Last Updated on 06/21/2024 by Chris Gampat
The last time I heard Bruce Gilden speak, he was a man who let his images do the talking. But last night is perhaps the most articulate I’ve ever heard him in person. He spoke of the clay that is anger and trauma — and how it sculpted him into the man he is today at 77. More surprisingly, he explains to folks that lots of his recent images required him to ask for permission. This is a fact that’s contrary to popular belief, but that’s evident when you think about it from a photographer’s perspective. Indeed, this is a much different Bruce than the one I met during my internship at Magnum Photos and when I saw him give a presentation at the Museum of the City of New York. This version of Bruce is translated very well in his latest solo exhibition. Fotografiska New York is putting on their final show in their current location — which highlights personal favorite selections from the famous Magnum photographer.
Bruce Gilden: Why These? is on display at Fotografiska, New York, until September 29th, 2024 when the museum will close for relocation.
Impeccable
After years of trying, the Phoblographer was finally given our press credentials from Fotografiska New York. I am also transparently stating that I am a member because I believe it’s important to make declarations for honest journalism. The location is moving, and I plan to stay with them as a member because I believe in their mission despite having critiqued them where I’ve thought appropriate. We truly need more institutions that do photography right.
To my surprise, I am the first member of the press to see the new exhibit — and gifted with pretty much a full half-hour to take in the work more or less solo. When the exhibit starts to get a bit more crowded, it’s harder to really experience all of the images at their fullest potential. That’s because they’re all huge prints. I stand at the recommended viewing distance — which translates to around the halfway point of the room, and let the images bathe over my face like a splash of cool water in the sweltering New York summer. They’re refreshing, and when I step in closer to observe the minor details that the human eye might miss in person, I’m even more marveled. This is what good photography is supposed to do — and it doesn’t get much better than a veteran Magnum photographer. It’s supposed to get you intrigued by its mystery and get you closer to observing more. It’s synonymous with eating a slice of New York pizza and throwing away either the cheese or the crust — you’re really supposed to savor the holistic experience.
Bruce Gilden: Why These? contains a plethora of color images printed large. The word large doesn’t do it justice. These images are mammoths — and therefore akin to an endangered species with their subject matter. In the center of the exhibit is a room that focuses more on his other classic black-and-white images. One can label these as the metaphorical pillars that his work was built around. To that end, curator Jessica Jarl has made one of the best photo shows I’ve seen in years.
Viewing the color images in print is an even more stunning experience than on-screen or in a photo book. But I genuinely don’t feel the black-and-white photos have the same impact; they’re much more soft. Of course, that’s a classic cool feeling that I believe many will like similar to the debate between skinny and flared, 90’s style jeans.
The Gift of Bruce Gilden That Keeps on Giving
If this were an on-screen experience, I don’t think the same level of appropriate justice to the images would be dealt. Folks would want to pixel peep. Instead, abled-bodied people need to use their legs and feet to get closer instead of their hands and fingers. This truly is the gold, frankincense, and myrrh of really good photography. More specifically, it’s the gift of Gilden.
Before his talk at Fotografiska New York, Gilden says he knows exactly who I am. “You wrote that thing about me that I don’t agree with,” he tells me in a kind-hearted Brooklyn way that only a fellow New York native would understand. “You said you don’t think I’m very articulate, and I don’t agree with that.” He continues to also state that he doesn’t care about what Joel Meyerowitz says about him. And honestly, he proved me wrong — at least about when he speaks in person. This version of Bruce Gilden is comparable to watching a firefly emerge from the pupa state as we are bedazzled by its display. In both his talk and in the video that’s a key part of the exhibit, we see this bear fruit. Gilden still is a man of his time though, and says a few things that might clash with younger audiences with inclusivity in mind.
The video in the exhibit also portrays Gilden not as the photo-vest wearing man of his time. Instead, he’s basically dressed in a Canadian Tuxedo and wears a beanie reminiscent of the stereotypical Brooklyn photographer or Youtuber pretending to be a photographer. He speaks of his life, trauma, how it shaped him, etc. Listening to this as you go through the exhibit makes you think differently about these images. So much of what’s online states that he doesn’t ask people for permission when he shoots. And that’s indeed true of a different version of Bruce. But nearly all of the images in the gallery exhibit couldn’t have been shot without permission. There’s clear evidence that the folks in front of his lens were comfortable with him photographing them. To the audience, he even narrated stories of how he got many of these images.
Fotografiska New York also does an impeccable job of displaying and lighting the images. When you get closer, you’ll see a bit of reflection—but because of how large the photos are, you can’t avoid that. That’s why they’re best devoured from a distance.
Overall, I think Bruce Gilden: Why These? should’ve been given two floors of space. But two floors are specifically dedicated to Vivian Maier instead. If you’ve never been to Fotografiska New York, they often tell you to start from the top floor and go down. In this case, I strongly disagree. Gilden should be given priority, followed by Maier’s first and second floors, and finally, the PEOPLE exhibit on the top floor.
Bruce Gilden: Why These? is on display at Fotografiska, New York, until September 29th, 2024 when the museum will close for relocation.