
Urban Vision



I’m still trying to figure this one out.
Here’s a stop-motion video and some installation views of my images (I’m the right ⅔ of the middle panel) that are part of Fringe Elements in this year’s Brighton Photo Fringe, up now, till the end of the month. As a reminder – you can MEET THE ARTISTS tomorrow, 7th October, from 4:30 to 7:00 down by the seafront:
Seafront Advertising Hoardings (adjacent to the Basketball Court)
What three words location: ///twice.mutual.summer
Lower Promenade, 124A King’s Road, Brighton BN1 2FN







In homage to Keith Goldstein and his traffic cone series.

Although I couldn’t find anything on this specific sculpture, it appears to be the work of British sculptor, Barry Flanagan, whose elephant used to adorn this space.
Yesterday at the Terrain Gallery in New York’s SoHo, The Honoring Eye exhibit opened. In case you missed it, the show will be running thought the first quarter of next year (2027) and here are a couple of snaps and a few seconds of video of the event that my daughter captured on her phone.






We went to see Hepworth in Colour a couple of weeks ago at the Courtauld Gallery. I was not truly familiar with her work but these were stunning pieces, abstractly illustrating many of the principles of composition and design that I have been discussing with my u3a photography group. Highly recommended if you’re in or near London. When we were finished we emerged into the Courtauld’s permanent collection and a seriously sumptuous collection of some marvelous and familiar Impressionist works.






A couple of weeks ago we went to see Portrait of a City: A Century of American Photography at the Dulwich Picture Gallery. This was a very broad look at American, mostly “street” photography, mostly in New York, with women atypically well represented. Loads of canonical work, ending in this room of striking dye-transfer prints of Bruce Davidson’s subway work. Frequent visitors to this site may remember that Davidson’s East 100th Street was the launching point for my project on East Harlem.

Another Simpsons scene someone has painted on an otherwise bare wall. Some past examples:

We went to see the Zurbaràn exhibit at the National Gallery, which featured quite a few crucifixions in deep chiaroscuro. I was curious to see this detail, the shadow cast by the nails in Christ’s feet tell us the time was 3 o’clock, the biblically recorded time of the event.



I liked how the red car, the blue sky, and the white wall outside reflected the mural inside.

Jann Haworth [b. 1942]Cowboy1964Kapok and unbleached calicoWilson Gift through Art Fund (2006)
“The American cowboy is an enduring motif in “Hollywood films, which has in recent years been reconsidered through a more contemporary lens, raising issues of gender, identity and social history. Jann Haworth recalls seeing her first rodeo in 1956 and, for her, the rodeo cowboy is a 'fossil of the imperfect/perfect Great American Myth! Cowboy is one of her earliest soft-sculpture figures, depicting a macho subject in a material commonly perceived as feminine.

I first saw this backlit, as you see here, and didn’t think much of it, but as I progressed through the museum, catching views of it from different angles and in different light, I kept seeing new pictures of it.









Last month we went to see the big Tracey Emin retrospective at the Royal Academy. The best work, for my taste, were the large paintings from her latest period, which she considers a kind of rebirth. For me, the earlier work was very much like reading a teenage girl’s private diary, full of adolescent anger at people who “just don’t understand me,” and extremely narcissistic (to be fair, private diaries probably are all mostly narcissistic, albeit not often shared publicly). I took a lot of pictures – here they all are in roughly reverse chronological order (click on any one of them to see them all full-sized):



















































