The street photographer Daniel Arnold trains his lens on people going about their lives in New York City. In “Pickpocket,” his first monograph, we see many of Arnold’s subjects, intent on completing their private daily tasks.
, who are known for their gritty New York movies, Arnold chronicles the interstitial weirdness of the city and the people in it, who are often too caught up in the busy stream of existence to pause and reflect on their lives. Arnold is “our witness to a unique brand of human fraught-ness, to a human cacophony in the life of a city, to the moments where we’re blind to ourselves,” Safdie writes.
Like Amis, and the British protagonist of “Money,” Arnold is not a native New Yorker. He moved to New York from Milwaukee, when he was twenty-three years old, and his outsider’s perspective imbues his work with an avid, hypervigilant energy. “I have an obsessive relationship with the city,” Arnold told me. Walking the streets, in his hoodie and dark mustache, with a camera or two around his neck, he himself has become one of the city’s characters, a recognizable N.Y.C.
A hint of mystery is always present in Arnold’s photos, even when he is shooting in contrived conditions. For the past half-decade, he has photographed the Met Gala for Vogue, and some of these pictures are included in “Pickpocket,” in a special insert made to look like an Italian tabloid. Although theare certainly glitzier and more glamorous than Arnold’s street photographs, they manage to retain a certain behind-the-scenes unexpectedness.
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