Digital Culture, Curated. Quantum is an NFT platform for artists and collectors to share their work with the world.

Quantum Art

Alberto arrived in NYC in 1965 to follow his passion as a Fashion photographer. Moving away from straight point and shoot images, he sought to change the way people saw fashion and beauty photography. Albertos early fashion work makes use of this by breaking away from his contemporaries and creating a sense of theatre, dance, and beauty that speak through his photographs, and border on the sublime. His painting, design, and graphic art background at the Accademia delle Bella Arti di Brera, Milan, as well as his training as a classical ballet dancer influenced much of his work. These inspirations are exemplified by his use of silhouettes, shadows, and illustrative elements in his early fashion photography. 

In the mid 80s Alberto had a studio in NYC on Mulberry and Grand where the top floor was used as a workspace. He would often sit at the corner window in the afternoons and watch people on the street. This was the inspiration for what would become a 10-year journey of Shadow Series photographs. Every day at 4pm, Alberto would photograph the shadows of people going about their business from his perch above - this imbued the photographs with a duality rarely seen in life imitating art.

Albertos inspiration for the Cut Out Paper Series was oddly enough, a chance occurrence of a roll of calculator paper falling onto the floor into the sunlight. This would lead to his fascination with cutting and forming paper into the abstract art you see in the beautiful images that continued to evolve as a series for decades. Alberto would turn seamless paper into cut outs of human forms and place them in reverse shadow boxes to later photograph. This work expanded as he began incorporating his existing photographs, playing with colors and layering in his darkroom and combining the images into truly surreal art. 

Albertos illustrious career as a photographer and artist spans nearly 40 years and has evolved from his early Fashion work, to the Shadow Series, through the Paper Cut Out Series, to his fine art paintings. Throughout his lifetime, Alberto would experiment with many different mediums, concepts, and styles spanning into both analogue and digital - all of which has led to The Rizzo Genesis Collection, a representation of his finest works using all of these original concepts and musings.


Gel Series with Pixels - In this collage we see Alberto layering his gel series with pixilation morphing this series into a more complex version of depth and perception behind and in front of the collage. Having just found out he had leukemia he was on a mission to create his art with the time he had left.

Rizzo Collection #88

Alberto arrived in NYC in 1965 to follow his passion as a Fashion photographer. Moving away from straight point and shoot images, he sought to change the way people saw fashion and beauty photography. Albertos early fashion work makes use of this by breaking away from his contemporaries and creating a sense of theatre, dance, and beauty that speak through his photographs, and border on the sublime. His painting, design, and graphic art background at the Accademia delle Bella Arti di Brera, Milan, as well as his training as a classical ballet dancer influenced much of his work. These inspirations are exemplified by his use of silhouettes, shadows, and illustrative elements in his early fashion photography. 

In the mid 80s Alberto had a studio in NYC on Mulberry and Grand where the top floor was used as a workspace. He would often sit at the corner window in the afternoons and watch people on the street. This was the inspiration for what would become a 10-year journey of Shadow Series photographs. Every day at 4pm, Alberto would photograph the shadows of people going about their business from his perch above - this imbued the photographs with a duality rarely seen in life imitating art.

Albertos inspiration for the Cut Out Paper Series was oddly enough, a chance occurrence of a roll of calculator paper falling onto the floor into the sunlight. This would lead to his fascination with cutting and forming paper into the abstract art you see in the beautiful images that continued to evolve as a series for decades. Alberto would turn seamless paper into cut outs of human forms and place them in reverse shadow boxes to later photograph. This work expanded as he began incorporating his existing photographs, playing with colors and layering in his darkroom and combining the images into truly surreal art. 

Albertos illustrious career as a photographer and artist spans nearly 40 years and has evolved from his early Fashion work, to the Shadow Series, through the Paper Cut Out Series, to his fine art paintings. Throughout his lifetime, Alberto would experiment with many different mediums, concepts, and styles spanning into both analogue and digital - all of which has led to The Rizzo Genesis Collection, a representation of his finest works using all of these original concepts and musings.


Luna Park 4 - In this photograph, part of the early gel series, Alberto cut out colored gels placing them on a light box, then photographed the image and proceeded into the darkroom to change the background color to black. This photo reflects his love of music which you can almost hear playing in the background. Fun fact: Alberto used to carry cut out colored gels in his pocket and whenever he had a chance he would take them out and play with them on a lightbox. This went on for decades.

Rizzo Collection #73

Alberto arrived in NYC in 1965 to follow his passion as a Fashion photographer. Moving away from straight point and shoot images, he sought to change the way people saw fashion and beauty photography. Albertos early fashion work makes use of this by breaking away from his contemporaries and creating a sense of theatre, dance, and beauty that speak through his photographs, and border on the sublime. His painting, design, and graphic art background at the Accademia delle Bella Arti di Brera, Milan, as well as his training as a classical ballet dancer influenced much of his work. These inspirations are exemplified by his use of silhouettes, shadows, and illustrative elements in his early fashion photography. 

In the mid 80s Alberto had a studio in NYC on Mulberry and Grand where the top floor was used as a workspace. He would often sit at the corner window in the afternoons and watch people on the street. This was the inspiration for what would become a 10-year journey of Shadow Series photographs. Every day at 4pm, Alberto would photograph the shadows of people going about their business from his perch above - this imbued the photographs with a duality rarely seen in life imitating art.

Albertos inspiration for the Cut Out Paper Series was oddly enough, a chance occurrence of a roll of calculator paper falling onto the floor into the sunlight. This would lead to his fascination with cutting and forming paper into the abstract art you see in the beautiful images that continued to evolve as a series for decades. Alberto would turn seamless paper into cut outs of human forms and place them in reverse shadow boxes to later photograph. This work expanded as he began incorporating his existing photographs, playing with colors and layering in his darkroom and combining the images into truly surreal art. 

Albertos illustrious career as a photographer and artist spans nearly 40 years and has evolved from his early Fashion work, to the Shadow Series, through the Paper Cut Out Series, to his fine art paintings. Throughout his lifetime, Alberto would experiment with many different mediums, concepts, and styles spanning into both analogue and digital - all of which has led to The Rizzo Genesis Collection, a representation of his finest works using all of these original concepts and musings.


Cut Out 2 - In this Cut Out Paper Series, we will explore Alberto's fascination with creating images by cutting out paper and forming it into images! This image, Cutout 2, was created in the 1980s by taking seamless paper and cutting strips and folding the paper into a black lined reverse shadowbox and photographing the results! The umbilical feel of Cutout 2 resonates with the seamless flow of the paper unfolding before us.

Rizzo Collection #51

Alberto arrived in NYC in 1965 to follow his passion as a Fashion photographer. Moving away from straight point and shoot images, he sought to change the way people saw fashion and beauty photography. Albertos early fashion work makes use of this by breaking away from his contemporaries and creating a sense of theatre, dance, and beauty that speak through his photographs, and border on the sublime. His painting, design, and graphic art background at the Accademia delle Bella Arti di Brera, Milan, as well as his training as a classical ballet dancer influenced much of his work. These inspirations are exemplified by his use of silhouettes, shadows, and illustrative elements in his early fashion photography. 

In the mid 80s Alberto had a studio in NYC on Mulberry and Grand where the top floor was used as a workspace. He would often sit at the corner window in the afternoons and watch people on the street. This was the inspiration for what would become a 10-year journey of Shadow Series photographs. Every day at 4pm, Alberto would photograph the shadows of people going about their business from his perch above - this imbued the photographs with a duality rarely seen in life imitating art.

Albertos inspiration for the Cut Out Paper Series was oddly enough, a chance occurrence of a roll of calculator paper falling onto the floor into the sunlight. This would lead to his fascination with cutting and forming paper into the abstract art you see in the beautiful images that continued to evolve as a series for decades. Alberto would turn seamless paper into cut outs of human forms and place them in reverse shadow boxes to later photograph. This work expanded as he began incorporating his existing photographs, playing with colors and layering in his darkroom and combining the images into truly surreal art. 

Albertos illustrious career as a photographer and artist spans nearly 40 years and has evolved from his early Fashion work, to the Shadow Series, through the Paper Cut Out Series, to his fine art paintings. Throughout his lifetime, Alberto would experiment with many different mediums, concepts, and styles spanning into both analogue and digital - all of which has led to The Rizzo Genesis Collection, a representation of his finest works using all of these original concepts and musings.


Incontro - This is a photograph of the first silk screen Alberto made. Alberto was hanging out at Andy Warhol's Factory, watching him make fabulous silk screens in the sixties when he got the great idea to make his own! We love the graphic balance of this piece and so did Andy!

Rizzo Collection #32

Alberto arrived in NYC in 1965 to follow his passion as a Fashion photographer. Moving away from straight point and shoot images, he sought to change the way people saw fashion and beauty photography. Albertos early fashion work makes use of this by breaking away from his contemporaries and creating a sense of theatre, dance, and beauty that speak through his photographs, and border on the sublime. His painting, design, and graphic art background at the Accademia delle Bella Arti di Brera, Milan, as well as his training as a classical ballet dancer influenced much of his work. These inspirations are exemplified by his use of silhouettes, shadows, and illustrative elements in his early fashion photography. 

In the mid 80s Alberto had a studio in NYC on Mulberry and Grand where the top floor was used as a workspace. He would often sit at the corner window in the afternoons and watch people on the street. This was the inspiration for what would become a 10-year journey of Shadow Series photographs. Every day at 4pm, Alberto would photograph the shadows of people going about their business from his perch above - this imbued the photographs with a duality rarely seen in life imitating art.

Albertos inspiration for the Cut Out Paper Series was oddly enough, a chance occurrence of a roll of calculator paper falling onto the floor into the sunlight. This would lead to his fascination with cutting and forming paper into the abstract art you see in the beautiful images that continued to evolve as a series for decades. Alberto would turn seamless paper into cut outs of human forms and place them in reverse shadow boxes to later photograph. This work expanded as he began incorporating his existing photographs, playing with colors and layering in his darkroom and combining the images into truly surreal art. 

Albertos illustrious career as a photographer and artist spans nearly 40 years and has evolved from his early Fashion work, to the Shadow Series, through the Paper Cut Out Series, to his fine art paintings. Throughout his lifetime, Alberto would experiment with many different mediums, concepts, and styles spanning into both analogue and digital - all of which has led to The Rizzo Genesis Collection, a representation of his finest works using all of these original concepts and musings.


Abstract Expressionism 7 - In this photomontage, Alberto multi-layered his background of corrugated cardboard with a cutout drawing of paper and gels and brought us into his world of abstract expressionism. At this time Alberto had leukemia and was concentrating on his digital creations.

Rizzo Collection #75

Privileged Mediocrity by Kris Graves examines systemic unfairness in the United States. Using a mix of conceptual and documentary practices, Graves photographs the subtleties of societal power and its impact on the built environment of America and the construction of public and private space. Graves explores how racism, capitalism, and power have shaped our country -- and how that can be seen and experienced in everyday life.

Under the World Trade Center, New York, 2015

Privileged Mediocrity - Under the World Trade Center

Privileged Mediocrity by Kris Graves examines systemic unfairness in the United States. Using a mix of conceptual and documentary practices, Graves photographs the subtleties of societal power and its impact on the built environment of America and the construction of public and private space. Graves explores how racism, capitalism, and power have shaped our country -- and how that can be seen and experienced in everyday life.

Father and Son, Cape Cod, Massachusetts, 2020

Privileged Mediocrity - Father and Son

For the past 30 years, Sally Davies has been documenting the streets of Manhattan. Shes watched neighborhoods negotiate with gentrification, post-9/11 anxiety, economic uncertainty, and a steady stream of if I can make it there, Ill make it anywhere optimism. Davies has taken memorable photographs of ordinary doorways, wet curbs and corners, the glow of bar-grill signs, bodegas, bakery windows, wheelchairs on rooftops, incoming weather, graffiti, and vintage cars. As she has said, You either fall in love with moonlight on a garbage bag or you hate it and move along.*

Davies started the New Yorkers by shifting from her usual view of the urban outdoors to the idea of chronicling the spaces and stories of the natives and transplants who give the city its particular vitality. 

In these portraits, you will meet waitresses, musicians, cab drivers, painters, teachers, shopkeepers, writers, designers, producers, parents, a gossip columnist, and a psychic to the stars, among others. They are singularly sensational, and they attest to multiple jobs, friendships, marriages, divorces, children, and pets. Young and old, straight and gay, casual and formal; they pose in cramped kitchens and elegant living rooms, laying on beds, sitting in bathtubs, surrounded by the surfaces and souvenirs of living. There is an abundance of brick, wood, leather, and metal, and collections of refrigerator magnets, religious and street art, books, Pez dispensers, vinyl records, and plants.

These photographs and texts speak to what all New Yorkers understandto live in this city is to embrace struggle, sacrifice, love, and change. When I spoke with Davies over breakfast in February 2020, I asked her what this project reveals. She said, This is the end of an era. That comment has returned to me repeatedly. This book went to print during a pandemic that stopped the world as we knew it. We were in our homes for hours on end, adapting to new habits, while thinking and feeling deeply about where and how we live. These New York people were right on time.

by Stuart Horodner
*Sally Davies in Michael Ernest Sweets Photographer Sally Davies Discusses Women Street Photographers, HuffPost (December 15, 2015) 

Photographed at her home on the Upper East Side on October 25, 2019.

New Yorkers - Beatrice Moritz

For the past 30 years, Sally Davies has been documenting the streets of Manhattan. Shes watched neighborhoods negotiate with gentrification, post-9/11 anxiety, economic uncertainty, and a steady stream of if I can make it there, Ill make it anywhere optimism. Davies has taken memorable photographs of ordinary doorways, wet curbs and corners, the glow of bar-grill signs, bodegas, bakery windows, wheelchairs on rooftops, incoming weather, graffiti, and vintage cars. As she has said, You either fall in love with moonlight on a garbage bag or you hate it and move along.*

Davies started the New Yorkers by shifting from her usual view of the urban outdoors to the idea of chronicling the spaces and stories of the natives and transplants who give the city its particular vitality. 

In these portraits, you will meet waitresses, musicians, cab drivers, painters, teachers, shopkeepers, writers, designers, producers, parents, a gossip columnist, and a psychic to the stars, among others. They are singularly sensational, and they attest to multiple jobs, friendships, marriages, divorces, children, and pets. Young and old, straight and gay, casual and formal; they pose in cramped kitchens and elegant living rooms, laying on beds, sitting in bathtubs, surrounded by the surfaces and souvenirs of living. There is an abundance of brick, wood, leather, and metal, and collections of refrigerator magnets, religious and street art, books, Pez dispensers, vinyl records, and plants.

These photographs and texts speak to what all New Yorkers understandto live in this city is to embrace struggle, sacrifice, love, and change. When I spoke with Davies over breakfast in February 2020, I asked her what this project reveals. She said, This is the end of an era. That comment has returned to me repeatedly. This book went to print during a pandemic that stopped the world as we knew it. We were in our homes for hours on end, adapting to new habits, while thinking and feeling deeply about where and how we live. These New York people were right on time.

by Stuart Horodner
*Sally Davies in Michael Ernest Sweets Photographer Sally Davies Discusses Women Street Photographers, HuffPost (December 15, 2015) 

Photographed at his West Village home on April 23, 2019.

New Yorkers - Danny Fields

For the past 30 years, Sally Davies has been documenting the streets of Manhattan. Shes watched neighborhoods negotiate with gentrification, post-9/11 anxiety, economic uncertainty, and a steady stream of if I can make it there, Ill make it anywhere optimism. Davies has taken memorable photographs of ordinary doorways, wet curbs and corners, the glow of bar-grill signs, bodegas, bakery windows, wheelchairs on rooftops, incoming weather, graffiti, and vintage cars. As she has said, You either fall in love with moonlight on a garbage bag or you hate it and move along.*

Davies started the New Yorkers by shifting from her usual view of the urban outdoors to the idea of chronicling the spaces and stories of the natives and transplants who give the city its particular vitality. 

In these portraits, you will meet waitresses, musicians, cab drivers, painters, teachers, shopkeepers, writers, designers, producers, parents, a gossip columnist, and a psychic to the stars, among others. They are singularly sensational, and they attest to multiple jobs, friendships, marriages, divorces, children, and pets. Young and old, straight and gay, casual and formal; they pose in cramped kitchens and elegant living rooms, laying on beds, sitting in bathtubs, surrounded by the surfaces and souvenirs of living. There is an abundance of brick, wood, leather, and metal, and collections of refrigerator magnets, religious and street art, books, Pez dispensers, vinyl records, and plants.

These photographs and texts speak to what all New Yorkers understandto live in this city is to embrace struggle, sacrifice, love, and change. When I spoke with Davies over breakfast in February 2020, I asked her what this project reveals. She said, This is the end of an era. That comment has returned to me repeatedly. This book went to print during a pandemic that stopped the world as we knew it. We were in our homes for hours on end, adapting to new habits, while thinking and feeling deeply about where and how we live. These New York people were right on time.

by Stuart Horodner
*Sally Davies in Michael Ernest Sweets Photographer Sally Davies Discusses Women Street Photographers, HuffPost (December 15, 2015) 

Photographed with their dog Barkley at their Chelsea home on
December 16, 2019.

New Yorkers - Gillian McCain and Jim Marshall

For the past 30 years, Sally Davies has been documenting the streets of Manhattan. Shes watched neighborhoods negotiate with gentrification, post-9/11 anxiety, economic uncertainty, and a steady stream of if I can make it there, Ill make it anywhere optimism. Davies has taken memorable photographs of ordinary doorways, wet curbs and corners, the glow of bar-grill signs, bodegas, bakery windows, wheelchairs on rooftops, incoming weather, graffiti, and vintage cars. As she has said, You either fall in love with moonlight on a garbage bag or you hate it and move along.*

Davies started the New Yorkers by shifting from her usual view of the urban outdoors to the idea of chronicling the spaces and stories of the natives and transplants who give the city its particular vitality. 

In these portraits, you will meet waitresses, musicians, cab drivers, painters, teachers, shopkeepers, writers, designers, producers, parents, a gossip columnist, and a psychic to the stars, among others. They are singularly sensational, and they attest to multiple jobs, friendships, marriages, divorces, children, and pets. Young and old, straight and gay, casual and formal; they pose in cramped kitchens and elegant living rooms, laying on beds, sitting in bathtubs, surrounded by the surfaces and souvenirs of living. There is an abundance of brick, wood, leather, and metal, and collections of refrigerator magnets, religious and street art, books, Pez dispensers, vinyl records, and plants.

These photographs and texts speak to what all New Yorkers understandto live in this city is to embrace struggle, sacrifice, love, and change. When I spoke with Davies over breakfast in February 2020, I asked her what this project reveals. She said, This is the end of an era. That comment has returned to me repeatedly. This book went to print during a pandemic that stopped the world as we knew it. We were in our homes for hours on end, adapting to new habits, while thinking and feeling deeply about where and how we live. These New York people were right on time.

by Stuart Horodner
*Sally Davies in Michael Ernest Sweets Photographer Sally Davies Discusses Women Street Photographers, HuffPost (December 15, 2015) 

Photographed at her Lower East Side apartment on October 30, 2019.

New Yorkers - Penny Arcade

My life will forever be intertwined with Ethiopia. In my teenage days, this country is where I first found my vision as a photographer. Later, Ethiopia would be where I found my home and my soul mate. ETHIOPIAis a monolithic collection of my images captured over the course of thirteen years. It is an ode to every region of the country and a celebration of all the unique peoples found within. These seemingly disconnected cultural threads are woven together in a cohesive visual style in order to truly see Ethiopia which itself is the sum of all the diverse lands and theproud people who inhabit it.

The dignified vision found in the portraits is not to obscure other searing
realities within Ethiopia, such as the wealth inequality and traumatic conflict
spread across the country. It is to highlight the prestige I have always
recognized here. This collection is about the timeless and pure things that
have withstood the politics of the day, and to challenge the way the outside
world can perceive this country. This is my tribute to the enduring Ethiopia.

Porridge is prepared in a traditional Anuak kitchen. Anuak, Gambela Region, Ethiopia.

Location - Ethiopia Medium - digital capture Series - Ethiopia

Ethiopia - A Handmade Anuak Kitchen and Fireplace

My life will forever be intertwined with Ethiopia. In my teenage days, this country is where I first found my vision as a photographer. Later, Ethiopia would be where I found my home and my soul mate. ETHIOPIAis a monolithic collection of my images captured over the course of thirteen years. It is an ode to every region of the country and a celebration of all the unique peoples found within. These seemingly disconnected cultural threads are woven together in a cohesive visual style in order to truly see Ethiopia which itself is the sum of all the diverse lands and theproud people who inhabit it.

The dignified vision found in the portraits is not to obscure other searing
realities within Ethiopia, such as the wealth inequality and traumatic conflict
spread across the country. It is to highlight the prestige I have always
recognized here. This collection is about the timeless and pure things that
have withstood the politics of the day, and to challenge the way the outside
world can perceive this country. This is my tribute to the enduring Ethiopia.

Priests of the Orthodox Tewahedo Church gather from different corners of the country and sing hauntingly beautiful prayers deep into the night at Bet Amanuel on the eve of Gena. Lalibela, Amhara Region, Ethiopia.

Location - Ethiopia Medium - digital capture Series - Ethiopia

Ethiopia - Priests Sing Hymns on the Eve of Gena

My life will forever be intertwined with Ethiopia. In my teenage days, this country is where I first found my vision as a photographer. Later, Ethiopia would be where I found my home and my soul mate. ETHIOPIAis a monolithic collection of my images captured over the course of thirteen years. It is an ode to every region of the country and a celebration of all the unique peoples found within. These seemingly disconnected cultural threads are woven together in a cohesive visual style in order to truly see Ethiopia which itself is the sum of all the diverse lands and theproud people who inhabit it.

The dignified vision found in the portraits is not to obscure other searing
realities within Ethiopia, such as the wealth inequality and traumatic conflict
spread across the country. It is to highlight the prestige I have always
recognized here. This collection is about the timeless and pure things that
have withstood the politics of the day, and to challenge the way the outside
world can perceive this country. This is my tribute to the enduring Ethiopia.

Yemisirach looks out the window of her former office at African Renaissance Television Service, which has a view of Medhane Alem Cathedral. Addis Ababa, Ethiopia.

Location - Ethiopia Medium - digital capture Series - Ethiopia

Ethiopia - Yemisirach, Film Production Manager

I suppose I could make a work where the sun is shining, the mom is lying out in the grass, the kids are happy, and everything is perfect, but that wouldnt interest meand it wouldnt be truthful. My aim is to create a more nuanced, subtly humorous and satirical portrait of the way we live today. - Julie Blackmon

The playfully artful and chaotic elements present in the photographs of Julie Blackmon (American, b. 1966) are drawn from the everyday people and places of Blackmons daily routine in her hometown of Springfield, Missouri, which she describes as a generic American town in the middle of the United States. At first glance, the works may conjure backyard paradises of children at play; a closer look reveals children alone in backyards, garages, and neighborhoods, where the absence of adults suggests a looming potential for danger. The images brim with fantasy and subtle satire that capture a delicate balance between the darkness and charm of contemporary American life.

Blackmon carefully sets her scenes, but like film and theater
directors, she is in pursuit of unscripted moments that provoke,
disturb, and challenge the viewer. Some of the images reference
paintings by Dutch masters, French impressionists, and such modern painters as Hopper and Balthus, but they are updated with a satirical, penetrating eye and Blackmons belief that artful fiction can capture the truth more memorably than the truth itself.

#56

Homegrown - Masks

I suppose I could make a work where the sun is shining, the mom is lying out in the grass, the kids are happy, and everything is perfect, but that wouldnt interest meand it wouldnt be truthful. My aim is to create a more nuanced, subtly humorous and satirical portrait of the way we live today. - Julie Blackmon

The playfully artful and chaotic elements present in the photographs of Julie Blackmon (American, b. 1966) are drawn from the everyday people and places of Blackmons daily routine in her hometown of Springfield, Missouri, which she describes as a generic American town in the middle of the United States. At first glance, the works may conjure backyard paradises of children at play; a closer look reveals children alone in backyards, garages, and neighborhoods, where the absence of adults suggests a looming potential for danger. The images brim with fantasy and subtle satire that capture a delicate balance between the darkness and charm of contemporary American life.

Blackmon carefully sets her scenes, but like film and theater
directors, she is in pursuit of unscripted moments that provoke,
disturb, and challenge the viewer. Some of the images reference
paintings by Dutch masters, French impressionists, and such modern painters as Hopper and Balthus, but they are updated with a satirical, penetrating eye and Blackmons belief that artful fiction can capture the truth more memorably than the truth itself.

#8

Homegrown - Concert

Richard Renaldis Touching Strangers embodies the human desire to connect despite our differences. Renaldi directed strangers to pose in front of a large-format, 8-by-10-inch view camera in towns and cities all over the United States. These startlingly intimate portraits reveal humanity as it could be as most of us wish it would be and as it was, at least for those one fleeting moments in time. These relationships may have only lasted for one moment, but the resulting photographs are moving and provocative, and continue to raise profound questions about the possibilities for breaking down social barriers with positive human connection in a diverse society.

#35

Touching Strangers - Cal and Joshua

Richard Renaldis Touching Strangers embodies the human desire to connect despite our differences. Renaldi directed strangers to pose in front of a large-format, 8-by-10-inch view camera in towns and cities all over the United States. These startlingly intimate portraits reveal humanity as it could be as most of us wish it would be and as it was, at least for those one fleeting moments in time. These relationships may have only lasted for one moment, but the resulting photographs are moving and provocative, and continue to raise profound questions about the possibilities for breaking down social barriers with positive human connection in a diverse society.

#116