“Weinstock captures the abstract nature of the textures and colors of ordinary walls and enhances them in a way that elevates the images to painterly pieces of art.”

— Coco Myers

“I photograph walls and urban surfaces around New York City and elsewhere. I look for shapes, patterns, colors, textures, and assemblages of elements that taken out of context suggest new compositions. Often I heighten or change the colors and play with contrast and shadows. Most of what I photographs is ephemera: things that disappear because of weather or human intervention. There's a sense of discovery when I find a hidden composition and can bring it to life. I want viewers to make their own associations with the images and read into them their own feelings and experiences. ” — JW

Jeff Lion Weinstock is an award-winning television and film producer and fine art photographer. A native of Greenwich Village, his photographs pay tribute to the city, and as critic Michael Kimmelman has observed, “its secret spectacles.” Mr Weinstock earned his MFA in film from New York University’s Tisch School of the Arts in 1969. After spending several years as a still photographer for advertising agencies in New York city he began a freelance career as cinematographer/director. In 1990 he joined RHI entertainment as Vice President of in-house production working on documentary, commercial and theatrical projects that took him all over the world. He created several television series, including Adoption, and television specials like The Boys, a tribute to Laurel and Hardy. He divides his time between New York City and Springs.

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ARTIST'S CAROUSEL

rotating exhibit of current & recently sold work

Cake, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Therese, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Asanas, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Rome, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Tangled Up in Blue, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Budapest 1, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Centaur, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Dutch Harbor, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

The Sky Above, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Carnival

Mask, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

The Eyes Have It, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Venice

Triptych, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Yo Yo, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Rock and Hard Place, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

Hard Rain

Fuge, Archival giclee prints on Moab Entrad Rag Paper, 17 x 24 in $900, 24 x 36 in $2,200, 36 x 48 in $3,500; more sizes upon request

JEFF WEINSTOCK speaks to folioeast’s COCO MYERS

CM: Why are you drawn to walls in particular. What about them appeals to you?

JW: Walls and pavement are the canvases of cities, offering infinite possibilities. I look to discover elements that come together in unexpected ways.

CM: Does the landscape out here find its way into your work ?

JW: Here, I photograph the ocean and trees. particularly in winter. But almost all of my work is done in cities.

CM: Do you feel connected to the artists out here and do you own any of their works?

JW: Living in Springs for a a long time, aware of its rich history, being friends with several artists and having Ashawagh Hall down the road have all instilled in me a sense of community with the people who make things here. Among other things, I own a piece by the Montauk painter Janet Sawyer and a sculpture by Martin Craig, both of which I love.

CM: How did you get interested in photography?

JW: Most of my career was spent as a cinematographer and cameraman on films. That grew out of my original interest, which was photography. As a kid I spent time at the Limelight cafe/gallery in Greenwich Village, looking at the photographs of Robert Frank , Ansel Adams, Minor White and others. I started taking pictures at that time and won a Kodak completion in high school, and in my late teens my mother, who worked at the Ford Foundation, hired me to take photographs for a book she was writing.

CM: Your work has a painterly quality. Is that something that you do on purpose?

JW: I grew up in Greenwich Village in the 1950's and 60's, during the heyday of the New York School painters and photographers, and I absorbed a repertoire of images that became a kind of visual Rolodex in my unconscious.

Most of my painterly work is made while hunting the city. I look for details, accidents, visual coincidences, that have about them an inherent element of abstraction and that lend themselves to my making even more abstracted pictures. Then I work with color, whether subtle or vivid, while staying true to the heart of the thing that I'm photographing. Or at least that's how I see it. So you could say that I'm operating in a zone between painting and photography, between reality and abstraction, such that a viewer is not always going to be sure whether the image they're seeing is real, or even what it is.

PORTFOLIO OVERVIEW