street art photos: for Vera who asked me why and made me think what to do with it (again)

Cross-posted from: Jacqueline Herranz

i started taking street art photos for a very urgent reason: to learn about space in this city where i am an alien (last 4 digits of alien#: 1868). i took them in the streets because i have always had a fascination with space: i have no skills to manage time. everyone knows how easy is to lash out (whatever this means) and how pragmatic could be application of self-control and focus on a project, so I tried to concentrate and think about image that “happens” through space as a rewarding result since it produces emotion. so, i took street art pictures to be able to understand my needs for visual signs. i didn’t want to mimic straight photography neither “masculinize” my flicks by rendering an (en)vision of a person in control of the process. i have always like accidents and/ or coincidental (un)coordinations. i wanted (still have no other choice) to work with accessible tools as well. at the end, everything seems to revolve around access to material, and access to time.  most of the time for these street photos i have used mass mediatized best seller mid-lower-than-high resolution bodies in a combo with plastic travel size trashy lenses that are slow and most of the time cannot get the light right: these are perfect for loosing it and make me think that i can do it.

so i took my chances and was inspired by a couple of radical readings i stumbled upon lately: Vera photography collection and interest in getting personal through urban images (basic space), Olesya’s master compositions in her presentation of T-Aviv journy (donate yourself), Artem’s classic idea of circulation and illustrated literature zines (Flores Violetas), two email messages from my friend Alejandro and his kind review of my latest novel, Moyra Davey’s essay for her limited edition book The problem with reading, and my latest communication with Margaret Vendryes, who has been working on multiplicity of signs and building fiction along with constructing memory objects.

These photos i am planning to hang on a flickr account, as soon as time allows, are part of my extra-large virtual street art collection. The one I did build with the help of streetfiles, one of the most openly democratic projects I have seen online, full of misogynistic oriented spoil vandals and homophobic kids and the best part: very serious artists and fine street art collectors from whom I have been learning about the street art esthetics. Now that streetfiles is dead, I can dwell and swell in the anxieties of withdrawal and reuse my pics.

Delancy Street. Lower East Side. Three Trucs.
Kodak tx 400 expired film.


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Jacqueline Herranz-Brooks is currently working on her PhD dissertation on Auto(r)fiction at theGraduate Center, City University of New York. Her most recent projects are Lyrics of the Streets, where she pastes texts onto walls or abandoned objects around NYC; and Vicious Reading, where she photographs texts anonymously placed on urban spaces where minority communities are being displaced due to gentrification. She is the author of Liquid Days (TribalSong, Argentina, 1997), Escenas Para Turistas (Campana, NY, 2003), Mujeres Sin Trama (Campana, NY, 2011) and Viaje en Almendrón (Installation book for Gallery Miller, JCAL, 2015)