Alice ATTIE, Dominos, Harlem on the Verge, Discovery Edition
Alice ATTIE, Ice cream cones, Harlem on the Verge, Discovery Edition
Alice ATTIE, Man reading newspaper, Harlem on the Verge, Discovery Edition
Alice ATTIE, Two Men on a Bench , Harlem on the Verge, Discovery Edition
Alice ATTIE, Dresses, Harlem on the Verge, Discovery Edition
Alice ATTIE, Old man in Harlem, Harlem on the Verge, Discovery Edition
Alice ATTIE, Painted Walls, Harlem on the Verge, Discovery Edition
Alice ATTIE, Phone Booth, Harlem on the Verge, Discovery Edition
Alice ATTIE, Black and White bags, Harlem on the Verge, Discovery Edition
Alice ATTIE, Boys at the Luna Park, Harlem on the Verge, Discovery Edition
Richard Schlang, Atmosphere 02 n°029
Richard Schlang, Entracte 01 n°001
Richard Schlang, Entracte 02 n°029
Richard Schlang, Entracte 06 n°004
Richard Schlang, Summer 03 n°054
Richard Schlang, Entracte 02 n°021
Richard Schlang, Nothing 01 n°001
Richard Schlang, Nothing 01 n°002
Richard Schlang, Nothing 01 n°003
Richard Schlang, Summer 01 n°039
Mitch DOBROWNER, Alabama Hills, 2006
Mitch DOBROWNER, Brain Tree, 2006
Mitch DOBROWNER, Alienscape, 2006
Mitch DOBROWNER, Cloudscape, 2006
Mitch DOBROWNER, Gatekeepers, 2006
Jean-Claude GAUTRAND, Ruelle, Paris Mon Amour
Jean-Claude GAUTRAND, La porte mystérieuse, Paris Mon Amour
Jean-Claude GAUTRAND, Rue Saint-Antoine, Paris Mon Amour
Mitch DOBROWNER, Rain Forest Tree, 2006
Mitch DOBROWNER, Totem Pole, 2006
Mitch DOBROWNER, Valley Oak, 2005
Mitch DOBROWNER, Volcanic Field, 2007
Mitch DOBROWNER, Two Brothers, 2006
Jean-Claude GAUTRAND, Génie de la Bastille,1989, Paris Mon Amour
Jean-Claude GAUTRAND, Port de l'Arsenal, 1987, Paris Mon Amour
Jean-Claude GAUTRAND, Canal Saint-Martin, 1987, Paris Mon Amour
Jean-Claude GAUTRAND, Toits de Paris, 1981, Paris Mon Amour
Jean-Claude GAUTRAND, Génie de la Bastille-2, 1989, Paris Mon Amour
Alice ATTIE, Dominos, Harlem on the Verge, Discovery Edition
Alice ATTIE, Dominos, Harlem on the Verge, Discovery Edition

Alice ATTIE, Dominos, Harlem on the Verge, Discovery Edition

8 x 10 inch (20 x 25 cm),

Framed in a 15,3/4 x 15,3/4 inch board

ed 20

Signed and numbered on the back by the artist.

Certificate of Authenticity + Biography

DISCOVERY EDITION
300,00 €

Museums and private collections (sélection)

The Whitney Museum of American Art

The Jewish Museum

The Studio Museum of Harlem

The Getty Museum, Los Angeles

The Hood Museum, Dartmouth, NH

The Museum of Fine Arts, Houston, Tx

Werner Kramarsky

Howard Stein

Henry Buhl

Martin Margulies

 

The Changing Face of Harlem:
For the better part of a year, photographer Alice Attie set out to document a Harlem in transition. In a remarkable photo essay, she captures the grace and spirit of this historic urban community.

When Alice Attie began photographing these legendary streets, she hoped to document the passing of an era, the changing landscape of old Harlem giving way to the new. But after months spent among the people who call this varied and vibrant community their home, another richer and more complex story began to emerge.

"I rode my bicycle into Harlem every day for a year," says Attie, who lives a short walk away from the heart of this historic neighborhood. "Talking to the people I photographed, I kept hearing similar phrases over and over: 'It was better for us when everybody was afraid to come up here.' "That feeling drastically changed a few years back when the mega-retailers—Disney, Starbucks, Blockbuster—took notice and began moving there in search of untapped dollars.

"This gives new meaning to integration," Attie explains, a word that has become one more euphemism for white conglomerates taking over buildings and land where black-owned shops and mom-and-pop restaurants once flourished. "One sad thing I learned," says Attie, "is that the people of Harlem own only 3% of the property." The other 97% is now selling briskly, at inflated prices most of its population can never hope to afford. "It's hard to see a community so viable and self-sufficient, and to see that self-sufficiency splintering."

Photographing the expressive faces of its residents against backdrops of peeling plaster and the garish, fresh paint of the new, Attie has fashioned an affectionate portrait of a community and a way of life in danger of extinction. But at the heart of these images is a story of resiliency and pride, and a sense of place and history the urban renewal machinery must not erase.