially, in both size and camera count."

Many shooting positions were pre-planned based on some location scouting coupled with Mallon's familiarity with New York waterfront areas, which he has gathered over several years of industrial shooting. Other locations were picked on the fly, especially on day one, when he and two assistants drove from spot to spot, staying one step ahead of the barges.

Mallon's shooting approach tended more towards the documentary, rather than the narrative, side of the spectrum. "I didn't storyboard it too much," he says, referring to the filmmakers' standard technique for tightly planning the scenes in a film. "But I did have the idea that I wanted to make sure there was a sense of closure. I wanted to make sure that we got the footage of the new bridge actually being put into place."

The cameras were all Canon digital SLR models and included the EOS 50D, EOS 5D, EOS 5D Mark II, and EOS-1Ds Mark III. When asked what lenses he used, Mallon says, "everything." In fact, wide-angle and wide-to-normal zooms predominated, especially the Canon EF 16-35mm f/2.8L II USM, the EF 17-40mm f/4L USM, and the EF 24-70mm f/2.8L USM. Several of the cameras and lenses were rented or borrowed from colleagues.

Each camera was triggered using a Canon Timer Remote Controller TC-80N3 set to shoot one frame every five seconds. Mallon did not vary the shooting rate for the bridge time-lapse. In one or two scenes, where he feels his coverage ended up short, he would change that if he could do it over—in the film, the floating bridge zooms under the Brooklyn Bridge in a quick flash, for example. Mallon has begun to experiment with varied framing rates, tailored to the speed of different subjects within the film, in more recent time-lapses.

In addition to needing cameras to be pre-positioned to capture a subject traveling many miles, Mallon needed to shoot many scenes from different perspectives—i.e. camera positions—simultaneously. An elementary concept for filmmakers, of course, this allows the film's editor to vary the audience's point of view. The two factors together caused Mallon some logistical problems at a scale not normally faced by still photographers.

"The main issues were data storage and power," Mallon says. "When you start realizing that you're going to have six cameras all shooting simultaneously, and each camera needs to have 30 to 50 gigabytes of storage—it takes a lot of [memory] cards." Battery life, especially in the older cameras, is borderline when you require a camera to shoot every five seconds continuously for several hours.

"And you need a lot of lenses," he adds, noting that it took his mind, used to still photography with a single camera, some time to adjust to the fact that if you want three cameras shooting wide angle perspective from three different positions, you need three copies of, say, your 16-35mm.

"The thinking aspect that has changed," he continues, "is keeping in mind the storytelling over the span of time rather than a single frame. It's been a mental shift to let things unfold and not try to capture the absolute precise moment. But it's coming along. I think as things progress it'll be easier to turn that switch."

30,000 images. One film.

Asked about his workflow, Mallon says, "I've got it working, but it's clunky."

All the images were shot in RAW format. From the cameras, they were imported into Adobe Photoshop Lightroom 3, where they were grouped into collections by shot location. In Lightroom they were cropped to the 16:9 HD video aspect ratio, edited to a finished state, then output as TIFF files at 1080p resolution (1920 x 1080 pixels).

The individual TIFF files, still grouped by location or scene, were then imported into Adobe Photoshop CS5 Extended using its image sequence feature, which joins a folder of files into what will ultimately be a video clip. Next, each sequence was exported out of Photoshop as a QuickTime movie using the Apple ProRes 422 codec. The movie files were then loaded into Apple Final Cut Pro for video editing ("cutting," as filmmakers call it). Mallon hired a video editor named Princess Hairston for the editing job, a decision motivated by a previous video project. "I had cut it myself, and as soon as I was finished with that, I said this is the last film I'm ever cutting. This is why people get jobs as editors."

A fascination with big machines

Mallon has always been fascinated by machines and industrial processes. "[As a teenager], I was at runways and construction sites running back and forth photographing the bulldozers. I'm still entranced by the industrial era. One of my ideas for solving mid-life crises is to build a giant sandbox where everyone can come and drive their own bulldozer."

After college, he began assisting commercial photographers doing still life, food, celebrity, and corporate photography. Embarking on his own, he pursued then abandoned fashion photography, then began setting up and shooting lifestyle stock imagery for a series of agencies, culminating with Getty Images, who signed him in 2000. "It was enough to keep me alive for a number of years," he says, "but the stock [photography] market tanked with the rest of the print market."

All along, he'd been shooting industrial landscapes on his own. In the middle of the last decade, he began transitioning more and more to industrial landscapes and "worker" portraits, which he shot for stock using hired talent.

About three years ago, he "took the plunge and shut off the lifestyle part of my web site," he says. "I started showing this book [of industrial images] around. Some art buyers didn't get it, but some did." He landed jobs shooting the rebuilding of a Maytag appliance factory and a documentary project for a pharmaceutical company.

Mallon had also discovered Weeks Marine and an ongoing recycling project the company was doing—dumping decommissioned New York City subway cars into the Atlantic Ocean to create artificial reefs. He began photographing that as a personal project and cementing his relationship with the company.

Then in January 2009 U.S. Airways Flight 1549, an Airbus A320 passenger jet, successfully ditched in the Hudson River with no loss of life among the 155 occupants—the famous "miracle on the Hudson." Weeks was contracted to salvage the airplane, and they hired Mallon to document the job.

Mallon began exhibiting Flight 1549 photos and subway car reef photos in art shows and galleries, and he's now represented by Front Room Gallery in New York. He offers his prints in three sizes in editions of five at each size. Prices range from US$1200 for a 20 x 30-inch (50 x 76cm) print to US$3600 for a 40 x 60-inch (100 x 152cm).

Hudson Recovery: Canon EOS-1Ds Mark III + EF 17-40mm f/4L at 26mm, ISO 3200, 1/60, f/4. Click to enlarge (Photo by Stephen Mallon)

Subway Reef: Canon EOS-1Ds Mark III + EF 17-40mm f/4L at 29mm, ISO 250, 1/250, f/13. Click to enlarge (Photo by Stephen Mallon)

For Mallon, fine art gallery sales give him a new and welcome audience, and a third, diversified income stream to go along with stock and editorial work. "There's been a number of months where my print sales have been higher than my royalties, which has been a nice shift in my life," he says. "Between assignments, royalties, and print sales, we're staying afloat. Not retiring yet by a long shot, but there's enough to stay ahead."

Mallon's immediate plans for the future include more time-lapse videos, and he's making plans for the sophisticated productions that his industrial subjects will require.

"I'm thinking about how to mount cameras and keep them waterproof," he says. "I know about portable battery systems but haven't tested any of them yet. I'm definitely going to. I'm also going to look at solar options, so [cameras] could potentially be powered on location for longer periods of time.

"At some point, we're going to be setting up cameras that are motion-controlled. I'm going to have to get more live sound going—audio interviews and just the mechanical noise of some of these locations. The textural sound of some of these places is amazing."

And as he says, video is on the horizon. "I'm sure I'm going to need to shoot a little of my own full motion with sound, edited, and shot as a final piece, before I get commissioned to do it. So I need a project that I actually want to spend the time on. Whenever I've done a test in the past, if I don't care about what I'm testing, it never gets finished. So I'm going to have to find a video that I actually want to make."

All of it will be in service of cementing his niche doing the industrial imagery he loves. "I'm finding fans of the work," he says. "They say, ‘I know what you do. I love your work. We're just waiting for the right project'. That's okay. I just make sure to stay in touch with those people.

"I'm looking to be able to do whatever form is appropriate. Still only. Still and video. Video only. For the fine art market I'm still going to be shooting stills. For editorial, yeah, whoever calls. I think all of them are going to want to have some [motion] web content if possible. For commercial, we'll see what the budget is. If I'm getting paid to direct, we'll start playing it out that way."

Energy: Canon EOS-1Ds Mark III + EF 17-40mm f/4L at 17mm, ISO 100, 1/50, f/11. Click to enlarge (Photo by Stephen Mallon)

More of Stephen Mallon's industrial photographs on his website.

Miami!

2011-11-30T10:05:00.003-05:00

(New York, NY – November 17, 2011): In two weeks time, Fountain Art Fair will return to Art Basel Miami Beach, taking over the 25th St / North Miami warehouse for its 6th consecutive year. Opening Thursday, December 1st for a VIP & Press Preview, Fountain once again will set itself apart from other internationally applauded fairs with its vivacious, rogue attitude and selection of the most cutting-edge alternative galleries and independent artists.

Fountain Exhibitor: Front Room Gallery

Featuring Stephen Mallon

Stephen Mallon, “Virginia Placement” (edition of 5)

Fountain Art Fair Miami

December 1–4, 2011

2505 North Miami Avenue (at the corner of 25th St) | Miami, FL 33137

General Hours: 12pm–7pm daily

Tickets: $10 daily / $15 weekend pass. All tickets sold at door.

The Front Room
open friday - sunday – 1 pm to 6 pm
147 roebling street
williamsburg, brooklyn
718.782.2556

On a Panel at Adorama

2011-11-23T18:32:00.005-05:00

The Business of Photography: Staying on Point-Getting Ready for 2012-New Year, New Ideas Stop Looking in the Rearview Mirror and Just Drive the Car!

Moderator: Louisa Curtis, Chatterbox Enterprises

Panel:
Julie Grahame - Editor-in-Chief - aCurator
Andrea Verdone - Photo Editor - Women's Health Magazine
Steve Whittier - Creative Director - Y&R
Jess Dudley - Producer - Wonderful Machine
Rachel Rein - Senior Art Buyer - Hill Holiday
Chris Buck and/or Chris Crisman - Photographer
Stephen Mallon - Photographer & Videographer

Course Description:

As the year 2011 draws to a close, this round table panel (minus the table) assembled (not the table) and moderated by Louisa Curtis of Chatterbox Enterprises, is destined to be revealing as well as informative.

How does a photographer continue to “stay keen” and what sort of a plan should they be making for 2012? What do they need to do to stay on point and remain relevant in these changing times? What skills should they be sharpening and which should stay in the toolkit?

The panel is comprised of top photography professionals representing different areas of the industry who will be sharing their various insights and wisdom with us. The diverse group includes an Art Buyer, Creative Director, Photo Editors, a Producer and at least two Photographers.

After introductions to their backgrounds, Louisa will show some specific visual case studies provided by the panel, and then she will ask the panelists questions that are relevant and pertinent, from both the client’s and the photographer’s perspective.

Topics to be discussed include:

What makes a photographer stand out from the crowd in today’s saturated market?

How has the marketplace changed, and what do you anticipate seeing in the near future?

Do you intend to make changes in how you promote yourself and your business, and if so, what are they?

How much has “social networking” played a part in your promotions—and will you do more in the coming months?

What have you done specifically to successfully grow your business?

What topics does the panel see as most relevant now and into next year?

What’s your biggest prediction for 2012?

And there will also be ample time for the audience to ask questions during the discussion.

When? Tuesday, November 29, 2011 5:30PM - 8:00PM

Where? The Adorama Building, 42 West 18th Street.

Price: $25.00

Click Here to register.

Bring your pen, notebook and you are ready!

Slideluck Auction & Fundraiser coming up!

2011-11-02T16:09:00.001-04:00

Find Stephen Mallon's photograph in the auction list:

Young Photographer's Alliance 2011 Awards Ceremony & Benefit Auction

2011-10-18T15:35:00.000-04:00

YPA Scholarships Program

YPA Scholarships allow young people from economically disadvantaged backgrounds to realize their artistic dreams and give back to their communities. To foster social and environmental responsibility in the photographers of tomorrow, scholarship recipients are selected not only for their ability and their need, but also for their demonstrated commitment to giving back to the larger community through their work.

This year’s Awards Ceremony and Benefit Auction will be held at the Calumet Gallery, New York, from 7pm to 10pm on Wednesday, October 19th.

Location: Calumet Gallery, 22 W. 22nd Street | New York, NY 10010

Date: Wednesday, October 19th, 2011

Time: 7pm-10pm

The Awards Ceremony and Benefit Auction is YPA’s principal fundraising vehicle. The event is open to all and is a unique opportunity to meet leading players in the photography and stock image business, and to enjoy – and possibly acquire – some stunning photography, while celebrating and supporting young talent. Tickets cost $50 (or $75 at the door).

Benefit Auction

The Benefit Auction, which will begin at the Awards Ceremony and continue online until October 31st, will include highly collectable signed prints by renowned photographers Amy Arbus, Barbara Bordnick, Brad Trent, Cameron Davidson, Jill Enfield, Marcus Gaab, Martyn Thompson, Sebastian Smith, Toby McFarlan Pond, Vincent Dixon, Jimmy Fikes and others. There will also be prints by the 2011 YPA scholarship winners.

Aperture Foundation 2011 Benefit, Auction, and SNAP! Party

2011-10-12T11:24:00.000-04:00

Monday, October 17

The Lighthouse at Chelsea Piers

HONORING

Bruce Davidson, a Magnum Photos member and one of America’s most influential documentary photographers;

Gerhard Steidl, for his outstanding skill and craftsmanship as a printer and publisher;

Robert Anthoine, Aperture Chairman Emeritus, who has dedicated over thirty years to helping lead Aperture to prominence in the field of photographic publishing.

Benefit co-chairs are Sondra Gilman, Susan Gutfreund, and Karl Lagerfeld.

Auction co-chairs are Cathy Kaplan, Anne Stark, and D. Severn Taylor.

Immediately following the Benefit Dinner and Auction:
SNAP! NEW COLLECTORS PROGRAM BENEFIT PARTY
Featuring an exciting Emerging Artists Auction
Live jazz by DW-40
Spinning by Japanster
This event is co-chaired by artist Jowhara AlSaud, Peter Berberian of Gotham Imaging, Emily Bierman of Sotheby’s, and actor Ken Triwush.

Benefit Program

6:00–7:30 pm
Cocktail reception and silent auction of classic and contemporary photographs

7:30–9:30 pm
Dinner, brief award ceremony, and live auction conducted by Denise Bethel, Senior Vice President and Director of Photographs, Sotheby’s

9:30 pm–Midnight
Benefit Party hosted by SNAP! New Collectors Program with live music and silent auction featuring works by emerging artists

To preview entire auction Click Here

NURTUREart 2011 Benefit

2011-10-06T10:53:00.000-04:00

2011 Benefit

Tuesday, October 11th 2011

Chelsea Art Museum, 556 West 22nd Street, New York NY

Click here to buy a ticket!

NURTUREart is dedicated to nurturing new contemporary art by providing exhibition opportunities and resources for both emerging artists and curators. Founded in 1998 by George Robinson to realize his vision of a non-profit dedicated to supporting artists, NURTUREart is now located in Bushwick, Brooklyn, the heart of emerging art in New York City.

La Lettre De La Photographie

2011-09-29T11:01:00.001-04:00

I am very thankful to Elizabeth Avedon for this post about my work on La Lettre!

Stephen Mallon is 38 years old and comes from Britain. In the past he has traveled everywhere from Africa to Brazil, searching out artificial landscapes and industrial footprints. Now living in New York, he photographs industrial structures. Most people look at work sites and machinery and see nothing more than concrete and steel. Stephen looks at them and sees both a surreal beauty and the wonder of their engineering.

Stephen Mallon on David Schonauer's Blog

2011-09-21T15:41:00.001-04:00

Posted on September 19, 2011 by davidschonauer
How I Got the Picture:
Stephen Mallon's Working Class

A Bridge Delivered from stephen mallon on Vimeo. To view, enter the password 300002011

The Willis Avenue Bridge in New York City was originally constructed in 1901 to span the Harlem River, connecting the boroughs of Manhattan and the Bronx. In 2005, the New York City Department of Transportation decided to replace the aging structure, which had become too costly to maintain. The old bridge was sent to Jersey City, where its steel was melted and its concrete turned into landfill. A new bridge was built at Port of Coeymans, on the Hudson River 136 miles north of New York City. At 350 feet long, 65 feet high, and 77 feet wide, the new bridge required two tugboats to move it down the Hudson. It was taken first to Jersey City and, on the morning of July 26, 2010, it was towed up the East River to its final destination. The bridge, which cost $612 million, opened for business on October 2, 2010, the latest piece of New York City’s vast network of roads, tunnels, and bridges, a physical symbol or urban connectedness.

What some saw as infrastructure, however, Stephen Mallon saw as art, and a symbol of America at work. Mallon is a Brooklyn-based photographer who has built a promising career by focusing on the industrial landscape. He has created art projects by documenting the salvage of U.S. Air Flight 1549 from the Hudson River and the delivery of a Concorde supersonic airplane to the U.S.S. Intrepid museum in New York. (His work, represented by The Front Room Gallery in Williamsburg, Brooklyn, has been featured at the Verge and Fountain art fairs in Miami.) He has also shot commercial and editorial work for clients like Maytag, Microsoft, Forbes, and Fortune magazines. He is repped by Working Artists.

Mallon’s work harkens back to the heroic industrial landscapes of Margaret Bourke-White and Charles Sheeler, who glorified American steel and found art in its industrial muscle and smoke during the Great Depression. That particular sense of beauty—a celebration of daring, and design—has during recent decades largely been relegated to corporate annual reports. Today, with a U.S. unemployment rate of 9.1 percent and political crisis of confidence over the nation’s economy, Mallon’s imagery offers a decidedly uplifting viewpoint. In his pictures, American industrial muscle is back—in a modern way.

A New York City subway car being recycled as an artificial reef

The abstract beauty of an oil refinery

“It shows the muscle, without being obnoxious about it,” he says. Mallon has documented the building of a Coney Island roller coaster and the recycling of New York City subway cars to build an artificial reef in the Atlantic Ocean, as well as oil refineries and huge warehouses.

Documenting the salvage of U.S. Air flight 1549 from the Hudson River

Flight 1549's control panel, photographed during the salvage

Among his influences he cites the industrial landscape photography of Edward Burtynski, but one can sense the differences between the two. Burtynski’s images–vast Chinese factories filled with faceless armies of workers, black mountains of discarded tires, bright rivers of industrial runoff—are cautionary tales of man’s industrial footprint on the natural world. Mallon’s work is a more hopeful view of what used to be called “progress.” At its best, the imagery reflects the grit and ingenuity of a people and a nation whose work is also a mission.

Bridge Work

That sense mission is certainly on display in the project Mallon created about the Willis Avenue Bridge. Mallon conceived the project after consulting with executives at Weeks Marine, the company that brought the new bridge down the Hudson and up the East River. (Weeks also salvaged Flight 1549.) But he realized early in his planning that the project was an opportunity to update a traditional photographic documentary into something new.

“This came about because of the pressure of changes in the market where everyone is pushing for video content,” says Mallon. “I wanted something to help my transition from still photography into motion.”

Working with a crew of 12, Mallon positioned digital 35mm SLR cameras at 22 locations along the bridge’s route. “I drove to every single location and set up the camera–here’s the lens to use, here’s the shot I want. And using GPS on our cell phones we could schedule a crew to be there to shoot as the tugs towed the bridge past the camera,” says Mallon. “And with a couple of the shots, I would tell the cameraman to pan 90 degrees as the barge passed, following it, get it going away.”

Over the course of the bridge’s journey, Mallon and his crew shot some 30,000 still images, all in RAW format, which he then processed in Adobe Lightroom and output at QuickTime clips. “The file sizes were gigantic—you’re looking at something with the resolution of an IMAX film,” says Mallon. He then turned the material over to Brooklyn-based film editor Princess Hairston. She and Mallon worked for five days to construct a four-minute cut.

The film, titled “A Bridge Delivered,” is being featured in a number of festivals this year, including the 24 fps Film Festival and the Woodstock Film Festival on September 21. Such are the rewards of work well done.

Click here to go to David Schonauer's blog

New downtown Brooklyn hotel boasts artwork from more than 77 local artists

2011-09-21T10:43:00.000-04:00

Brooklyn

New downtown Brooklyn hotel boasts

artwork from more than 77 local artists
BY ERIN DURKIN

DAILY NEWS WRITER

Tuesday, September 20th 2011, 4:00 AM

Linda Rosier/News

The Brooklyn Arts Council selected some of these artists to create works for the new Hotel 718 on Duffield Street in downtown Brooklyn.

A new downtown Brooklyn hotel is decking itself out entirely in art by Brooklyn artists.

Hotel 718, set to open later this year on Duffield St., is sinking more than $100,000 into original art for hallways, building walls, the lobby and even the roof.

"You see art in every hotel out there, and all of them are working with just generic art supply companies," said Daniel Reznik, director of operations for V3 Hotels, the chain that is developing Hotel 718.

"We have no reason to go outside our own borough to supply art," he said. "We have a wonderful opportunity to tap into a very artistic and energetic community."

They've picked out 77 pieces so far out of more than 600 submissions to line the corridors in 17 of the building's 19 floors - everything from paintings to photographs to etchings and collages.

"It was an overwhelming response," Reznik said. "We just wanted to give the artists a blank slate for anything and everything."

They're still sifting through submissions for a dramatic piece for the lobby and a metal creation for the roof, and looking for someone to paint a massive mural outside. "We're still on the hunt," Reznik said.

There are also plans to develop an iPhone app that will give more information about each work of art and a biography of the artist.

Ramona Candy, 59, of Clinton Hill contributed a dreamlike photo etching called "And Their Language Turns to Song."

"It's fabulous that they're using Brooklyn artists," Candy said. "It's called Hotel 718 - why would you use anybody else?

"It's showing how much art and creativity has always lived in Brooklyn, even when Brooklyn wasn't the most popular place to live or create," she said.

Sheila Goloborotko, 52, of Boerum Hill had two of her prints made with aluminum plates and gold leaf selected. She said she's excited to have her work displayed for visitors from around the country and the world.

"I never imagined when I moved to Brooklyn that this was going to be an international neighborhood," she said. "It's an amazing thought that we now have hotels built, one across from the other.

"Brooklyn has incredible talent," she said. "When you put real art in hallways of a hotel it gives you a feeling that you are home. It's not the poster you see in every Holiday Inn."

Click here to read more.

Closing Party and Woodstock Film Festival

2011-09-14T11:34:00.004-04:00

Visual Arts Center in New Jersey

Closing party on September 23rd

Next Stop Atlantic is a photographic series by Stephen Mallon documenting the New York City Metropolitan Transit Authority’s recycling program that builds artificial underwater reefs from old subway cars. Taken over the course of three years along the Eastern seaboard from Delaware to South Carolina,
these photographs track the final passage of hundreds of decommissioned subways cars as they make their way to their last stop: the Atlantic Ocean. The photographs dramatically capture the moments before, during, and after these subway cars are dropped into the sea to spend their “retirement” as a new home for undersea life.

Next Stop Atlantic closes on September 25th

Curated by Mary Birmingman

Closing party FRIDAY, September 23rd 6 - 8pm

The Visual Arts Center of New Jersey

68 Elm Street, Summit, NJ 07901

Woodstock Film Festival

screenings Friday September 23rd at 1pm,

Saturday September 24th at 8pm

Click here to buy tickets!

Using stop motion filming, over 30,000 still photographs were compiled into an animation that recorded the journey of the new Willis Avenue Bridge in New York City. At 4,8000,000 pounds and 350 feet long, it was floated, dragged, pushed and pulled through over 100 miles of waterways and under iconic bridges as it made its way into the city. Assembled just south of Albany, the bridge was filmed from over twenty locations both from afar and on the bridge itself, as it traveled in the current of the East River before reaching its home at 125th Street over the Harlem River.

See you there!

my heart is hurting

2011-09-11T20:07:00.000-04:00

i remember, i feel it, i look at other people's pain, i see it, i didn't shoot any photos because of my feelings about not making money on people's suffering. I remember it, I lost a member of my family line that I never met ten years ago, i hurt from this tragedy, i remember it, I am sorry and saddened for everyone who has been hurt by this act of hatred. Almost 3000 people were killed ten years ago and thousands more since due to people's inability to accept a different faith. It is a religious war, oil fueled religion in some of the invasions, but a religion non the less. My uncle was killed in a religious war more then a decade ago, he was killed for working for what was considered the enemy. I am asking everyone who reads this to think about not judging people but working on how to understand them. you don't have to agree, but think about how to understand so we can all learn how to live with each other.
sept 11th, 2011

things to ask a publisher- pipe dreams at the beach on facebook

2011-09-09T17:11:00.002-04:00

a pipe dream just came up about getting a book published of my recycling images. Its not soo much that the images or my career isn't ready , its just my delussions of grandure kind of play out in funny ways in my head about how things will unfold. I have been working on a recycling project for almost 4 years, have gotten some amazing press and awards for the latest projects, so why not right? Im back on dry sand for a few minutes and i would love to hear some feedback / ideas/ research notes from people!

reading/ research material

Mary swanson's how to publish your photo book (DUH! ordering right now)
art works- ( already reading this)
ask elizabeth avedon all of these questions!
ask all your friends who have had a book published already

questions you should ask the publisher

print run?
size of book?
paper/ cover stock?
schedule for book?
distribution?
who and where is going to be printed?
who is writing the introduction?
who is the designer?
who is the eidtor?
print on demand/ digital versions?
URL for the book?
Who is handling the PR for the book?

questions you need to ask yourself

i've got none
what's my budget?
this isn't going to make any money most likely, its just going to be an amazing promo piece if i do it right
what's the realistic schedule for a book?

what you need to know before walking into a meeting with a publisher

probably have answers for all of the above questions

what should be in the contract

look at all the questions above for the publisher!

what press requirements do I have

book tour- nyc of course, where else? book fairs?

if you have content or comments you would like me to add to this post please send it along!

Woodstock Film Festival

2011-08-31T16:23:00.000-04:00

Please find screening times for A Bridge Delivered below
All shorts will screen at the Kleinert James Art Center in Woodstock except for Animation Show and Music Video Show, which will screen at Bearsville Theater & Upstate in Rhinebeck
9/23 @1:00pm
9/24 @8:00pm

A Bridge Delivered AT the Socrates Sculpture Garden

2011-08-22T15:43:00.002-04:00

The lastest Screening of A Bridge Delivered is Wednesday, August 24th 8-10 pm at the Socrates Sculpture Garden in Long Island City! This has been an amazing summer being included in two different shows with Cindy Sherman and Wednesday nite there will also be a film by photographer Paul Strand!
Bring a pie and a blanket

FREE!

More information on the

Socrates Sculpture Park &

BACKYARD BAND/WITH

The Evening’s Program

1. Manhatta by Paul Strand 1921 A meditation on New York at the height of the industrial revolution. Music by David Crowell, Edward Rosenberg & Eli Asher

2. Seeing New York by Yacht by Frederick S. Armitage and A.E. Weed for American Mutoscope and Biograph Co. 1903 A tour through the New York harbor with early moving picture technology. The camera passes by this very site at around 1min 45 seconds into the footage. Music by David Crowell, Edward Rosenberg & Eli Asher

3. A Bridge Delivered by Stephen Mallon 2011 A time lapse video following the delivery of the Willis avenue bridge, created with over 30,000 still images. Directed and produced by Stephen Mallon. Edited by Princess Hairston.Music by David Crowell, Edward Rosenberg & Eli Asher

4. Nijuman No Borei (200,000 phantoms - Hiroshima 1926-2006) by Jean-Gabriel Periot 2007 A 60-year time lapse created from archival images reminds us that the past is ever-present. Music by Vito Ricci & Friends

5. History of War by Tiny Circus 2010 Tiny Circus collaborates with community partners large and small, old and young, to facilitate the creation of new stop-motion animation. The short films are alternate “histories” of objects, occurrences, and ideas – like popcorn, war, or adaptation. tinycircus.org

6. Safety Last (excerpt) Directed by Fred C. Newmeyer and Sam Taylor; Produced by Hal Roach; Starring Harold Lloyd 1923 Before there were Hollywood sets, you had to climb up real buildings yourself! Music by Nathan Koci & Karen Waltuch

7. History of Falling Tiny Circus 2010 Tiny Circus collaborates with community partners large and small, old and young, to facilitate the creation of new stop-motion animation. The short films are alternate “histories” of objects, occurrences, and ideas – like popcorn, war, or adaptation. tinycircus.org

8. From Radio Row to Twin Towers Port Authority of NY & NJ 1984 Footage from the late 60’s and early 70’s showing the clearing of the battery park area and construction of the twin towers. Music by Benjamin Backus & Friends. Ben’s grandfather was one of the master riggers on the construction crew.

Passage Gallery 60 Six in San Francisco

2011-08-16T15:22:00.009-04:00

Gallery 60 Six of San Francisco Presents

Opening August 20th

Saturday, Aug 20th 2011 opening reception 6-830

Show runs thru Sept 16 2011

These photographs track the final passage of hundreds of decommissioned subway cars as they make their way their last stop: the Atlantic Ocean. The photographs dramatically capture the moments before, during, and after these subway cars are dropped into the sea to spend their "retirement" as a new home for undersea life.

Passage opens to the public August 20th

@ Gallery 60 Six

Other Artist include:

Anne Terpstra

David King

David Magnusson

Michael Jang

Steve Bird

Opening reception SATURDAY, Aug 20th from 6-8:30pm

Gallery 60 Six San Francisco

66 Elgin Park San Francisco CA, 94103

For Inquiries please contact:

Gwen Terpstra

Gwen@TerpstraDesign.com

August 12th- A Bridge Delivered - Rooftop Film Festival

2011-08-04T13:28:00.000-04:00

WILLIS AVENUE BRIDGE PROJECT

Stephen Mallon 2010

Documentary Short

FRIDAY AUG 12, 2011

8:00 PM +ADD TO ICAL +GOOGLE CALENDAR

$10 online or at the door.

VENUE

THE OLD AMERICAN CAN FACTORY
On the roof of The Old American Can Factory
GOWANUS/SLOPE
232 Third St. at 3rd Ave., Brooklyn, NY 11215
F/G to Carroll St. or M/R to Union

SHOW

PUBLIC PLACES, PRIVATE SPACES

8:00PM	Doors Open
8:30PM	Live Music
9:00PM	Films Begin
11:30PM	Reception in Courtyard

IN THE EVENT OF RAIN THE SHOW WILL BE RESCHEDULED FOR A LATER DATE. NO REFUNDS. SEATING IS FIRST COME, FIRST SERVED. PHYSICAL SEATS ARE LIMITED. THIS MEANS YOU MAY NOT GET A CHAIR. YOU ARE WELCOME TO BRING A BLANKET AND SIT PICNIC-STYLE, BUT ALCOHOL IS NOT PERMITTED.

The Visual Arts Center of New Jersey July 29th

2011-07-25T08:27:00.000-04:00

Curated by Mary Birmingham, The Visual Arts Center of New Jersey is going to be exhibiting Next Stop Atlantic beginning Friday July 29th. Also on display will be A bridge delivered which was recently selected for the Rooftop film festival in August and the Woodstock film Festival in September.

The opening reception is Friday, July 29th from 6-8.

The Visual Arts Center is located at 68 Elm Street, Summit NJ 07901

Virginia placement, 2008 40x60 chromogenic print

Summer Sampler Opening Reception

2011-06-30T16:47:00.004-04:00

Summer Sampler at Front Room GalleryOpening Reception: Friday July 8th July 8th-31st
Reception 7-9
Hours Fri-Sun 1-6 and by appt.

Featuring works by previous and upcoming artists from the Front Room:

Sasha Bezzubov
Thomas Broadbent
Peter Fox
Stephen Mallon
Allan Packer
Melissa Pokorny
Ross Racine
Emily Roz
Patricia Smith
Julia Whitney Barnes
and more

Italian forest 40x60 edition of 5

Front Room Gallery

147 roebling street

williamsburg, brooklyn

718.782.255

B&H Lecture on Sun. June 26 1 -3 pm (My Life As A Commercial and Fine Art Photographer)

2011-06-21T10:12:00.000-04:00

Join me this sunday at the B&H Event Space. I will be discussing my educational background as well as my transition into the working world as an assistant, then ending by discussing my current work. By relating my own experiences, I will help guide emerging photographers through the tangled web of balancing the fine art and commercial aspects of photography.

To register and for more information please visit :

http://www.bhphotovideo.com/find/eventDetails.jsp/id/989

Speakers: Stephen Mallon

Event Type: Photography

Skill Level: Basic

Next Stop Atlantic to be featured at LOOK3

2011-06-01T13:41:00.001-04:00

Next Stop Atlantic will be presented in a slide show on June 10th at LOOK3 Festival of the Photograph, just one day after my opening in Chelsea at the Steven Kasher Gallery.

LOOK3 is 3 days of exhibitions, presentations, interviews, workshops, and outdoor projections in Charlottesville, Virginia. Guest curators, Kathy Ryan and Scott Thode, are designing a line-up of artists and programs around the theme of HOME.

Some info on the slideshow:

Showcasing some of the most exciting and innovative current photography projects today, these Friday and Saturday evening projections present a dynamic cross-section of work from photojournalism to fine art. In these 2 hour projections, established professionals and emerging talent are given the rare opportunity to fully express an entire project to a large audience. With the freedom to show many images and add voice and/or music to accompany the projection, artists are freed from typical commercial constraints.

Some highlights of the festival include workshops by some incredible photographers such as Mary Ellen Mark, and an interview of Nan Goldin by Sally Mann. This festival is a little bit MAJOR.

2011 SHOTS Photographers

Kendall Messick The Projectionist
Gillian Laub Four Generations
Stephen Mallon Next Stop Atlantic
Ziyah Gafic Tito’s Bunker
David Alan Harvey Carolina’s Outer Banks
Chris Verene Family
Stefanie Mueller Animal Portraits
Brad Vest Adrift
Wang Lei A Big House
Larry Fink Outtakes of an Offspring: A Visual Diary
Fotokonbit Social Photography Workshops
Christopher Morris Cars
Tim Davis Dollar General Drive By
Jessica Hilltout Amen
Dewey Nicks The Beauty of the Power Game
Martine Fougeron Tête-à-Tête
Tim Laman Bowerbirds
Susan Worsham Some Fox Trails in Virginia
Anna Skladmann Little Adults
Jeff Jacobson From the Catskills
Sarah Girner The Transience of Things

2011 WORKS Photographers

Katy Grannan Legends
Elinor Carucci My Children
Pieter Hugo Permanent Error
Tierney Gearon Explosure
Donald Weber Interrogations
Steve Giovinco On the Edge of Somewhere
Erin Trieb The Homecoming
Robert van der Hilst Chinese Interiors
Richard Mosse KillCam
Raphael Dallaporta Organs
Reinier Gerritsen Wall Street Stop
Damon Winter Haiti
Taryn Simon Contraband
Peter van Agtmael Disco Night 9/11
Andrew Moore Detroit Disassembled
Laura Letinsky Work
Paolo Pellegrin Earthquake Japan
Tereza Vlckova Two
Jacob Krupnick Girl Walk // All Day

NewYorker Fiction opens June 9th in Chelsea.

2011-05-24T14:43:00.000-04:00

I will be featured in a show at The Steven Kasher Gallery opening June 9th in Chelsea.

I think i just had a heart attack- LOOK AT THIS LIST!
Michael Ackerman
Meredith Allen
Bill Armstrong
Julie Blackmon
Henri Cartier- Bresson
Elinor Carucci
Alejandro Chaskielberg
Weng Fen
Adam Fuss
Sally Gall
Tierney Gearon
Julian Germain
Matt Harnett
Teun Hocks
Peter Hujar
Kahn + Selesnick
Justine Kurland
Dorothea Lange
Jocelyn Lee
Ethan Levitas
Michael Lewis
Loretta Lux
Alen MacWeeney
Malerie Marder
Ryan McGinley
Marilyn Minter
Sylvia Plachy
Martin Parr
Gus Powell
Bastienne Schmidt
Cindy Sherman
Andrea Stern
Juergen Teller
Kevin Trageser
Peter Turnley
Carla van de Puttelaar
Paolo Ventura
Tim Walker

New Yorker Fiction/Real Photography

Exhibition: June 9th through July 9th, 2011

Opening Reception: June 9th, 6-9 PM

In partnership with The New Yorker, Steven Kasher Gallery is honored to present New

Yorker Fiction/Real Photography, a selection of over 30 important photographs selected by Elisabeth Biondi and Steven Kasher from the artwork accompanying Fiction stories

published in The New Yorker from 1998 to 2011. This exhibition is a tribute to the

distinguished New Yorker Visuals Editor Elisabeth Biondi and to the extraordinary

photography she has brought to the The New Yorker for fifteen years.

Stephen Mallon

Tim Walker

Cindy Sherman

New Yorker Fiction/Real Photography will be on view from June 9th through July 9th, 2011. Steven Kasher Gallery is located at 521 W. 23rd St., New York, NY 10011. Gallery hours are Tuesday through Saturday, 11 am to 6 pm. For more information or press requests please contact Christiona Owen at 212 966 3978 or christiona@stevenkasher.com.

The New York Times

2011-05-16T10:47:00.000-04:00

My images in the New York Times on Sunday. You can see them online at the New York Times here.

Stephen Mallon: Reframing the Machine

2011-05-13T14:43:00.004-04:00

Stephen Mallon: Reframing the Machine

Fortune Magazine: Petrobras

2011-05-09T13:53:00.000-04:00

Read Fortune Magazines full profile on Petrobras: The Next Oil Colossus here

NBC LA

2011-05-07T13:34:00.000-04:00

NBC LA presents Flight 1549. Please take a look!

dart International top 10

2011-05-05T17:17:00.001-04:00

Listed on Rupert Ravens' Top 10 at the 2010 Miami Art Fairs in the spring 2011 issue of dart International magazine

Leukemia Needs Foundation event Thurs May 5th

2011-05-04T10:09:00.001-04:00

Open publication - Free publishing - More art

There is a great selection of work donated to raise funds for the Lukemia Needs Foundation. There is one 20x30 print available from my latest project the Volare. Hope to see you there Thursday!

Loft 33 NYC

33 w 26th st 4th flr

Thursday May 5th

6:30 - 10:30

The Screamin Eagle

2011-04-27T13:07:00.000-04:00

Earlier this year I was commissioned by the Wall St. Journal to follow the construction of a roller coaster at Coney Island. It is the first new roller coaster in Coney Island in over fifty years. She is named the Screamin Eagle which is probably inspired by the noise you make. Her Italian name is Volare. Slide show is here and the time lapse video is here

Man and the Machine

2011-04-14T13:50:00.000-04:00

French web magazine AA13 posted a great feature on a collection of my work! Take a look:

Next Stop Atlantic on mashKULTURE

2011-04-09T20:03:00.000-04:00

Next Stop Atlantic has reached Budapest this weekend! Check out the work featured on mashKULTURE

Featured on Feature Shoot

2011-04-05T08:10:00.000-04:00

I met the publisher from Feature Shoot at ASMPNY's fine art portfolio review in February 2011- Thank you Susan May Tell ( the fine art chair of ASMPNY) for doing an amazing job getting reviewers this year!

CANCELLED! lecture for students at Calumet - March 25th

2011-03-24T08:22:00.002-04:00

Hi, so sorry to say but this lecture had to be cancelled. Catch you at the next one!
Lecturing at Calumet Photographic

DVICE

2011-03-23T10:33:00.000-04:00

DVICE!

EcoArt's PURE WATER VISION: the Exhibition

2011-03-19T13:37:00.000-04:00

Excited to be in Rome this weekend for EcoArt's PURE WATER VISION: the Exhibition

My Modern Metropolis

2011-03-19T13:31:00.000-04:00

Recent interview with Alice Yoo of My Modern Metropolis!

Design You Trust

2011-03-19T13:25:00.002-04:00

Next Stop Atlantic on Design You Trust

Designspiration!

2011-03-19T13:21:00.000-04:00

New feature on designspiration!

Next Stop Atlantic featured on the Atlantic!

2011-03-09T06:30:00.000-05:00

the Atlantic features Next Stop Atlantic in their Picture of the Day. Take a look!

Fast Co.Design

2011-03-08T22:54:00.000-05:00

Next Stop Atlantic featured on Fast Company Design!

PDN PULSE featured A bridge delivered at FPS

2011-03-05T10:09:00.000-05:00

The FPS film screening of my film was last nite - thank you everyone at the FPS festival that put this together! A couple of my favorites last nite were MOVE from Dominique Palombo, BMX Kid from Brett Beyer and Laisser Moi Passer. Amazing nite! If you weren't able to make it Friday nite, A bridge delivered is going to be screened TONITE from 7-10 at Front Room Gallery 147 Roebling in connection with the Williamsburg After Hours, sponsored by the ARMORY!

A Bridge Delivered on PDN pulse!

A bridge delivered- New York Mag- The Approval Matrix

2011-03-01T08:20:00.000-05:00

WOW!

Bridge Delivery Video goes Overseas

2011-02-26T08:58:00.000-05:00

Our friends at Gizmodo featured the WIllis Avenue Bridge on their Japanese site! Anyone willing to translate for us?

Also check out these features on Juxtapoz and DJMICK (in english!)

Verge Art Booklyn & More!

2011-02-24T13:14:00.012-05:00

I am excited to be a part of this years Verge Art Brooklyn.

I am not only a juror for "Tomorrow Stars: The Art Brooklyn Open Call Exhibition." but I will also have work displayed in the Brooklyn Art Now: 2011 Survey Exhibition curated by Loren Munk and James Kalm. That show is located at 111 Front Street, Second Floor, Suites 200, 204 & 222 The three day art fair opens March 3rd and is sure to be amazing weekend!

PUBLIC HOURS

Thursday, Friday & Saturday, 3 - 5 March, Noon to 10 pm

Sunday, 6 March, Noon to 6 pm

OPENING NIGHT PARTY

Thursday, 3 March, 2011, 10:00 pm to 4 am

ALSO! My work was recently featured in Hoboken City Guide, and Core 77 - It's always nice to see people talking about the work!

Next Stop Atlantic - Press

2011-02-22T20:55:00.002-05:00

Today we packed up the Next Stop Atlantic show at Calumet Photographic. The show has got the internet talking about the work and the feedback has been great!

Take a look:

The Best Part , Public School , threedonia.com, The Awesomer, Fotobloggen and Elizabeth Avedon

Next Stop Altantic Show at Calumet - Closing February 19th

2011-02-15T10:54:00.002-05:00

The Next Stop Atlantic show at Calumet Photographic is coming down Saturday, the 19th.

22 west 22nd st, 2nd floor. Mon-Friday 8:30 - 5:30, Sat 9-5:30

GO SEE IT!

See what people have been saying:
flavorpill.com , This is the What , GQ.com

A giant thanks to Calumet Photographic, Front Room Gallery and everyone who came out to see the work for already making the show such a success!

New and Exciting Press on the Recently Released Willis Ave. Bridge video!

2011-02-15T10:40:00.000-05:00

Since the Wall Street Journal posted the time lapse video of the Willis Avenue Bridge others have been reposting, blogging and talking about it. Take a look at what Gizmoto, Jalopnik and Wired.com had to say!

A bridge delivered, on the Wall St Journal

2011-02-09T09:34:00.002-05:00

Over 30,000 stills were shot from 22 camera locations and a crew of over a dozen camera operators. Thank you everyone who worked on this project! Please check out the trailer on the Wall st Journal here or view the full piece on my site here

Next Stop Atlantic opens at CALUMET February 3rd

2011-01-31T19:52:00.001-05:00

YIPPEE! Please stop by for my latest solo show, Next Stop Atlantic opening at Calumet 22 w 22nd
2nd floor, in New York on February 3rd.
Reception is from 6-9 , see you there!

My first Grant!

2011-01-07T14:55:00.001-05:00

I am very excited to announce that i have been awarded a grant from the Brooklyn Arts Council and the New York City Department of Cultural Affairs! This grant is to support my upcoming project on the USS Saratoga titled Breaking Sara. This is the first grant that i have been awarded and I am grateful for the support of this project.

Sara- Rhode Island, 2010

There are seven traditionally-powered aircraft carriers from the United States Navy that are to be sunk, preserved, or recycled for their materials. The first one is the USS Saratoga, which is to be scrapped in Brownsville, Texas. Construction on CV-60, affectionately called Sara, took place over the span of three years beginning in 1952. She was deployed to the eastern Mediterranean during the 1967 Arab-Israeli war, where her medical facility was used to treat survivors of the Israeli attack on the USS Liberty. Years later, she served the US Navy during the Vietnam war, participated in Operation Desert Storm and launched Navy Seals during Operation Desert Shield. Sara was decommissioned in August of 1994.

Recycling the Saratoga will take over six months beginning with towing the boat from where it is currently docked in Newport, Rhode Island to the Brownsville Ship Channel in Texas. The Port of Brownsville is an ideal location for ship recycling for many reasons. A man-made ship channel that was cut in from the Gulf of Mexico in 1934, it is located 17 miles inland from the Gulf of Mexico, and is just three miles from the Mexican border. No other ports outside of Brownsville – such as facilities in Virginia, Baltimore or Alabama – have received more ship disposal contracts in recent years from the U.S. Maritime Administration (MARAD). The Port is strategically located to provide scrap material to numerous mills in Northern Mexico and the southern United States and is serviced by all major modes of transportation.

Obsolete ships and especially old marine vessels are full of toxic substances. These toxic elements often absorb the greater part of a Western World ship recycler’s costs. Whereas toxic substances amount to no more than a few hundred ounces in a car, a ship has to be stripped of thousands of pounds of asbestos; a similar volume of foul bilge water and oil from the holds or keel under the machine room as well as a large range of other noxious raw materials. When a ship is hauled up an incline or slipway for dismantling, it is possible for fluids in the bottom which could not be pumped out to escape. For breakers in Asia, this is generally not a problem: most of these residues simply disappear into the ocean. All eight slipways at the four yards in Brownsville have an ‘oil boom’ at the entrance side, a 10 to 12 foot rubber hose floating the whole width of the slipway, and a skirt hanging some 2 feet deep in the water. The oil removed from the ship prior to or during the dismantling process is pumped into huge tanks and these are always surrounded by walls to prevent oil from streaming out.

From there the many re-usable items - such as anchors, chains, masts, winches, generators and portholes - are removed for sale as second-hand materials. Machinery is then pulled out of the ship to keep the hull high afloat and then the vessel is dismantled from bow to stern. The hull is gradually cut from the deck or superstructure to the bottom; the pieces that are brought ashore are cut even smaller into mill furnace-size chunks of scrap which are usually transported by river barge to US steel mills, or in some cases by truck to Mexico. I will be photographing these intense moments of breaking Sara as she is pulled apart into little pieces.

see you in 2011!

2010-12-26T21:03:00.002-05:00

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!

Vanderbuilt Foundation Dec 16th

2010-12-12T07:31:00.001-05:00

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

slideluck potshow fundraiser Wednesday Dec 8th

2010-12-07T22:50:00.001-05:00

tickets here

Fountain Miami opens Thurday Dec 2nd

2010-12-01T09:54:00.003-05:00

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

Esquire magazine Russia

2010-11-24T23:09:00.001-05:00

original text is here

Group exhibition TRASH opens Friday Nov 12th in NYC

2010-11-07T13:56:00.000-05:00

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

Hope to see you there friday nite, the artist will be present.

Saran, 40x60 digital c-print edition of 5 2008

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

tis the auction season

2010-10-26T21:29:00.000-04:00

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

Coalition for the Homeless at Artwalk-

camera works here

vanderbuilt foundation- little bit different then an auction but still good to be at!

Closing party and BROOKLYN RAIL- Latest press for Next Stop Atlantic

2010-10-06T19:06:00.001-04:00

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!

STEPHEN MALLON Next Stop Atlantic

by Charles Schultz

FRONT 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.

“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.

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.

The NPR interview

2010-09-15T13:38:00.006-04:00

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.

Review of Next Stop Atlantic in The L Magazine

2010-09-14T10:43:00.002-04:00

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!

Next Stop Atlantic on Miss Rosen

2010-09-08T12:54:00.003-04:00

An interview with me about Next Stop Atlantic on
Miss Rosen.

STEPHEN MALLON: Next Stop Atlantic

September 8, 2010

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!

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.

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.

STEPHEN MALLON: NEXT STOP ATLANTIC
Friday, September 10 from 7–9pm
Front Room Gallery, 147 Roebling Street, Brooklyn
Exhibition continues through October 3

www.frontroom.org

PDN photo of the day!

2010-08-20T14:12:00.000-04:00

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 on The Heavy Light

2010-08-03T11:53:00.052-04:00

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.

while looking for where to catch the bridge

2010-07-23T23:21:00.000-04:00

from my location scout this week-

chasing the bridge

2010-07-14T12:58:00.002-04:00

First night of the Willis Ave bridge delivery

Next Stop Atlantic Opens Sept 10th

2010-07-06T15:43:00.002-04:00

Open publication - Free publishing - More train

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

press release press here

Interview on Miss. Sara Rosen's blog

2010-06-28T15:48:00.000-04:00

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!

“My Heart Starts Racing When I Think About Bulldozers”

June 15, 2010

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.

www.stephenmallon.com

$26,874

2010-06-25T12:44:00.000-04:00

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!

HeART HAITI at APERTURE reception June 16th

2010-06-14T10:20:00.000-04:00

Over $10,000 already raised! Please download the new press release here-

Here are here are a few that i love.

Phil Toledano's 3..2..1..

Ben Baker's Obama

Bryce Duffy's Hollywood

Darren Rees's wood cutter

Hans Nelman's Skull seperation

James day's vintage dresses

Warwick Saint's bengal tiger

and Kevin Cooley's wind river canyon

I also like mine!

see you wed!

HeART Haiti Auction until June 17th

2010-05-31T17:30:00.000-04:00

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!

Links to some of the existing press -

Find us on facebook here

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.

Flight 1549 exhibition opens at the University of the Arts in Philadelphia

2010-05-30T12:06:00.001-04:00

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.

Heart for Haiti, aCurator

2010-05-18T17:53:00.004-04:00

Heart for Haiti, aCurator

Posted using ShareThis

Heart for Haiti, aCurator

2010-05-18T17:53:00.003-04:00

Heart for Haiti, aCurator

Posted using ShareThis