Chester Pannell interviews Sharp regarding his subway graffiti in New York City, which at the time was rather controversial and debated as a form of art. His paranoia is understandable, as anyone actually living in the year of Orwell could relate. A restored version will be released in the far future. Feb. 1984, episode #34.
“Since I was a child, I’ve had a fantasy of hiding in a retail space just before it closes, and coming out at night to merely walk around, re-arrange some things, and maybe sit or lay on some furniture, nothing harmful whatsoever. Snow Cab felt like a fulfilment of that childhood fantasy, within a 6 floor, or 60,000 square foot retail space.”
from Manhattan Out @ Raymond Depardon and courtesy Steidl What exists of the sensual atmosphere is counterbalanced by scenes like street-side school for teaching the newly-blind how to walk and the mangled bodies, living and dead, just hanging around. By Owen Campbell, ASX, September 2015 2015’s Adieu Saigon is a collection of images shot in […]
Excerpt from Popular Photography, August 1995 Q: When did you get the original assignment to photograph the drug scene? A: I made a trip to Detroit for Life in the late 1980’s to research the drug problem. It went badly. I couldn’t get anyone to help me break into the downtown Detroit scene. When I […]
In the summer of 1958, several months before The Americans made its debut in France, Frank began experimenting with moving pictures.
The photographer once stated dryly that the centripetal composition of all of his pictures was based on the Confederate Flag.
Many Japanese photographers came to New York to take photographs in the seventies and eighties, Kitajima arguably produced the best. Keizo Kitajima spent six months in New York roaming it’s gritty streets and hanging out in its clubs. He presented a vision of eighties New York, full of energy, decadence and moments of […]
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.”
Bold and bluntly framed, the images are enthused with a voyeuristic atmosphere and an emphasis on body shapes that at times seem to hint at the grotesque.
“If there’re gonna be 100 people in my apartment, there are gonna be twenty or so who want to be exhibitionists and expose themselves to express themselves…”
EXPLORE ALL GARRY WINOGRAND ON ASX (All rights reserved. Images @ the Estate of Garry Winogrand