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.”
“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 […]
William Klein was invited to Tokyo in 1961, where he shot for three months and made more than 1,000 pictures.
“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.
Pettibon’s drawings say: sure, I’ll suck dick for cigarettes.
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.
“I’ve had photographs taken for portraits because I very much prefer working from the photographs than from them.”
Stacy Kranitz ’s long-form photographic project As it was give(n) to me is a work that interrogates notions of documentary truth.