Matthew McKnight writes about a case challenging the N.Y. Police Department’s stop-and-frisk policy: “The relationship between law enforcement and communities that the N.Y.P.D. has determined contain high concentrations of crime—thus requiring a heightened police presence—is a complicated, quarrelsome one”: http://nyr.kr/Zy8Rsb

Here, see a selection of photojournalist Nina Berman’s work documenting community outrage around the N.Y.P.D.’s controversial stop-&-frisk policy: http://nyr.kr/NWEGWY

(Source: newyorker.com)

Elissa Curtis: 

Taking our cue from the current Style Issue of the magazine, we’re wrapping up the week on Photo Booth with a selection of pictures from the photographer Lauren Lancaster’s first foray into New York Fashion Week, this past February. She documented models getting primped for the runway, last-minute wardrobe adjustments, and the pre-show buzz of anticipation, and also noticed a newly ubiquitous object at the shows: the iPhone. “Where waiting once might have meant boredom and daydreams, emotions now were hidden behind the familiar posture of a bowed head and nose-to-phone stony stare,” Lancaster said. 

Click-through for a slideshow of Lancaster’s photos: http://nyr.kr/YwIdx7

George Packer on Anthony Trollope’s London in “The Way We Live Now,” and our New York: http://nyr.kr/Zx2EMM

In this week’s issue of the magazine (the Style Issue), Pari Dukovic’s Portfolio of the emerging punk culture in Burma follows Calvin Tomkins’s piece about the upcoming exhibition at the Met’s Costume Institute “Punk: Chaos to Couture.” As the introduction to Dukovic’s photographs explains,

Punk in nineteen-seventies New York tended to be more concerned with aesthetics than with politics. It was spare, nervy music created in reaction to the embarrassing excesses of arena rock. Often, the “establishment” it railed against was your mom, or your school principal. (The final scene of the Ramones’ movie “Rock ’n’ Roll High School” is Vince Lombardi High exploding in flames.) Decades later, a punk diaspora thrives around the world. In Myanmar, a small punk community that stayed underground through decades of military rule is beginning to emerge.

Click-through for more, plus a slideshow of Dukovic’s photos: http://nyr.kr/YNc5aT

“Making Money” is a series on the different ways that people throughout New York City make money. This is the first installment.

Kelly Stout observes one of New York City’s shoe shiners at work: http://nyr.kr/14q9Sm7 

Photograph by Ilona Szwarc.

(Source: newyorker.com)

Richard Barnes, “2nd Ave Subway Excavation #3” (2012) photographed on assignment for The New York Times Magazine.“The first thing that stuck me as we descended the ninety feet below Second Avenue was the scale of the tunnel excavation rising in some places four to five stories above us,” Barnes told me. “The workers were dwarfed by the monumental scale, especially as the tunnels opened up to where the station platforms will one day be built. Next, I couldn’t get over how much like a movie set it felt. I had brought my own lighting equipment with me, as I was expecting it to be extremely dark down there. Instead, I was surprised (and I guess I shouldn’t have been, as workers need to see) by the amount of light in the pit. Jules Verne, Stanley Kubrick, Frank Herbert, and David Lynch’s all but forgettable “Dune” were some of the literary and cinematographic references the site conjured up for me. I strove to bring this quality of otherworldliness to my images, as it was kind of unbelievable that this magical world exists now below the surface of the Upper East Side of Manhattan.” 

This week, Photo Booth will be taking a look at pictures of the New York subway, often by artists with bodies of work devoted to the subject.

Stanley Kubrick, “Life and Love on the New York City Subway (Couple Sleeping on a Subway)” (1946)/Courtesy collections of the Museum of the City of New York.
“Stanley took thousands of images for Look Magazine between 1945 and 1950,” Phil Grosz, from SK Film Archives, told me. “He sold the first image at age sixteen.” The Museum of the City of New York writes, “Many of the shots are candid portraits of people seemingly unaware of any camera, perhaps indicating the use of some sort of spy or buttonhole camera.” 

This week, Photo Booth will be taking a look at pictures of the New York subway, often by artists with bodies of work devoted to the subject.

Cartoon by Michael Crawford. For more: http://nyr.kr/13bghp5

Long live the pantsuit! Sasha Weiss’s dispatch from New York Fashion Week: http://nyr.kr/XBWV8p

Joseph Mitchell was on the staff of The New Yorker from 1938 until his death, in 1996. Through his chronicles of New York City, he became a part of it, getting to know every side street and quirk and character. Tonight, David Remnick will discuss Mitchell’s New York with the staff writers Ian Frazier and Mark Singer, and with Thomas Kunkel, the author of a forthcoming biography of Mitchell. Watch a live video of the discussion, beginning now: http://nyr.kr/XHksD1