Caleb Stein (b. 1994, London) graduated from Vassar College with a degree in art history in 2017. From 2015-2018 he worked as a studio assistant for Magnum photographer Bruce Gilden. Caleb’s work has been featured in online publications such as Burn Magazine, LensCulture, The Heavy Collective, and Hamburger Eyes. His work was included in the Lucie Foundation Month of Photography (MOPLA) in 2015. Recently, he was shortlisted in LifeFramer’s ‘Open Call’ (judged by Martin Parr) and was a runner-up for the Burn Emerging Photographer Fund 2017. Caleb is interested in photographing small town life in the United States, in bridging his initial conceptions of a place he only knew about from Norman Rockwell illustrations with his in-depth, long term interactions. His series ‘Down by the Hudson’ is an ongoing look at Poughkeepsie, a small town in upstate NY.
Down by the Hudson
I don’t know what post-industrial decline means. It is a vague notion in my head. Boarded-up homes, the husk of dead factories with broken windows and overgrown grass, businesses gone to seed. And the people? The people are missing in this picture of decay in my mind. When I first came to Poughkeepsie fifteen years ago, I was told by an academic that while there were pockets of prosperity in Hudson Valley, this town had suffered from post-industrial decline. I’m not a sociologist and I cannot say with certainty if such a statement is even true. But what draws me to Caleb Stein’s images is that he provides us the people missing from my mental picture. And what’s surprising about these images, no, what’s honest about them is that instead of people, we get faces. Individual lives. Their wealth of stories and secrets are shielded from us—mysteries that we cannot part—but we wonder and ask questions because that is what I think the photographer himself is doing. Hello? How are you? How is your day going? I imagine him asking this over and over again with the same people who then begin to treat him as a neighbor that he undoubtedly is. The photographer as everyman. On the street, in parks, and at the watering hole where we see that his eye is as clear as the water. Consider the remarkable image of the Prom Boy, a picture taken on the street on which I live. This image does fill me with wonder. Such a fine, even tender, mix of contradictions: the large flower in the buttonhole, the bandage on the nose, the slightly askew bowtie, the bruised eye, the stubbornly dignified gaze… I could go on. I don’t know whether I’m right or wrong in saying any of this about the young man. All I can be certain about is that this is what living is about, this tussle with the real, this strange encounter across divisions of race and class, in a rectangular visual space. This is life.
Text by Amitava Kumar
To view more of Caleb Stein’s work please visit his website.