“My first awareness of a bodily particular that I can recall was of the bulges made by the flattened flesh of my inner thighs as I sat in shorts on a bench at kindergarten. From where I sat my bulges seemed more pronounced than anyone else’s and I tried to hide them with my hands. After a time I realized that my inner thighs were no different from others. But it remained an area of the body of which I was especially aware and which, in time in girls, came to have a strong attraction for me. I have never been able to decide whether my sense of people’s bodies is something I share with others or whether mine is different or perhaps more acute. Nor am I sure for how long I have had it. What I do know is that it has been with me for a very long time and that it is often intense and ‘detailed.’
DAVID GOLDBLATT: “PARTICULARS” (1975)
Since his teen years, Hoshi has been obsessed by the nightlife of the urban entertainment districts of Tokyo; the vulgar neon signs, the dark trash-filled alleys, and the backdrop of human drama taking place both inside and outside the clubs and bars.
Haruto Hoshi was born 1970 in Kanagawa and educated at Contemporary Photography Research Institute.
Brad Feuerhelm interviews Cristina de Middel for ASX
Brad Feuerhelm: I surmise you have had a whirlwind of a year since Arles last year when you dropped Afronauts into the world. To my knowledge all existing copies of The Afronauts have been hermetically sealed in deep freeze storage by the photobook community. The response has been issued on a near phenomenological level. Do you have any thoughts about its continued and sustaining success over the past twelve months?
Cristina de Middel: For me the whole phenomenon with this book is still a mystery. I can understand that it might look different and that the story is pleasant and enjoyable but honestly, I have the feeling that is far too big now. Many things happened since the book was launched and all this recognition (with the Infinity Award and the Deutsche Börse nomination) that has been happening regularly, I believe, has made the book to be constantly up there. I think I
INTERVIEW: “ASX Interviews Cristina de Middel” (2013)
Eminent Domain No. 3, 2006
Raphael Shammaa interviewed Emma Wilcox for ASX on April 15, 2013. The transcript is as follows.
Raphael Shammaa: So I found that story fascinating about you getting an anonymous phone call about your building coming down where the gallery is and I was wondering, did you ever find out who that person was that called you?
Emma Wilcox: I have always assumed it was someone who was, let’s call it, one degree less than of layperson than me, but probably no more. What I mean by that is maybe they, um, had, um, heard something from someone who is well connected or had been invited to the right meeting. So the point of repeating the story over and over and over again is just to try to talk about, um, the mechanisms of things like consent, and especially informed consent, and, so trickling down to regular laypeople like myself, um, what is supposed to
ASX INTERVIEW: Emma Wilcox – “Where it Falls” (2013)
“In the 1970s I was a young New York lawyer given an SX-70 Polaroid by Columbia Pictures where I worked. I took the camera to my beach house at Fire Island Pines on weekends and recorded the life of the emerging gay community in this notorious place during the decade often referred to as Golden. We made our own good time on this sandbar physically removed and psychically remote from the America unable to come to terms with its gay citizens.”
- Tom Bianchi
“I love Los Angeles. I love Hollywood. They’re beautiful. Everybody’s plastic, but I love plastic. I want to be plastic.”
- Andy Warhol
Each day during his final decade, the King of Pop Art, Andy Warhol, photographed the celebrities, starlets, and acolytes that he called friends, accumulating tens of thousands of images before his untimely death in 1987.
Long live the King.
Abdul Kadhir, is twenty years old and a witness: “They hanged the bodies to a bridge and then launched into the crowd and two more bodies burned. The people gathered around as if it was a barbecue”
Fallujah, Iraq, March 31, 2004
Courtesy of Stanley Greene, Black Passport
Stanley Greene At Visa pour l ‘Image,2006.
Interwieved by Laetitia Martinez , recorded by Cedric Batifoulier, transcripted by David Price . With the kind authorization of oc-tv Toulouse.
LM: How did the work of “Beyond The Wire” get started?
SG: It was a road trip with Sara Daniel, we wanted to cover the route of the coalition forces in to Iraq. We didn’t realise that we were on a voyage into a situation that was going to quickly reveal itself and that the situation in Iraq was not being portrayed properly. The turning point for us was Falloudja. We arrived there when the four contractors were killed.
INTERVIEW: “Interview with Stanley Greene” (2006)
Trained as an architect, Gabriele Basilico took an interest in architectural photography in the mid 1970’s. He gave it a new breath by questioning urban issues of this time. He photographed contemporary, urban and industrial landscape, uninhabited spaces, bright lights and deep shadows. Working primarily with black and white and a view camera, he focused on the space and graphic qualities of buildings.
Ogle Winston Link (December 16, 1914 – January 30, 2001), known commonly as O. Winston Link, was an American photographer. He is best known for his black-and-white photography and sound recordings of the last days of steam locomotive railroading on the Norfolk & Western in the United States in the late 1950s. A commercial photographer, Link helped establish rail photography as a hobby. He also pioneered night photography, producing several well known examples including Hotshot Eastbound, a photograph of a steam train passing a drive-in movie theater, and Hawksbill Creek Swimming Hole showing a train crossing a bridge above children bathing.
Man with Bandage, 1968
Fred Herzog In His Own Words, from interviews with John Mackie of the Vancouver Sun in June, 2005, and January, 2007
“Photographic finesse has its place, but it can also get in the way. I was trying to show vitality. The pictures are about content, and more content. And if there is no content, take no picture.”
“It’s exactly the other way around now. ‘Okay I’m going to take my clothes off, and I’m going to stand there in the nude, and I’m going to try and look lonely or profound.’”
“Content cannot be manufactured, in my opinion. That which I can find is better than that which you can make. That which we find, the work and the use of the people out there, it’s natural, that’s what ordinary people do, that interests me.”
“I take pride in saying these are all how we looked, not how we wanted to
INTERVIEW: Fred Herzog – “In His Own Words” (excerpts)