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Martha: A Picture Story (2019) is a fascinating documentary about photographer Martha Cooper, whose work captured the spirit of urban creativity and culture. The film explores her journey, influence, and passion for documenting street art and everyday life. A powerful story about artistic vision, dedication, and the impact of visual storytelling.
Martha A Picture Story, Martha A Picture Story (2019), Martha Cooper, street photography, art documentary, 2019 film, full movie Martha A Picture Story, creative journey, visual storytelling, photography documentary, inspiring artist story, cultural history, urban art, graffiti photography, female photographer, artist biography, artistic inspiration, real-life documentary
Martha A Picture Story, Martha A Picture Story (2019), Martha Cooper, street photography, art documentary, 2019 film, full movie Martha A Picture Story, creative journey, visual storytelling, photography documentary, inspiring artist story, cultural history, urban art, graffiti photography, female photographer, artist biography, artistic inspiration, real-life documentary
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Art et designTranscription
00:26:24C'est cool.
00:26:28Mais nous n'avons pas qu'il y avait quelqu'un qui faisait des photos
00:26:32jusqu'à ce qu'on rencontre Henri et Marty.
00:26:35Henri Chalfon's téléphone answering machine messages
00:26:38sont plus de l'experte.
00:26:41Je vais vous entendre, c'est Lask.
00:26:43Je bosses à la rue.
00:26:45J'ai entendu d'autres graffitis writers
00:26:47et je voulais rencontrer cette personne
00:26:49qui était aussi photographing trains.
00:26:51A graffiti writer leaves Henri clues
00:26:53about a fresh masterpiece,
00:26:55spray-painted across a subway car.
00:26:57Henri goes after the shot.
00:26:59There was definitely a competitive aspect to it.
00:27:01She was not calling me up every day
00:27:03and saying, Henri, there's something
00:27:05I think you need to get,
00:27:07because she was wanting it for herself.
00:27:09And I was the same way.
00:27:13The way I did it was a series,
00:27:15turns out, very good for looking at the art.
00:27:19He was very interested in the art.
00:27:22And I was more interested in the culture.
00:27:26When Marty and Henri started documenting us,
00:27:30we got to look at ourselves very differently
00:27:32at subjects of interest.
00:27:34For us, it was like, wow, we're surprised
00:27:36that this white lady and this white dude are interested.
00:27:38We kind of let them in because
00:27:40they were truly interested in our lives.
00:27:42We got to be clear now.
00:27:44People had cameras.
00:27:45It's thematic.
00:27:46The little 110.
00:27:48But when we found out
00:27:50that there were other people
00:27:52taking good, high-quality shots,
00:27:54you know, it was nice to know.
00:28:02Where do you ride mostly?
00:28:04Mostly.
00:28:05The layups.
00:28:06Where to keep the trains in the weekend.
00:28:07And how do you get in to do that?
00:28:11With a key.
00:28:13Sometimes the doors are open.
00:28:15We just go inside a whole bunch of us,
00:28:17all the writers.
00:28:18We just, you know, start mocking up all over,
00:28:21inside, outside, every place.
00:28:24They were there for some serious moments, you know?
00:28:26Like that one shot with Dondi.
00:28:29Oh, my God.
00:28:30I still cry when I think about that.
00:28:33That's the most beautiful shot
00:28:34of a boy in his fuckin' yard, you know?
00:28:49This was gonna be my ticket
00:28:50to good assignments with magazines.
00:28:54September 28th, 1980.
00:28:57Sunday.
00:28:58Have just been put through the wringer
00:29:00by the New York Times Magazine
00:29:02in an on-again, off-again series of promises
00:29:05to publish my graffiti photos.
00:29:07This had me as high as a kite,
00:29:09imagining my first major color spread,
00:29:12something I desperately need for a portfolio,
00:29:15and then down in the depths and in tears
00:29:18when I realized I couldn't let them turn gorgeous color,
00:29:22necessary to the story into undistinguished black and white.
00:29:27It's just ridiculous.
00:29:30You know, most people thought that graffiti
00:29:32was pure vandalism and not worth my time.
00:29:35But I believed in it.
00:29:37Young people that were so into their art
00:29:41that they would risk their lives to do it.
00:29:44I decided to leave the post
00:29:47because I wanted to pursue graffiti.
00:29:50She's like, I got to. I gotta do that.
00:29:53I don't care what you think. I gotta do it.
00:29:59There's the famous Dondi picture.
00:30:02Henry and I both wanted to have a book published.
00:30:04We decided to combine forces and do it together.
00:30:07Worked all spring and summer on that book.
00:30:11And one after another, we went to these publishers,
00:30:15and no, no, no, no, no.
00:30:17In New York? Forget about it. We tried.
00:30:19Quote.
00:30:20Don't even want to discuss.
00:30:22Get caught splashing your Technicolor trash in our subways,
00:30:29and I'll send you to Rikers Island until your spray cans dry up.
00:30:32Total waste of time, energy, and money.
00:30:35All you're doing is encouraging this.
00:30:37Because the trains are so visible, it was an easy to latch on to symbol of urban blight.
00:30:44The acid solution is sprayed on subway cars in this exotic urban car wash.
00:30:48Razor-lined barricades of steel have sprung up around the train yards.
00:30:52I hate graffiti.
00:30:54Newspapers and the mayor believed that by crushing graffiti,
00:30:58they were doing something to lessen crime.
00:31:01Third time, a couple days in jail.
00:31:04There wasn't really a ready audience for the book,
00:31:06at least not in the United States.
00:31:11We took it to Germany to the Frankfurt Book Fair.
00:31:14In Europe, I guess people weren't as tired of graffiti.
00:31:18The first booth we got to, they immediately said,
00:31:21yes, they liked it.
00:31:23The rest is history.
00:31:303,000 copies.
00:31:31I think we felt that was small, but that was okay because we had a book.
00:31:37It was a long, hard road to get that book published,
00:31:40and I was very happy to have something in my hands that I could show people.
00:31:44Now we're going to have some major stories in magazines with these pictures.
00:31:50I had gotten the museum shop interested in doing Christmas cards.
00:31:56The chairman of the board of directors said,
00:31:59people like that need to be lined up at dawn and shot.
00:32:02That was the end of that idea.
00:32:06Just they hated graffiti so much they just couldn't see through to the fact that it might be worthy of study.
00:32:16They spent the day scrubbing a D-train.
00:32:18Kids stole it, and because of that, bookstores locked it up or put it in a glass case,
00:32:23or didn't want to carry it because it just kept disappearing,
00:32:26but people weren't buying it.
00:32:27Subway are tanked.
00:32:29Did not do well at all.
00:32:34Then I'm like, I got to move on.
00:32:35That was really responsible for my figuring, I cannot do this anymore.
00:32:39Are you going to think twice before you do it again?
00:32:41Sure enough, I'm going to think twice before I do it again.
00:32:44That was it. I'm out.
00:32:46After 1989, the subway and the MTA made a policy that if a train gets hit, they'll pull it out of service,
00:33:12so that no writer will ever have the motivation of seeing their name run.
00:33:23I would have never imagined that I would have stopped writing.
00:33:25Like, at the time, I thought I was going to write forever.
00:33:28I thought the pieces was going to run forever.
00:33:31You know?
00:33:37Very clean.
00:33:39Yep.
00:33:40See? Not even, not one little tag.
00:33:43You know, if you look at this train now, you would never suspect that a graffiti culture had ever existed.
00:33:50Nope. Super clean.
00:33:56You have to realize when something has run its course and be satisfied with what you did.
00:34:02And I'm, I'm there.
00:34:03So I'd just rather tell the stories of when it was fun than try to recreate something now that, that's gone forever.
00:34:12There, there. I mean, every time I come down, there's less and less. But that, you can definitely line up here.
00:34:22See this little squiggle right there?
00:34:27That's it. Wild style. Wild style. Wild style. Right here.
00:34:44Who could possibly have imagined? I want them to put a plaque here. This was a wild style wall.
00:35:01Years of effort. I quit the job at the post. You know, I was, I'd really gambled. So it was, yeah, it was stressful. Not having any payoff to speak of.
00:35:18There was, I think, maybe a year when I just moved into my studio. I just put a mat on the floor.
00:35:39I definitely never wanted to depend on my husband to support me. And I didn't.
00:35:46There were some extremely strong women in my family. And I was raised to be like them.
00:36:01You know, I love New York. But it's definitely not a city for everybody. And it was not a city for my ex-husband.
00:36:09You know, the path Coupe followed is not an easy path. Marriage didn't work out.
00:36:14She never wanted children. You know, this is against most society's rules. Woman, children, wife, mother, grandmother, right down there.
00:36:24And she was like, none of that for me.
00:36:27I don't really remember, like, crying myself to sleep at night or anything. And in fact, I like being alone.
00:36:37It's very comfortable being alone.
00:36:42I'm not a depressed kind of person.
00:36:47My friends sustain me.
00:36:49Would you like to see my Pokedex?
00:36:50Would I?
00:36:51Oh.
00:36:53We went into the Paris catacombs.
00:37:04And we went down around midnight through a manhole, went through a manhole.
00:37:11We didn't come out until five in the morning.
00:37:14Here, we go rappelling down this rock face.
00:37:18And here we are enjoying ourselves. And here we are also enjoying ourselves.
00:37:23Yeah, who was that guy?
00:37:29Cesar.
00:37:30Cesar, right.
00:37:31Okay.
00:37:32So that was Cozumel.
00:37:34You know, you get old, but you know, you can imagine yourself 50 years younger.
00:37:42You know, it doesn't hurt to, okay, it doesn't hurt to remember.
00:37:49These filing cabinets contain a lot of Marty's pictures.
00:37:54A folder on bachi, a folder on the guardian angels, a Hindu temple, a Haitian doll maker.
00:38:01Interiors of wasps, white Anglo-Saxon Protestant living rooms.
00:38:05An erotic baker who made breads in pornographic shapes.
00:38:11City Lord has been documenting the city with Marty since we started in 1986.
00:38:17I really connected with these people. And they needed photographers. So it was perfect.
00:38:23Here's the photograph of the break dancer on cardboard.
00:38:26And Marty just made our work sing.
00:38:38He was very drawn to folklorists because they were trying to study these local traditions in these art forms that nobody else was interested in.
00:38:50We're doing a project on casitas, little Puerto Rican style houses built on vacant lots and used as social clubs.
00:38:59Somebody writing a history of New York is not going to cover those.
00:39:05But they're very much part of the lived experience of being Puerto Rican in the city or being Latino in the city.
00:39:11From a lot of different vantage points, she's capturing this so you can see this incredible landscape.
00:39:18And then you see this little casita and garden hatch.
00:39:26She's photographing the corners of life which are often forgotten about.
00:39:30Having that record of how people lived is important.
00:39:35That's the only way that we have of transcending time.
00:39:43And the only thing they'll have to go back to is the record that Marty left.
00:39:49Here, back up, back up, back up, back up, back up.
00:39:52Oh, it says original.
00:39:54Interesting.
00:39:55I was looking all over for that.
00:40:00Many of the things that she's done, nobody paid her to take photographs.
00:40:04She's just out there.
00:40:05She's just doing it.
00:40:06She's doing it all the time.
00:40:08You know, I don't have a family.
00:40:10So I can do absolutely everything I want for me.
00:40:14I have all, every hour of every day, I can devote to my own work.
00:40:23Might be that one.
00:40:25Honestly, I can't remember.
00:40:33It's a big stack of contact sheets in here.
00:40:37Look, this slides, graffiti, miscellaneous walls.
00:40:44That would be graffiti.
00:40:45I mean, when I look at it, it kind of makes me a little depressed.
00:40:48What am I doing with them?
00:40:49Nothing.
00:40:50You know, they're sitting in my vast archives.
00:40:56But, you know, before we put it in there, can we just have a peek inside and see if there's
00:41:00something?
00:41:01Because the reason I started this...
00:41:03But, to me, organizing my archive feels like going backwards.
00:41:06I want to go forwards.
00:41:07It seems I have the skills necessary to do most assignment work, but not those necessary
00:41:12for convincing editors to give me the job.
00:41:15There were times when, oh, I just wanted assignments to go to her.
00:41:18But she's, you know, she's fit for a certain thing.
00:41:21But back in Washington, at National Geographic headquarters,
00:41:24Illustrations editor Susan Welchman is not thrilled with the pictures she's getting.
00:41:28They hired me as photo editor.
00:41:30I went to Washington.
00:41:31They offered me the job.
00:41:32I took it.
00:41:33At any one time, they've got about 170 stories underway in various stages of development.
00:41:39Then that story came up on, you know, something that was suited to her, so she was assigned
00:41:44to that.
00:41:45Susan gave me a real assignment.
00:41:49The story was pollen.
00:42:01Something that I wasn't interested in then, and I'm not interested in now.
00:42:08I read that in Japan, there was a place where they had to hand pollinate fruit trees because
00:42:14the bees had died out.
00:42:16The photographic would send you wherever it took to go get that picture.
00:42:19There was no budget on time or money.
00:42:21A lot of photographers cannot handle that.
00:42:26Susan was trying to help me, you know.
00:42:28We'd be editing this thing and she was telling me to try this and try that and try something else.
00:42:33And I just, I really couldn't come up with those fabulous pictures.
00:42:39She thought she wanted it, but it was because it was unattainable, I'd say.
00:42:43They always said, we make pictures, we don't take pictures.
00:42:47And I like taking pictures.
00:42:49It wasn't a good fit for her.
00:42:52I just like seeing something and shooting it.
00:42:56And that is not how geographic works, ever at all.
00:43:02When people say which photographers influence you, I always say snapshots.
00:43:13I like the naiveness that people are just trying to capture the moment without thinking about unusual angles or different lenses.
00:43:25I would say that the presence of the photographer is minimal.
00:43:33It's all about subject matter.
00:43:35And that's what I like.
00:43:42When I looked at my old street play pictures, I felt that those were some of the best pictures I had ever taken.
00:43:48I miss doing that kind of photography.
00:43:52And I thought, you know, I just want to go and take pictures and see what I can find.
00:44:04I used money that I inherited from my parents to do a project that I wouldn't otherwise be able to do.
00:44:11There are those smokes that I'm holding my little camera.
00:44:16My first camera.
00:44:24My father and my uncle had a camera store in Baltimore.
00:44:28My mother taught journalism.
00:44:31It was a tribute to them.
00:44:35And I kind of wish that they were alive so that I think they would have enjoyed seeing
00:44:39the neighborhood that I documented.
00:44:44This was a dragon.
00:44:45And the idea was that when the mailman came and put mail in the box and raised the flag,
00:44:51the head of the dragon was here.
00:44:53And it revealed a little portrait of the house.
00:45:00Baltimore, my hometown, seemed like the perfect place to do a street photography project.
00:45:05And Sally drove me around looking for neighborhoods.
00:45:11I wanted to be part of the neighborhood.
00:45:16So we found a house that I could afford.
00:45:24Why in the hell would you live in this community?
00:45:29Most people would not move here because of the violence, because of the drugs.
00:45:39So look, this is fresh because it says Happy Valentine's Day.
00:45:43It's not leftover from last year.
00:45:45And there's a big RIP taco up there, which wasn't there before.
00:45:52Right behind the house over here, a few months ago, that was somebody's heroin stash.
00:45:56These are all from Baltimore.
00:46:00Many of them were in my backyard.
00:46:01This one still has some interesting something in it.
00:46:07And there are these kids standing on the street corner and they're calling out about the caps and the green caps or blue caps or whatever.
00:46:15I actually don't know the difference.
00:46:17Isn't that the cutest little jar you've ever seen?
00:46:19I had a feeling that this neighborhood was going to gentrify.
00:46:29And I thought I'd like to see if I can document that process.
00:46:33I wanted to see whether there was some way I could see a change in the neighborhood.
00:46:37Are people going to be forced to move?
00:46:39And if so, what happens?
00:46:41And, you know, I had no idea exactly how I was going to document that, but that was part of the idea.
00:46:47I mean, there's stuff bad around here going on right now, but it's not as bad as it was.
00:46:59How fast it went down versus how fast it's going back up is like...
00:47:04This is a neighborhood where you have a lot of disenfranchised people.
00:47:09Even to take somebody's photograph and them to be okay with it is a big step.
00:47:18I'm going to sleep, please don't film.
00:47:20Now, put it down until we talk to somebody.
00:47:24Hi! How you doing?
00:47:27We're just taking some pictures from, remember when I used to take a lot of pictures?
00:47:32Yeah, so, is it okay for him to take some? No problem? Okay.
00:47:39Just cocky.
00:47:41Yeah, she still lives there?
00:47:44Is she in the house now?
00:47:47Hi! Remember me?
00:47:49It's been a long time, I know.
00:47:50It's been a long time, I know.
00:47:52What she did was to make small copies, you know, 4x6 prints.
00:47:58I mean, I took some of them.
00:47:59This one?
00:48:00Yeah, this one?
00:48:01This one?
00:48:02And she would have a little notebook and she'd write down their address.
00:48:06You've got a lot.
00:48:08And bring them back.
00:48:10If she came back two weeks later or a month later, either knock on the door or stick them in the little mailbox or slide them under the door.
00:48:17What's her name?
00:48:18I think it's kind of a cheap shot to go around taking pictures of the boarded up buildings and the trash on the street.
00:48:30And I never focused on that.
00:48:34Great. Perfect.
00:48:35That's all.
00:48:37Excuse me, we're making a duck duck for nighttime.
00:48:42We're going to set up big fireworks.
00:48:45Right here?
00:48:46Up there?
00:48:47Up there?
00:48:48There's going to be some big fireworks?
00:48:49Yeah, the shoot-ups in the sky.
00:48:51We'll come back.
00:48:52We'll come back.
00:48:53Yay!
00:48:54Thank you.
00:48:55Thank you.
00:48:56I'm not looking for the things that are beautiful, but I'm just looking for people that are making the best of what they have.
00:49:02I like your chairs here.
00:49:04Thank you.
00:49:06One for each of you.
00:49:08I'm going to split.
00:49:09Okay, are you ready?
00:49:10One, two, three.
00:49:11Yes, and...
00:49:12Yes, and...
00:49:13All right.
00:49:14People would start to recognize her and call her the camera lady.
00:49:17Camera lady.
00:49:18Yeah.
00:49:19The camera lady's here.
00:49:20I remember you taking pictures.
00:49:21Yay!
00:49:22Yeah.
00:49:23Yeah, I've been here a lot taking pictures.
00:49:25I remember you.
00:49:26Yep.
00:49:27She accepted her.
00:49:28I've been good.
00:49:29Look at this.
00:49:30Who's in there?
00:49:31Who's in that picture?
00:49:32Ta-ta!
00:49:33Ta-ta.
00:49:34Okay.
00:49:35Did the horses come back?
00:49:44Did the horses come back to the stable?
00:49:46Yeah.
00:49:47Yeah.
00:49:48Can we go in?
00:49:49Go in if you want.
00:49:50To be able to see something that is beautiful amongst brokenness, I think takes a very keen eye.
00:50:01We got to play until the day we got to move!
00:50:10Always my pictures are people rising above their environment in one way or another.
00:50:34I just hope you have a good time.
00:50:35I hope we showed y'all a good time.
00:50:37Yeah, we're having a good time.
00:50:38That's great.
00:50:40The Baltimore neighborhood, Sowibo Southwest Baltimore.
00:50:44It was named after Soweto.
00:50:46Mm-hmm.
00:50:47It's no use to take a lot of pictures about something if you aren't going to put them somewhere
00:50:53where other people are going to be able to see them.
00:50:56The strongest would be this one.
00:50:59Well, what about that one?
00:51:01That one's just not a great picture.
00:51:03Well, okay.
00:51:04It's just not.
00:51:05You know what?
00:51:06There's part of me that still feels like I have not been accepted into the photographic community in New York.
00:51:16In a way she's undiscovered in our world, you know, in our world of the photo art gallery.
00:51:22So I've got to tell you, we're going to be avoiding cute children to some extent.
00:51:27Okay.
00:51:28I mean, there'll be a few of them.
00:51:29All right.
00:51:30We're also going to be avoiding, believe it or not, smiling people.
00:51:33Okay.
00:51:34Although there will be exceptions.
00:51:35Yeah.
00:51:36This probably will be one of them, but why?
00:51:39Yeah, why?
00:51:40Because...
00:51:41Somebody else did a project on smiling people.
00:51:43No, because people don't take those pictures as seriously.
00:51:49Mm-hmm.
00:51:50And they don't react to them the same way.
00:51:52They just...
00:51:57It's that simple.
00:51:59I mean, when you see a smiling face, you're in a different realm.
00:52:03You're not in the art realm.
00:52:05If you look across the history of art, you're not going to see that many smiles compared to much more serious faces.
00:52:11It's true.
00:52:12Just not.
00:52:13If I have a picture with a smiling child that I really want in, I will make an argument for it.
00:52:20You should make a case for it.
00:52:21I'll make a case for it.
00:52:22Absolutely.
00:52:23So, you know, you can see the theme evolving or starting.
00:52:27You know, people taking over a ruin and making it into...
00:52:31Yeah, an appropriation of space.
00:52:32An appropriation of space.
00:52:33Is exactly what graffiti is, so...
00:52:35Exactly.
00:52:36So...
00:52:37It's really about how people are making New York City their own.
00:52:40Right.
00:52:41Right.
00:52:42Right.
00:52:43It's New York.
00:52:44People are more interested in it than other places because New York is sort of the capital
00:52:48of the world.
00:52:49At least that's what New Yorkers think.
00:52:52A lot of people do.
00:52:54Marty has her own unique perspective on things.
00:53:07And it wasn't always easy for her to get the attention that she deserved.
00:53:15Her acclaim was slow and coming.
00:53:32Akeem Walter from Germany contacted me and he wanted to look at my hip hop pictures.
00:53:38There was no clear book idea.
00:53:40I just wanted to present the New York hip hop culture.
00:53:43She said, okay, here's my archive.
00:53:46Have a look.
00:53:50Wow.
00:53:51The volume of material you could not imagine.
00:53:55Maybe a little bit too much.
00:53:57I wouldn't have been there if it hadn't been for the post.
00:54:02They sent me to Upper Manhattan to shoot what was supposed to be a riot.
00:54:07They confiscated spray cans and markers and a knife and a gun.
00:54:11And when I asked the cops what they'd been doing, they said, well, they had been...
00:54:19I called into the post and I said, Ben, the reporter, this is amazing.
00:54:23They were dancing.
00:54:24They were spinning on their heads.
00:54:25There was no riot, so no article.
00:54:28They didn't like it.
00:54:29I was fascinated by the idea that boys were dancing.
00:54:34She was there.
00:54:35Like a normal fixture to our lives.
00:54:38A lot of people would come in and, you know, like, let me take some pictures of the kids dancing and they're out.
00:54:44But she was, she was there.
00:54:46It was not called breaking.
00:55:03It was called rocking.
00:55:05It became incorporated into this bundle of activities that became known as hip hop.
00:55:10Music, dance, and on.
00:55:24It was a subway station that all the b-boys and graffiti writers, rappers, DJs hang out at that time.
00:55:32I remember a guy come there and say, you guys still do these things?
00:55:36Because in the US, this stop, it's finished.
00:55:39There is no b-boys anymore there.
00:55:41The 80s in Germany were like break dancers everywhere.
00:55:45The b-boy scene and the graffiti scene were still growing.
00:55:49The culture was kept and developed.
00:55:53Same situation in France, Tokyo, and in other parts of the world.
00:55:58It gave young people a voice and a method to develop their skills.
00:56:12To put up your tag, even when it's ugly, with effort or greatness, you can become a hero.
00:56:21That book turned into The Hip Hop Files.
00:56:24That came out in 2004.
00:56:26It was published in Germany and he took me on a book tour.
00:56:30Crazy, crazy book tour.
00:56:32These pictures sat in my files for 20 years.
00:56:35So to find out that they're not only interesting to me, but interesting to people in Germany and elsewhere is thrilling, actually.
00:56:42I knew it because I'd traveled the world and I knew all the graffiti writers were influenced by Subway Art.
00:56:48Everybody seemed to know who I was.
00:56:55This is Martha Cooper.
00:56:58Everybody, come on, Martha Cooper.
00:57:03I think maybe that might have been the first time I heard that people refer to Subway Art as their Bible.
00:57:18Well, I'll tell you an incident that blew my mind. I'm so sorry I didn't take a picture of it. We went to Brazil. And we were going to a show that the Asgenius twins had done, where they had done the whole floor, they had done the walls, the ceiling, and they were going to a show.
00:57:37And we were going to a show that the Asgenius twins had done, where they had done the whole floor, they had done the walls, the ceiling, and there was some band that was going to play.
00:57:50And we were standing in line, and these young people that were interested in graffiti came along, and somebody said, this is Martha Cooper. And the kid got down flat on the ground, bowed before her, totally prostrate, to his idol, to his idol, Martha. Martha was his idol.
00:58:16You know, they were, thank you so much, you changed my life. That was the first time I really understood the effect.
00:58:23All our friends from Europe, they said, yeah, okay, of course, Subway Art. They influenced with this book the whole world.
00:58:33For her, it's like, already, like, far away. Graffiti unsorted, more graffiti unsorted.
00:58:39I don't think we would be here doing this even now if it wasn't for some of the publications that came out of the photos they took.
00:58:49Took it from a national to a global phenomenon.
00:58:52When you talk to people about how they got into graffiti before the internet, they all say, through Subway Art.
00:59:00Everyone has a copy of Subway Art.
00:59:02That's the Bible.
00:59:03This is the Bible this morning.
00:59:04Subway Art ruined my life.
00:59:07Subway Art just spread across the world, and so, you know, she's an icon.
00:59:13I was amazed that I didn't realize the impact that the book had had.
00:59:21Long before the internet.
00:59:23Because the sales were really very modest at first.
00:59:27They didn't have the actual book.
00:59:28And it was really hard to get it at that time.
00:59:31Really difficult.
00:59:32Very difficult to get the real book.
00:59:34You have this, you never leave this with anybody.
00:59:36This book had to be passed around by hand through a photocopy version.
00:59:40Photocopy, black and white.
00:59:42And they made photocopies of those and gave those copies.
00:59:45We get a pen, black them, and we write all the colors in the book.
00:59:52What they liked about Subway Art was that it had captured these trains.
00:59:57That before that, maybe they got a glimpse of one on some television show.
01:00:02Subway Art provided the template for them to carefully study the styles.
01:00:12And really, like, with the length, like, like, two crazy guys like this.
01:00:23To learn. To learn.
01:00:25Spending, like, days and days like this.
01:00:28Imagine how many influence, how many life they change.
01:00:32This is crazy.
01:00:34How many kids all over the world.
01:00:36And, of the morning, for us, in the morning, at five and a half, six hours of the morning,
01:00:41took the phone.
01:00:42Then, the Otávio sat in the bed and said to me,
01:00:46Mom, they're calling me in Germany.
01:00:51To make my drawing.
01:00:53Then I said, it's there.
01:00:57You understand?
01:00:58It was an emotion, you know?
01:01:01Like, like, Germany calling my children.
01:01:04I think that was a moment, like, that was a really remarkable moment.
01:01:10It was just where it started, right?
01:01:13Then it should be, in 93.
01:01:17No, it wasn't, it was a moment.
01:01:19In Alemanha, not.
01:01:20In Alemanha it was in...
01:01:21No, in 94.
01:01:22No, it was in Alemanha.
01:01:23No, in Alemanha.
01:01:24It was in 98...
01:01:25No, no, no, no, no, no, no...
01:01:2798, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
01:01:29It's just something that you couldn't have predicted.
01:01:31et en un moyen de faire ça encore plus mieux.
01:01:35Les gens ont appris à moi durant ce voyage et ont dit,
01:01:38« Tu m'as changé ma vie », et tout je peux dire à eux,
01:01:40« Tu m'as changé ma vie ».
01:01:42Et c'est vrai.
01:01:44All de ce qui a donné mon vie à une vie.
01:01:50Ceci est un « Shepard Fairy »
01:01:52qu'il a fait de ma photo de mon street play.
01:01:55Il a « Shepard-i-z'é »
01:01:57Je dirais qu'il y avait toujours quelque chose à cause de la street art,
01:02:00mais j'étais complètement out of it.
01:02:02C'est un autre « NASA »
01:02:03de la photo de un petit garçon avec un hydrant.
01:02:07C'est un grand mouvement d'art.
01:02:09Certains disent que c'est le plus grand mouvement d'art dans le monde.
01:02:13C'est toujours connecté à la scène de la graffite.
01:02:17C'est un petit photographe de moi avec la première caméra.
01:02:21Je me suis dit, « Tu sais quoi ?
01:02:23Si ça se passe, je vais être un part de ça.
01:02:26J'ai décidé de rentrer.
01:02:29Je sais quoi si je peux faire.
01:02:30C'est toujours en train de s'assió.
01:02:31Acai ?
01:02:32Acai ?
01:02:33C'est uneusion ?
01:02:34C'est une Croatie ?
01:02:35Acai ?
01:02:36C'est une seule scène ?
01:02:37C'est une longue scène ?
01:02:38C'est une longue scène ?
01:02:39C'est une longue scène ?
01:02:40C'est une longue scène ?
01:02:42Encore une longue scène ?
01:03:15I think I probably thought, well, if it doesn't work, I'll jump out again.
01:03:23My first thought was, where is that drawing?
01:03:26And then my second thought was, well, I think I better put it in a protective plastic sleeve.
01:03:32Dondi gave me this drawing because I gave him a picture of the train.
01:03:37He says, I just wanted to touch base and increase my offer on the Dondi drawing, too, based on 2018 market value growth for his work.
01:03:51If Dondi's work is now really valuable, and I knew that one of his paintings had sold for $240,000, which is an incredible amount,
01:04:00then I felt that this drawing should be in a museum.
01:04:04I just decided I'd rather hold on to the drawing.
01:04:08I liked it.
01:04:09I mean, and I just, and Dondi gave this to me.
01:04:12This was a present.
01:04:13So that was my decision.
01:04:15Internet, Instagram, social media have completely changed the street art situation.
01:04:22What is up right now?
01:04:28We are in Wynwood Art District in Miami Beach, Florida.
01:04:31It's Art Basel, the big international art fair.
01:04:34So, of course, the art district is popping.
01:04:41In 2005, 2006, we came to Wynwood, an industrial neighborhood, crime-ridden and dilapidated.
01:04:50But there was this undercurrent of a lot of graffiti.
01:04:56What we chose to do was just take it to a whole other level and create the Wynwood Walls.
01:05:08I came out to show my art from New Mexico.
01:05:11I love Wynwood.
01:05:12It's also confusing because I'd like to see more artists everywhere and less $500 sunglasses.
01:05:211970s, 1980s, this was one of the first street artists to come about.
01:05:25It's like 30 minutes, 30 minutes and just, because it was illegal.
01:05:29They had to hurry.
01:05:30What's his name?
01:05:31So, it's just a crash.
01:05:32He's from New York City.
01:05:33We call it gentilfication as opposed to gentrification.
01:05:39But things will change.
01:05:40You know, that's the natural evolution of things.
01:05:45Martha has been involved with all this for 40 years or more.
01:05:51She used to be just about the only one.
01:05:54It's really a different world now.
01:05:56There's Martha with all her experience and skill.
01:06:08Now, there's often a crowd of 100, 200 people, all with their camera phones.
01:06:14Hi.
01:06:15Do you think you can take a photo?
01:06:17Who wants to be in the photo?
01:06:18Who wants to be in the photo?
01:06:18Who wants to be in the photo?
01:06:21What is remarkable about Martha is she keeps going.
01:06:25Okay.
01:06:25Are we missing anyone?
01:06:28I'm just interested in seeing what happens.
01:06:32Good, bad, or indifferent.
01:06:34I'm going to try to somehow capture what's happening with it.
01:06:38Who made that picture?
01:06:41So, not only is this...
01:06:45I guess I kind of stick out because I have white hair.
01:06:49But still, if I'm in any kind of a situation with a bunch of photographers,
01:06:53they don't take me seriously, and that really hurts.
01:06:58I'll fight for my position.
01:07:01I'm standing like this.
01:07:03And so, God just come, and he'll just stand right in front of me.
01:07:06One more, everybody.
01:07:08You're out there.
01:07:08You're crazy.
01:07:09As if I didn't exist.
01:07:10Because they couldn't believe that I could possibly be a serious photographer.
01:07:14I think this is going to block it.
01:07:27because I'm so glad that I can do it.
01:07:29Yeah.
01:07:29I saw him slow down for me.
01:07:32I saw him slow down for me.
01:07:36He slowed down for me.
01:07:37Really?
01:07:38Exactly.
01:07:38Yeah, it's tricky with the light.
01:07:42It is.
01:07:42Ça change chaque fois que tu bouges aussi, parce qu'il y a un tree behind.
01:07:47Oh, il y a un...
01:07:49Oh, il y a un...
01:07:51Oh, il y a un...
01:07:55Je vais y, et puis il vient juste avec moi, tu vois?
01:07:58Oh, c'est tellement cool.
01:08:00Tu as pris un grand shot.
01:08:02Oui, mais je n'ai toujours pas...
01:08:05N'y a pas pris le train?
01:08:09Oui, tu n'as pas besoin de moi anymore.
01:08:11Oh, oui, bien sûr.
01:08:13Oui, c'est vrai.
01:08:14C'est pour moi, c'est la repose.
01:08:16Oui.
01:08:17Elle sait qu'elle aime ça.
01:08:29Oh, c'est ça.
01:08:30J'ai juste mis ça.
01:08:32C'est bon.
01:08:36Je vais aller dans là.
01:08:38C'est pas la caméra.
01:08:40C'est pas la caméra.
01:08:41C'est pas la caméra.
01:08:43Je comprends pourquoi les femmes ont toujours apporté des caméraux et ne voulait pas signer des autographs et des choses.
01:08:51Ils m'ont juste à être à l'aider pour manger leur la nourriture.
01:08:54Je veux prendre une photo.
01:08:55Je veux prendre une photo.
01:08:56Je veux prendre une photo.
01:08:57Je veux prendre une photo.
01:08:58OK, je prends une photo.
01:08:59Je veux prendre une photo.
01:09:00C'est pas la caméra.
01:09:01C'est pas la caméra.
01:09:02C'est pas la caméra.
01:09:03Je veux prendre une photo.
01:09:04C'est pas la caméra.
01:09:05C'est pas la caméra.
01:09:06C'est pas la caméra.
01:09:07Et je vois un pâtiment.
01:09:08C'est pas la caméra.
01:09:09Je vois un pâtiment.
01:09:10C'est pas la caméra.
01:09:11On a enter.
01:09:12C'est pas la caméra.
01:09:13Marley Cooper.
01:09:14Marley Cooper, in the house.
01:09:16She just floated.
01:09:18I feel like the photography part
01:09:21isn't understood as well as it could be.
01:09:23OK.
01:09:24Can I please have you sign my book as well?
01:09:26OK.
01:09:27You have to understand they're already pre-signed,
01:09:30but I can add something.
01:09:32And I try to be nice,
01:09:35but it does make me feel uncomfortable.
01:09:38I've been following you for quite a while.
01:09:40You're amazing.
01:09:41You're like my grandmother.
01:09:43Let's make a mother.
01:09:45You're like my mother.
01:09:46There you go.
01:09:47I love it.
01:09:48OK. L-E-O-N.
01:09:49Yes.
01:09:50I already signed it here.
01:09:51What are we doing here?
01:09:52To the boys at Little Fixed City Tattoo.
01:09:55Where is Fixed City Tattoo?
01:09:57Copenhagen.
01:09:58Oh, Copenhagen.
01:09:59OK.
01:10:04So do you guys know the book that I did about tattooing?
01:10:08No.
01:10:09I'm only a celebrity in one particular field.
01:10:14And you take one step out of that field,
01:10:16and I'm nobody.
01:10:17It's in Denmark.
01:10:18Yeah, yeah, it is.
01:10:19OK.
01:10:20Tokyo Tattoo, 1970.
01:10:22It's all pictures I shot in Japan.
01:10:24Check it out.
01:10:25I'm gonna get that right out.
01:10:26It's about tattooing.
01:10:27Thank you.
01:10:28Before the graffiti, I was interested in tattooing.
01:10:33You gotta check it out.
01:10:35I just don't want to get caught with, like, a hundred other things to sign.
01:10:39Bye-bye.
01:10:40This is the next one.
01:10:42That's it.
01:10:43You're like a grandmother, you know?
01:10:44But you know, I don't have to tell you, if you sign one tonight, other people will see it, and then they'll stand in line.
01:10:54Wait, what's what actually came from the guys in the old bad night?
01:10:59Yeah.
01:11:00Yeah.
01:11:01Um...
01:11:02She was...
01:11:03She was...
01:11:04I know.
01:11:05That way?
01:11:06That way?
01:11:07That way?
01:11:08OK.
01:11:09That way.
01:11:16It would have been enough for her to just photograph the graffiti that she saw on trains, right?
01:11:22For a lot of people, that's enough.
01:11:26But that was not enough for her.
01:11:30I love illegal perfume.
01:11:36Being on the inside.
01:11:38Being invited.
01:11:39Yeah.
01:11:44Okay, we are not...
01:11:46If we go inside the yard, we are not sneaking under the trains.
01:11:50You know?
01:11:51Because if they have some movement and the trains, the freights are so long.
01:11:54If they pull on a new wagon on the end of the train, you know, it hits like...
01:11:58If the too old train can jump for some meters, you know?
01:12:01Oh, OK.
01:12:02Which is...
01:12:03If you crawl under the train, which is pretty dangerous.
01:12:05Uh-huh.
01:12:06So, um...
01:12:07OK.
01:12:08That's fine with me.
01:12:09We have to see if we find any gaps in between.
01:12:11OK.
01:12:12Yeah.
01:12:13We will try to find the best way for you.
01:12:16OK.
01:12:17Thank you.
01:12:18...
01:12:28Oh, wait, what kind of there?
01:12:30...
01:12:31Oh.
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Recommandations
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À suivre
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