Public Privacy
Public Privacy (Flash Video)Wendy Richmond uses her cellphone camera to record New Yorkers living their daily life in different settings such as museums and streets. The clips have been compiled into split-screen layouts, suggestive of the many-eyed watchfulness of surveillance cameras but with a quiet, personal tone.
From Richmond's New York Times article, one of NYT's The City Visible columns:
Like the thousands of surveillance cameras that watch us 24/7, I record the daily activities of city life: people waiting for the subway, walking their dogs, watching a parade, window shopping. But my goal is not to catch something out of the ordinary. In this project, which I call “Public Privacy: Wendy Richmond’s Surreptitious Cellphone,” I seek just the opposite: the steady and mundane urban choreography that we all perform together. My grids are the culmination of the dances I’ve witnessed on a world-class stage: New York.
Thanks to Michael McPherson.
so this is another 'fixed' camera: she must put them on a tripod. there's an article here,
this would be good to show everyone. because she's using basic grids: two, our across, six - three above, three below and nine.
but i can't seem to rip this website at all.
aha! here's a close close close and CLOSER
THE CITY VISIBLE She Is a Camera
THE first question I am usually asked about my recent work is: “Do people know you’re taking their picture?”
Wendy RichmondA diarist of the day-to-day captures images of people when they're not looking.Multimedia
Video Feature
The Daily Show
Wendy Richmond, an artist, writer and educator, writes the Design Culture column in Communication Arts magazine. Her cellphone work was recently exhibited in a solo show at the Museum of Photographic Arts in San Diego.
Almost never. In the three years that I have been shooting with my cellphone camera, I’ve recorded more than 1,600 tiny, silent, 15-second videos, and I’ve been confronted only once. The woman looked straight at me and said: “I know what you’re doing. You’re going to put my face on someone else’s body on some porn Web site.”
“No, I’m not,” I replied. But I deleted her picture and put my phone away.
Like the thousands of surveillance cameras that watch us 24/7, I record the daily activities of city life: people waiting for the subway, walking their dogs, watching a parade, window shopping. But my goal is not to catch something out of the ordinary. In this project, which I call “Public Privacy: Wendy Richmond’s Surreptitious Cellphone,” I seek just the opposite: the steady and mundane urban choreography that we all perform together. My grids are the culmination of the dances I’ve witnessed on a world-class stage: New York.
I shoot with my cellphone because it is like a periscope, allowing me to stare without being noticed. I look like everyone else who is texting, Web surfing or checking messages.
I also use my cellphone because it feels right to employ a ubiquitous 21st-century tool to record 21st-century city dwellers. Almost all of us have one, and for all I know, someone is recording me right now, as I write these words on my laptop at a small outdoor cafe (under the gaze of a surveillance camera).
Wendy Richmond
A diarist of the day-to-day captures images of people when they're not looking.
Multimedia
Video FeatureThe Daily Show
Wendy Richmond, an artist, writer and educator, writes the Design Culture column in Communication Arts magazine. Her cellphone work was recently exhibited in a solo show at the Museum of Photographic Arts in San Diego.
“No, I’m not,” I replied. But I deleted her picture and put my phone away.
Like the thousands of surveillance cameras that watch us 24/7, I record the daily activities of city life: people waiting for the subway, walking their dogs, watching a parade, window shopping. But my goal is not to catch something out of the ordinary. In this project, which I call “Public Privacy: Wendy Richmond’s Surreptitious Cellphone,” I seek just the opposite: the steady and mundane urban choreography that we all perform together. My grids are the culmination of the dances I’ve witnessed on a world-class stage: New York.
I shoot with my cellphone because it is like a periscope, allowing me to stare without being noticed. I look like everyone else who is texting, Web surfing or checking messages.
I also use my cellphone because it feels right to employ a ubiquitous 21st-century tool to record 21st-century city dwellers. Almost all of us have one, and for all I know, someone is recording me right now, as I write these words on my laptop at a small outdoor cafe (under the gaze of a surveillance camera).
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