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This week’s photo essay feature is by guest photographer Joe Stevens with his picture series, “Vans and the places where they were.” Best viewed full screen.
In the US, custom vans are culturally significant because in their heyday of the 70’s and early 80’s they provided young people with the freedom to go anywhere while bringing along the conveniences of home. Many rolled off the assembly line unfinished as a blank canvas, giving the drivers the opportunity to personalize their vehicles in whatever manner they chose to express themselves. Vans of the era sometimes sported elaborate stripe motifs and wildly customized interiors and the “vanners” developed reputations for lewd and wanton behavior.
Years later, this project examines the juxtaposition between the surviving vans’ visual aesthetic and that of the surrounding architectural and natural elements, and asks us to consider whether that has occurred consciously, subconsciously or as a result of pure chance. Sometimes I am drawn to situations which suggest that perhaps the driver chose this arrangement on purpose or it seems as if the van may have somehow chosen the arrangement itself. I am also drawn to instances where the arrangement creates conflict.
I suppose the answer will come with each individual’s reading of the images. Clearly there is pride which comes with owning something which is unusual and one of the last of its kind. In cases where the vehicle has been customized by the owner it presents a glimpse into that individual’s personality and evidence of the human compulsion to turn something which was stamped out on an assembly line into something which is more strongly indicative who we are. Whether or not we might describe it as such, each of us makes hundreds of art-direction choices every day. This project asks whether something as seemingly mundane as choosing a parking spot is actually one of them.
During the time I have been shooting this project the vans themselves have become more and more of a rarity. The reasons are as simple as rust and as complex as government “cash for clunkers” initiatives encouraging more fuel-efficient transportation. Most notably – at the same time the vans have been disappearing from our roads – film photography as a visual medium has also begun it’s slow death. Consequently the goal of the project is to one day shoot the last remaining van on the final frame of photographic film in existence. Then the project will be finished.
Joe Stevens is a filmmaker and photographer from New York City.













