I was, part of a youth culture, a movement. And I greatly embraced this liberating music and club life, which was in such stark contrast to the posy-dressy 80s.
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.
The photographer once stated dryly that the centripetal composition of all of his pictures was based on the Confederate Flag.
Today, Richard Prince, still glowing in triumph after his own copyright battle with Patrick Cariou, is simply screen-capturing his own participation on Instagram—brazenly selling inkjet enlargements of other people’s image uploads for $90,000 a pop. What’s more, Prince is adored for it. How to Sue Richard Prince and Win By Nate Harrison, July 10, 2015 My […]
Nothing looks more shot on film than Polaroid, borders visible and technique laid bare.
Satanic Panic Part II
Sunless is Tiane Doan Na Champassak’s most elevated work yet. The publication itself is beautifully printed and plays with chromophilic metaphor of color in the red, white, and blue of the artist’s French half-nationality.
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.
Blue Poles, 2007. Enamel on metal, 60 x 72 inches Medusa was in various forms of legend alternately beautiful and hideous; a telling difference, in that it suggests either extreme is equally liable to turn a man to stone. The words Pretty/Dirty, the title of Marilyn Minter’s current exhibition at Contemporary Arts Museum […]
“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.”
Cummins Prison, 1975 “Always when I went to prisons before they would say, ‘Do you want to see death row? Do you want to see the electric chair?’ I always said no. I didn’t want to see the electric chair because I figured it was just a voyeuristic trip.” By Geoff Kelly Bruce Jackson […]