ore than 20 years ago the photographer Seymour Licht was on an assignment to capture images of the annual Halloween pageant in Greenwich Village. The floats and crowds at the carnival were hard to make sense of visually, and Licht’s eye was instead drawn to the individual ghouls and goblins he had seen on the subway getting there.
There were nights when he would ride the subway for hours without getting a picture; other times deviant nuns and Dracula brides formed spontaneous pairings. By the time he took the woman with the hare’s head, Licht had perfected the contrast between “the mundane and the fantastical” that had first drawn him to the idea, isolating his surreal subjects against mass transit geometries and signage.
You sense, looking through the book, that what began as a series of comic juxtapositions became over the years just a little more unsettling. As Licht writes: “Both the subway andhave associations with death. The New York subway is located not ‘six feet under’, but about 180ft below ground at its deepest point.
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