|
|
|
Bettie Page by Irving Klaw
Transcribed from Nashville Citysearch’s Bettie Page Live Chat, held September 23, 1998 at 8:00 PM
Karen Essex (moderator): Welcome! My name is Karen Essex. I’m sitting here with Bettie – she’s excited to get started. I wrote Bettie Page, The Life of a Pin-Up Legend. Bettie, why don’t you say hello to the fans?
Bettie Page: Hello.
Karen Essex: Is there anything you wish you had done in your life, that you didn’t accomplish?
Bettie Page: I wish I had gone back down to Los Angeles after the screen test I had taken with 20th Century Fox flopped. I wish I had been a movie star. I had this opportunity with Jack Warner and I regret I didnt’ go back to LA. I had to go back to Nashville with my husband when he came back from the war.
I also regret that I was unable to have children. I wanted to
INTERVIEW: “Interview with Bettie Page” (1998)
Ren Hang (b.1987) is a poet and photographer living and working in Beijing. Deliberately provocative, Ren Hang’s images challenge conventional codes of morality in a still highly conservative society.
Brad Feuerhelm interviews Broomberg & Chanarin for ASX, April 2013
Brad Feuerhelm: I wanted to start off with a question about the forthcoming book project with Mack. I believe it is a Bible (king James?) that has had a photographic intervention… and perhaps a bit different than Francis Frith’s 19th century intervention as it plays less on the specificity of place, but perhaps rather the emotionally close to home elements contained in private vernacular “everyday imagery”. I would also gather there are perhaps press images involved. Can you elaborate on the… ahem… Genesis of the project?
Broomberg & Chanarin: It began with a lucky accident. We stumbled across a remarkable object – Brecht’s personal bible. It caught our attention because it has a photograph of a racing car glued to the cover. We were visiting the Brecht Archive in Berlin for our project War Primer 2 and while we were there Erdmut the curator and custodian of
ASX INTERVIEW: Broomberg & Chanarin “Divine Violence” (2013)
“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)
|
|
|
