“I came to believe that there was something more meaningful going on––something stronger and more compelling, something that seemed almost woven into the fabric of the American psyche.”
Dutch photographer and filmmaker Ed van der Elsken relocated to Paris in 1950. There he found a bohemian group and began closely following and photographing their everyday movements, intertwining fiction and reality in a new genre of photography book. The book focuses on the Left Bank of Paris at the time when the area was […]
“There is a sense in which this kind of photography involves taking something from people without giving them something in return.”
Eggleston brought MoMA around eight carousels of slides made around 1970 from which Szarkowski chose seventy-five for the exhibition and, of those, forty-eight for publication in the Guide.
Often blurred and seeming to blend into interiors, Woodman’s photographs evoke a haunting, haunted world wherein her own physical self appears to vanish—or emerge—before our eyes.
“I don’t apply labels to my photographs. I’d much rather have Max Kozloff do that. He’s much better at understanding and describing what I do.”
Cummins Prison, 1975 “Always when I went to prisons before they would say, ‘Do you want to see death row? Do you want to see the electric chair?’ I always said no. I didn’t want to see the electric chair because I figured it was just a voyeuristic trip.” By Geoff Kelly Bruce Jackson […]
“We live in an era where artists constantly have to self censor. In my experience more often to pander to a disingenuous idea of political correctness than to conservatism.”
“I come in a bit closer. So it’s not a play; it’s a macro-play that I’m dealing with. It’s a macro-play that I create with my own intrusion into the scene…” “Grim Street” is a selection and book of photographs by street photographer Mark […]
“The New Topographics has to some extent had the effect of ‘steamrollering’ people into believing that the American model was the progenitor of lots of current photographic approaches.”
Yamamoto Masao had not only treated these prints with a range of teas, and chemicals—this I already knew—but also with tears from his own eyes.
Bold and bluntly framed, the images are enthused with a voyeuristic atmosphere and an emphasis on body shapes that at times seem to hint at the grotesque.