Polaroids From The Turn Of The Millennium
by Rafael Fuchs

Polaroids From The Turn Of The Millennium
by Rafael Fuchs

r.l. stine by rafael fuchs

Rafael Fuchs

R.L. Stine, 1999

500 USD

geoffrey rush by rafael fuchs

Rafael Fuchs

Geoffrey Rush, 1997

500 USD

david blaine by rafael fuchs

Rafael Fuchs

David Blaine, 1999

500 USD

john cameron mitchell by rafael fuchs

Rafael Fuchs

John Cameron Mitchell, 2001

500 USD

jonathon franzen by rafael fuchs

Rafael Fuchs

Jonathon Franzen, 2001

500 USD

heather graham by rafael fuchs

Rafael Fuchs

Heather Graham, 1997

400 USD

burt reynolds by rafael fuchs

Rafael Fuchs

Burt Reynolds, 1997

400 USD

beyonce by rafael fuchs

Rafael Fuchs

Beyonce, 2000

400 USD

sean paul by rafael fuchs

Rafael Fuchs

Sean Paul, 2004

400 USD

mary j blige by rafael fuchs

Rafael Fuchs

Mary J Blige, 2001

400 USD

nathan lane by rafael fuchs

Rafael Fuchs

Nathan Lane, 1996

400 USD

j.k. rowling by rafael fuchs

Rafael Fuchs

J.K. Rowling, 1999

400 USD

Friday, September 5, 2014Sunday, October 5, 2014
Opening Reception: Friday, September 5, 2014, 6 p.m. (EST)

56 Bogart Street, Suite 1e
Brooklyn, NY 11206 USA

Polaroids are among the most precious and ephemeral manifestations of the dissipating analog era in photography. The turn of the millennium was the period of time that marked the transition from analog to digital practices in photography and in many other common media. The first Polaroid instant film was launched in the late 40’s by Edwin H. Land, the inventor of instant photography and founder of Polaroid.

Rafael Fuchs explored commercial and artistic uses for Polaroids from the 1980s through the advent of digital photography:

“In the analog days, especially in the years 1996-2004, I used Polaroid instant films intensively for various reasons. First, it was magical. I remember very well the excitement and joy, as the image was gradually appearing on the surface of the Polaroid, as it was processed and fixed by the chemicals that it contained. At that point, the Polaroid possessed a life of its own.

I used the instant film on special camera backs that were attached to my professional cameras that were either medium or large formats (6x7 cm or 4x5 inch format). It was an instant validation of whether the exposure I manually set for my camera was right for the conventional film I would use right after the Polaroid test shot, and also an affirmation for the set details, wardrobe, and hair and makeup often applied to my subjects. It was a fantastic tool for engaging with subjects, connecting with them, showing them what the image looked like, and a starting point to discuss with them the direction we were heading with the photo session. It was a helpful tool to the art directors / photo editors that were often on the set, too. Although, at times, I would prefer to show them the Polaroids only after taking a few frames with conventional film, so the spontaneity wouldn't be interrupted.”

--Rafael Fuchs

This show is a collection of 100 unique Polaroid portraits and includes portraits of some of the most influential people in a variety of fields in culture and society from that era, as in:

Entertainment: (Burt Reynolds, Emily Watson, Heather Graham, Julia Stiles, Geoffrey Rush, David Blaine, Nathan Lane)

Literature: (Jonathan Franzen, Dave Eggers, R.L. Stine, Candace Bushnell, J.K. Rowling)

Music: (Beyonce, Mary J. Blige, Michael Stipe, Tony Bennett, Sean Paul)

Commerce: (George Steinbrenner, Barry Diller)

Sports: (Derek Jeter, The Petty Family)

Art: (Frank Stella, Paul Cadmus)

The portraits were commissioned to the photographer Rafael Fuchs for various publications, such as Entertainment Weekly, Time, Newsweek, Sports Illustrated, People, Movie Line, Wired, Brill’s Content, Bop, Your Company, The Advocate, Vanity Fair, and more.

With the size of the Polaroids displayed, this exhibition creates an intimacy with viewers, who are invited to come close to the Polaroids and inspect them, a notion that is too often lost in today’s art galleries that display large scale photographs.