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BLACK AND WHITE
Wonderful black and white photography
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Bike kill | Photographer: Julie Glassberg

Bike kill | Photographer: Julie Glassberg | BLACK AND WHITE | Scoop.it

Julie Glassberg on Photographing the Notorious and Unpredictable Black Label Bike Club

 

The Black Label Bike Club is known as the first “outlaw bicycle club.” It was created in 1992 by Jacob Houle and Per Hanson in Minneapolis, Minnesota and has chapters nationwide. They are one of the main contributors to the rise of tall bike culture and organized jousting competitions. This destructive, rebel culture revolves around the unlikeliest non-threatening object: the bicycle.

 

Based out of Brooklyn, Black Label represent a blend of punk, grunge and hippie culture. They are an independent community who sees themselves rebelling against the system. In a society that some feel pushes them to consume, focus on money and overly-use technology, this group of young people seems to be resisting and fighting against it. Their community is mainly based on the bike culture, art and on the real value of relationships.

 

They are a tight family, caring for each other, sharing meals, partying, or creating art together. Amidst an ongoing recession, and social pressures mounting, how does the young generation respond to it? Although they seem to be the carefree, self-destroying youth, they are quite aware of the situation today. As everyone, they love, hate, and also have their fears and concerns.

 

Julie Glassberg is a French born, award winning photographer currently living and working in New York. Her work is mainly based on the diversity of world cultures; subcultures; portraits; documentary projects. These images are from her series, Bike Kill, which documents the culture surrounding the Black Label Bike Club.

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Detroit | Photographer: Ian Willms

Detroit | Photographer: Ian Willms | BLACK AND WHITE | Scoop.it

"Detroit" is an exploration of blue collar America in the wake of globalization. The economic prosperity that came with domestic automotive manufacturing drew many hard-working Americans to Detroit and other industrial cities over the last century. As free trade facilitated the mass-outsourcing of labour, many of America's domestic manufacturing jobs evaporated. The impact this had upon working-class Americans was and continues to be devastating. 

My work in Detroit is a document of the industrial American culture that is quickly beginning to vanish. As old factories lay empty and silent, awaiting their inevitable demolition, fewer and fewer goods are manufactured locally. Free trade has not only taken jobs from the community, but it has also taken the pride away from the workers who remain. From the cars on the street to the clothes on a person's back, goods are now made elsewhere by people that we have never met. America no longer has a use for places like the Detroit, and like so many surplus labourers, the city itself has been abandoned like a broken down, old car. 

For most people, the story ends there. We take our pink slip and swallow that lump in our throat as we pack up and move away. Fortunately, the decades of back-breaking labour that built America made Detroiters into a tough breed. Those who remain in the Motor City display a remarkable level of creativity, resourcefulness and resiliency.

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