Weegee and the Jewish Question (1997)

“I’m no part-time dilettante photographer, unlike the bartenders, shoe salesmen, floorwalkers, plumbers, barbers, grocery clerks and chiropractors whose great hobby is their camera.”   Weegee and the Jewish Question By David Serlin and Jesse Lerner Weegee (né Usher Fellig) is best known for his dystopic urban photographs, principally those images made in New York as […]

ASX.TV: Doug Rickard – “A New American Picture” (2011)

Doug Rickard: A New American Picture Presented in the Pier 24 Photography exhibition HERE. May 23rd – December 16th, 2011 Utilizing the comprehensive image archive Google Street View for his series A New American Picture, photographer Doug Rickard virtually drives the unseen and overlooked roads of America, to find bleak places that are forgotten, economically […]

Lisette Model: “A History of Street Photography” (2001)

Model saw her subjects as misshapen, almost beastly.   By Joel Meyerowitz and Colin Westerbeck, text excerpt from Bystander: A History of Street Photography, 2001 Another refugee who had to stoop to hustling, scrambling, and scraping by, and ultimately to street photography to support herself, was Lisette Model. Although she came from Vienna, Model had […]

An Interview with John Gossage on ‘There and Gone'” (2000)

“One of the things that helps me with doing a book is getting a title at some point that lets me understand its content. I mean basically, that [points to the title of the book] is what’s in here. This [the first chapter] is ‘There,’ this [the second chapter] is the transition, ‘And,’ and this […]

An Interview with Billy Maynard (2011)

Billy Maynard Q & A – Trans/Tender How old are you? 19 Where were you born? Auckland What do you want to explore in your work now and in the future? I want to photograph a feeling I’ve had building inside since a young age. But without constructing any of the pictures deliberately. So far […]

The Garry Winogrand Problem (1988)

Shooting inordinate amounts of film, Winogrand charted a vast, freebooting odyssey through three-and-a-half decades of American culture.     Garry Winogrand: . . . ‘I forgot what year when Robert Frank’s book came out. He was working pretty much around that time, ’55 or whenever it was. And there were photographs in there, particularly that […]

William Klein: “Life is Good & Good for You in New York” (2010)

 Everything about him suggests an anarchic temperament, capable of playing any worldly system to the hilt and then throwing away its benefits.   Brought to ASX by Errata Editions. Full essay included in Books on Books #5 William Klein: Life is Good…New York! By Max Kozloff, Excerpt from William Klein and the Radioactive Fifties, originally appeared […]

William Eggleston – “Sit-In at the Fotomat” (2010)

Looking at Eggleston’s Before Color pictures, newly reborn, requires an odd energy of de-colorization.   By Tim Davis For years, Tod Papageorge, the head of the Photography Department at the Yale University School of Art, would begin student critiques of color pictures with the question, “Why color?” Color was an aesthetic choice and Papageorge felt […]

The Photographer in the Beat-Hipster Idiom – Robert Frank’s The Americans

from ‘The Americans’ @ Robert Frank   Frank’s personality, described by Joyce Johnson as a blend of “European dourness and pessimistic wit,” certainly helped to focus his photographic vision.   By George Cotkin, Professor, Postwar United States Intellectual and Cultural History, California Polytechnic State University Few analysts have captured the sadness, tensions, ironies and possibilities […]

Minor White Review of William Klein’s ‘New York’ (1957)

Baseball Cards, New York, 1955 Review of William Klein’s New York, Originally published in Image Magazine, Journal of Photography of the George Eastman House, September, 1957 By Minor White NEW YORK by William Klein. London, Photography Magazine, 1957. 195 pages, 189 illustrations. Captions separate. Raucous is the word for William Klein’s New York. Sensational in the […]

Henri Cartier Bresson: Decisive Photographs” (1953)

Gestapo Informer, Dessau, Germany, 1945 For some twenty years now Cartier-Bresson has been doing just that. He carries a camera with him constantly. Every picture which he has taken is a very personal record of something which is already taking place. He has no studio, does not employ models, does not even direct those he […]

Robert Frank’s America (1982)

The feeling among them was unanimous: this was not how America was to be shown. But what was at issue was a larger matter than patriotism. The challenge of Frank’s work in the late ’50s lay in his treatment of his subject matter and in his use of a photographic style well out of the […]