“Untitled (Alexis Bittar)“, 2013 © the artist, Courtesy Andrew Kreps Gallery, New York & Capitain Petzel, Berlin.
Roe Ethridge, Sacrifice Your Body, at Capitain Petzel, Berlin, Feb 1-March 8, 2014.
By Fanny Landstrom, for ASX, March 2014
Located amongst the monumental GDR architecture on Karl-Marx-Allee in Berlin’s district of Mitte is the East German modernist glass building that gallery Capitain Petzel is housed in. Capitain Petzel is presenting an exhibition of American photographer Roe Ethridge’s (1969) new body of work Sacrifice Your Body (2014) in parallel with the same show installed at Andrew Kreps Gallery in New York. The exhibition is a selection of the work from the book with the same name, Sacrifice Your Body (2014), published by MACK Books, London.
Sacrifice Your Body is explores the relationship between Ethridge and his mother. The book is divided into part 1 and part 2. The first part consists of photographic documentation made in and around the area
REVIEW: Roe Ethridge at Capitain Petzel – “Sacrifice Your Body” (2014)
Finding himself homeless, Chris Shaw began working as a night porter in a hotel in order to have somewhere to stay. To help himself stay awake, Shaw began taking photographs.
Having originally studied photography at art school, Chris Shaw decided to document his experience of working as a hotel night porter. From naked drunk men who had locked themselves out of their rooms, to visiting comedian Norman Wisdom, Shaw captured everything.
In this TateShots film, Shaw also discusses his project Weeds of Wallasey which began when he went to visit his ailing father. Having found his original plan of photographing his parent too emotionally difficult, Shaw instead turned the camera on the area where he grew up, searching for life and nature amongst the industrial backdrops.
Known for his rich and complex images of the American South, William Eggleston is the godfather of colour photography.
Though his images record a particular place at a certain point in time, Eggleston is not interested in their documentary qualities. Instead, when asked what he is photographing, Eggleston simply answers ‘Life today’. Curator Simon Baker explores the work of this master and pioneer of colour in fine art photography, on display at Tate Modern. ‘William Eggleston never takes multiple shots of the same image’ says Baker, instead he takes ‘just the right picture at just the right moment’.
Arnaud Uyttenhove’s short sees LA-born photographer and filmmaker Alex Prager tour her retro-styled studio at the time of her first solo museum show. A film by Arnaud Uyttenhove.
Stoners, Asbury Park, NJ, 1980 courtesy Rick Wester Fine Art
Joe Maloney was a member of the stable of legendary photographers at LIGHT, the preeminent New York gallery of contemporary photography which included many notable photographers whose work in color helped revolutionize the acceptance of the medium. Maloney, along with Stephen Shore, Mitch Epstein, Carl Toth and others helped set the stage for today’s generation of photographers whose use of color is automatic and not necessarily a conscious choice.
Mountain, Anaheim, California, 2013 courtey of Marian Goodman Gallery
Thomas Struth at Marian Goodman
By Lauren Weinberg for ASX, February 2014
“How should we judge what we see?” It’s a question posed to dramatic effect by a series of mostly large-scale photographs created by the iconic 59 year-old German photographer Thomas Struth, now on view at the Marian Goodman Gallery in mid-town Manhattan. Struth, who studied in the 1970s under the painter Gerhard Richter and the pioneering photography duo Bernd and Hilla Becher at the Kustakademie Dusseldorf, is most often associated with other post-conceptual members of the Dusseldorf school of photographers, namely Candida Hofer, Andreas Gursky, and Thomas Ruff. The Bechers helped close the gap between photography and contemporary art with their sharp, stark yet poignant depictions of industrial landscapes, and their influence is perceived in Struth’s own photographic meditations.
Famed for his urban landscapes, jungle scenes, and architectural interiors, as well as his family portraits—including one
REVIEW: Thomas Struth at Marian Goodman Gallery (2014)
By Owen Campbell for ASX, February 2014
Life, in Daido Moriyama’s Labyrinth, is a succession of small, dark, dirty spaces that lead nowhere but to each other. There are patterns apparent to those willing to stay inside long enough but they fall short of recursion; they will not lead you out of the Labyrinth or onto a higher or lower plane. Lacking a single order, a Labyrinth remains open to multiple interpretations yet accords none of them validation. Unlike the abyss, you can stare into to the Labyrinth for however long but the Labyrinth will never stare back. The single, dominating essence of Labyrinth, Moriyama’s refusal to help you make sense of things.
Moriyama created Labyrinth (Aperture 2012) by rearranging/ remixing negatives from multiple decades to create new, original images. The result is 300 pages containing thousands of snapshots of black and white contact sheets, presented with only three brief paragraphs of context, that wordlessly binds images originally separated
REVIEW: Daido Moriyama – “Labryinth” (2012)
Soliloquy Series, 1999
Shirin Neshat. A conversation.
By Raphael Shammaa for ASX
January 27, 2014
Raphael: Shirin, your upbringing in pre-revolutionary Iran straddled both the religious and the secular. You attended Catholic schools, your grandmother was a practicing Muslim but your father’s thinking was progressive. Did you study the Koran at home or in school in any formal manner?
Shirin: Well just to clarify, it’s not just my grandmother; my whole family were Muslims. I grew up in a strictly Muslim family and even my mother and father were Muslim. It’s just they were not as strict about practicing it, and in Iran in my time, and I’m sure today, yes we studied the Koran at school. We don’t speak Arabic, and the Koran is in Arabic language, but we prayed and we went to the mosque and we studied the Koran in school.
Raphael: Was that part of the curriculum in Catholic school?
Shirin: No, I
INTERVIEW: Shirin Neshat – A Conversation (2014)
Filmmaker Hudson Lines explores Elliott Erwitt’s Upper West Side apartment, taking in an extensive archive that reveals the New York photographer’s penchant for playful and surreal storytelling. A film by Hudson Lines.