Workers: The Human Clay (Steidl, 2023) is the most comprehensive volume to focus on Lee Friedlander’s near seventy year fascination with work and those who do it. Edited by Joshua Chuang and bringing together 253 images stretching as far back as 1958, this book functions well as an overview of a subject that has persisted […]
The first time I looked through Igor Posner’s Cargó (Red Hook Editions, 2022) I was bewildered. I did not know, for example, that across 160 pages and what feels like triple that number of images, it would express the disjointedness and poignancy of memory, or that it would render the experience of time passing as […]
From Gui Marcondes I Know I Exist Because You Imagine Me …By having our monthly meetings, the artist, who may work a day job or run a family, is encouraged to return to work to provide progress notes. There is no strike against them if they cannot bring something new every month as we […]
Dave Heath – One Brief Moment Review by Simon Bray Within the opening pages of Dave Heath’s ‘One Brief Moment,’ there is a certain air of occasion. Gathered masses fill the middle of the street, suggesting that these are not singular moments but a crowd united by a collective sense of anticipation and […]
Find out what Keith Haring’s friends were like and hear his favorite music by watching this video Nelson Sullivan made at Keith’s New Year’s Eve Party welcoming 1984.
Chester Pannell interviews Sharp regarding his subway graffiti in New York City, which at the time was rather controversial and debated as a form of art. His paranoia is understandable, as anyone actually living in the year of Orwell could relate. A restored version will be released in the far future. Feb. 1984, episode #34.
from Go-Sees @ Juergen Teller “For me I realised, in a way, within that period, ninety-eight/ninety-nine, kind of stepping back from fashion, realised what kind of a sense of power you have as a man, and what sense of power you have as a photographer.” – Juergen Teller Excerpt from an interview with the Tate, […]
from Manhattan Out @ Raymond Depardon and courtesy Steidl What exists of the sensual atmosphere is counterbalanced by scenes like street-side school for teaching the newly-blind how to walk and the mangled bodies, living and dead, just hanging around. By Owen Campbell, ASX, September 2015 2015’s Adieu Saigon is a collection of images shot in […]
“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.”
“If there’re gonna be 100 people in my apartment, there are gonna be twenty or so who want to be exhibitionists and expose themselves to express themselves…”
“Street photography is very difficult. The number of really good pictures that you get is very small in comparison to the number of pictures taken. You’re better off, I think, letting your intuition completely run wild… and even when you find yourself […]
@ The Estate of Dash Snow and Courtesy DAP Art shouldn’t be a product of the art world, but a product of the world world. By Owen Campbell I told my friend I was reading Glenn O’Brien’s intro essay to Dash Snow’s I Love You, Stupid. He said he always thought Dash Snow was […]