From ‘Son’ by Christopher Anderson “I’ve spent the last fifteen years with the title of ‘War photographer’, going to the other ends of the earth, to photographs stories of other people, looking for photographic intimacy from people that I didn’t know.” Why show it ? Interview with Christopher Anderson By Baptiste Lignel, December […]
Amarillo, Texas, August, 1973 “I think it was simply the time was right for color photography. It was about the same time that William Eggleston, Luigi Ghirri, and Joel Meyerowitz began to use color.” The Apparent Is the Bridge to the Real By Rong Jiang, ICP, New York, June 4, 2007 RJ: You said […]
From the series American Surfaces Looking at Stephen Shore’s large-format pictures of America, it might be hard to believe the images were once controversial. The Landscape of Stephen Shore at the ICP By Carl Gunhouse, May 22, 2007 Looking at Stephen Shore’s large-format pictures of America, it might be hard to believe the […]
“Billboards in any art are the first things that one sees—the masks might be interpreted as billboards. Once you get past the billboard then you can see into the past (forest, etc.), the present, & the future. I feel that because of the “strange” that more attention is paid to backgrounds & that has been […]
As soon as the technique is available, Gursky proceeds to the digital manipulation of the image. By Stefan Beyst INTRODUCTION After the big retrospective in the MoMA 2001, a new big show in the Munich ‘Haus der Kunst’ is dedicated to the photographer whose ’99 cent II Diptychon’ (1999) has recently been auctioned at Sotheby’s […]
Haverstraw, New York, 1966 Friedlander is a photographer, never forget. Although a major photographic artist, he is not an ‘artist utilising photography.’ He uses the camera, that unthinking machine, to transcribe his visual perceptions of the world. Out of the Cool – Lee Friedlander at the V&A By Gerry Badger, from Creative Camera (1991) ‘That […]
Bourbon St, New Orleans, 1995 @ Mark Steinmetz “I don’t begin a project with an agenda that is going to over-determine the outcome. I think it begins with a faint vision – one of those whispers on a breeze – that somehow gets a grip on me.” By Amelia Sechman and Paul Schiek, […]
Zoniers, Porte de Choisy, 1913 By Stephen Longmire, Afterimage, May 2001 It has been 20 years, amazingly enough, since New York City’s Museum of Modern Art (MoMA) launched its landmark cycle of exhibitions of the work of French photographer Eugene Atget (1857-1927), who spent his last 30 years documenting the architectural record of Paris and […]
Young Couple in Parked Open-Air Car, Ossining, New York 1932-34 By Carter Radcliff, Originally Published in Tate Magazine, Issue 5, 2003 In 1932, Walker Evans photographed a young couple in a roadster parked at the curb in a small town somewhere in America. The top is down, giving the photographer and his subjects direct views […]
Adrift in the city of superflat By Marc Feustel, Originally published in FOAM Magazine, brought to ASX by FOAM During the extraordinarily turbulent and dynamic post-war period , Tokyo became a great photographic city: a city with a distinctive, immediately recognizable photographic aesthetic. Just as Paris’s visual identity became intrinsically linked to the humanist photography […]
Stephen Shore. Merced River, Yosemite National Park, California, August 13, 1979 In 1982, a slender yet hugely impressive version of Uncommon Places was released. Its impact was felt almost immediately, forever changing the course of art photography, and securing Stephen Shore a place within the canon of photographic history. By Aaron Schuman, originally published […]
Carnival Strippers, 1973 Susan Meiselas in Conversation with David Campany DAVID CAMPANY: Much of your work seems to be based very much on process, particularly more recent work such as the Kurdistan project and ‘Encounters with the Dani’. Obviously work has to surface, one way or another, but do you have a sense of the […]