You’d think a traditional publishing person like me wouldn’t be intrigued by a tiny collection of iPhone snapshots such as this:Not a “real book,” right? It’s smaller than a deck of cards, has fewer than 50 unnumbered “pages” and no text at all except the words iPhone Photos Julie Gebhardt on the back page.
And yet I was drawn to this mini-book from the first moment I saw it, for one thing because it’s so cute (note the green push pin, placed there for scale) and is even kind of classy with its oversized spiral binding and heavy photo-card stock.
Production elements like these would have shot the costs up years ago, as would four-color printing (which I must say is sensational), but the price is affordable ($20) and shipping is free when you order directly from the author by emailing firstname.lastname@example.org.
But I kept thinking the term “snapshot” isn’t right, “collection” isn’t right, even “little” or “quickie” is disrespectful because there’s something bigger to ponder here, something even literary going on, which I’ll get to below. True, you can just flip through it like a keychain souvenir, but I guarantee that every time you close it, a larger conversation will follow you around in “real life.”
The author, Julie Gebhardt, caught the photo bug three years ago after acquiring an iPhone and reading a New York Times story about Instagram, the social network for sharing photos that’s used by subscribers all over the world (more than 150 million of them by now).
After downloading the app and looking at probably thousands of Instagram posts, Julie, or @juliegeb, began walking around the streets of San Francisco to see what caught her eye. Something as commonplace as building exteriors — walls, doors, windows, gates — had personality and character when framed by her iPhone lens. She was particularly attracted to things that “are old and a little dingy, or made of cheap quality material, or that show the weathering of time.”
Even today, “I like corrugated metal any time I see it,” she says. Aging paint, water stains, odd splotches, loose flashing — these may be signs that a building is falling apart or soon to be condemned, but for Julie they add a touch of animation and surprise to the eye, even if the thing itself is a little grim.
I’ve walked right by many of these scenes on my way to important appointments so it’s startling see the allure of decay — an ugliness that appears beautiful to me now, just because Julie decided to shoot them that way.
Sometimes you can detect a story behind the image. In the photo below, doesn’t it look like somebody was spray-painting that light blue color on the door oh, so carefully but messed up enough times with the blotches on the top and lower sides to think, All done! I have to go to an important appointment now — and left it that way?
This kind of Oh Well Art (not her term) happens often, she finds, when people are trying to spiff up or cover up rust or old paint or corrosion. So Julie created hashtags (categories within categories) like #sloppy_job and #graffitipaintout. That way, other subscribers can contribute their own photos, just as she can add to theirs.
For example, the photo on the right below, with its enormous bushy eyebrow sculpted over the door, appears in Julie’s feed as well as another subscriber’s as “Nature’s Comb Over” (#naturescombover).
Things get a bit more complicated when the idea of intention crops up behind paint jobs of exteriors. When she came upon the brick wall below, for example, Julie believed she saw a Rothkoesque quality to clouds of different-colored paint and was particularly delighted by the unintentionial part, a dangling wire that so beautifully interrupts the action.
Soon she realized that any architectural element such as the drainpipe to the left (what gifted soul decided to paint it blue?) can be part of that vast creative effort called “street art,” which is constantly percolating and newly visible wherever you look (or someone like @juliegeb looks) on the urban scene.
It was probably inevitable that Julie would make her own artistic decisions. She noticed that the iPhone camera doesn’t allow for much depth, so most of the photos are going to look pretty flat. Instead seeing this as a problem or weakness, she developed an interest in “two-dimensionality as a style.”
In the photo below, for example, you have to look twice to see that a door is built into the graffiti-covered wall, and that the artist — maybe commissioned by the building’s owner OR maybe just an unknown person with half a dozen spray cans in a hurry because police or home owners or neighbors might be near and not happy — took the time to set it off by coloring inside the doorway lines, so to speak.
The startling orange-and-purple facade to the left offers a more dramatic and deliberate use of color that in turn defines the surrounding blocks of tile, wall and brick. And here Julie stands just far away enough so that the iPhone, for all its two-dimensional lens, can’t help itself: the leafy green branches billowing into the upper left corner give this photo unexpected depth and substance.
And this one at right is just a square of yellow wall with a mailbox, wouldn’t you say? (It’s another setting I’d walk right by without noticing.) But I think because Julie sees a kind of geometrical art in squares upon squares sinking into that joyous yolky color, you can feel your fingertips anticipating the goosebumpy texture of the stucco wall beneath. Somebody also took the time to choose a stylish font for the address — “the scroll of number 3 is so lovely,” sighs Julie. And there’s even a comical touch to the oval mail slot, which is stamped with the word “MAIL” in case your letter carrier forgets what it’s there for.
So far, I’ve been talking about intriguing street scenes that Julie turns into photos with an artistic edge. But to get back to this gnawing feeling that something literary is going on in the book, we need to see if that larger conversation I mentioned actually exists, starting with Julie’s notion of surrender.
You’ve probably assumed a continuing truth about street art is that everything’s changing all the time. Julie says most of the places she’s photographed are gone now — they’ve been taken down, painted over, razed, vandalized or re-graffiti’d shortly afterward, often overnight — which means every walk with her iPhone is going to be different: some new piece of something or overgrowth or fixer-upper or illustration is always going to pop out.
We would expect that to happen with a painting like this, where the beauty and freedom of the artist’s visual language (fascinating when you see it up close) might one day be dismissed as ugly by the owner of that building, who’ll “fix the problem” by covering it up with a layer of paint. That’s just the reality for anybody, artist or vandal, who takes to the street.
But it’s sad to see this enormous (see the pigeons on the sidewalk below), soulful face — part of a mural that Julie discovered in a back alley in San Francisco’s rough Tenderloin district — already being eaten away by other people’s graffiti, which has begun to invade the picture from the sides and top.
“I have so much admiration for anonymous muralists who pour their heart and effort into these paintings,” Julie says, “and then just surrender them to the public. The minute they walk away, the art is transformed.”
Very often a sense of humor sneaks in that’s so touching, like a wink from a dying building, that even people on their way to important appointments can’t help but slow down and chuckle.
Speaking of the humor that crops up in street art, while I’m not a fan of comic book art, I but have to say the question depicted in the painting below — is it the colony of giant ants or the loss of his iPhone that causes this headless guy’s anguish? — offers a funny and arresting comment on modern life.
The always-changing nature of street art makes a person realize that for Julie, everything in a city scape must feel like nature in fast-forward, as in that YouTube video where you see the dead fox decaying and the skin peeling and teeth baring and the bones emerging while the remains of the fox get smaller and smaller until nothing exists in the spot where life once flourished — until the next object like a rock or egg or baby fox rolls into view.
Just as you could walk up to that fox and shoot a thousand different images, so do buildings on the street “host” something new or strange every day that will change in a second. Julie, bless her, respects this phenomenon but does not want to document it. She is not interested in going back to photograph the muralist in tears repainting his subject’s jaw or eyeball in the midst of cooing pigeons because that would be a human interest story and is really none of her business. Her iPhone is not there to intrude.
But it is there to capture the images she treasures. “I broke into a run when I saw this,” she says of the scene below. “It’s a hillside near the ocean with a little shed in front that has no door and a rotting-away floor that’s full of sand. No roof exists, and the hill above it is bulging down the back wall. To think they’d [the owners or the army or the coastal commission] would paint this exterior bright red at some point is amazing to me.”
Right, the red paint, even when fresh, would be lost on the seagulls and snowy plovers that inhabit the coastal dunes, so even the people who built this shed surrendered their casual artistry to the elements at one time. And then Julie came along to capture that incredible mixture of beauty and decay that fits so well with the endless carving-out of cliffs and coast by ocean waves and weather.
The idea of surrender has a literary bent to it, I think — a writer must surrender the work-in-progress to the reading public or it will never be finished — but that’s not enough of an answer to my gnawing question about something literary going on in Julie’s mini book of photos.
I do know that just browsing through it gives me the impression that a larger conversation is taking place, and that philosophical connections are being made all over the place. You can see an obvious example in the way Julie pairs photos in two-page spreads, often using color —
— or theme–or artistic intentionas her bridge. (Pardon shoddy photos — these were taken of the book with my iPhone and they didn’t come out too good.)
But it’s in the pairing below that this larger conversation really comes out, at least to me, and I do think it has a literary nature. Both images are similar because of the color blue, of course, but it’s their differences that make an impression: the photo on the right emphasizes rigidity and corrugated metal as we have seen, while the photo on the left is fizzing with excitement, tossing about balloony yellows and stringy pinks and sly greens in a 1950s palette gone slightly berserk.
“I shot these two photos on different days,” Julie says, “but they have a relationship that’s more than a happy accident. Maybe it’s the piece of cardboard in each that might have drifted in, or been placed there. Who knows?”
Right, we don’t know anything except what we see: “An insanely dizzy wall on the left that seems to dance around a garbage bin, of all lucky things, across from the quieter but still varying tones, also of blue, in straight lines that nevertheless have a flow to them.”
Hold that thought for a moment as we apply the same curiosity to the photo below. Granted, it’s just a keyhole, one of so many locks that Julie started a hashtag called #keyholelove, to which hundreds if not thousands of Instagram users have already contributed. This one’s got some touches of red and green paint that could be accidental (another #sloppy_job photo?) but seem polished and deliberate.
In fact, says Julie, this keyhole is part of a huge and colorful mural that extends along the backs of several fences in the Mission District of San Francisco (where street murals abound). Of course you don’t have to know the keyhole’s function as a small detail in the overall canvas to sense a certain gravity about it that Julie doesn’t need to interpret: Her eye has focused on this one aspect of the mural, the brass lock. She loves it, and her camera loves it. She shot it close up in a way that makes me, the viewer, love it, too.
But the photo gains in significance when Julie as author puts it next to another picture with a completely blue exterior that also happens to have a keyhole, and this one shines out with no paint on it at all.
I find it kind of amusing that the vast Rococo design of the wrought iron with all its squares and circles, its graceful Xs and Os, its blocks and scrolls and flourishes, started out as just a gate to keep the bad guys out, and then somebody decided to make it stylish and pleasing. And then again, the whole artistic presence of the thing was designed to fade and recede as the eye zooms in on that tiny, shiny brass keyhole.
Granted, the gate is painted that way to make it easier for the keyholder to find the keyhole. That’s fine. But look what happens when Julie pairs it with the keyhole-in-the-mural:First, I like the idea of a universe arranging itself around a tiny speck, as we see on the right, placed as it is across the spiral binding from the unique and purposeful image of the similar tiny speck (now so big it’s a universe of its own) on the left. That’s one “conversation” between the pages in which we viewers get to participate (and only if we want to!).
But there’s more. As you flip through the book, every pairing of photos brings up the same Big Idea, something we humans ponder all our life, which may be stated in this way: Time rushes by so fast in our high-tech, fast-paced world that suddenly we’re old, and our tenure is almost over, so the question is whether it’s possible, while hurrying off to important appointments, to slow down and actually find meaning in life.
Julie’s book says YES, people may get jaded and hardened by the chaos of street life, but just the act of noticing something like what these pages bring to light can give life meaning. This is hardly an original thought (Buddhists sum it up with the word mindfulness all the time, although that’s more a spiritual practice), but it is an unexpected discovery in a tiny book like Julie’s.
Another question: Does this dialogue between readers and photos happen only as you turn the pages of Julie’s book. Yes again, I think — some kind of power is exchanged even without the presence of text. For example, look at this:
On the left is a walled-off mausoleum sort of building with heavy columns and portico that’s hard to see because the whole thing is boarded up and surrounded by fences. (Another advantage to iPhones, says, Julie: “The lens is small enough to shoot through the tiniest of holes”).
On the right is such a rare discovery that I’m going to enlarge it below. Can you guess what it is (I couldn’t at first)? Here’s what happened: Julie and her husband Allen (also taking pictures but with a “real” camera) got into “this abandoned old warehouse that was entirely covered in graffiti,” she recalls. “The walls, the ceiling, the doors were all drenched in color and shafts of light were streaming down through broken windows, so just being inside, just seeing the character of the place was thrilling.
“Then in the middle of the floor we saw this ruined piano, every key ‘defaced’ by paint and tiny drawings, so I leaned over the keyboard looking straight down and shot it, missing keys and all. What comes forward is so abstract in shapes and colors that all we can see is transformation.”
Again, we readers don’t have to know that it’s a piano keyboard, because something’s being said in a conceptual way that will come to mean whatever our eye decides it to mean. But what I feel most gripping about it is the way this photo relates to the deadly silent building on the left, which by contrast appears to have been caged up, locked down and blacked out for years. Here it is again:So when I talk about a conversation going on, I don’t mean to say these two photos actually tell us something. I mean there’s a connection here that’s interactive and open to participation with the reader. And when something like that keeps bubbling out of a book, page after page, with the kind of energy that strikes a nerve as deeply as it does in Julie Gebhardt’s teensy spiralbound collection, well, that something is literary.
Admittedly, I get romantic about these things, but because art is subjective, I also get to draw the line. This photo on the left may show us exuberant examples of street art all talking at once (ain’t the color gorgeous?), thereby forming a remarkable avant-garde image that only Julie Gebhardt can see amidst the mayhem. But I have to admit it’s messy and repugnant to me. If I came upon it in the street, I’d walk right by with my face turned away. Perhaps that too is a testament to the author who uses her book to present rather than hit us over the head with what she sees.
But because I’m also the traditional book publishing person, I remember when costs were astronomical and people had to (still have to) fly to China and Italy just to print expensive art books, which the publisher then had to ship to bookstores where very few customers could afford them. And then after a few months the bookseller with heart sinking had to ship the books back to the publisher who either dumped them off as remainders (sale items) in Australia or pulped them regardless of artistic message because nobody ever saw or appreciated the art.
Which brings us to today. Don’t you get weary when people keep asking whether the use of computers and the rise of the Internet are “good” or “bad” for books, for publishing, for bookselling, for reading? The fact is, technology has this infuriating way of changing the world before we know it. Asking questions about its value gets us nowhere. The Internet (like the other universe) is indifferent to human needs and wants.
But if Julie’s book teaches us to slow down and notice things that give life meaning, let’s take a moment to acknowledge the Internet as one big sorting machine that uses a toolbox like Instagram where talented, self-taught people like Julie are actively supported by an international community of millions. By the way, her personal followers total 28,542 as of yesterday.
So if you think a traditional publishing person like me should decry the way websites on the Internet may be gutting mainstream book publishers like Rizzoli, Abrams, Taschen, Thames & Hudson, Phaidon, Aperture and others of the once-honored opportunity to produce gorgeous oversized artbooks that sell comparatively few copies (well, enough to libraries, colleges and some collectors to make a buck); and also may be robbing independent bookstores of hundred-dollar-plus purchases (Rizzoli’s All the World’s Birds sells for $350, but give them credit, that’s a lot of birds); let’s remember that before the computer revolution, the odds for unknowns like Julie to get anybody in the book industry interested in her potential as an author were zilch, especially for a tiny book like _________ (you see? it doesn’t even have a title).
Today we don’t talk about the bookstore or gallery approach where very few people get to view an art book, let alone buy it. Today we talk about the community approach where Julie felt encouraged to see “nothing precious” about jumping into a rushing stream of 150 million other photographers, and where she is increasingly supported by an audience she built from scratch that loves and appreciates her work.
Plus! It’s not just the mini book she created at Social Print Studio that’s for sale. Five of her photos are featured in This Is Happening, a book about the Instagram phenomenon from Chronicle Books. The wonderfully named Casetify has snazzied up many iPhone
cases with Julie’s images, such as the one on the right, and thanks to Blurb.com an even more adventurous 60-page collection of Julie’s photos is available in hardcover ($36.95) and softcover ($25.99).
You can buy her photos at all sizes and in different frames, and at least one museum has displayed photos like this one below, which shows Julie finding a way to bring depth to that tricky two-dimensional style, after all (note the teensy red chair to the right: another speck in the universe! Okay, will stop here.)
I’ve probably finished “reading” Julie’s book a dozen times by now, and I always come away thinking that the next time I start to dismiss some discomfiting image on the urban landscape, I’ll have been taught by Julie to notice if there’s something creatively interesting, even frameable there, for me. And I’ll ponder more about it because of the book’s continuing conversation.
That’s all I’ve learned from the blessed thing, and yet what I’ve learned is kind of monumental. After all, when “real life” is out there calling, you want to have the eye to see it.