Maurice Kindness
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Man with Graffiti
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Man in Doorway
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Bus Stop
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Chief Little Bull
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Man and White Fence
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Man with Hat
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Man On Window Sill
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Man with Shaky Hands
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Girl
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Tire Man
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Boy
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Man with Gloves
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
High School Students
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Dry Cleaners
Uptown: Photographs Off Broadway, 1985-1987
15, 8x10 Gelatin Silver Contact Prints
When I first came to Chicago, I lived above Mark’s Chop Suey on Broadway. I never had his chop suey, only his cockroaches in my kitchenette. When I walked out onto Broadway with my camera, I could turn right, to witness a cultural experiment of sorts, or left, and head toward the loop, downtown. I always went right, to Uptown, and began this group of pictures. Due to the political climate of the time, a large mental health facility had been closed, forcing patients out, many were homeless. They mixed with the locals and shop owners, and soon were assimilated into the social fabric of the street.
Man with Lunch
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Man and Wall
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Man and Kiosk
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Shoemaker
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Potter
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Woman
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Man with Truck
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Auto Garage
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Man with Groceries
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
A shirt for a Picture
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Cook
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
Shaky Man, twice
Ann Arbor, 1983-1984
12, 8x10 Gelatin Silver Contact Prints
This was my first group using the 8x10, the beginning of a lifelong obsession. Working under the extraordinary tutelage of Professor Phil Davis at the University of Michigan, I made these as much for him as for myself, as he so delighted in seeing them. He easily convinced me to take up the camera after showing me the August Sander print, The Boxer, which he brought in from his private collection.
