Local Art Residency - Raphaela Neihausen

Robert: Raphaela! So happy to have your work up at the shop. Because you’re an OG local LOCAL - our team decided that each would ask a question of you for the Local blog.

My pleasure!

Robert: I feel like we discussed this opportunity a good time ago and here we are. How do you feel sharing a bit of yourself with our community here at your local shop? 

So true - I signed up to do this on a complete whim around two years ago and then poof, time flew by and the date was suddenly here. When I was curating exhibit images, I leaned into shots that were very much my personal view of the immediate neighborhood around us. Pictures that someone else might not have taken, or would have taken differently. I loved the idea of sharing these small moments with my friends and neighbors who walk through the same streets (and lineup in the same LOCAL line! ). 

Lucy: Your lifework is multimedia, with a particular focus in film  - how do these images connect back to your film heritage?

Whether film or photography, I’m always a sucker for beautiful lighting and visuals that allude to a story beyond the obvious. How we frame the world is how we see the world and I frequently obsess over visuals – both in photography and film.  For those curious about my filmmaking history, they can check out the short doc Joe’s Violin (free to view online!) and Miss GULAG (available via iTunes).

Lucy: Are the tomatoes from your garden?

Very much so! Gardening has always been a favorite hobby and my backyard fruits & veggies became a popular subject during this pandemic. On a sidenote: this tomato image reminds me of an abacus and I love reimagining traditional objects with modern spins. 

Adele: These photos are such a beautiful look into our Montclair community. If possible, what is your favorite aspect of our town?

Beyond the incredible people, and of course my local coffee shop, I love how the trees and flowers bloom in weekly waves during spring. How each home is painted differently.  The gorgeous parks and annual film festival (full disclosure: I’m its founding executive director, so might be a bit biased).  The way each season completely transforms the landscape around us, supplying us with a new palette of colors.

 Brenna: What do you hope people feel after spending time with your work?

I hope people feel some warmth, curiosity, and joy. 

Max: Did you pick your color scheme intentionally or are you generally attracted to objects that vibrant, bright and lively?

The latter – I am generally drawn to vibrant, bright and lively colors (as frequently reflected in my photos and wardrobe).

Sam: You mentioned that all of these photos were taken just a few blocks from Local? Was this intentional? Is there a narrative that carries through all of them?

When curating this exhibit, I intentionally selected a majority of photos that Local customers might recognize from their everyday surroundings. These are the small details that we often miss in our daily rush. The guiding principle is that you don’t need a fancy camera, tripod, or any professional tools to notice and capture a bit of beauty. A phone with a camera and willingness to look is enough.

Lastly, what is your favorite coffee shop drink?  :)

I’m a vanilla latte girl, although every now and then I’ll mix it up with a cortado or a flat white.

See more of Raphaela’s work on Instagram @raphaeladailyphoto and @raphaelaneihausen

Local Art Residency: Ariana Gavriilidis

LOCAL: Ariana! So happy to have your work up at the shop. How do you feel sharing a bit of yourself at the shop through your photography?

ARIANA: Hey Local Coffee! Thank you for allowing me to show my artwork, as I’m lucky to be among the talented artists before me. Over the last year, I started showing this collection of black and white photo series titled Europe in Black and White around different cafes and coffee shops in New Jersey and Upstate NY. I feel it should have gotten easier with each show, yet it is still nerve-racking! I am always nervous about how others will react or what they might think about my style of photography. However, I am thankful to exhibit my photographs and not only get feedback on how I can improve as an artist, but connect with people on their travels. As a result, I connected with loyal patrons of Local Coffee about traveling, their favorite style of photography, and most of all, their go-to coffee orders! 

LOCAL: Tell us a bit about these photographs. When, Where and Why?

ARIANA: Europe in Black and White captures moments from when I traveled in the summer of 2019 and the winter of 2017. This collection pertains to the countries of Ireland, the United Kingdom such as England, Scotland, and other countries such as Amsterdam and Norway. I've been lucky to travel and take these photographs around Europe, either on solo trips or traveling with close friends and family. I love traveling to new places and experiencing new cultures and bringing my camera along is no exception.   

I shoot my pictures in black and white as I believe it forces the viewer to focus on the image while adding color, in my opinion, can complicate and distract from what is right in front of them. Photographs in black and white exhibit the simplicity of the world, and can reveal that we’re much more similar than we are different. In addition, I’ve always been a fan of timeless black and white films, such as Casablanca, Notorious, and The Maltese Falcon. If the movie stars Humphrey Bogart or Cary Grant, I’ve seen it. My style and taste does not always resonate with everyone, but I believe there is something timeless with photographs taken in black and white that brings me back to a past life where we were not obsessed with editing an image to perfection.

LOCAL: You're still young and have been able to travel to many places many of us are still dreaming about. Tell us how you've been able to prioritize travel in your life -

ARIANA: For as long as I can remember, I had the travel bug. I will never turn down an adventure or the opportunity to go somewhere new. With my father being Greek and moving to America at 27-years-old, I got the chance to fly and visit my dads' side of the family from a young age. I knew traveling to Europe as a family was a privilege that not many kids my age had the opportunity to go. Once I knew places such as Athens, Mykonos, and Crete existed, I wanted to experience more of not just what Europe had to offer but the rest of America and the world. Being the youngest sibling, I traveled with my mother and sisters across the county for soccer tournaments or to see college campuses. Traveling has been a way of life. When COVID hit, I did not know if I could travel again. As much as I love New Jersey, there is so much more of the world to see. I learned that to grow not only as an artist but as a person, we need to step outside of our comfort zone and be open to new experiences. Additionally, it helps that my mother also loves to explore and travel, so I always have a travel buddy.   

 LOCAL: Was there one place that stood out where you felt super-connected to the environment?

ARIANA: One place that stood out to me when traveling in the summer of 2019 was the country of Ireland, especially the Irish countryside. I saw well-known cities such as Dublin, Galway, Cork, and Killarney and got the chance to explore Northern Ireland and tour Belfast, and crossed the National Trust Carrick-a-Rede bridge in Ballintoy. If you haven't seen it, you have to look it up! It is a wooden bridge that leads you to a remote island. I surprised myself by crossing the bridge. In addition, visiting The Cliffs of Moher, which are sea cliffs located at the southwest edge of Ireland that look out to the Atlantic Ocean, was a surreal experience. It’s breathtaking being on the edge of the world. Not only is Ireland's vast green landscape and the rolling hills unbelievably beautiful, but the people are friendly and welcoming. Growing up in North Jersey, I'm familiar with heading to Upstate NY and seeing a remote landscape, but Ireland's extensive history and open space needs to be experienced by all. 

 LOCAL: Is there a special location OR geographic environment that you have on your roadmap?

ARIANA: I’ve always said that before turning 30, I wanted to complete a road trip out west and explore the landscapes of Montana, Wyoming, Idaho, and Utah and visit either Glacier National Park or Yellowstone National Park. There are so many places in America that I have yet to tour. I would pick mountain ranges and forest landscapes any day compared to a beach setting. I’ve never been a person that chooses an island or a pool vacation to relax and unwind. Back in 2018, I climbed to the top of St Mary’s Glacier in Colorado, which at the peak is around 11,000 ft above sea level. I remember feeling small amongst these gigantic pine trees, and there wasn’t a feeling quite like it. It reminded me how important it is to look past what’s right in front of us and look at the bigger picture. I have three years left to fulfill this goal and now that I work remotely, I’m hoping to accomplish this vacation sooner rather than later as it has never been easier to work while traveling.

LOCAL: For our fellow photophiles out there, what type of camera(s) are in your arsenal and do you have a 'go-to' camera for special moments?

ARIANA: That is a difficult question! In total, I own ten cameras as some cameras I inherited from relatives and other cameras I purchased. Although the camera I can never leave the house without, besides the camera on my iPhone, is my Nikon FM 10, which is a manual 35mm. This camera I used for the Europe in Black and White series. It’s been with me everywhere and my most prized possession. I seem to be a brand loyalist to Nikon. It was the first camera I purchased back in middle school when I started adventuring into photography. My parents bought me a Nikon CoolPix L24 Digital Camera, in the color red, and Nikon has been my go-to ever since. The rest is history. 

If I somehow forget to carry my Nikon FM 10, I like to have either my Nikon DSLR handy, a Fujifilm color 35mm disposable camera or an Instax Mini 9 in my bag for some fun quick shots with friends. I love the feeling of sending in the camera in order to see the photographs.    

 LOCAL:  What's your favorite coffee or tea beverage?

ARIANA: Personally, it depends on the season. In the winter, I love chai with soy milk, and in the summer, it is either an iced coffee with soy milk or an iced tea with some honey. The honey I buy is from Local Coffee! Over the last year, I've been on a honey hunt for the best honey in New Jersey, and the Raw Honey available to purchase here goes with me everywhere!   

To learn more about Ariana and follow-along through her many journeys: https://linktr.ee/ag_curate

Local Art Residency - Todd Boressoff

LOCAL: I have to start out by saying how very grateful I am to have this particular work in the shop at this time. Our 5th anniversary as a business is on the horizon on 2.2.22 and having images of my beloved NYC in the shop is really fitting. 

The years associated with these images are 1968 - 1972 and one can’t help but make the connection to current day in that there’s quite a bit going on as a city and as a still relatively young country. Did you fully feel the gravity of the moment as these images were captured?

TODD: For the majority of these photos I was simply trying to stay alert for something interesting – an expression, a design in the frame, a juxtaposition of details, etc – and to shoot spontaneously. However, for three I was very aware of the gravity of the moment. With the photo of the cop shooting I was intensely aware of him, though in the moment I never saw the innocent boy with the Impeach Nixon sign. The tickertape parade was of the returning Apollo 11 astronauts (the three waving at the bottom of the photo). I climbed up the facade of Grand Central to get the angle. The third was of the 1969 Moratorium to End the War in Vietnam.

LOCAL: We haven’t had vintage prints in the shop before. These images were captured and developed by you. I’ve worked in a dark room before and can say that the photographs take on a greater meaning when the photographer essentially takes care of the image from conception to birth. How do you feel about that invested development process vs. todays rather ubiquitous photography process?

TODD: I am ambivalent. Anti: I hate the proliferation of self-promoting selfies. I also regret that photojournalism suffers with news outlets slashing photo budgets in favor of photographs sent by the public.  Pro: The digital world enables me to take more risks, to better examine a subject from multiple perspectives. And digital photo development is a godsend. Lightroom and Photoshop enable me to work in color more effectively than chemical processes. I still take care of the photograph from conception till birth. I spend as much thought photographing and as much time “developing” as I did fifty years ago. The digital world lets me take online courses at the International Center for Photography with “classmates” from all over the world. We can screen-share our work and get feedback instantly, not just from the teacher but from everyone. Also, I can share work on Instagram, again with photographers worldwide. If you are interested, search on Instagram for todd_boressoff.

LOCAL: I appreciate that these photographs are not for sale demonstrating the value to you as the photographer and to some degree, historian. In this world where commerce is king and queen and nearly everything is for sale, how do you reconcile the artistic value vs. making some dollars? 

TODD: To concentrate on becoming a professional photographer, in 1970 I took a half-day position as an assistant teacher at a preschool in Park Slope. I learned two things. I hated the job of becoming a photo professional – taking pictures that others wanted, promoting myself, spending more time on selling than on taking and making photographs. I also learned that I loved early childhood education, which led to a forty year career in roles from assistant teacher to many years as a teacher, director, advocate, and policymaker on the local, state and national level. But I never stopped loving photography.

LOCAL: One of my favorite images is the mirrored reflection of the record store. So much going on inside the shop and there’s the one woman who paused to look up and you captured it! I can draw so many parallels to philosophy and the importance of taking a moment to stop and look up and around. Did you know how incredible this photo was in the moment you developed it?

TODD: Not when I took it, but yes, when I developed it I liked it a lot. But it has continued to grow on me. Those are real records, LPs. You could thumb through them to your hearts content and chat with the folks around you. I miss that.

LOCAL: NYC has gone through quite a bit in the 50 years since these images were captured. How do you use your craft to make a bit of sense of how things have changed but in many ways, stayed the same? 

TODD: I don’t. I don’t really use photographs to try to make sense of things. Just to capture for myself, and hopefully others, what I’ve seen.

LOCAL: Of these photos, which has the greatest meaning to you and why?

TODD: Sadly, I can no more answer this than I can which classical composer or which tenor saxophonist has the greatest meaning for me. Or even which piece by Beethoven or which solo by John Coltrane. In a way the photographs are like my children. How could I choose? But I can choose which has the most meaning for me at this moment. It is the little boy looking out the back window of that car. I identify with him these days, spending so much time trapped inside.

LOCAL: Anything else you would like to share about this powerful exhibit?

TODD: Just to thank Robert and Adele for again presenting my work on that beautiful, well-lit magnetic wall (with none of the expense and work of framing).

LOCAL: What’s your favorite coffee or tea beverage?

TODD: This is well known to everyone at Local Coffee: a small 2% latte.

Local Art Residency: Q+A with artist Meaghan Bates

Thank you for being a part of the Local community from our early beginnings four years ago! It brings us joy to be able to share your work, especially now as our country and world at large is going through some painful times. That said, you used just these conditions to develop this installation. Please tell us about the work and what was the moment you knew you needed to start developing it.

I was invited by a dear friend into a small artist's group that was made to keep us productive  and provide artistic support during quarantine. That really shifted everything for me. It made me start using all the time in the house in a productive way. It kept me off facebook and away from the news. It gave me a way to start processing the fear and sadness into something creative. I want to share the hope that I found in my studio. I funneled the alternating fear and joy into these pieces. As the Black Lives Matter movement finally took off, I started on the large pieces. I began to think about my struggles with identity as a biracial person and have some healthy perspective on many of the things I've experienced. I spent a lot of time thinking about Black Joy and Black Sorrow and how they exist in the same space. 

 We installed the work last night and this morning at a very early hour with the sun just coming up, I found myself staring at the contrasting imagery and was moved. How were you able to pour yourself into these and capture so much emotion?

Time. That was one of the gifts of quarantine- time. My days were reduced and clarified and it gave me a lot of mental space. I practice yoga almost every day, and now that it's all virtual, I was practicing in my art studio. So I'd spend my time in my poses staring at these pieces and really trying to assess their validity. If they can hold my interest through a really tough pose, I know they're going in the right direction!

You mentioned that cutting up the work and reassembling was a major transition for your work. Can you speak to this a bit?

Yes, this is new to my work since quarantine. I think seeing the world fall apart gave me permission to take my work and just cut them; do something that seems violent to them. But I did it with the goal of rebuilding new pieces from the cut-ups, much like what we've gone through over the past months: we watched things fall apart and we are putting it back together in a new way.  I came to my own understanding about what was at stake in our world. The work had to reflect the intensity of what was happening or it wouldn't hold up against the new reality.

 We continue the Artist Residency at Local, even in these difficult times - as we understand how art is a critical element in helping to understand and heal our communities. What do you hope could be an outcome of displaying this work?

I hope that people will be able to see that this difficult time is also full of beauty. The fear and sadness and uncertainty can go hand-in hand with moments of joy and tenderness and compassion.

What has living in Montclair meant for your work? 

Living here has allowed me to let go of the pressure of living in the city. It's incredibly expensive to have a studio in the city and I found myself working so much to pay for a studio that I could barely use it! Montclair has given me a lot more space, both physically in the studio and mentally to create with less pressure.

 What is your favorite coffee or tea beverage?

Matcha Latte or a Breve Cortado

Learn more about Meaghan here

Local Art Residency: Interview with Professional Photographer Donna Dotan

I’m so grateful for being able to share your work here at Local. It’s like nothing we’ve been lucky enough to display.

What were your thoughts in deciding to post in these confusing times? 

First of all, I am so grateful for the opportunity to post this series at my favorite coffee shop! So thank you! I think now is actually a great time to have this work on display. Life is going at a slower pace for many people, so I think art will be more appreciated now than when you're trying to get your coffee as fast as possible to catch the train! 

You are by far one of the nicest people I have met since moving here to Montclair. Where does that come from? 

I'm always nice to the person giving me caffeine and baked goods!

In our conversation, I was reminded how important it is to continue to support the arts. Musicians, actors, painters, illustrators, photographers...all still need to express themselves through their craft and encourage us to challenge what we know and believe. How have you used this time to continue your artistic journey? 

I wasn't working at all during the first few months of quarantine, which was a very drastic change for me because I went from shooting 3 times a week and running a creative agency with my husband and business partner, Brian, to being a full time momma of my two boys - Liam who is 5 and Jesse who is 19 months. 

In retrospect, I think stepping away from work as an artist is incredibly valuable. It allows you to step back, recalibrate and come back with a fresh perspective and renewed energy. I recently went back to shooting and it was amazing how differently it felt to absorb the space and create compositions that I might not have considered before. I hope all artists can use this time to look at their passion from an internal view, and then activate your work based on what you see.

Tell us specifically about this exhibit. What prompted the approach? Given its POV, what challenges were there in capturing this landscape?

This series is called Reflections from Above because the shots are all taken from the tops of glass skyscrapers in Manhattan. I "found" one of these reflections while on a shoot with Brian and from then on we were on a hunt to find more mind blowing reflections! 

In order to achieve the symmetry we wanted, the camera had to be pointed straight down and the shot had to be taken hand-held (without a tripod). This required wrapping the camera strap several times around the wrist, setting a manual focus on the view, and then holding our breath so the camera wouldn't shake! We did all of these at the "golden hour", which is about 15 minutes after sunset, and we only have about a 10-minute window to capture the perfect light and color saturation. We hope to continue to find more of these views and keep the series going, which currently has about 10 images. 

I like to think each new pass at something provides some level of learning or perhaps even personal growth. What did you learn in capturing these images?

We started doing this series at a time when all of our work was commissioned. This series reminds us that some of the best times we have as artists are the times when we are shooting for fun! 

I also think these images say a lot about who I am as an artist. I absolutely LOVE color, and I love enhancing color in photoshop. I love shooting at twilight. I love the rush of shooting from the rooftop of a 90 story glass tower. And I love being the only judge of my work. 

Brian says "It gave me a new perspective on New York City. Most of the time I'm walking around and I'm looking up, but rarely would I take the time to find a new way to see my everyday surroundings. This made me remember what I love about New York City, that it is constantly changing, evolving, renewing, and pushing the boundaries of what is fresh and exciting. 

I look at these photos and can’t help but think about jumping from some spectacular height (hopefully sticking the James Bond landing). What do you think now after seeing them up?

I think I want them to be BIGGER! I had one client print one on plexiglass at 45"x65" and it looked spectacular. 

What projects are you working on moving forward? 

I'm shooting a lot of new developments right now as well as luxury real estate. As far as personal projects, I have plans to capture people in their homes during the Covid-19 era. If anyone's interested in having me capture them and their families at home, they can e-mail me at donna@donnadotan.com. 

What is your favorite coffee or tea beverage?

Brian drinks iced coffee all year round! I recently gave up caffeine unfortunately (but I promise to still be nice!) 

Learn more about Donna and her beautiful view of our world here

Local Talk Series: Q+A with Mobile Photographer Marian Rubin

Marian, we're thrilled to have met you and if that wasn't enough - we have your work up at Local! The work is SO good. So much depth and emotion in every single image and frame. 

Tell us how you got started and what is it that allows you to get so much context in your images.

Hi Robert, I am delighted to meet you too and so pleased to be hanging in your shop.  ;)

I have been walking around with a camera since age 9, when my Dad gave me my first camera. I took pictures of my family, my friends, my classmates, boyfriends, and everything else along the way. I have always had a passion for photography and a fascination with humanity. It was only recently that I understood that that is just who I am. Photography has been the backdrop of my entire life, although not my career. I had a 40 year career as a social worker so you see the connection. I think I was always a social worker too. I am an inveterate observer, i.e: voyeur. I guess that’s my context. I call myself a social worker with a camera. The camera is my voice.

You now shoot with an iPhone which is further proof for me photography is about being in the moment and having the ability to capture it. What differences have you noted in your approach with this device?

The iPhone changed everything about my photography, my perspective and my life. The major difference in my approach is that I shoot like a maniac. I shoot every single day. I shoot through the windshield of my car. No need to load film, no lenses and other equipment to schlep along; no worries about costs of film or developing, the ability to post process and share in the palm of my hand; the amazing apps available for editing my images, the availability of my device at all times (you noticed that I wear my phone, right?), and best of all, ideal for street photography and portraiture, (my favorite genres) where I can shoot and move on, with the shutter in silent mode, and no one is any the wiser. Plus, when I am noticed, people don’t take me seriously because, after all, it’s only a phone, not a real camera and everyone has a phone, right?

One of the things I immediately noted and loved was that you take the work seriously, but not yourself - which is one of my favorite personal attributes. How do you see yourself in this world where image has arguably never been so elevated in our consciousness?

This is a tough question. I have never been big on self-esteem and am fully aware of the multitudes of artists that are further advanced than I. If you look at the work of many of the other iPhoneographers you will see so much work that is simply stunning and far more sophisticated than mine. I try to judge my work by where I am and not against others. I keep trying to improve my skills but I also have a dedication to aesthetics and integrity. I am fully aware of how much I don’t know. I do enter gallery calls for art and am always kind of amazed and humbled when my work is accepted, so I know, somewhat objectively, that my works meets some kind of standard. (I also get rejections.)

Photography is a journey for the viewer and photographer. What has been your most compelling discovery since starting the process?

I think I am always amazed when people praise my work or my work is accepted into a prestigious gallery exhibition. It took a lot, initially, for me to submit my work for any review as I was so sure  it would be found “not good enough”. This has been a refrain for me throughout my life; this issue of being “not good enough”. For whom? By whom? I try hard to steer clear of that concept and I think I am my worst critic. 

As far as the viewer, I am constantly surprised by the comments that people make about my work, about how they see it and how it resonates with them. Sometimes their comments are not in alignment with my own concepts or mood. I love that!

If possible, can you identify one photo that you have taken but keep coming back to it for further introspection?

Maybe not one photo, but my images of Danny, a homeless young man, are possibly the most meaningful to me, and force me to keep asking why he is unable to make any change and why he effects me so. He touches my soul and sometimes in talking to him, I get teary-eyed. He means a great deal to me. I would like to do a book about him.

You live here in Montclair and I have heard you mention your love for the area. What is it about this town that further fuels your passion?

I worked in Montclair when I was just out of college. I had a job here that I loved and grew very fond of this town. Perhaps it was the cultural environment, the integrated ethnicities, the upbeat and forward thinking environment. I always thought that Montclair was the most urban of the suburbs and the most sophisticated, with so many artists, musicians, theater and TV people, living here. I married and raised my children in Livingston but after my divorce, I came right back to Montclair. I felt that it was the right fit for a single woman, with access to so many cultural activities, as well as the proximity to NYC. I felt that it was the only suburb that didn’t fold up the sidewalks at night, which is very funny, since I rarely go out at night.

What is your favorite coffee or tea beverage? 

I am a serious coffee person. I mostly drink my coffee black although I also love cappuccino. I love iced coffee, sometimes with a scoop of ice-cream, and cold brew. Coffee and dark chocolate are my life’s blood.

www.marianrubin.com

Local Talk Series: Q+A with NJ Monthly Deputy and Dining Editor Eric Levin

Eric, we met a year ago while sitting on a panel at Montclair Design Week. How time flies! What have you been up to this past year?

I had the privilege of putting on a large solo show of my work in Jersey City. It was up from early July to the end of October. We had a great turnout at the reception, and many others came by during the run. My best friend and roommate from college, a professional photojournalist, even flew over from London. That was an honor, and we had a ton of fun. He said he wanted a great cheeseburger, and I found him one. I won’t say where, because, in my job, I don’t want to offend anybody or give anyone something to crow about unless it’s a finished piece of work in the magazine.

You are Deputy Editor/Dining Editor of New Jersey Monthly. How has this relationship with the Garden State influenced your photography work?

I am often on the road. I try to get all around the state during the course of the year. Wherever I go, my antennae are always out, looking for things in the ordinary, everyday world that stop me in my tracks. They stop me because they don’t seem ordinary to me at all. I often say that things that seem inanimate to others don’t seem inanimate to me.

You have self-published several books of your photography. How did you arrive at the point when you knew you were ready to publicly share your photography story?

When I discovered how good the blurb.com interface was, and that the paper and printing quality were quite good, I was off and running. I have a large body of work—in digital, going back to 2002, and on film going back to the ‘70s and ‘80s on Kodachrome.

At what age did you begin your craft and what was the initial driver for you to consider photography as a path?

I began by taking a course in black-and-white photography as a freshman at Boston University in the fall of 1967. Yes, I am that old. I learned by using a hand-held light meter and adjusting shutter speeds and apertures manually. A great grounding. I also learned to develop black-and-white film and to print in a darkroom, often staying up all night blasting the Beatles and Clapton and Coltrane. I still have the passion, for music and photography, but my heart has always been with color. As for stamina…I gave up all-nighters some time ago.

Of the current collection of images @ Local, which one brings you back for re-interpretation?

I’m not sure what you mean by that. All the pictures at Local are ones I feel good about, but they all represent a distinct moment in time and space, and if I came across those same things again, I would probably walk right by them if the light was dull. The light is always the key thing. 

Photography is an evolution, personal development as well as technology and equipment. Do you like where we are today and where photography is going or do you prefer a past time with arguably simpler options?

I’m glad I learned the basics with film, and a lot of great artists I admire still shoot film. But I for one would never go back. Digital does everything so well. I have a Canon digital SLR, but honestly, the iPhone has gotten so insanely good that it is now my daily camera. I got the iPhone 11Pro Max in September, and it is ridiculously good, opens with a single swipe, is sharp, with true color and now even includes geometrical as well as light and color corrections right in the phone.

I would like to name a few of my favorite photographers. For color, no one has been more influential in getting the art world to take color seriously—and no one has been more inspiring and awesome to me than William Eggleston. He is world famous, and there is no one like him. His pictures are quiet, calm, simple yet unsettling and resistant to explanation. Also deeply beautiful. Check him out! 

In black-and-white my top-line heroes are Lee Friedlander, another world-famous artist, and John Gossage, ditto but less well known to the general public. Both guys have the genius of imbedding pictures with some insinuating energy (and humor) that is hard to pinpoint but is always more than the sum of its parts.

What's next on your journey? Is there a project you are working on or working towards?

This winter I would like to make a book of my recent solo show, which was called Vehicular. I define the term broadly. It includes everything from a rainwater-filled wheelbarrow to an overturned canoe to a beach guard’s skateboard to bulldozers, haywagons, people on a cruise ship and people standing around waiting way too long for an elevator. You can see their impatience in their body language.

What's your favorite coffee or tea beverage?

I am a cold brew devotee. I make it at home by the pitcher. But I also love a good double espresso.

Follow Eric on Instagram @ericlevin

Local Talk - Q+A with New York Street Photographer Scot Surbeck

Scot, let's start with the evening you hung your photographs @ Local. I was anticipating perhaps an hour or so to place all of the images and then 4 hours in, you were almost done. Clearly, there's a highly complex process driving your craft. So two initial questions:

How do you approach each project so there's a comprehensive contextual experience? 

I study the exhibit space and how people move through it, the lighting (both natural and artificial), and the sound (ambient and music). I  envision the experience of entering and first seeing the pictures, and then moving  in for a closer look.  I then try to create an exhibit that has a strong emotional and visual presence and also enhances the space.

How did you approach the project for Local including the masterful grid display system?

The large patina metal panels and high ceiling allowed me to create a show that is relatively dense with images  and includes large scale (20" x 30") pictures mounted high that can be easily seen because of their size.  By carefully and precisely arranging the photos, a grid was created which seems appropriate for pictures taken on the grid of streets in New York City.

You have a super intimate relationship with NYC which is evident from the manner in which you capture a variety of moments. NYC is arguably the capital of the world so no surprise in selecting this market but what specific elements draw you in?

 I always feel fully alive when I'm in New York City and I look for that energy in the people and situations around me.

Of the current collection of images @ Local, which one brings you back for re-interpretation?

I can't say there's one that I keep coming back to. They are all equally interesting to me. 

At what age did you begin your craft and what was the initial driver for you to consider photography as a path?

I've loved photography all of my working life, most of which has been spent as an architect. There was no one moment when I became a street photographer. It happened gradually, then gathered steam. Now street photography defines and nurtures me, and gives me a reason to get out of bed in the morning.

Photography is an evolution, personal development as well as technology and equipment. Do you like where we are today and where photography is going or do you prefer a past time with arguably simpler option?

My learning curve as a photographer was greatly accelerated by the transformation from film to digital, and the development  of image processing software such as photoshop and light-room. It simply became much easier - and less expensive - to learn how to produce decent work. Technology doesn't produce fine art however. In order to do that, you're on your own.

What's next on you journey? Is there a project that you are working on or working towards?

My journey is street photography. I want to get better, to keep evolving as an artist and a person.

What's your favorite coffee or tea beverage?

Black coffee, room for half and half, sweetened slightly by stevia.

More of Scot’s work here: https://www.scotsurbeck.com/index

Local Talk - Q+A with Illustrator Gina Stritch

How did you learn and hone your craft?

After fifty years, I'm still learning and honing. I'd say the best way to do anything is to just do it: sit down or stand up and draw, pencil and paper, pen and ink, computer, or whatever tool you have on hand.

You interact with so many pets and pet parents, what has been the biggest learning for you?
 

I listen to what people say and draw the best drawing I can draw. I try not to intellectualize what I do. My philosophy is simple: draw the pet and make the owner happy, but NEVER compromise. Draw as if your drawing MUST stand the test of time. I don't aim for photo images, I aim for the best, simplest drawing I can draw. It's all about the drawing: pencil, ink, maybe a little watercolor, that's it. 

I've noted that pet sketches can come off extremely campy OR spot-on, with the artist being able to capture not just the image but the personality and character of the pet. Each of your sketches tells a different story and are so powerful, how do you approach each subject to extract that special something?
 

Source material: the better the photo, the better the drawing. If I get a good photo, you get a good drawing.

Are there any particular artists that have influenced your approach?
 

Honestly, no, I'm into my sixth decade and am who I am. I don't try to be anyone else. I admire John Singer Sargent and many, mostly American artists. I admire the work ethic and business sense of Andy Warhol and I like the drawings of Al Hirschfeld, just to provide a few examples. Are they all commercial artists? Yes, but they were also extremely talented and intelligent and diligent.

Do you have pets, if so - tell us about them?
 

I have dozens and dozens, hundreds of pets, but they're all on paper. 

Tell us a bit about the images you have shared with us @ Local.
 

The drawings on the magnetic wall are all originals. Some are oil pastels and ink, (but I mostly stopped using oil pastel because it's messy and smears), and the others are watercolor and ink. Some are based on professional photos, but some are just good cell-phone photos. Some are popular breeds, some are unknown breeds. Some of my favorite drawings are mixed breeds. I used the drawings I used for a practical reason: it's what I had at hand. The drawings I don't have have been sold and the best artist is one who sells his or her work.

What's the best way for you to work with clients? Phone call, in-person meetings, simply sharing a photograph?
 

All I need is a good cell-phone photo emailed to me. I can work with a poor (hard copy) photo, too, and sometimes, maybe that's all a person has.

https://www.petsketch4you.com