Marc Asnin in his 'Uncle Charlie' exhibition at the Queensborough Community College Art Gallery in 2016


Marc Asnin's 'Uncle Charlie' sees its first comprehensive exhibition

forward arrow
Exhibition view of 'Uncle Charlie' that shows rows of black and white photographs on a wall, with Marc Asnin sat in the gallery
'Uncle Charlie Looking Out the Window of 23 Troutman St., Bushwick, Brooklyn, 1989' by Marc Asnin
Overhead view of 'Uncle Charlie' exhibition, showing rows of black and white photography hung on the walls
Untitled photograph, showing a figure bending down to kiss Uncle Charlie on the cheek while he smokes a cigarette
Untitled photograph, showing Uncle Charlie and 3 figured in a doorway lounging and smoking cigarettes
A portrait of Uncle Charlie hung on the wall, where he is faced downwards but looking up at the camera
No items found.

QCC Art Gallery / CUNY

222-05 56th Ave

Queens, NY 11364

Learn More

Following the success of his book Uncle Charlie that has been met with critical acclaim, Marc Asnin has put together the first comprehensive exhibit of his 30-year project. Shown at the Queensborough Community College, the Uncle Charlie exhibition is a pertinent cross-examination and photo essay of mental illness, street culture, and family.

The subject of Uncle Charlie, is Uncle Charlie himself, Asnin's real life uncle and godfather, Charles Henschke. A complex man who has struggled with mental illness, poverty, and drug addiction through his life, is chronicled through captures of himself and the environment around him, including the family home and streets of New York. Asnin grew up in Brooklyn at a time when those on the fringes of society were considered “cool”. Being surrounded by a culture that included gangsters and drug dealers influenced his early work and set the course for his innate ability to capture the harsh realities of their daily lives.

Caught on Asnin's film are subjects that project a profound isolation, within settings that are both barren, as well as cluttered and heady. All in black and white, the nature of each scene is heavily resonant with the viewer. The negatives shot with Leica and Hasselblad film were scanned to produce digital files for us to work with and print from. Printed on a beautiful 100% rag warm tone baryta gloss, these prints have everyone convinced that they were made in a traditional wet darkroom.

Exhibition photographs and work courtesy of Marc Asnin.


The Uncle Charlie exhibition overview, produced by CUNY Queensborough