JUNE 2024: Featured Artist
When New York City Went "DARK"
An interview with Fine Art Photographer
Mark Stephen Kornbluth
Mark Stephen Kornbluth in Front of The Booth Theatre
Photo Courtesy: Mark Stephen Kornbluth |
Born in San Francisco in 1966, Mark Stephen Kornbluth was raised in Montreal, then Cleveland. Mark has lived in Toronto, Los Angeles, and Westchester County, New York, but since 2002, he has made New York City his home.
Mark will tell you that he has always had a camera with him for as long as he can remember, but that for much of his life, he was an artist in search of a medium. As a teen, he secured an internship as a production assistant, converted that to an assistant stage manager role through ambition, a keen mind, and an infectious energy, and spent ten years in the theatrical arts — touring Broadway shows around the country, and working in film and television. Mark has studied a range of academic disciplines including art history, literature, psychology, and art therapy. It is no surprise then that his dramatic talents, wandering intellect, and insatiable curiosity find a home in the work of a fine art photographer. At once he is screenwriter, stage manager, director, and producer, an explorer of his world through the lens. Mark holds an M.F.A. in acting from Sarah Lawrence College, where he studied with such greats as photographer Joel Sternfeld, actor and director Paul Austin, and dancer and choreographer Sara Rudner. |
Mark discusses his DARK series: "Despite the sudden and lasting emptiness that the pandemic gave rise to, I discovered a delightful tension, a sense of Broadway waiting for the promise and renewal that art invariably brings. I’m deeply curious about relationships between objects, how emotions are rooted in time and place, and how to create the power of a shared experience.”
What inspired you to take photos of iconic Broadway venues during the COVID pandemic?
Photographing people on location in New York City has called me ever since I first visited thirty years ago. The city became the main subject of my work in the Spring of 2020. I was deeply disappointed in the photography I was seeing on TV during lockdown. I decided to go out and make the images I was longing for.
My life is deeply tied to this city, to Times Square and Broadway. It started here, and I always return to this place; I worked in theater professionally, and many of my close friends still do. It seemed like a natural gateway to exploring what compelled so many people to stay during lockdown.
Photographing people on location in New York City has called me ever since I first visited thirty years ago. The city became the main subject of my work in the Spring of 2020. I was deeply disappointed in the photography I was seeing on TV during lockdown. I decided to go out and make the images I was longing for.
My life is deeply tied to this city, to Times Square and Broadway. It started here, and I always return to this place; I worked in theater professionally, and many of my close friends still do. It seemed like a natural gateway to exploring what compelled so many people to stay during lockdown.
Majestic & St. James (DARK Series)
© Mark Stephen Kornbluth
© Mark Stephen Kornbluth
The empty streets exude an eerie feeling, but the juxtaposition of the colorful signage and beautiful lighting quashes a doom and gloom or apocalyptic feel.
Every project I begin starts by embracing questions, rather than searching for answers or explanations. The city is a marvelous place, and the pandemic gave a unique opportunity to more deeply explore why. I discovered a delightful tension of promise and renewal, all over the city. I was fascinated on how the ambient light and billboards became my studio lights, helping me make images.
Every project I begin starts by embracing questions, rather than searching for answers or explanations. The city is a marvelous place, and the pandemic gave a unique opportunity to more deeply explore why. I discovered a delightful tension of promise and renewal, all over the city. I was fascinated on how the ambient light and billboards became my studio lights, helping me make images.
Ambassador 2 (DARK Series)
© Mark Stephen Kornbluth |
Imperial (DARK Series)
© Mark Stephen Kornbluth |
As the city that never sleeps, is she (Manhattan) waiting for the crowds? Is the city saying, "I'm here when you're ready?”
The city is an accretion of ideas and actions. As New Yorkers, and as tourists, we are in a constant dialogue with who the city is — it’s effect on us and how we sculpt the evolution of New York City. Who’s to say how the city perceives time relative to how we do. ‘She’ inspires us, we contribute back, sometimes quickly, sometimes slowly. It’s a beautiful dialogue, one I continue to explore, often late at night. I’ve discovered this is when the city is more saturated in color and most alive.
Performance artists had a particularly tough time during the pandemic. It's apropos that you captured the Tina billboard at Lunt-Fontanne Theatre. Ms. Turner's comeback story was inspirational. I'm sure this was deliberate.
My neighbor’s child played Tina as a child in that show. This also happens to be the first theater I photographed after my father passed away (not from COVID, but during the pandemic). I was captivated by all the signage, especially of Tina, as well as at the Booth Theatre and Richard Rodgers Theatre. The dramatized language and narrative in the signage, contrasted with the stillness of the mise-en-scene was engaging. I pay close attention to what billboards display when looking through the camera.
The city is an accretion of ideas and actions. As New Yorkers, and as tourists, we are in a constant dialogue with who the city is — it’s effect on us and how we sculpt the evolution of New York City. Who’s to say how the city perceives time relative to how we do. ‘She’ inspires us, we contribute back, sometimes quickly, sometimes slowly. It’s a beautiful dialogue, one I continue to explore, often late at night. I’ve discovered this is when the city is more saturated in color and most alive.
Performance artists had a particularly tough time during the pandemic. It's apropos that you captured the Tina billboard at Lunt-Fontanne Theatre. Ms. Turner's comeback story was inspirational. I'm sure this was deliberate.
My neighbor’s child played Tina as a child in that show. This also happens to be the first theater I photographed after my father passed away (not from COVID, but during the pandemic). I was captivated by all the signage, especially of Tina, as well as at the Booth Theatre and Richard Rodgers Theatre. The dramatized language and narrative in the signage, contrasted with the stillness of the mise-en-scene was engaging. I pay close attention to what billboards display when looking through the camera.
Lunt-Fontanne (DARK Series)
© Mark Stephen Kornbluth
© Mark Stephen Kornbluth
The Who's Afraid of Virginia Woolf signage also speaks volumes. Were you bent on capturing the signage that also told the story as much as color/lighting?
Absolutely. The only self-portrait I’ve ever executed was done below it.
Absolutely. The only self-portrait I’ve ever executed was done below it.
Self-Portrait at Booth Theatre (DARK Series)
© Mark Stephen Kornbluth
© Mark Stephen Kornbluth
Is there someone in your field you've found particularly inspiring?
There are so many that it’s hard to narrow it down. If I’m not shooting, I’m editing; if I’m not editing, I’m studying. I spend a lot of time online in galleries and at museums, looking for artists new to me, both current and past. Each new discovery pushes me into a new direction. I’m drawn to links in articles in The New York Times, Artnet, and Vulture, for example, that refer to an artist or piece of work I am unfamiliar with.
I might look at Helen Frankenthaler and Winslow Homer before working on Nantucket or look for inspiration from Alex Katz or Dan Flavin for New York City photos. I am currently rereading The Artist’s Reality by Mark Rothko, and Art Is Life by Jerry Saltz. I’m always looking to find new inspiration and discover new artists. (I’m a nut for a good sci-fi book, too.)
There are so many that it’s hard to narrow it down. If I’m not shooting, I’m editing; if I’m not editing, I’m studying. I spend a lot of time online in galleries and at museums, looking for artists new to me, both current and past. Each new discovery pushes me into a new direction. I’m drawn to links in articles in The New York Times, Artnet, and Vulture, for example, that refer to an artist or piece of work I am unfamiliar with.
I might look at Helen Frankenthaler and Winslow Homer before working on Nantucket or look for inspiration from Alex Katz or Dan Flavin for New York City photos. I am currently rereading The Artist’s Reality by Mark Rothko, and Art Is Life by Jerry Saltz. I’m always looking to find new inspiration and discover new artists. (I’m a nut for a good sci-fi book, too.)
Booth (DARK Series)
© Mark Stephen Kornbluth |
Richard Rodgers (DARK Series)
© Mark Stephen Kornbluth |
Is there anything new on the horizon or plans for the summer you’d like to share?
The last 17 months have been quite busy. I had a solo show and several group shows, as well as art fairs. The schedule has split my focus in three areas: production of prints, public facing engagements, and my typical shooting and editing schedule.
I’ve been looking forward to dedicating this summer to focus solely on developing the work I’m currently pursuing and exploring — new thoughts I have for future work. I’m an introvert by nature, and I’m looking forward to some quiet time, late night, in the city. It’s where I’m most at peace, and where I feel most alive.
As to the new work…
I’m not superstitious, but I also keep new projects close to my vest. But I will say that I always have several series cooking at once. The two that are keeping my attention the most take my work in new directions. Hopefully, the style and conceptual rigor will help people see that it’s ‘my’ work more deeply than seeing the same approach in a new location.
The last 17 months have been quite busy. I had a solo show and several group shows, as well as art fairs. The schedule has split my focus in three areas: production of prints, public facing engagements, and my typical shooting and editing schedule.
I’ve been looking forward to dedicating this summer to focus solely on developing the work I’m currently pursuing and exploring — new thoughts I have for future work. I’m an introvert by nature, and I’m looking forward to some quiet time, late night, in the city. It’s where I’m most at peace, and where I feel most alive.
As to the new work…
I’m not superstitious, but I also keep new projects close to my vest. But I will say that I always have several series cooking at once. The two that are keeping my attention the most take my work in new directions. Hopefully, the style and conceptual rigor will help people see that it’s ‘my’ work more deeply than seeing the same approach in a new location.
Golden (DARK Series)
© Mark Stephen Kornbluth |
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Music Box (DARK Series)
© Mark Stephen Kornbluth |
