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Half-Frame Diary: End of the Century presents a selection of photos made between 1998 and 2000 from artist Sheva Fruitman's decades-long photo-diary project. These images idiosyncratically mirror everyday life at the end of the twentieth century, captured by Fruitman as she traveled the world.Composed as diptychs, the half-frame photos are pairs, with two vertical images in the space of one 35mm frame. Resonances between these sepia-toned streetscapes and interiors link their original contexts and create episodes from layered, incomplete narratives: be it bunches of ripe bananas played against a tarot reader's neon sign of a palm, changing reflections in a shop window, or the linear patterns of buildings and a cherry picker versus those of a subway platform. These once timeless scenes, now published for the first time, are remnants of a not-too-distant world that no longer exists.
About the author
Raised in Williamsburg, Virginia, Sheva Fruitman is a photographer, art director, stylist and designer. After studying art at Bard College in New York State, Fruitman studied photography on the streets of New York City with Lisette Model. Her work has appeared in publications including the New York Times, Condé Nast Traveler, Le Monde and Harper’s Bazaar, and is held in many private collections as well as the Victoria and Albert Museum.
Summary
Half-Frame Diary: End of the Century presents a selection of photos made between 1998 and 2000 from artist Sheva Fruitman’s decades-long photo-diary project. These images idiosyncratically mirror everyday life at the end of the twentieth century, captured by Fruitman as she traveled the world.
Composed as diptychs, the half-frame photos are pairs, with two vertical images in the space of one 35mm frame. Resonances between these sepia-toned streetscapes and interiors link their original contexts and create episodes from layered, incomplete narratives: be it bunches of ripe bananas played against a tarot reader’s neon sign of a palm, changing reflections in a shop window, or the linear patterns of buildings and a cherry picker versus those of a subway platform. These once timeless scenes, now published for the first time, are remnants of a not-too-distant world that no longer exists.
