Empty Chair

Manhattan, New York, New York. Shot 4/28/01. Ilford HP5+ BW negative 35mm film.
New York, Manhattan

How much better is silence; the coffee-cup, the table. How much better to sit by myself like the solitary sea-bird that opens its wings on the stake. Let me sit here for ever with bare things, this coffee-cup, this knife, this fork, things in themselves, myself being myself.
Virginia Woolf, The Waves

Signboards

Tribeca Skyline, Manhattan, New York, New York. Ilford HP5+ BW negative 35mm film.
New York, Manhattan

I once saw a sunset like that, over the lake near the old tanning factory back home. It was winter and I was going back for Christmas break. I remember the light flashing through the trees woke me up, and I pressed my face against the window just before the bus turned away onto the overpass.

Sometimes I think I only see moments like that through some kind of screen.
Michael Cho, Shoplifter

Offering

Temple of Dendur, Metropolitan Museum of Art, Manhattan, New York, New York. SIlford HP5+ BW negative 35mm film.
New York, Manhattan

That responsibility is thrown into even greater relief at a time like this, when the Ferguson protesters are doing everything possible to emphasize that racism is a systemic problem, built into the basic machinery of our lives. That machinery, of course, includes Hollywood…
Sigal Samuel, Why I’m Boycotting the ‘Exodus’ Movie

While race didn’t matter at the time, it does now, and casting all white people as non-white people is problematic. Ridley Scott, a 76 year old man who grew up in a world where the historical epic tradition was actors with booming English accents wearing togas, probably never even thought about it.
Devin Faraci, Will Ridley Scott’s Exodus Be The Last Whitewashed Blockbuster?