The short time, the small space: Manhattan, Lower East Side, from 2000 to 2007. “And in between, the urgency of processing the trauma of September 11th and doing it in a wild way, throwing everything out,” says the photographer Alain Levitt from his home in New York, still in the same neighborhood after twenty years, and also the Bacaro restaurant, which he manages with his wife Kama Geary. And it is indeed she, met working as a street photographer for the New York Post, who signed the preface of the collection Everybody’s Guilty, No one’s to blame: “It’s like it was the graduation yearbook of downtown kids, before social media and cell phones,” he writes, embodying the book’s melancholy, energy and analog grain, “the last time we were one. The last time we were free.” Eighty pages of portraits and flashes of faces that even make you smell those streets and skin. Crooked humanity mixed with the protagonists of showbusiness and counterculture: the graffiti artist Iz The Wiz (every painted subway you have seen in a film is problably his work), the skater Andy Kessler, the “Baudelaire of Manhattan” dash Snow who died of drugs at 27 like Basquiat, and then Vincent Gallo and Johnny Depp. A city on film, immortalized with a Yashica T4.A non-post-produced reality. Not like now.
From Weed Dealer to Street Style Photographer: Alain Levitt’s New York Awakening
Table of Contents
“I had to.”
That’s how Alain Levitt explains his departure from Los Angeles for New York City. He’d been working for a family-run marijuana organization, dividing blocks of weed from 9 to 5, Monday to Friday – a surprisingly regular job. But when his mother discovered his profession, fearing for his life, she sent him to new York to live with his sister, Danielle Levitt, a streetstyle columnist for the New York Post. Danielle tasked him with assisting her photography.
Adding to the mix, Levitt took on three nights a week as a bartender at The Cock, a famously rebellious gay bar owned by Allan Minarelli, who actively challenged Mayor Giuliani’s strict policies. “I was 25 years old and I already felt old,” Levitt recalls. “And then here was New york: the only city in America capable of giving anyone ten additional years of youth.”
What became of the head pusher back in Los Angeles? “He’s fine. He’s never been arrested.”
Levitt’s early days as a street style photographer weren’t without their challenges. He recounts two instances where subjects resisted being photographed: Mötley Crüe drummer Tommy Lee, who didn’t want his new girlfriend photographed, and Johnny Depp at Max Fish, a popular bar. “He gave me a hard face but then he smiled and agreed to pose with my wife,” Levitt remembers. Depp was with Jim Jarmusch, a friend of Uli, the bar’s owner – and Levitt himself. “The tour was the same,” he concludes,hinting at the consistent,unpredictable nature of his new life.
Photographer Mike Miller Captures Early 2000s New York in “Everybody’s Guilty, No One’s To Blame”
Mike Miller, a photographer whose formative years were steeped in the West Los Angeles skateboarding, graffiti, and rave scenes, has released a compelling collection of portraits titled Everybody’s Guilty, No One’s To Blame.Published by Superlabo in 2024, the 160-page book (€70) offers a raw and intimate glimpse into the lives of New Yorkers between 2000 and 2007. miller’s work documents a specific moment in the city’s history, capturing the energy and diversity of a post-millennial New York undergoing rapid change.
From West Coast Roots to New York City
Miller’s background significantly influenced his artistic vision. Growing up in West Los Angeles, he was immersed in subcultures that valued self-expression and challenged conventional norms. This foundation informed his approach to portraiture, prioritizing authenticity and capturing the unique character of his subjects. His move to New York in 2000 provided a new canvas for his work, a city brimming with creative energy and a diverse population.
A Portrait of a City in Transition
everybody’s Guilty, No One’s to Blame isn’t a polished, idealized depiction of New York. Rather, it presents a gritty, honest portrayal of individuals from various walks of life. The book features portraits of a wide range of people, including:
* Celebrities: The collection includes striking images of actors Johnny Depp and vincent Gallo.
* Skateboarders & Rappers: Miller focused on documenting the burgeoning skateboarding and hip-hop scenes in Lower manhattan and the Lower East Side, capturing the spirit of these subcultures.
* Everyday New Yorkers: Beyond the famous faces, the book is populated with portraits of ordinary people, offering a broader perspective on the city’s diverse population.
The title itself, Everybody’s Guilty, No One’s To Blame, suggests a nuanced perspective on human behavior and societal pressures, hinting at the complex stories behind each face captured in the book.
Superlabo and the Book’s Publication
Superlabo, the publisher of Everybody’s Guilty, No One’s To Blame, is known for its dedication to showcasing unique and visually striking photography books. Founded in Paris, superlabo focuses on self-reliant artists and limited-edition publications, making Miller’s book a valuable addition to their catalog. Superlabo’s website provides further data about their publications and artistic ideology.
Key Takeaways
* Authentic Portraiture: mike Miller’s work prioritizes capturing the genuine character of his subjects.
* Cultural Documentation: The book serves as a visual record of New York City’s cultural landscape in the early 2000s.
* Subcultural Focus: Miller’s background in skateboarding, graffiti, and rave culture heavily influences his artistic perspective.
* Independent Publishing: Superlabo’s commitment to independent artists provides a platform for unique and compelling photographic work.
Everybody’s Guilty, No one’s to Blame offers a compelling look back at a pivotal moment in New York City’s history, seen through the lens of an artist deeply influenced by the subcultures that shaped his vision.As Miller continues his work, his contribution to documenting contemporary culture remains a significant and valuable endeavor.