Botanica Sander Meisner 52 pp / 237 x 280 mm Perfect Bound with Dust Jacket Colour Offset ISBN 978-1-908889-00-3 Limited Edition of 500 By Paul Loomis, October, 2012 Botanica documents wooded spaces that are usually ignored – strips of trees between highways and behind gas stations, deserted gardens outside of […]
By Paul Loomis, for ASX, August 2012 The photographs in “Photo Express: Tokyo” (Steidl, 2012) were taken in Tokyo within a single year by Keizo Kitajima, and looking at them is like leafing through his intricate memories. They are complex and celebratory, hopeless and certain and full of people with signatures of fate on […]
Imagine the difficulty of undertaking a portrait project with your own parents as subjects, in which the exercise of critical awareness, and compassion alike, become part of the collaborative enterprise. Excerpt from “Train Your Gaze: A Practical and Theoretical Introduction to Portrait Photography” (2006) By Roswell Angier Imagine the difficulty of undertaking a portrait project […]
By Johan Croneman I catch myself leaning into Martina Hoogland Ivanow’s pictures. True, my eyesight isn’t good, but that’s not the reason. I press my ear to them because I expect to hear something. It’s been a long time I saw images that were so quiet. They’re so completely embedded. If they were to speak, you’d […]
By Anna Solal Jacobs Holdt a été vagabond pendant cinq ans, c’est aujourd’hui un photographe danois un peu fou et fasciné par la généalogie, prêcheur contre le racisme. Il semble, ce qui est un peu absurde, ne pas encore avoir fait l’objet d’exposition. Crues et tendres, ses photographies nous font pénétrer dans les coulisses de […]
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 […]
For Avedon’s program is supraindividual. He wants to portray the whole American West as a blighted culture that spews out casualties by the bucket: misfits, drifters, degenerates, crackups, and prisoners-entrapped, either literally or by debasing work. Richard Avedon’s “In the American West” By Max Kozloff “Sometimes I think all my pictures are just pictures of […]
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 […]
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 […]
By Doug Rickard William Eggleston is a “Southern” artist. Without a deeper explanation, this statement itself could mean a few things. If you look at the body of his work on the whole, the majority of it (almost all) is set within the Southern environs of the US… places like Tennessee, Alabama, Georgia, Kentucky and […]
Sometimes the combining of two items, two individuals or two styles, two colors, or two races, two nationalities or two emotions, two boys or two girls, two sexes or two places… or two ages or all of these things… sometimes these things can work together to create a result that goes far beyond the simple […]
By Doug Rickard, ASX, October 2010 The “past” is like a magical beast. At times, it makes me want to cry as a pit in my stomach hits with the power of a ton of bricks. At other times, I want to cackle and howl like a hyena as visions flood the head, pouring out […]