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6thAvenuesomeplacewhereverthevolunteerphotographersgrouphadgottenabigspaceonthegroundfloorofacorporatebuilding.Andtheydisplayedthisworkthekidshaddonefromalloverthecity.Youknowitwasreallynice.Ididthatforayear.AndIwasapplyingforfulltimeteachingjobsatvariousplacesaroundthecountryandgotaninterviewforhereStocktonCollege.AfterthefactIfoundoutthatoneofthethingstheyweremostinterestedinwasthefactthatIhadbeenteachingatBellevuePsychiatricHospital.SothatstoodouttothemasaninterestingthingMaybeitmademeseemmorebattleworn.Kindoflikeifhesabletoworkwiththosekindsofkidsinphotographythenhesnotgoingtobeflusteredintheclassroom.Idontreallyknowwhattheperceptionwas.Idoknowthatissomethingtheyfoundcompelling.Sothatwasgreat.AndIstartedteachinghere.In1986IcametoStockton.MywifeCarmelaColon-WhitedidntwanttogiveupherjobsowesplitthedifferenceandwemovedtoFreehold.ShewascommutingintoNewYorkworkingatCitiBankatthetime.Iwascommutingdownhere.Thatlastedforalittlewhile.ThenshewaspregnantanddecidednottoreturntothejobinNewYorkaftermydaughterwasborn.ImhavingtroublerememberingthesequencebutshedidgobacktoworkatsomepointandwemoveddownherewhenmydaughterwasaboutfouryearsoldsowestayedinFreeholdaboutfiveyears.MORSohowdidyouadapttoteachingWWIfeltlikeIadaptedprettywell.IfeltIstartedeasybecauseIhadtaughtclassesatVisualArtsItaughtworkshopsatICP.ThatwasapersonwhocontinuedtohaveanimpactonmylifewasCharlieStainbackformerDirectorofExhibitionInternationalCenterofPhotography.CharlieinvitedmetoteachworkshopsatICP.MORSoteachingwasntforeigntoyouanymoreWWNoitwasnt.Althoughdoingitinthiscontextwasalittledifferent.WhenIcameIwasgivenaclassinthehistoryofphotography.IstillwassortofnewandittookmeawhileotherthaninastudioclasstofigureoutwhatIneededtodotoprepareforlectureclasses.MORSuretheskillsetisdifferent.WWExactly.IthinkIgotbetteratthat.Butmystrengthisstillinthestudio.ThatswhereIthinkIcaninteractmorefluidlywithpeopleonanindividualone-on-onebasis.IhavemylecturesandpresentationsanddemosbutthenmystrengthisthatindividualgoingfromstudenttostudentHereswhatyoumightwanttodo.Heresanidea.Heresapossibility.AndholdingallofthatinmyheadsothatwhenIcomebacktothemahalfhourlaterIstillrememberwhattheirproblemwas.Thedirectcontactandtheabilitytoholdallofthesedetailsinmyheadduringclasstimeissomethingthathasalwayscomenaturallytome.MORWhatwasyourownworklikeatthistimeDiditchangedrasticallyWWDuringthetimewewerelivinginBrooklynandIwasworkinginNewYorkbeforeIgotthisjobImadeaswitchfromthatmoreexperimentalworktosuddenlydoingmoreformalblackandwhiteimagesofthelandscape.AndIbecameveryinterestedintheindustriallandscapeintheGowanusCanalRedHookareaandthateventuallyspreadtotheJerseyside.IwasphotographingRahwayLindenthatareaandeventuallyafriendofminethathadgonetoBloomsburgoutinPennsylvaniaandknewsomeoftheindustrialareastheretookmeonadriveoutandshowedmealltheindustrialareas.Hewasalsoaphotographersowephotographedtogether.ButitwasthatBrooklynRedHookGowanusareathatIwasjustfascinatedwithandIwouldjustwalkaroundthoseareasandphotograph.ThirdAvenuethebridgethatcomesover.AndthatwastheworkIwasdoingwhenIfirstcamehere.InfactthatwastheworkthatMichaelBzdakandCharlieStainbackincludedinStatedasFactPhotographicDocumentsofNewJerseya1989groupphotographyexhibitionattheNewJerseyStateMuseum.ClubHarlemAtlanticCitySouvenirMallet.VickiGoldCollectionNewYorkNY2014