Popular Artists

[ultimate_heading main_heading=”William Eggleston” alignment=”left” main_heading_font_family=”font_family:Roboto|font_call:Roboto” main_heading_font_size=”desktop:36px;” main_heading_line_height=”desktop:50px;”][/ultimate_heading]

The photographer once stated dryly that the centripetal composition of all of his pictures was based on the Confederate Flag.

William Eggleston: Making a Name, the Southern Way

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.

William Eggleston: Who’s Afraid of Magenta, Yellow and Cyan?

REVIEW: William Eggleston – “At Zenith” (2013)

William Eggleston: Introduction to ‘Ancient and Modern’ (1992)

William Eggleston: Afterward from ‘The Democratic Forest’ (1988)

William Eggleston: Preface from Election Eve (1977)

[ultimate_heading main_heading=”Diane Arbus” alignment=”left” main_heading_font_family=”font_family:Roboto|font_call:Roboto” main_heading_font_size=”desktop:36px;” main_heading_line_height=”desktop:50px;”][/ultimate_heading]

Diane Arbus – Flirt, Flash & Mirror (2013)

Diane Arbus: “Essential Mysteries (Excerpt)” (2011)

Diane Arbus MoMA Exhibition Wall Label Text (1972)

Notes from the Margin of Spoiled Identity – The Art of Diane Arbus (1988)

Diane Arbus (1991)

Diane Arbus’ Noah’s Ark of Humanity” (2004)

[ultimate_heading main_heading=”Daido Moriyama” alignment=”left” main_heading_font_family=”font_family:Roboto|font_call:Roboto” main_heading_font_size=”desktop:36px;” main_heading_line_height=”desktop:50px;”][/ultimate_heading]

Three New Titles by Daido Moriyama in ‘Mirage’, ‘White and Vinegar’ and ‘Dazai’

Daido Moriyama: “Tights and Lips”

Daido Moriyama – “An Artist at Work”

Daido Moriyama: Investigations of a Dog (1999)

[ultimate_heading main_heading=”Walker Evans” alignment=”left” main_heading_font_family=”font_family:Roboto|font_call:Roboto” main_heading_font_size=”desktop:36px;” main_heading_line_height=”desktop:50px;”][/ultimate_heading]

Walker Evans and African-American Flood Refugees in Forrest City, Arkansas (1937)

Walker Evans on What Makes a ‘Good Photograph’ and Avoiding ‘Too Much Pictorialism’ (1971)

Walker Evans' Many Are Called is a three-year photographic study of people on the New York subway.

Walker Evans – “Many are Called” (1938)

Walker Evans: “Message from the Interior”

Walker Evans: “A Penitent Spy (Excerpt)” (2000)

Walker Evans: “American Photographs” at MoMA, NYC” (1938)

[ultimate_heading main_heading=”Richard Prince” alignment=”left” main_heading_font_family=”font_family:Roboto|font_call:Roboto” main_heading_font_size=”desktop:36px;” main_heading_line_height=”desktop:50px;”][/ultimate_heading]

Richard Prince on the Guggenheim Collection (2019)

Five or Sex Questions for BP Laval

Cariou sued Prince and Gagosian, alleging that Prince’s Canal Zone works and exhibition catalog infringed on Cariou’s copyrights in the incorporated 'Yes Rasta' photographs.

Patrick Cariou v. Richard Prince, et al – The Appeal Verdict

How to Sue Richard Prince and Win

Since Richard Prince first exhibited infringing appropriated photographs, reproduction technologies have thrown established conventions into disarray.

In The Wake of Richard Prince and Instagram, Revisiting Copyright Law, Appropriation and History

ASX.TV: Richard Prince – “It’s a Free Concert” (2014)

[ultimate_heading main_heading=”Andy Warhol” alignment=”left” main_heading_font_family=”font_family:Roboto|font_call:Roboto” main_heading_font_size=”desktop:36px;” main_heading_line_height=”desktop:50px;”][/ultimate_heading]

Mark van den Brink The Minox Files

Stephan Keppel Soft Copy Hard Copy

Xiaopeng Yuan: The Liminality of Capitalist Anxiety

David Pace and Stephen Wirtz: Transitional Histories, Transitional Truths.

Karlheinz Weinberger: Leather Chaps and Denim Straps, Belt Buckles Galore

Bruno V. Roels Interview: A Palm Tree is a …

[ultimate_heading main_heading=”Larry Clark” alignment=”left” main_heading_font_family=”font_family:Roboto|font_call:Roboto” main_heading_font_size=”desktop:36px;” main_heading_line_height=”desktop:50px;”][/ultimate_heading]

Matthew Genitempo – Dogbreath

Erik Gustafsson This is Farewell

Walter Keller: Beruf: Verleger. A Tribute

“One does not have to be born of heterogametic sex to be reminded of what erosion means to the limestone cliffs, nor to extrapolate what a spring without rain posits for a summer’s cooling pool.”

Raymond Meeks: The Sentimentalia of Alabaster and Leaf

“I think some contemporary subcultures can offer a kind of phrenological shortcut back to different epochs and their manners of appearance”

Steven Shearer: Ornament is Not a Crime. It is a Crypt.

ASX.TV: Larry Clark Interviews – 30 Years of Snapshots (2017)

[ultimate_heading main_heading=”Thomas Ruff” alignment=”left” main_heading_font_family=”font_family:Roboto|font_call:Roboto” main_heading_font_size=”desktop:36px;” main_heading_line_height=”desktop:50px;” margin_design_tab_text=””][/ultimate_heading]

Thomas Ruff – “Tripe | Ruff” (2018)

Thomas Ruff – Meet the Photographer (2018)

“One form of defense from this snobbism was to create a sort of puritanism within photography - a little village kind of mentality. Our things, our games. Let’s not engage with the outer world as they are mean to us.”

Nikolas Ventourakis Interview: Misconceptions and Assumptions

“A good number of the images allegedly had annotations written on the images such as “not interested in pictures”, “Deceased”, and “Looks better from the ground” written on them”

Peter Piller: Unheimlich As Above…

Thomas Ruff ‘Sterne’ – Grand Design, Unknowing Darkness

Thomas Ruff: Aesthetic of the Pixel