Robin Graubard's work, over the past 40 years, has explored and blurred the boundaries between documentary, autobiography, fiction. In the 1980s, Graubard documented aspects of the Lower East Side punk scenes and the nocturnal hustle of a then still dangerous Times Square but also travelled to Eastern Europe, Jamaica and Hawaii. Travelling both East and West on a political and poetical map, Graubard occupies a hard-to-define position in relation to her subjects. There remains a sense of the unresolved at play in her art, a nagging sense that something remains unsaid.
Robin Graubard was born in 1951 and lives and works in New York, USA. She studied film and dance and received a BFA in 1977 from NYU Film School. She has shown her work previously in solo exhibitions at JTT, New York; White Columns, New York and Anthology Film Archives, New York. Group shows include White Columns, New York; Participant Inc., New York and Photographic Research Center, Boston. Her photographs have been published in The New York Times, Paris Match, The Guardian, Time, Newsweek, Der Spiegel, Die Welt and others.
Her work is part of the collection of the Whitney Museum of American Art, New York and the Brooklyn Museum, New York.
Take a Picture It Lasts Longer. Le titre est de ceux que l’on aime. Il va comme un gant autravail de Robin Graubard (États-Unis, 1951) qui s’est souvent plu à en raconter l’origine.La scène se déroule en 1963 dans un cinéma new-yorkais. Âgée de douze ans, Robin a emmené sa frangine voir _From Russia with Love-, le dernier James Bond.
Robin Graubard’s life is essentially the bohemian existence a certain swath of New York transplants had in mind when deciding to move here—the kind filled with recollections like, say, seeing Joey Ramone play an intimate set in an East Village commune. The life glimpsed in the 85 photographs in jungle, the artist’s first show at JTT, seems...
Graubard has been photographing her native New York since the early ’80s. As a photojournalist and artist, the slight, shy figure is able to vanish behind the camera that mostly obscures her face, an unintimidating presence able to get disarmingly close to subjects that are normally wary of documentation.
The exhibition is provocatively installed so as to highlight shifts in scale, printing techniques, and framing. These evoke the relevance of photographs as material objects, as much as the subject matter speaks to the exhibition’s reigning theme of the consequences, and benefits, of nonconformity.