Sergio Purtell
Sergio Purtell is a photographer, author of the beautiful Stanley / Barker photo book Love’s Labour, and a master printer whose Brooklyn-based photography printing business Black and White on White has printed work for museums, galleries, and a significant number of notable photographers of our time - people like Robert Adams, Larry Clark, LaToya Ruby Frazier, Jim Goldberg, Mark Steinmetz, and scores more.
Sergio Purtell is a photographer and master printer whose Brooklyn-based photography printing business Black and White on White has printed work for museums, galleries, and a wide range of notable photographers - people like Robert Adams, Larry Clark, LaToya Ruby Frazier, Jim Goldberg, and Mark Steinmetz. Sergio first came onto my radar when I saw him discussing some of the work you’ll see below in a 2015 YouTube video; a conversation between Sergio, MoMA curator Susan Kismaric, and photographer Thomas Roma. While Roma is an old-fashioned Brooklyn character and takes up a lot of oxygen in the video, it was the quieter power and conviction of Purtell’s words and work that ended up staying in my mind. In 2020 Stanley/Barker published Sergio Purtell’s gorgeous photo book Love’s Labour, which collects photos from Sergio’s summer wanderings around Europe in the late 1970s and early-to-mid 1980s; a book worth lingering over as you drift through a Dionysian world seemingly held in permanent dream-like suspension under a sensuous European sun.
Sergio’s work below, from his long-term Real project, is, as the title suggests, far from a dream-like reverie. It’s a very real, absolutely fascinating, multi-layered, deep dive into the visual beauty, spectacle, and splendor of street life in NYC’s outer boroughs. If you go to Sergio’s website, his Real project is presented in five sections, each with scores and scores of photographs. I can’t speak to Queens or the Bronx, but I’ve lived in Brooklyn for more than twenty years, and his project, viewed collectively, is by far the most comprehensive and keenly accurate photographic description of Brooklyn I’ve ever seen both visually and emotionally. These black and white pictures absolutely vacuum up all the strange and overflowing details of the borough and the people and the objects you see and find on the streets and present them back to us in a kind of crystalline, open clarity. This is street photography in encyclopedic and democratic form - nothing is elevated or singled out, it’s just all here for you to explore and wander around at your leisure. Sergio spoke to this point in that 2015 video that first caught my attention in an answer to an audience question about the open-style printing of the image:
I like to think of the prints as being generous…in the way they reveal everything that is going on, and I’m not pointing at anything, in particular, I’m just letting the viewer walk into the pictures and take their pick.
That generosity towards and trust in the viewer is a hallmark of Sergio’s approach as an artist, and it’s an honor to share his work here. I asked Sergio to tell me more about himself and his thoughts about photography:
Van Dam St and Greenpoint Ave, Hunters Point, Queens, NY © Sergio Purtell
I was born in Santiago, Chile, and lived there until 1973, when there was a coup d'etat and the democratically elected socialist president Salvador Allende was killed. Because of the outcome —Chile losing its president and its government — I became highly politicized. I was turning 18 and could become an American citizen by paternity. Understanding that my future would be compromised, I left Chile and moved permanently to the US.
While in Chile, my interest in art started when it seemed like it was the only class I truly enjoyed. I felt with art, I could think on my own, where all other subjects emphasized memorization and zero problem solving. I liked taking things apart to see how they worked and sometimes surprised myself that I could put them back together again. When I got to the US, I started taking classes in art history, figure drawing, graphic design, and architecture, but once I took a class in photography, I quickly realized that was my calling. I love photography’s ability to sustain time and capture its exacting description of life. Even now, every photograph I make is a love poem to photography, one in which I pay homage to life in all its forms.
Center Blvd and 46th Ave, Long Island City, Queens, NY © Sergio Purtell
The one thing I wish I could change about the photography world is less words, better pictures. I am sure this is going to sound harsh to many photographers, especially in the post-modernist world we live in. So much has been said about photography already, to the point where images have lost some of their meaning or importance only to be subdued by words. With the introduction of Instagram and the proliferation of images at such infinite speed, there are few clear voices out there that can cut through the noise and make a difference. One positive change has been to make the medium more inclusive— by artists, educators, curators, galleries, museums, and communities. That gives me hope.
Empty lot somewhere in Bushwick, Brooklyn, NY © Sergio Purtell
I think it would be helpful for artists to disconnect themselves from academic institutions (easy for me to say as I have degrees from RISD and YALE, but I had to pay handsomely even back then). What I mean is that higher education is out of control in terms of cost and outcome, with the percentage of people that end up as academics or working artists is relatively small compared to the amount invested in an artist's career. I would love to see apprenticeship programs or more help from the government — we need more social programs to encourage the arts through mentorship, scholarships, grants, and lower the outrageous ticket price to attend learning institutions. Artists make a huge contribution to society, perhaps not a terribly practical one, but one that gives us hope shows us beauty, and opens our eyes and minds to imagine the impossible and to reaffirm what is possible.
Empty lot somewhere in Bushwick, Brooklyn, NY © Sergio Purtell
If you were to look at my obsessive and extensive website and know anything about the history of photography, you would quickly realize that my love for photography is equally expansive. In some ways, I feel like photography was my destiny — I pay homage to it with what I do every day. I have chosen to help other photographers, and with that choice, I’ve made sacrifices that I am truly willing to make to continue supporting, elevating, and advocating this democratic medium. I am very fortunate to have a great team at the Lab — we are all artists at BWonW and spend our day collaborating with and helping other photographers. It is a pleasure and an inspiration to be around great work and the people who create it.
Atlantic Ave, Ocean Hill, Brooklyn, NY © Sergio Purtell
If I can leave behind one ounce of the legacy that Richard Benson (one of my professors at Yale) so gracefully and generously left behind, I would feel accomplished and that maybe I have passed the baton to the next generation. To other photographers, I would say that as long as you can make pictures, be content. Being in the moment, being compassionate and humble will most likely afford you solid relationships and nourish your artistic life.
Patch of woods in Bushwick, Brooklyn, NY © Sergio Purtell
With this body of work, Real, I was at a place where I thought I had outgrown wanting to photograph the world as it is, searching for beauty and a place where light and landscape meet. So I began to re-create a world in which I could take the kind of photographs I wanted to make. I tried reconstructing the parts of the world that had been discarded, abandoned, or thrown away. Ultimately I was looking for some idea of real and beauty rooted in the world we find ourselves in now.
Richmond St and Dinsmore Place, Cypress Hills, Brooklyn, NY © Sergio Purtell
I have always printed in a very open style, which was definitely influenced by my time at Yale. I remember that Richard Benson gave me a piece of material used in offset printing— the equivalent of a double 00 filter — that I would use to flash the print as a final touch to fill in any potential too-bright highlight. Also, I would split filter my prints. I can tell you that all this was incredibly tedious and time-consuming, but in the end, it would yield these beautifully open prints, with every possible midtown and a touch of black in the shadow areas and compressed highlights.
Gowanus Canal and 3rd St, Gowanus, Brooklyn, NY © Sergio Purtell
My book Love’s Labour came out in 2020, and I have been ruminating about publishing a second book — although keeping a business (BWonW.com) running during COVID has taken up most of my time and energy. For now, I post on Instagram (although I don’t post new photos as much as I should) and have an extensive website for those interested in looking.
Lee Ave and Flushing Ave, South Williamsburg, Brooklyn, NY © Sergio Purtell
Lincoln Ave and 138th St, Bronx, NY © Sergio Purtell
All photographs were made ranging from 2008 to 2014 © Sergio Purtell
Sergio Purtell - Edward Mapplethorpe, 2020 (Color portrait at top of post)
You can see a plentitude of more photos by Sergio on his website here: sergiopurtell.com His book published by Stanley/Barker, Love’s Labour is currently sold out. You can follow Sergio on Instagram here: @sergio_purtell