In a candid conversation with Martin Parr, Bruce Gilden discussed how it all began, what draws him to his subjects, and the art of taking up-close street photos. Gilden’s inimitably brash and cathartic style stems from his childhood and upbringing. He was born in Brooklyn in 1946. His father was a “tough guy, a mafioso-type figure” and his mother, a sex worker. “The hurt never goes away, neither the anger. You see it in my pictures…I photograph who I am”.
He briefly toyed with the idea of being an actor, but he attended photography classes at New York’s School of Visual Arts which spurred his interest and he started taking pictures when he drove a taxi. Gilden pursued his artistic ambition by experiencing and looking at art, from the Impressionists, Henri Cartier Bresson, and flipping through Camera magazine issues.
He briefly toyed with the idea of being an actor, but he attended photography classes at New York’s School of Visual Arts which spurred his interest and he started taking pictures when he drove a taxi. Gilden pursued his artistic ambition by experiencing and looking at art, from the Impressionists, Henri Cartier Bresson, and flipping through Camera magazine issues.
“I walked around Coney Island in 90-degree weather with construction boots on and my jacket with the sleeves rolled up,” said Gilden, reminiscing about his Coney Island photo series which he began in 1969 and continued for several hot summers. This was before Gildan’s signature up-close and personal images were captured using his flash. They are undoubtedly arresting and eccentric. “Flash helped me visualise my feelings of the city”.
His book A Beautiful Catastrophe captures the multifaceted nature of New York City and its characters. He describes the process of using the flash as similar to taking mugshots; nifty yet audaciously descriptive. He believes in his method.
When asked how he would have the nerve to go so close up to the subject, he said “I've been so close to people who don't even realise I'm taking the picture. For example, the picture of the lady in Coney Island with a finger pointing— I'm taking the picture because she was wearing this bra and panties that didn't look like a bathing suit. Someone came over and asked (her), ‘What is he taking a picture of?’ And she went (and pointed) ‘over there”.
When asked how he would have the nerve to go so close up to the subject, he said “I've been so close to people who don't even realise I'm taking the picture. For example, the picture of the lady in Coney Island with a finger pointing— I'm taking the picture because she was wearing this bra and panties that didn't look like a bathing suit. Someone came over and asked (her), ‘What is he taking a picture of?’ And she went (and pointed) ‘over there”.
“I don't think anybody's ever taken a perfect picture. You can always find something wrong with something...I like the intensity in the eyes.
I need character.”
“I have one picture I really like. It was for The New York Times Magazine and we were almost finished with the shoot. The model was very tall. I saw this little lady walking south on Fifth Avenue near 57th Street. The model was walking up and I said to her, ‘Can you turn around? I want a picture of you with the little lady’. Being a street photographer, I couldn't have asked for a better moment because the lady is looking up at this giant that she's looking at. It's set up, but it's not really a setup.”
When asked what is a perfect portrait, he conceded “I don't think anybody's ever taken a perfect picture. You can always find something wrong with something...I like the intensity in the eyes. I need character.”
The event held on November 9th, 2023 was organised by Le Silencio and Le Silencio des Prés for the 25th edition of Paris Photo.
When asked what is a perfect portrait, he conceded “I don't think anybody's ever taken a perfect picture. You can always find something wrong with something...I like the intensity in the eyes. I need character.”
The event held on November 9th, 2023 was organised by Le Silencio and Le Silencio des Prés for the 25th edition of Paris Photo.