Gallery I/D presents Rise: New Work by New Artists

Through Jul 7th, 2010.

altGallery I/D’s current show RISE: New Works by New Artists features the works of new photographers who capture subjects in various states of upheaval and socially diverse situations. Subcultures, by choice or by force, make for engaging, startling imagery.

Photographer Julie Glassberg’s Bike Kill focuses on the Black Label Bike Club and the Bike Kill festival in New York City, a celebration of bicycle enthusiasts that features riders in furry-plush costumes jousting, among other activities. Glassberg recently completed a six-month internship with The New York Times.

Samantha Box also turned her lens on NYC, but on a very different culture. The black and white images in Invisible: The Crisis of LGBT Youth Homelessness at once celebrate and expose the sub-subculture of gay, lesbian, bisexual and transgender homeless young people. Her work centers on the residents of Sylvia’s Place, New York City’s only emergency shelter for homeless LGBT youth.

Manila Jails by Stephen Reiss is a stark glimpse into the overcrowded prisons of the Philippines’ capital city. The images are mostly portraits of prisoners, shot in the dank, low lighting of jail. Flashes of half-smiles suggest the prisoners’ recent memory of freedom; before they were forced by justice, just or unjust, to become a subculture within prison walls.

New Haven, Connecticut and its camouflaged transient culture provides the landscape for Steven Zeswitz’s photos and video installation in The Tribe. Transiency is part of the landscape of survival for some low-income residents of one of America’s most well to do cities. Zeswitz managed to get up close and personal with the area’s residents and presents a collection of images and film that show non-judgmental yet impassive work, which respects its subjects and their situation.

Grainy, Shitty, Acidy is the work of local photographer Lindsay Dye. The FIU student aimed her lens at a group of friends whose party-girl lifestyles suggest a sense of quiet desperation within the loud space of nightclubs, strip clubs, restaurants, even bathrooms. The ladies’ provocative dress, mixed with the why-am-I-here expressions on their faces illustrates the vacuous world of Miami women looking for the proverbial love in all the proverbial wrong places.

Jo Ann Santangelo’s Walking the Block is a foray into the sex-filled, druggy streets of New York City’s Christopher Street after dark. The photographs are unapologetic, much like the subjects they capture.

Gallery I/D
2531 NW 2nd Avenue
Miami, Fl 33127

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