James Mercer of The Shins photographed in his room at the Westin Grand in Berlin, Germany for Intro Magazine.

German electronic duo Mouse on Mars photographed at the old East German radio station in Berlin, Germany for Intro Magazine. Got to shoot the whole thing on a Contax T2 with expired film.

Norwegian electronic artist Sandra Kolstad photographed in Berlin for Norwegian publication Klassekampen.

Shepard Fairey for HUCK Magazine #30 Dec ’11 – Jan ’12. Photographed in Asbury Park, New Jersey, September 27, 2011. Read the article.

Fairey, Asbury Park, 2011.

The Black Keys, Berlin, Germany.

1/8

“Alex in the Bywater on Halloween Day, New Orleans, October 31, 2011“ 11×14 Lambda print, 1/8. Contact here

A diptych of two of my photographs, “Watering hole, outskirts of Santa Rosa, New Mexico” and “Luleå, Sweden on New Years Day, 2011” will be on exhibit in a group show at the Freies Museum in Berlin, Germany from January 13 – February 6th, 2012. The show is curated by Aga Szwengier and features installation artists, sculpture, paint, design and photography. The opening is on January 13th, 2012 @ 7 pm.

FREIES MUSEUM BERLIN

Potsdamer Straße 91

10785 Berlin

Germany

+49 (0) 179 921 21 46

office@freies-museum.com

HERE, a photography blog by Harry Hardie, featured some photographs from Memory Loss.

Here is from where the text was taken from, a partial statement on Memory Loss:

I’m interested in the connection between how we as Americans present ourselves and our familiar environments and the subsequent disconnects created when we forget how we appear. In a time when our shared culture is represented in such polarising extremes, I looked for the line between me, the drifting outsider, and the scene that strives to appear one way but appears to me another.

I try to use my own feelings of separation from each place as tool itself. They may remind me of a distant memory or recent experience. More closely they remind me of growing up half-white and half-black with a desire to have something I could say I belonged to; something that represented me. If identity is what I am compelled to point my camera at, then my own identity can prove useful.

The road becomes the palette for ideas from seemingly unrelated subject matter. Nothing is sought out, nothing is planned; a controlled outlook on a uncontrolled reality. As my views on my own American identity shifts, so do the photograph’s themes of disconnection expand or contract, diverge or realign.

It is vital to the process that I question my motives and methods. I find photographs are as much about presentation as the situations and scenes they show. To look across the American landscape and reasonably discern a mood or temperature of one larger idea presents a conflict in how I relate to my own country. I don’t see my culture as a saturated red, white and blue. The photograph can’t summarise who we are in these terms.

Questioning how other people wish to identify themselves propelled me to look at this project in a more nonlinear way. In the brightness of the afternoon sun we all share a social space. We bring our ideas of selves into the common sphere and it is here the undramatic reality of day-to-day existence desaturates and relates us to each other.

Mustafah Abdulaziz

Paris, France 2/12/11

“They had not come here to see each other or to be seen, or even to fulfil a social duty. They were attentive but not passive. They were not spectators. They participated, with a curious, restrained passion, in the speech made by the red-haired man. He spoke for them, he made their thoughts articulate. They were listening to their own collective voice. At intervals they applauded it, with sudden spontaneous violence. Their passion, their strength of purpose elated me. I stood outside it. One day, perhaps, I should be with it, but never of it.”

- Isherwood, The Berlin Stories, 1945

The Wall Street Journal did a big package called “Life in the Euro Zone” and I was assigned to cover a family in Frankfurt, Germany. Great to be among Massimo Berruti (Italy) and Timothy Fadek (The Netherlands) for this interactive piece, which can be viewed on the WSJ site: Life in the Euro Zone

Chris “Freedom” Pape and his graffiti from the Freedom Tunnel for The New York Times. View the slideshow at NYTimes.com

The Freedom Tunnel.

Freedom's homage to Venus de Milo and Michelangelo’s David.

Artist Chris Pape, 50.

Robert F. Kennedy and the Rev. Dr. Martin Luther King Jr.

Portrait of designer Prabal Gurung preparing for fashion week for The Wall Street Journal.

Portrait of Talking Heads frontman and artist David Byrne for The Wall Street Journal.

David Byrne #1

David Byrne #2

David Byrne #3

My portrait of Hector Ramirez from the Transport Workers Union at the union’s office in The Wall Street Journal‘s 9/11 issue.

Hector Ramirez, former R train conductor.

Two photographs from an assignment in Boonton, New Jersey for The Wall Street Journal of the funeral of Nazish Noorani, who was murdered by gun on Tuesday.

Kerri over at The New York Times wrote a piece on my new project Memory Loss and the approach, called “On the Road, Embracing the Distance.” View the article here.

Tim Barber featured some of my work from this spring fashion week in New York City on his online gallery and image archive TINY VICES. View the whole installment of #67 here.

From the project "New York Fashion Week"

Some of my photographs of Hedi Slimane’s muse Cole Mohr on a shoot in Williamsburg with my friend Darren, who was shooting Cole for RAZOU Australia.

Interview at Yumi Goto’s Reminders blog about an image from my project in north Philadelphia on people coming off heroin at a methadone clinic. View the interview here.

Peggy, March 8, 2010.