Rafael Fuchs
from Bushwick with Love
One of your series is titled The New Religion. Tell us about the good, the bad, and the ugly according to your definition of The New Religion?
"The New Religion” is my newest body of work that examines the new practices of human civilizations, especially in conjunction to the technology advancement in the past twenty years, broad internet usage, and various social media platforms of communication, expression and “propaganda”.
The works deal also with the new esthetics in the medium of photography with usage of the new technology, and moving away from straight analog photography to digitally enhanced and applied imagery driven.
In our modern society, the phone has replaced the books of prayers, the cross or other religious artifacts that people used to carry with them.
Instead of reading and scrolling the holy books or keep the fingers occupied with counting the prayer beads, people are scrolling their phones, counting their “likes”. It’s a new addiction.
The possibility to be engaged with in multiple “conversations” simultaneously is a blessing and a curse…it takes us away from being fully present in the moment, but expands our reach at the same time.
The title “The New Religion” is coming from my experience while visiting a Museum in upstate NY and encountering a marble statue of a (supposedly) Native American woman looking at a Cross that she’s holding. It looked as a modern day pose of a “selfie” (a term that I was conflicted about, since I attributed to it a quick and shallow practice of a self portrait… but recently I acknowledged it as an inevitable current practice), so I added the iPhone to the photograph that I took of the statue, alluding to the notion that the new religion is the new technology.
From that moment of departure I became free to incorporate in my work collage practices , different photoshop filters, free association with images that I took…blurring the line between representation and abstraction, and adapting the notion that very often the point of departure and the consequence of the effort is seemingly unrelated.
"The New Religion” is my newest body of work that examines the new practices of human civilizations, especially in conjunction to the technology advancement in the past twenty years, broad internet usage, and various social media platforms of communication, expression and “propaganda”.
The works deal also with the new esthetics in the medium of photography with usage of the new technology, and moving away from straight analog photography to digitally enhanced and applied imagery driven.
In our modern society, the phone has replaced the books of prayers, the cross or other religious artifacts that people used to carry with them.
Instead of reading and scrolling the holy books or keep the fingers occupied with counting the prayer beads, people are scrolling their phones, counting their “likes”. It’s a new addiction.
The possibility to be engaged with in multiple “conversations” simultaneously is a blessing and a curse…it takes us away from being fully present in the moment, but expands our reach at the same time.
The title “The New Religion” is coming from my experience while visiting a Museum in upstate NY and encountering a marble statue of a (supposedly) Native American woman looking at a Cross that she’s holding. It looked as a modern day pose of a “selfie” (a term that I was conflicted about, since I attributed to it a quick and shallow practice of a self portrait… but recently I acknowledged it as an inevitable current practice), so I added the iPhone to the photograph that I took of the statue, alluding to the notion that the new religion is the new technology.
From that moment of departure I became free to incorporate in my work collage practices , different photoshop filters, free association with images that I took…blurring the line between representation and abstraction, and adapting the notion that very often the point of departure and the consequence of the effort is seemingly unrelated.
The Modernism of Curiosity – intriguing title, amazing work. Was there a particular moment that got you started on this particular series?
“The Modernism Of Curiosity” is a title I gave to a collection of works of mine spanning 3 decades, that I curated and exhibited in 2013. It is, by far, not a retrospective, since it doesn’t include all my bodies of works, but just a collection of 114 works that I carefully picked and highlighted, and designated for a lucrative collector.
The works include personal social documentary that I photographed in Israel in the 80’s , staged tableaux, self portraits, still life and portrait photography of icons in different social fields throughout the years.
The title derives from two photography auction’s titles ("The Face of Modernism" and “The Curious Collector”) and it is a combination of those titles, that I thought plays well with the nature of the collection.
The beginning of that collection came from notes that I wrote to myself regarding works that I saw in different auctions that reminded me of my own works. So I started creating my own “auction” collection, that expanded and took a leap away from trying to stay parallel to existing works in different auctions, but concentrating more on what is really significant and what are the in key-notes in the process of my own work throughout 3 decades.
Israel 1983! Why 1983? What is a single imagine you’d choose to depict Israel today?
“Israel 1983” title comes from the fact that the images were shot in 1983, while still, being a student at the photography department in "Bezalel" art academy in Jerusalem.
An image that I took then, and is, still, relevant for the life-style of today, is the image that show the public shelter, that bears the word “Shelter” in very bold letters. The image is a reminder, that nevertheless that Tel Aviv is a very progressive, modern and lively city.
There is always the threat of unfortunate occasions of terrorists attacks on civilians, therefore there are underground public shelters built for the rescue. You can see the Bauhaus style building in the background, which is very typical to the way Tel Aviv was built in the 30’s and 40’s.
Life goes on in the city, amid the constant threats and danger.
“The Modernism Of Curiosity” is a title I gave to a collection of works of mine spanning 3 decades, that I curated and exhibited in 2013. It is, by far, not a retrospective, since it doesn’t include all my bodies of works, but just a collection of 114 works that I carefully picked and highlighted, and designated for a lucrative collector.
The works include personal social documentary that I photographed in Israel in the 80’s , staged tableaux, self portraits, still life and portrait photography of icons in different social fields throughout the years.
The title derives from two photography auction’s titles ("The Face of Modernism" and “The Curious Collector”) and it is a combination of those titles, that I thought plays well with the nature of the collection.
The beginning of that collection came from notes that I wrote to myself regarding works that I saw in different auctions that reminded me of my own works. So I started creating my own “auction” collection, that expanded and took a leap away from trying to stay parallel to existing works in different auctions, but concentrating more on what is really significant and what are the in key-notes in the process of my own work throughout 3 decades.
Israel 1983! Why 1983? What is a single imagine you’d choose to depict Israel today?
“Israel 1983” title comes from the fact that the images were shot in 1983, while still, being a student at the photography department in "Bezalel" art academy in Jerusalem.
An image that I took then, and is, still, relevant for the life-style of today, is the image that show the public shelter, that bears the word “Shelter” in very bold letters. The image is a reminder, that nevertheless that Tel Aviv is a very progressive, modern and lively city.
There is always the threat of unfortunate occasions of terrorists attacks on civilians, therefore there are underground public shelters built for the rescue. You can see the Bauhaus style building in the background, which is very typical to the way Tel Aviv was built in the 30’s and 40’s.
Life goes on in the city, amid the constant threats and danger.
Landlords or The Twin Towers and more … art to some, controversial or even outrageous to others. How do you deal with people’s array of responses to your work?
Throughout the years, I find myself sometimes dealing with topics that are considered controversial.
The “LandLords” series, “Twin Towers” and “Hope For Peace” (self portraits while being a soldier in a battle field) are just a few of those.
For me, the works are just a natural response to things that are happening around me, and are, obviously, affecting me. I am responding with respect to people that are offended, and usually they change their mind after understanding the reasoning and the process of creating the images that provoked them.
The 911 “Twin Towers" series is a group of portraits that I took of people I knew, without directing them, while you can see on the background the twin towers in smoke. This was at the beginning of the big tragedy. We were watching it being stunned and confused, and I picked those horrific moments letting them express their reaction to what is about to unfold to a huge catastrophe, without us knowing it, yet.
Obviously, as soon as the first tower collapsed, the mood changed drastically as the watchers figured the magnitude of the event. These images are quite painful, and I understand that some people are taking it in the wrong way. I have been explaining that my intentions are just to depict this “decisive moment”. I had, mostly, positive responses to the series. It evokes very strong feelings and reaction, and this is what matters in art.
The “LandLords” series is a body of work that started with depicting portraits of several Chassidic landlords I took throughout the years. By using the collage technique in Photoshop I was able to incorporate into the final images the world that they are surrounded by, which is basically my own world. It might allude to the conflicts that maybe occurring between them and the secular world. The origins of the motives of these images are the issues of landlords vs. artists, business ethics vs. moral issues, and more. I didn’t want to use the images as a weapon, or as a pointing finger of what is good and what is bad. I was ,mostly, interested in my own progress of expression, incorporating the freedom of using multiple images and Photoshop filters, dissecting smaller fractions of a bigger “canvas” of images, etc. This body of work has been quite successful, and a lot of people were impressed by the series, and told me that they see it as an original new artistic way to show work that deals with Judaism.
The “Hope For Peace” series is a self portrait series that I did while serving for the IDF in South Lebanon, expressing my frustration, fear and complex emotions while on duty without really being in support of it, ideologically. I was using theatrical makeup (that was an influence from Sankai Juko, a Japanese Butoh dance company that performed in Jerusalem at the same time).
We know that you are a well known and very likable gent in your neighborhood, the famous Bushwick section of Brooklyn. Something tells us that you are born genuinely likable and talented. What tips can you share with others who wish to increase their likability and talent levels on a daily basis?
In term of tips I can share with others regarding likability, I would say that one of the most important things that is affecting it, is communication, understanding and the ability to listen to the others. Before saying what you think, listen to what the other person feels or thinks about any topic. You don’t always have to agree with them, but, at least you’ll have the perspective that you might not have been aware of until then. Also, always acknowledge others for the work or contribution directly linked with you.
As far as being a talented artist…I would say that one has to be true to themselves, and always express themselves, after probing into their own Psyche. Bring out the issues that really matter or are interesting to them. In this way he/she would be unique, since there no substitute to ourselves. No fear to express an opinion, or try a new technique. And, most importantly…work, work, work.
Making art is like any other job…it’s about producing.
A photographer with assignments for major publications. A fine artist. And a gallery owner. What is the coolest part of each role and the most draining side?
As photographer who gets assignments, the coolest part is to be commissioned to take photographs of someone you always wanted to meet and spend some time with them (could be a CEO, a famous actor or anyone else) …even if it’s just a short hour, which happens sometimes.
As a fine artist, the coolest, yet challenging part is to execute an idea you had in a visual way with an element of uniqueness, and watch the reaction of the public’s scrutinizing eyes.
As a gallery owner, I can participate in various art fairs and introduce (and sell) art that I like of other artists, as well as of my own.
The drawbacks of all of the above is that it’s a Lot of Work…sometimes too much. A lot of times, especially before any given art fair, I have to dedicate most of my time to other artists’ works, so I produce less of my own. I think that along the way I won’t represent my own work. I’ll let another gallery do it.
You’ve said you decided to open a gallery in Bushwick after two of the galleries that showed your work there closed their doors. Counterstream and on point. Can you give us a scenario that exemplifies all the change that has taken place in Bushwick?
Bushwick is very different now than 8 years ago. About eight years ago, when I was planning on opening a gallery on Bogart St., the landlord, Leib, who kept my deposit for 6 months told me after these 6 months that a consultant advised him to open a restaurant or a bar, rather than a galley. There was a certainty that this area that wasn’t ready, yet, to have a successful gallery to draw in crowds. He might have been right, then…although I don’t think he was right bouncing the check he gave me back (after holding my money for 6 months), and declining my request to pay me the my $105 bank fees that I was charged as a result of the check he gave that bounced. But that’s a different story. He, now, graces the catalog that was created for my show: “LandLords.” Nowadays, a gallery is very welcome in Bushwick. There are about 60 galleries all around. Although some landlords don’t encourage it, especially in the Jefferson Subway (depends which building.) Also the rental prices went up about twice higher (!) than what they were 10 years ago. You can find a bar or a restaurant on every corner. Outdoor advertising companies are renting every other empty wall and alluring advertisers to post ads for their companies, especially beer and hard liquor, since most of the visitors that are rushing to Bushwick are coming in to drink and dine and have a good time…some come to see art.
Through your work you have met many famous people, interesting people, and probably even some sad people. What’s the most memorable thing you’ve heard from any of them?
I learn a lot from my subjects in photography sessions. I like to have conversation with them…tell them my stories, and hear theirs. During a session with Michael Stipe at his apartment in New York City in 1999, between the different set-ups I created, mostly with lights, I was taking candid shots of him. At one particular time, he was holding the phone next to his ear with one hand, and pouring water from a tea pot to a cup with his other hand. I snapped a few pictures, apologizing to him that I am interrupting him while he’s on the phone. He stopped his phone conversation, put down the tea pot, stared at me fiercely and said: “Don’t apologize. Just do what you got to do!”
This was a great encouragement to me. From that moment, whenever I’m not sure whether I am interrupting any situation, his sentence echoes in my head, and gives me another chance to evaluate the situation and decide click the shutter speed , or just give up on the opportunity to create another, possibly, memorable image.
A bitter-sweet situation occurred on another portrait photo shoot I did of Mary J. Blige on one of the sets that I prepared for her (artificial trees stems and fake butterflies)… She closed her eyes while clutching her hands, and her face expression showed some kind of agony. It looked very interesting, and I took about 10 photographs. I thought she is getting into a character while I was taking the pictures. Then she opened her eyes. I asked her what was going on in her mind while she was creating that charismatic pose, she stared at me and answered plainly, “It’s that time of the month!"
As an experienced artist and as a gallery owner, what are the top five key points young, emerging artists should never forget?
The top five points that emerging artists should never forget are:
1- You are never too old to start a new approach for your art, even a new career. Some artists are emerging at a later age. For instance, Sebastiao Salgado switched from economics to photography when he was almost 30 years of age.
2- Don’t try to please anyone but yourself with your art. You are the first and most important audience of your art, and you are the one who should be pleased, invigorated, seduced or intrigued by it, first. Then the others will follow.
You should create works that matter to you.
If your aim is to please others, first, it falls into the category of commercial work (and there is nothing wrong with it…it’s just a different field.)
3- Work every day on your art. Even by just re-searching, reading…but, mostly, by actual producing work.
When you think you’re done for the day…try a bit more.
4- Never expect to earn money from your work. If you will, it will be a great bonus. A lot of famous artist got big after they died.
5- Be generous with your work. Give it as gifts, sometimes. The rewards will come back to you.
What are some exciting events featuring your work and some of the best upcoming shows in your gallery?
I am very excited to announce that the gallery space is moving a few doors forward on the first floor on 56 Bogart St. building, to the first space by the entrance. The room has a lot of character, including dark reddish-brown wood panels on the main wall and it’s drenched with great natural light.
We are going to start the fall season on September 11, 2015, and we have a few exciting shows lined up. We’ll announce details at the end of August.
Also, another main project that I have been working on for a while is in high gear now. It’s the book, “Bushwick Forever.” Stay tuned!
Please visit my works on-line : rafaelfuchscontemporary.com
Also, visit us at the gallery space as well as on-line at fuchsprojects.com
As photographer who gets assignments, the coolest part is to be commissioned to take photographs of someone you always wanted to meet and spend some time with them (could be a CEO, a famous actor or anyone else) …even if it’s just a short hour, which happens sometimes.
As a fine artist, the coolest, yet challenging part is to execute an idea you had in a visual way with an element of uniqueness, and watch the reaction of the public’s scrutinizing eyes.
As a gallery owner, I can participate in various art fairs and introduce (and sell) art that I like of other artists, as well as of my own.
The drawbacks of all of the above is that it’s a Lot of Work…sometimes too much. A lot of times, especially before any given art fair, I have to dedicate most of my time to other artists’ works, so I produce less of my own. I think that along the way I won’t represent my own work. I’ll let another gallery do it.
You’ve said you decided to open a gallery in Bushwick after two of the galleries that showed your work there closed their doors. Counterstream and on point. Can you give us a scenario that exemplifies all the change that has taken place in Bushwick?
Bushwick is very different now than 8 years ago. About eight years ago, when I was planning on opening a gallery on Bogart St., the landlord, Leib, who kept my deposit for 6 months told me after these 6 months that a consultant advised him to open a restaurant or a bar, rather than a galley. There was a certainty that this area that wasn’t ready, yet, to have a successful gallery to draw in crowds. He might have been right, then…although I don’t think he was right bouncing the check he gave me back (after holding my money for 6 months), and declining my request to pay me the my $105 bank fees that I was charged as a result of the check he gave that bounced. But that’s a different story. He, now, graces the catalog that was created for my show: “LandLords.” Nowadays, a gallery is very welcome in Bushwick. There are about 60 galleries all around. Although some landlords don’t encourage it, especially in the Jefferson Subway (depends which building.) Also the rental prices went up about twice higher (!) than what they were 10 years ago. You can find a bar or a restaurant on every corner. Outdoor advertising companies are renting every other empty wall and alluring advertisers to post ads for their companies, especially beer and hard liquor, since most of the visitors that are rushing to Bushwick are coming in to drink and dine and have a good time…some come to see art.
Through your work you have met many famous people, interesting people, and probably even some sad people. What’s the most memorable thing you’ve heard from any of them?
I learn a lot from my subjects in photography sessions. I like to have conversation with them…tell them my stories, and hear theirs. During a session with Michael Stipe at his apartment in New York City in 1999, between the different set-ups I created, mostly with lights, I was taking candid shots of him. At one particular time, he was holding the phone next to his ear with one hand, and pouring water from a tea pot to a cup with his other hand. I snapped a few pictures, apologizing to him that I am interrupting him while he’s on the phone. He stopped his phone conversation, put down the tea pot, stared at me fiercely and said: “Don’t apologize. Just do what you got to do!”
This was a great encouragement to me. From that moment, whenever I’m not sure whether I am interrupting any situation, his sentence echoes in my head, and gives me another chance to evaluate the situation and decide click the shutter speed , or just give up on the opportunity to create another, possibly, memorable image.
A bitter-sweet situation occurred on another portrait photo shoot I did of Mary J. Blige on one of the sets that I prepared for her (artificial trees stems and fake butterflies)… She closed her eyes while clutching her hands, and her face expression showed some kind of agony. It looked very interesting, and I took about 10 photographs. I thought she is getting into a character while I was taking the pictures. Then she opened her eyes. I asked her what was going on in her mind while she was creating that charismatic pose, she stared at me and answered plainly, “It’s that time of the month!"
As an experienced artist and as a gallery owner, what are the top five key points young, emerging artists should never forget?
The top five points that emerging artists should never forget are:
1- You are never too old to start a new approach for your art, even a new career. Some artists are emerging at a later age. For instance, Sebastiao Salgado switched from economics to photography when he was almost 30 years of age.
2- Don’t try to please anyone but yourself with your art. You are the first and most important audience of your art, and you are the one who should be pleased, invigorated, seduced or intrigued by it, first. Then the others will follow.
You should create works that matter to you.
If your aim is to please others, first, it falls into the category of commercial work (and there is nothing wrong with it…it’s just a different field.)
3- Work every day on your art. Even by just re-searching, reading…but, mostly, by actual producing work.
When you think you’re done for the day…try a bit more.
4- Never expect to earn money from your work. If you will, it will be a great bonus. A lot of famous artist got big after they died.
5- Be generous with your work. Give it as gifts, sometimes. The rewards will come back to you.
What are some exciting events featuring your work and some of the best upcoming shows in your gallery?
I am very excited to announce that the gallery space is moving a few doors forward on the first floor on 56 Bogart St. building, to the first space by the entrance. The room has a lot of character, including dark reddish-brown wood panels on the main wall and it’s drenched with great natural light.
We are going to start the fall season on September 11, 2015, and we have a few exciting shows lined up. We’ll announce details at the end of August.
Also, another main project that I have been working on for a while is in high gear now. It’s the book, “Bushwick Forever.” Stay tuned!
Please visit my works on-line : rafaelfuchscontemporary.com
Also, visit us at the gallery space as well as on-line at fuchsprojects.com
