ASX Photobooks

CARLO MOLLINO: “POLAROIDS 1962-1973″

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WEEGEE: “Mass Hysteria” (1998)

Transvestite in a police van, 1941.

"At the same time, Weegee's humor has a distinctly Gotham aspect to it. How else, his images say to us over and over, could these New Yorkers get through their day but with laughter? It was basic equipment for survival, a reflex of life itself."

DAVID LACHAPELLE: “Neo-Pop and Photoshop” (2007)

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"With his garish images, David LaChapelle holds a mirror up to a hedonistic, lust-oriented and affluent society. They are contemporary, ironic and sometimes provocative images from the machine of dreams and desires that is the USA, filled with well-known pop musicians, actors, athletes and models of the most varying of colours."

KARLHEINZ WEINBERGER: “REBEL YOUTH” (1950-1960′s)

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DIANE ARBUS: “Where Diane Arbus Went” (2005)

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"All strong Arbus photographs are richly ambiguous from the start, and if anything, they grow even more complex as bits of her story adhere to them. Her suicide and her separation from her husband are part of it, along with her attraction to what she called danger and excitement."

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BRUCE GILDEN: “Interview with Bruce Gilden”

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"I don’t presume that everything I do is fine. But, I am showing a slice of life in New York City that in several years won’t be there any longer."

BORIS MIKHAILOV: “A Terrible Beauty”

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"Like all capitalists and entrepreneurs they sell what they have for the best offer, in this case to a photographer who takes their pictures, which will then be consumed by the international art world."

ROBERT FRANK

SCOT SOTHERN: “Lowlife”

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"We get a rock an go ta my place I can give ya whatever ya want, all night long."

NAN GOLDIN: “(Nan) Goldin’s Years” (2002)

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"There is no question that what Goldin offers encompasses a religious dimension. The aesthetic that suffuses many, if not most, of her best-known images is blatantly Catholic in both atmosphere and iconography."

RALPH EUGENE MEATYARD: “The Family Albums of Ralph Eugene Meatyard”(2006)

Ralph Eugene Meatyard

"All told, I have been to eight houses where Meatyard once lived, or, if they are no longer there, to the lots where they once stood. Once I found myself standing on a dark, suburban street six hours from home, looking for a house that I could not, and never did, find."

INTERVIEW: “Brassai with Tony Ray-Jones” Pt. I (1970)

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"Yes, I think education and intelligence is important, but not art. Not artistic education, because when you take a photograph you may be very influenced by what you have seen in paintings and this happened to me often."

NEW TOPOGRAPHICS: “Landscape and the West – Irony and Critique in New Topographic Photography” (2005)

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From Park City, Lewis Baltz

Landscape and the West – Irony and Critique in New Topographic Photography

By Kelly Dennis, Paper Presented at the

NEW TOPOGRAPHICS: “Landscape and the West – Irony and Critique in New Topographic Photography” (2005)

LARRY FINK: “Attraction and Desire – Larry Fink’s Life in Photography” (2011)

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Pat Sabatine’s 8th Birthday Party, Martins Creek, April, 1977

Attraction and Desire: Larry Fink’s Life in Photography

By Olivia Lahs-Gonzales, essay from the book Larry Fink: Attraction

LARRY FINK: “Attraction and Desire – Larry Fink’s Life in Photography” (2011)

PJ ROUNTREE: “HOT, DAILY DEATH AND SEX” (2012)

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El Grafico 28,051, November 29, 2010

Hot, Daily Death and Sex

Text by Paul Loomis, ASX, May 2012

I had been living in

PJ ROUNTREE: “HOT, DAILY DEATH AND SEX” (2012)

JUERGEN TELLER: “THE MASTER”

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KEIZO KITAJIMA: “TOKYO” (1979)

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E.J. BELLOCQ: “‘Bellocq Epoque’ – Nan Goldin on Photographer E.J. Bellocq” (1997)

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By Nan Goldin, Originally Published in ArtForum, May, 1997

Late one Berlin night in 1991, a famous German fashion photographer invited me and two friends to join him

E.J. BELLOCQ: “‘Bellocq Epoque’ – Nan Goldin on Photographer E.J. Bellocq” (1997)

SANTU MOFOKENG: “Photographing Resistance to the Menace and Alienation of Apartheid Transport – Santu Mofokeng’s ‘Train Churches’” (1996)

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#1, From Train Church, 1986

By David Alvarez, excerpt from Alternation, 1996

I think that particularly in a country like South Africa where for centuries and

SANTU MOFOKENG: “Photographing Resistance to the Menace and Alienation of Apartheid Transport – Santu Mofokeng’s ‘Train Churches’” (1996)

ED VAN DER ELSKEN: “LOVE ON THE LEFT BANK” (1954)

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BILL HENSON: “Naked Youth” (2002)

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By Dennis Cooper, originally published in ArtForum, February, 2002

Until recently, being an American admirer of the photographer Bill Henson was a lonely and rather painstaking chore. Apart

BILL HENSON: “Naked Youth” (2002)

PHILIP-LORCA DICORCIA: “Five Nights of a Dreamer” (1993)

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Igor, 1987

By Gary Indiana, originally published in ArtForum, January, 1993

The man’s name is Igor. I don’t know if this picture is posed,

PHILIP-LORCA DICORCIA: “Five Nights of a Dreamer” (1993)

JIM JOCOY: “We’re Desperate – SF/LA 1978-1980″

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INTERVIEW: Robert Frank – “If An Artist Doesn’t Take Risks, Then It’s Not Worth It.” (2007)

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"You are free and you risk something by taking a photograph. It’s not taking a snapshot of your sister. You risk because this is maybe not the way people think one should photograph. So you go out on a more different road. There is a risk involved in that. And I think if an artist doesn’t take risks, then it’s not worth it."

SCOT SOTHERN: “LOWLIFE”

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INTERVIEW: “Henri Cartier-Bresson – Famous Photographers Tell How” (1958)

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"Photography is in a way a mental process. We have to know what to, be clear, on what we want to say. Our conceptions, our, what we think of a certain situation, a certain problem. Photography is a way of writing it, of drawing, making sketches of it."

LEE FRIEDLANDER

WILLIAM KLEIN: “Anthony Lane on William Klein” (2003)

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"William Klein is an American photographer. One is tempted to say that he is the American photographer; among his coevals, only Richard Avedon can match him for stamina and range, and for a visual instinct so sure that you wonder whether both men had cameras implanted in their heads at birth."

INTERVIEW: “An Interview with Walker Evans” Pt. 1 (1971)

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"I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking."

HELMUT NEWTON: “Interview” (1986)

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"It’s quite true that what I am aiming at, even when I take portraits, is to get a scandalous picture. I would love to be a paparazzo."

LARRY CLARK: “Tulsa – An Essay by Larry Clark” (1971)

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"I was born in Tulsa, Oklahoma in January 1943. When I was 16 I started shooting valo. Valo was a nasel inhaler you could buy at the drugstore for a dollar with a tremendous amount of amphetamine in it."

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TODD HIDO: “Fragmented Narratives” (2011)

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"He opens the camera’s shutter for several minutes and occasionally lights up a cigarette while the desolate isolation and deep insecurities of the single family home
leak through towards permanence on film."

TONY STAMOLIS: “Frezno” (2008)

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"Tony Stamolis‘ tour de armpit of California Fresno force is righteous-mad-style white trash migrant worker livin’ blues baby… a photographic onslaught of ugly dirty beauty… a freakin’ camera full of fugly-poppin’ pill-mushroom-love."

INTERVIEW: “Interview with Enrique Metinides” (2006)

Enrique Metinides

"We would go right inside the houses where the crime had occurred, on the street, in the factory, in a ditch, or wherever, and I would take pictures of all those dead people."