The Barbershop: a Photographic Documentation and Exhibition

Virginia Commonwealth University VCU Scholars Compass

Theses and Dissertations Graduate School

2006

The Barbershop: a photographic documentation and exhibition

Justin K. Howard Virginia Commonwealth University

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sandra wheeler / primary advisor Matt Woolman / Chair

Associate Professor / Department of Communication Arts & Design Associate Professor / Department of Communication Arts & Design

paul thulin / Secondary Advisor Dr. Richard Toscan / Dean

Coordinator Special Projects / Visiting Artist School of the Arts Department of Photography and Film

john Malinoski / Reader Dr. F. Douglas Boudinot / Dean

Associate Professor / Department of Communication Arts & Design School of Graduate Studies

Submitted to the faculty of the School of the Arts at VIrginia Justin Kingsbury Howard

Commonwealth University in partial fulfillment of the requirements Bachelor of Arts / Virginia Tech 2001 for the degree, Master of Fine Arts in Visual Communications. Richmond, Virginia / May 2006 contents

abstract / 01 introduction / 02 problem statement / 03 background / 05 keep moving / 09 methodology / 11 retrospective work / 13 process / 21 the barbershop / 39 exhibition introduction / 41 the exhibition / 53 the promotion / 55 the opening / 59 conclusion / 61 I would like to thank Professor Sandra Wheeler future directions / 62 and the VCU faculty, my classmates, my students, reading and influences / 63 my family, my friends and my Goober for their wisdom, friendship, love and support during the last two years. abstract introduction

In this project I explore the environment that As a designer I am undeniably attracted to form, It is this duality – designer and person – that 01 02 surrounds and frames my life experiences. preferring simplicity and clarity to complexity and creates conflict in attempting to singularly define Interests in form, architecture, vernacular typography ambiguity. I believe that my partiality towards myself. I am a combination of two personalities, and community blend into a photographic formal aesthetics is a direct result of intuition. two parts forming a whole. I do not wish to be documentation – communicating my perceptual For as long as I can remember, form has been defined by either aspect or to force the two into experience of Richmond barbershops through a filter through which I view and construct my compromise. I believe the two can co-exist and public exhibition. perceptual world. influence one another.

However, I am uncomfortable with being This project addresses the duality of my The camera is my tool. Through it I give a reason to everything around me. defined by my design aesthetic. Often times persona by reconciling formalist tendencies André Kertész a formalist aesthetic reflects rigidity and and personal interests through photographic detachment – two qualities with which I do documentation. Careful placement and not want to be associated. The designer juxtaposition of photographs establishes within is part, but not entirely, who I am. I am a grammar and syntax, forming a collective also an expressive son, brother, fiancé, and message and voice that is mine. friend, someone who takes little for granted, is sustained by the simple joys in life, and revitalized by social interactions with people and community. problem statement

My creative project is a photographic I have synthesized my experiences and personal 03 04 docmentation of the barbershops on Broad Street interaction with these barbershops into a body of in Richmond, Virginia and a subsequent work that portrays the men, interactions, and exhibition of the work within the community. visual culture found within them. I have balanced The barbershops of Broad Street are sacred the concrete with the abstract, the static with places where generations of men go to escape the moving, the human with the inanimate, the struggles of daily life, to catch up, to relax, to create rhythm and visual interest throughout to speak freely about sports, women, music and the final series of photographic prints.T he desire politics, and to maybe get their hair cut, their to make a public exhibition of these photographs face shaved or their mustaches trimmed. It is as came from the need to share my experience with much an extension of the home for barbers the community, to be accepted into an unknown and customers alike as it is a business. It is a place world and grant access to others, to create dialogue that promotes a unique sense of fraternity. between different cultures and to celebrate the barbershop’s professionals and patrons. background

In the early stages of my project, my research My photography has been primarily influenced Vernacular is the standard native language of a The term “vernacular” was adopted by the 05 06 was focused primarily on interests in photography, and inspired by Walker Evans, Robert Frank country; locality and the natural, unschooled graphic design discipline in the 1980’s to describe vernacular typography, signage, and Richmond and Edward Weston. I am drawn to the formal sensibility free from the stylistic self-censorship a style appropriating the “untrained” visual history. These topics influenced and informed my beauty and grace of all their photographs. Evans’ of modernism. (American Heritage Dictionary) language of commercial artists. Designers such as process significantly, providing critical insight affinity for architecture, vernacular typography Tibor Kalman and Charles Anderson embraced and understanding. and signage align most closely with my own the vernacular, transforming the unsophisticated attractions. Frank’s early work, The Americans, into high design. I’m inspired by the vernacular Today, almost everyone owns a camera. has been particularly influential as a document of typography found throughout Richmond, We use photographs to record our experiences, American culture through foreign eyes. as it communicates a distinct personality and document our world and hold onto the fleeting voice that is refreshingly “low design.” moments of time. Our environment has become increasingly visually complex and is saturated by images that are added on a daily basis. The photographic image has become a means for dialogue, provocation, disgust and communication. Since its invention photography has changed the way we see, critique and respond to the world. journal / sketchbook pages background continued

Signs are everywhere and are an inherit part Signs also often reflect the character and ethnic This project lives and breathes within the city As the legend states, Richmond, like Rome, 07 08 of our daily lives. They identify, direct, decorate, complexion of a neighborhood, informing the limits of Richmond, Virginia. I spent the was built on seven hills. Since its establishment promote, and advertise. Acting as signatures, public of social and business activities that occur summer learning about its history, its people, in the late 1880’s, the “Seven Hills of Richmond” building signs reveal the taste, character and there. Finally, signs reveal the history of a place and its neighborhoods. This knowledge was legend has caused quite a bit of confusion and personality of their owners. In her book, by allowing the past to speak to the present. purely supplemental to my work until I decided debate as to their identity. To this day the Mixing Messages, Ellen Lupton asserts, “every By focusing on the signage of an area, one could to document the commercial and residential “original” Seven Hills have yet to be officially agreed institution has an image that it projects – potentially determine a great deal about the culture signage found in the present-day “Seven Hills upon, despite a number of valiant efforts. Most deliberately or haphazardly – to its public.” She that resides there. of Richmond.” (see pp. 33 – 35) notable is that of City Councilman John Hirschberg, further comments that, “these images…whether who in 1937, attempted to bring clarity to the ordered out of a catalog or commissioned from issue. He proposed that the “original” Seven Hills a design consultant, speak about the cultural of Richmond were the following; Union Hill, values of its bearer.” Signage is often the first Church Hill, Council Chamber Hill, Shockoe Hill, form of identification we encounter as we pass Gambles Hill, Navy Hill, and French Garden Hill by a building – many times providing our first (Richmond Times Dispatch, 1937). The ordinance and lasting impression of the place. was never passed as no corroborating evidence could be found. So, the legend continues…

journal / sketchbook pages keep moving

My design process takes place along the For much of the fall semester I was completely Moving ahead, making, and thinking relieved many 09 10 continuum of creative acts and critical lost. I didn’t know what I wanted to focus of my frustrations, and in the end, lead me to the thought. Often I work through the pains of on, and with no direction, the weight of the idea of exploring the barbershops of Broad Street. uncertainty and confusion by simply making creative project became oppressive at times. I learned that being lost is sometimes the only way things. Materializing an idea or concept In an attempt to free myself, I let go and to find where you’re going. provides me with a tangible thing to reference experimented; I put down the books and started and evaluate. This process was extremely making. My experimentations took the form helpful in working through and defining my of collages, mapping exercises, posters, books, creative project problem. experiments with varied photography techniques, typographic studies, and explorations of type and image. My primary source of observation and documentation is through the lens of my camera. It is the way I organize and make sense of the world and therefore an integral component of my design process. methodology

My photographic method is one of capturing My role is as much director as spectator, My goal was to depict the spirit of the barbershop, 11 12 reality through total absorption in my subject moving around, changing angles, watching, to document the culture and community that and is successful only through active participation. framing, listening, and anticipating. The lives and breathes within its walls, to gain an Upon first entering the barbershop, I am camera lens, recording experience one click understanding of a culture that is not my own, unavoidably met by looks of inspection and at a time, frames a sensitive and attentive eye. and to eventually be accepted as a part of that resistance. A foreigner in another man’s home, Through immersion and eventual acceptance, community – to no longer be a foreigner. I left the I am an intruder. Not only am I opposite in color, my presence becomes invisible, my camera shops after each visit with a photographic record I carry a potentially invasive tool in hand. An unobtrusive, and my photographs authentic. of my intimate ephemeral experiences, anxious to attempt to mediate the assumed conflict is done Inherently a duality arises – a sense of share my stories. through open dialogue and explanation of detachment is achieved only by absolute intentions. Access is then granted. involvement. I am there; I am part of the scene, though I am absent in the final photographs. The person who intervenes cannot record; This approach allows me the opportunity to the person who is recording cannot intervene. capture the true emotions and actions of my susan sontag subject without compromise. retrospective work

13 14 final photographs

intermediate photography / paul thulin contact sheet detail

I pursued my first photographic exploration Having just begun graduate school and living in I utilized extreme angles, high contrast and I strove to create new experiences and of Richmond through an elective course Shockoe Bottom, my experiences were framed selective framing to accomplish my goal of relationships with everyday objects and spaces during my first semester in an intermediate by new urban surroundings. The harsh industrial composed formal unity. The view became my through a fresh perspective of the subject photography class. The course was focused textures and forms of buildings and exterior voice – creating an abstracted visual reflection matter. In the end, each photograph was a direct on the development of a personal voice; spaces engaged my eye. When viewing this of reality. expression of my personal experience with mine became one of form. environment, I immediately begin to filter what my environment. I saw into compositions of line and form. matrix studies visual explorations

15 16

recycling project / john malinoski found objects

We were asked to collect found objects from Through this fresh perspective, I developed an Matrix studies and visual explorations were the city to form a matrix for identity development affinity and appreciation for the discarded then developed and applied to a visual identity of Richmond’s recycling effort. I found myself objects I encounter on a daily basis. This project system consisting of a mark, uniforms and looking down everywhere I went and was amazed allowed me to explore my urban environment recycling vehicles. at the bounty of inspiration that lay beneath in a new way. my feet. concept sketches

I am interested in the act of exploration More specifically, I am interested in how the act 17 18 because it encourages creativity and allows of exploration creates new relationships with for serendipitous invention. Exploration everyday objects and surroundings. By actively functions as an active process of investigation investigating a space or object on both micro with the purpose of discovery. and macro levels, a greater understanding and fresh perspective results. The explorer is lead to previously unconsidered possibilities.

exploration project / laura chessin photographic journal

In this project we were asked to identify and I used my camera to document and study a specific child developmental skill and communicate my creative process in investigate it through development of a toy, the form of a photographic journal. visual identity system and website. I chose the concept of exploration as a motif for this workshop. In studying exploration I gained an understanding of my own creative process. paper wire posters

19 20

green project / sandra wheeler urban lines light

During the fall semester, we were asked to I experimented with my camera, using it to not The conceptual basis for these formal line explore green conceptually. For me, green only capture images, but to create new ones. studies was the infinite and continuous nature represented personal growth. My process for By taking long exposures and physically moving of personal growth. In the end, I applied my this project was focused and laterally moving. my camera around and tracing the path of studies to a series of posters dealing with the I was interested in how a singular concept could letterforms, I was able to generate the image creative process. represent itself across mediums. above. Through this process, city lights are transformed into typographic form. process carytown map w av ond st m s dooley av s dooley av thompson st nanse

s crensha 23 24 21 22

W cary st ond st m

carytown nanse freedman rd

Can the character of a place be revealed by its After gathering the images, I constructed a grid After evaluating the collection, I noticed an To supplement the taxonomy, I created a map typography? My first attempt to answer this system to organize my findings and establish a intense use of color and a preference toward to document my journey and give a sense of place question involved documenting the signage vehicle for presenting the letterforms. By creating non-traditional typefaces. The wide range of to the abstracted typographic forms. found in Carytown. I walked up and down its an abstract representation of my journey, a visual type styles speak to the distinct personality streets, isolating and capturing the first letter record and taxonomy was generated. of each restaurant, store, café, or boutique found of each external sign I encountered. in the area.

2721 2822

jefferson davis highway love affair

I applied the methodology I developed in the was not evident. Due to the highly abstracted The next project I undertook was an exploration Carytown signage project to another area in matrix, environmental context was completely of my love of the city. This concept was manifested Richmond, the Jefferson Davis Highway. After stripped away and the common saturation of by photographic studies, collages and typographic assembling my photographs in the same manner colors dominated. There are however trends that studies. I was engaged by the texture and energy of as the Carytown collection, I was disappointed differentiate Jefferson Davis Highway from the city. The ultimate purpose of this study was to at first glance that the clear distinctionI had Carytown, the greater use of sans-serif typefaces make things with the hope of discovering a concrete experienced while photographing the areas and the prevalence of deteriorating letterforms. direction for my creative project. My next series of photographs marked the beginning of printing large 20"x30" prints of my work. Scale provided a visual impact and called attention to details lost in smaller reproductions. I began splicing the photographs together in an effort to create new visual relationships.

29 30

new york

On a trip to New York, I attempted to resist my Before this series, people were never seen in my tendency to control the camera, experimenting photography. I believe this is because I have no with “shooting from the hip.” I enjoyed this playful controlover people, unlike inanimate objects such method and was surprised by the resulting as buildings and signs. However, by shooting freely, photographs. I was able to capture true emotions unconcerned with focus, I was instead concerned and expressions of the people on the streets. with the authenticity of the moment and I became This had a profound impact on my photography. comfortable with photographing people. 23 volume 1 23 volume 2

31 32

23 books

I experimented with making books. The concept beer bottle cap in its’ environment before lifting of my 23 book series is rather simple, collect it and physically integrating it into the book. twenty-three of something and then design a The second volume was a collection of the number book based on the content of that collection. twenty-three found throughout the city. These Drawing on my appreciation of the unadorned, two studies allowed me to experiment with book my collection of found beer bottle caps became binding, page layout, and most importantly kept the subject of 23 volume 1. I photographed each me making and doing, while thinking. 25th street grace street marshall street 22nd street 22nd street jefferson avenue

33 34

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church hill jefferson avenue leigh street marshall street leigh street jefferson avenue

After evaluating the neighborhood type studies I experimented with time of day, starting my I altered my collection method by shooting from explorations at 6 a.m. each morning. I found varied distances, so as to establish a greater peace in solitude, and was able to shoot sense of context and place. I was not concerned from the middle of the street without fear and with every house, store, sign or building that without the distractions of people in my I encountered; instead I was led through the photographs. I focused on the architecture, neighborhood by what caught my eye. texture and signage found in Church Hill. main street 18th street 17th street 10th street 7th street

35 36

shockoe bottom broad street broad street franklin street grace street 11th street

I continued my neighborhood profiling and I realized through attempts to forge a narrative Inspired, I set out to capture the people of experimentation with time of day, shooting the out of my highly formal studies that I was missing Richmond. I focused my study on people found same location in the morning, mid-day and something. I rediscovered Walker Evans’ book, along Broad Street. I captured the daily ritual evening. Upon completion of this and the Church Walker Evans: Signs, for inspiration and guidance. of public transportation and the pedestrian life Hill studies I began to sequence the photographs, In Evans’ depictions of the America South during of the city. Through inclusion of a human attempting to establish relationships between the the Great Depression I found the answer to my element, there was an immediate emotional images in hopes of creating a narrative. problem – I needed to include people. aspect to my documentation. I triple-dog dare you. sandra wheeler the barbershop

As I walked the streets of Broad Street, I was I began documenting Richmond’s barbershops from Once inside, I listened to the barbers’ and I shot from the back of the barbershops 39 40 mesmerized by the barbershops. The hand- the street, shooting through the glass windows. patrons’ stories and joined in conversation as looking out, from behind the external window painted signs on the windows glowed like beacons I soon realized, however, that these windows were I surveyed the space setting up shots and signage looking in, from a seat in the rows in the night, attracting seemingly hundreds of acting as a barrier between myself and the true waiting for decisive moments. Each visit, it of waiting chairs, and standing within close people. Of all the neighborhood studies I had nature of the barbershop. My initial decision to enter took a while for me to “get warm,” to fully proximity to the barbers. The resulting done, all the photographs I had accumulated, the barbershops was met with trepidation. I quite immerse myself and get a sense of atmosphere photographs are genuine expressions of my nothing moved me as much as the images now literally had to psyche myself up to go into the – especially so in the beginning. After several perceptual experiences. in front of me. It clicked. This is where I need to first barbershop.I t was like diving into a pool for visits, our mutual comfort levels resulted in an be; this is Richmond. the first time, the fear of uncertainty can be amicable relationship, allowing me to capture paralyzing. I pushed through, however, knowing the candid moments and expressions that were Since ancient Greece, the barbershop has been that once I was inside, there would be no turning happening naturally around the room. a pillar of the community. The great Greek poets, back. Much to my surprise, my fear was met with philosophers and politicians would convene at openness from barbers and patrons alike. Out the barbershop to both have their hair and beards of the many barbershops I entered, there was only trimmed and to discuss the news of the day. one instance in which I was not permitted to They (the photographs) capture an array of dichotomies: a sense of The barbershop quickly became known as the photograph by the owners. loneliness and a sense of community, the real and surreal, the mundane headquarters for social, political and sporting news. and the extraordinary, and the black and white. kim whitrap A time-honored tradition that continues today. The barbershop is an icon of neighborhood continuity and a last sanctum of American maleness. It is a third space, apart from home and the workplace, where men gravitate to get their hair cut, mustaches trimmed, beards shaved, or to just hang out. For customers, it is a place where time stops for a few minutes, where a man pampers himself. After settling into a rotating chair, the barber tightens a strip of tissue paper around his customer’s neck, he drapes a shroud over his frame. exhibition introduction / edwin slipek jr.

The barbershop is an icon of neighborhood And then, something rare happens: one man Justin K. Howard, a designer, photographer and 41 42 continuity and a last sanctum of American relaxes and yields to another man who has a graduate student at Virginia Commonwealth maleness. It is a third space, apart from home razor and scissors in hand. Meanwhile, bantering University, has explored Richmond’s old and the workplace, where men gravitate to about politics and sports waft up among the neighborhoods for the past few years. He has get their hair cut, mustaches trimmed, beards barber chairs and above the hard, checkerboard been fascinated by old, faded, commercial shaved, or to just hang out. For customers, linoleum flooring.I nevitably, those men awaiting signage that is a link to the immediate and it is a place where time stops for a few minutes, their turn join the conversation. And who’s the old distant past. As he walked the city’s sidewalks where a man pampers himself. After settling guy always sitting near the back? He’s not there Howard couldn’t escape the magnetism of the into a rotating chair, the barber tightens a strip to get his hair cut but to get out of his house, to barbershops. He photographed them first from of tissue paper around his customer’s neck, kill some time. the street, as an outsider looking in. Eventually, he drapes a shroud over his frame. he crossed the threshold, capturing the faces West Broad Street for the past quarter century and interactions of the men inside. His images

has been in slow transition. Retail spaces that Richmond native Edwin Slipek Jr. is a writer, educator and historian who are familiar but detached, realistic but abstract.

housed furniture and music stores have been teaches courses in Richmond architectural history and history of Like many experiences with American urban

converted to art galleries, apartments and photography at Virginia Commonwealth University, as well as courses in spaces, these pictures trigger sights, sounds,

eateries. Of the Broad Street barbershops, architecture, world art history, and Richmond history at the Maggie L. smells, memories and emotions. They touch

however, few remain and thrive, maintaining and Walker Governor’s School for Government & International Studies. For something deep within us.

strengthening a community amid change. 13 years, Slipek has served as senior contributing editor at Style Weekly

magazine, where he regularly writes architectural criticism. written by edwin slipek jr. 43 44

Adams No.2 salon z No.2

left page Adams No.1 39 40

salon z No.1 salon z No.3

right page eugene’s No.1 47 48

eugene’s No.3

eugene’s No.4

left page eugene’s No.2 43 44

Diamonds & pearls No.2

Diamonds & pearls No.1

right page harvey’s No.1 45 46

harvey’s No.2 harvey’s No.3

right page eugene’s No.4 (detail) the exhibition

The photographs captured during my first visits Once I had the venue, my focus shifted to the Ed Slipek wrote the introduction (see pp. 41 – 42) The vinyl lettering that provided texture and 53 54 to the barbershops seemed to demand that design and production of the exhibition. Due to that provided significant context to the exhibition. refinement to the exhibition space was cut and they be shared and exhibited publicly. My first the size of the space, I had to go big which Greg Freddrick donated his time and services to installed by Pete Gillis. Leslie Hulick, my fiancé, problem was to find an appropriate venue. immediately caused some economic concerns. help in the hanging of the photographs – cutting fearlessly washed the huge windows that frame I was lead to the Capital Garage Apartments I scrambled to find the most cost effective ways the wood blocks that floated the photographs the exhibition and helped tremendously in the (CGA) on Ed Slipek’s recommendation. Upon of printing the photographs – from inkjet to laser from the wall and drilling the wall anchors from preparation of the space. seeing the CGA for myself, I knew it was the to photographic prints. During this scramble I which I hung the mounted photographs. perfect venue for the exhibition – it was located had an epiphany, why don’t I just ask Richmond on Broad Street amidst pedestrian traffic and Camera, a local camera store, if they would be public transportation, its display windows could willing to help me out. My economic woes were be viewed from the sidewalk at all hours of the alleviated after sitting down and chatting with below photographs by leslie hulick day, and its exhibition space consisted of a long Ted Bullard, President of Richmond Camera. corridor that worked well with the linear quality Ted was excited about the project, wanted to be of my series. The struggle to attain permission a part of it and offered to print and mount to use the space was difficult at times but the entire series of photographs for free. With persistence won out in the end as I secured the Richmond Camera sponsoring the exhibit, space for mid April. I was reassured that I could pull it off. Several other people were integral in the design and production of the exhibition. the promotion

Prior to the exhibition, I presented my work The final promotional campaign consisted of a 55 56 (including examples of posters and postcards series of five postcards, and five posters – one for that would announce the event) to the faculty each of the featured barbershops. The posters and students of the graduate program. This were printed in two sizes: 20"x30" and 30"x45". offered important critical analysis of the I also created an informational website that collateral promotional materials. Several points capital garage apartments allowed people to get a sneak peak at the series. Corner of Ryland and Broad Streets — acr about the poster’s appropriate size and target audience caused me to reconsider the the the The posters’ function was to create a buzz and oss from the Siegel Center barbershop barbershop PHOTOS BY JUSTIN K HOWARD THE CAPITAL GARAGE APARTMENTS PHOTOS BY JUSTIN K HOWARD THE CAPITAL GARAGE APARTMENTS development of the final visual direction. opcorner of Rylaned and Broadni Streets nacross fromg the Seigel Center opcorner of Rylaned and Broadni Streets nacross fromg the Seigel Center get the barbershops talking about the exhibition.

a photography exhibit by justin k howard Typographically, I wanted to evoke the feeling sponsored by april 10th april 10th By presenting several of the barbers and patrons sponsored by for more information visit jkhoward.com 5to9pm sponsored by for more information visit jkhoward.com 5to9pm of traditional barbershop signs. The message inside the of the barbershops, a dialogue and excitement Opening 4–7pm needed to be clear and informative, so my more was incited. It was a real joy taking the series Barber Shops of Broad Street capital garage apartments Corner of Ryland and Broad Streets — across from the Siegel Center visually complex solutions were eventually Opening Reception April10 postcard series of large format posters to the barbershops and 4P the 7P discarded. The use of the halftone dot allowed monday april 10 barbershop witnessing how people reacted to them. Rob, PHOTOS BY JUSTIN K HOWARD THE CAPITAL GARAGE APARTMENTS corner of Ryland and Broad Streets across from the Seigel Center the poster images to be read as a photograph opening “the barber with the cigarette” in one of my posters, for more information visit jkhoward.com april 10th from far distances and at the same time provided sponsored by for more information visit jkhoward.com was beside himself upon seeing his image. sponsored by 5to9pm rich visual texture upon close viewing. People in other barbershops wanted to see the first direction second direction final direction poster series whole series of posters and postcards so they could see who else was featured. the the barbershop barbershop PHOTOS BY JUSTIN K HOWARD THE CAPITAL GARAGE APARTMENTS PHOTOS BY JUSTIN K HOWARD THE CAPITAL GARAGE APARTMENTS opcorner of Rylaned and Broadni Streets nacross fromg the Seigel Center opcorner of Rylaned and Broadni Streets nacross fromg the Seigel Center april 10th april 10th sponsored by for more information visit jkhoward.com 5to9pm sponsored by for more information visit jkhoward.com 5to9pm 57 58 the opening

With my hair freshly cut, balloons hung and I was most pleased with the support of the 59 60 refreshments prepared, it was time to officially barbers who came to the opening. I think it open the exhibit. I was delighted by the turnout was a real treat for everyone involved to see and the overwhelming support of the work. It was and meet the men who were captured in the great to see people viewing the exhibition from photographs. They became celebrities. I talked within the space as well as from the sidewalk. to many of the people who were there while People walking by stopped in to see the work and I was photographing, got to catch-up with several patrons of the barbershops were the barbers, and shared my experiences and compelled to come in because they recognized recounted stories with many of the guests. their barber in the photographs. I am thankful that my fiancé, Leslie, and sister, Kayce, were able to come down and help make things run smoothly, allowing me to talk freely, answer questions and not worry about the little things. Kayce was a huge asset as the “official” event photographer. She did a fantastic job of capturing the spirit of the event.

opening photographs by katharyn c. howard conclusion future directions

My project evolved from formal typographic My bond with the community has been strengthened One future direction for my work is already in I consider the possibility of future national 61 62 studies of Richmond neighborhoods into a and I am honored by the support offered through- progress; a collaborative effort between writer or international exhibitions of this work as documentation of the barbershops on Broad out the project as was demonstrated in part by the Ed Slipek and myself on the creation of a another potential direction. With the Street. This evolution allowed me the opportunity turnout at the exhibition opening. The integration book documenting the barbershops on Broad investment of more time, I am confident that to become more personal with my work. I also of barbers, students, professionals, faculty, patrons Street. The book is a direct extension of my my barbershop series will become richer gained confidence and insight regarding my of the barbershops and other community creative project and will require a substantial and more revealing about the culture and its creative process, learning to trust my intuition members was a beautiful reflection of community. time investment of at least a year of continued people. Outside of the barbershop, I see my and to realize the value of uncertainty. I am continually humbled as I walk by the immersion, inclusion and photographing of the future enriched by continued explorations of exhibition and notice people – noses pushed against barbershops. This duration is essential to the my environment and community. the glass – looking and talking about the work. credibility and validity of my documentation and The exhibition has offered appreciation and support needs to be reinforced before I would be of a neighborhood icon, the barbershop. comfortable in publishing a book. I look forward to this collaboration and continued relationship with the community. reading and influences

Barthes, Roland. Camera Lucida. Hill and Wang. New York. 1980. 63 64 Bloomer, Kent C. and Moore, Charles W. Body, Memory, and Architecture. Yale University Press. New Haven. 1977. Brookman, Phillip and Greenough, Sarah. Robert Frank Moving Out. Scalo. New York. 1994. Carson, David with text by Meggs, B. Philip. Fotografiks. Ginko Press, Inc. Singapore. 1999. Cartier-Bresson, Henri. The Mind’s Eye. Aperture Foundation. New York. 1999. Evans, Walker with an essay by Codrescu, Andrei. Walker Evans: Signs. The J. Paul Getty Museum. Los Angeles. 1998. Frank, Robert. The Americans. Scalo. New York. 2000. Lupton, Ellen. Mixing Messages: Graphic Design in Contemporary Culture. Princeton Architectural Press. Hong Kong. 1996 Lupton, Ellen and Miller, Abbott. Design Writing Research. Phaidon Press Limited. London. 1999. Rilke, Rainer Maria. Letters to a Young Poet. W. W. Norton & Company, Inc. New York. 1934. Sontag, Susan. On Photography. Farrar, Straus and Giroux. New York. 1973. The typeface used throughout this book is Standard, Mary Newton. Richmond: Its People and Its Story. J.B. Lippincott Company. Philadelphia London. 1923. Gotham, designed by Hoefler & Frere-Jones. Stilgoe, John. Outside Lies Magic. Walker and Company. New York. 1998. All photographs are taken using a Canon Digital Rebel with a 28 – 105mm lens.