“Main street includes, if followed at length, an exit to a highway or the autobahn. The community center and church are the gathering points in which social conditioning and inclusion or exclusion become modes of continuity for the community”.
“In a dialogue where it is often difficult not to mention “medium specificity”, it would be fair in jest to contemplate why photography’s utility is toward change and simultaneously toward stasis. Stasis is where comfortablility lies, but this position also breeds contempt.”
“Berlin was cold and grey… but we made up the “scene” an alien escape from this condition… no morals, cold and hot and cruel and shiny, all at once… excessive for sure. The free spirit of the city supplied a fertile ground for life as an experiment”
“Though the clues to what could be considered “absent” “voided” or “gone” are not to be entirely championed nor ignored, the work follows a circular format. It is an examination of place and home and the subject’s way of seeing the familiar and unfamiliar at the same time. This inquiry of Schmidt’s is adept if not deftly demonstrative.”
“A good number of the images allegedly had annotations written on the images such as “not interested in pictures”, “Deceased”, and “Looks better from the ground” written on them”
”The whole city though I am only in a neighborhood seems capable of changing its face as I am carried through it offering possibilities for omni-architectural and urban planning on rails”. I have this repeating dream in which I am in an urban environment not dissimilar to Berlin. The buildings have a late nineteenth century […]
Images that travel; images for hire. The postmarking of images. The weathering and creasing defamation, which detracts the value of a post-card is insipid as to its method of its perceived “correct” representation or is it?
These are real people, with real happiness in their lives, and that makes a fool of the reader for prejudging them by their surroundings.
The book by Kominek is nocturnal in every way. Black pages, black endpapers, black outlook, black object, black vision.
History has been kind to Martin Kippenberger. Following his untimely death in 1997 at the age of 44, the art world scrambled to retrofit Kippenberger into the Postmodernist canon.
Without an element of cruelty at the root of every spectacle, the theater is not possible. In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds. By Brad Feuerhelm, ASX, March 2015 ”Without an element of cruelty at the root of every spectacle, the […]
@ Mark Power Then, some American asshole with Christmas lights on his jacket singing a pop song about years of collective trauma and a hangover of cheap products and Stasi disappearances like he knew something, which was clear, he did not. From his leather jacket to his mullet, Hasselhoff represented the anti-Christ of […]
Leafing through Van Der Weijde’s Third Reich (part one of his Bavarian trilogy) one is confronted with Nazi Housing constructed in Bavaria during the National Socialist tenancy of German between 1933-1945. By Brad Feuerhelm, ASX, January 2015 The Dutch Man of Brazil Erik Van Der Weijde’s seeming pre-occupation with architecture and warfare has […]
EXPLORE ALL AUGUST SANDER ON ASX
We spend merciless hours absorbing film, video, and internet collateral. Amann’s greatest trick with this book is to play on the nature of this game. By Brad Feuerhelm, ASX, December 2014 Werner Amann’s “Surf Fiction” has landed in my lap at a time when I have been searching for a body of work that […]
from Go-Sees, @ Juergen Teller Made over a twelve-month period, Go-Sees is a collection of photographs that depict the hundreds of women and young girls who called at Teller’s studio for an informal meeting in the hope of securing the modeling contract that would lead to fame, fortune and a life of ‘glamour’. […]
The Rhine II, 1999 There is something very straightforward about Andreas Gursky’s photographs. It is as though he holds up a peopled landscape or a building or a workplace for our inspection, saying simply, ‘here it is’. The Iron Cage of Boredom By Julian Stallabrass There is something very straightforward about Andreas Gursky’s photographs. […]
April 4, 2014, Galerie OstLicht: opening ceremony of the show ARAKI TELLER TELLER ARAKI featuring works of two of the most important photographers of our times: Juergen Teller and Nobuyoshi Araki. The exhibition is showing new works conceived for this joint exhibition and entering into an artistic dialogue. Nobuyoshi Araki and Juergen Teller are united […]
Mountain, Anaheim, California, 2013 courtesy 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 […]
Blushes #28, 2000 “Ever since I started printing in 1990, I’ve been collecting things that went wrong in the darkroom.” By Nathan Kernan, from “What They Are” originally published in Art On Paper, May-Jun 2001 Photographer Wolfgang Tillmans was born in 1968, in Remscheid, Germany, a small town not far from Dusseldorf. He moved to Hamburg after […]
Photographer Wolfgang Tillmans interviewed back in 1996 about his image ‘Macau Bridge’ for Habitat. ASX CHANNEL: WOLFGANG TILLMANS
A camera crew follows Helmut Newton, the fashion and ad photographer whose images of tall, blond, big-breasted women are part of the iconography of twentieth-century erotic fantasy. He’s on the go from L.A., to Paris, to Monte-Carlo, to Berlin, where he was a youth until he escaped from the Nazis in 1936. We see him […]
Since the late 1980s, Wolfgang Tillmans (b. 1968), the medium evolved as one of the most important artists of his generation to Photography crucial aspects and redefined as an art form. The art collection of North Rhine Westphalia is a long overdue survey of the work that includes previously never to be seen early drawings […]
Visual Arts Museum-MAVI July 19 to October 20, 2013 For the first time in Chile presents Wolfgang Tillmans, one of the most outstanding artists in the current contemporary photography scene, which has been reflected in the Prize Turner 2000, being so far the only non-English artist who gets this award. His exhibitions have been presented […]
Helmut Newton, photographer. Electricians’ faces. Shell Collection. vol. 1, no. 28. La Trobe Picture Collection. By Guy Featherstone, originally appeared in La Trobe Journal, Spring 2005 On Thursday 10 October 1940 a twenty–year–old German Jew, Helmut Neustaedter, was formally received at the Tatura internment camp in north-eastern Victoria. He was held at number 3 Camp, […]
Almost always working in series, Ruff frequently develops new technologies to facilitate concepts that are at the edge of visual and technical vanguards. By Vladimir Gintoff, ASX, April 2013 The German photographer Thomas Ruff is the anomalous schoolchild of the Dusseldorf Art Academy and Bernd and Hilla Becher’s tutelage. Breaking and reinventing the rules […]
Kommingen, 2007 Gerry Johansson “Deutschland” at Swedish Photography, 2013 By Sören Schuhmacher, ASX Germany, April 2013 In 1993 and 2005 to 2012 Gerry Johansson drove through the German countryside, visiting 176 places like Alt Horsbüll, Gelsenkirchen or Solingen. He divided Germany into nine sectors, which he then traveled systematically. Rather than visiting only major cities, […]
Taxi, from Ohio © Joachim Brohm, courtesy Brancolini Grimaldi “That was the mid- to late 70s and photography was not an art at that time – it was photography. It was advertising photography, and it was journalism.” By Fanny Landstrom, ASX London, March 2013 So, this is your first UK solo exhibition? Yes it is. […]
Vivienne Westwood No.2, London, 2009 © Juergen Teller Juergen Teller, ‘Woo!’, 23 January 2013 – 17 March 2013, at ICA, Institute of Contemporary Arts, London. By Fanny Landstrom, ASX London, March 2013 When greeted by a large-sized triptych of a nude Vivienne Westwood effortlessly lushed out on a plush sofa, a black and white print of […]
By Sören Schuhmacher, ASX Berlin, March 2013 For the first time in Germany, C/O Berlin presents a retrospective of the Swedish photographer Christer Strömholm (1918-2002). Christer Strömholm . Post Scriptum, is at the same time the last exhibition hosted in the unique spaces of the Postfuhramt. Roughly 150 vintage black and white prints are presented […]
By Sören Schuhmacher, ASX Germany, February 2013 “Photomaton – The new artistic portrait” was the slogan which advertised the Photomaton Studios in the late 1920’s. The first machines were set up at public places in several German cities, where a cross-section of society passed by every day. For just one Reichsmark, the currency at […]
There is a very careful eye at work in these pages, and the photographs mesh even though they shouldn’t. Imagined, Imaged, Believed, or Dreamed By Paul Loomis, ASX, January 2012 Wolfgang Tillmans’ Neue Welt (New World) is littered with diverse images that are fearlessly juxtaposed. On the surface they seem to examine and reveal […]
ANDREAS GURSKY to 03 February 2012 – Museum Kunst Palast, Dusseldorf The Düsseldorf-based artist Andreas Gursky, Candida Höfer next one, Thomas Ruff and Thomas Struth to the internationally most significant contemporary photographic artists. With its large format, but also by its impressive precision, Andreas Gursky seems to dissolve the concept of photography and again to question the […]
All the Clothes of a Woman, 1970’s By Roy Arden, This curator’s text was originally published for the exhibition ‘Hans-Peter Feldmann’ at the Contemporary Art Gallery, Vancouver, June 9 – August 20, 2006. Hans-Peter Feldmann’s oeuvre includes works in many media, from painting to sculpture, installation, photography, collage, bookworks, archives or collections of images, objects, […]
“In general, my work is about representing the world that I live in.” Wolfgang Tillmans was announced as the winner of The Turner Prize 2000. He took part in an online webchat on 1st December 2000 at the Channel 4 website. The following is a transcript of the interview. Wolfgang Tillmans: Hello this is […]
Haus der Kunst – Thomas Ruff im Interview mit Thomas Weski, 16.02.12
Une visite complète de l’importante exposition consacrée par le Centre Pompidou au grand peintre allemand. Où l’on comprend la relation étroite entre peinture et photographie, entre l’esthétique de l’artiste et la place de l’homme dans une actualité d’ores et déjà versée à l’histoire. Et par dessus tout, la passion d’expérimenter, de ressentir et de peindre.
Not Fade Away: The Face of German History in Michael Schmidt’s Ein-heit By Michael W. Jennings, October, 2003 Fotografieren verboten. Photography forbidden. Is this the coded message that stutters at us in a central image from the photoessay U-ni-ty (Ein-heit) by the contemporary Berlin photographer Michael Schmidt? The cropped image of a sign, perhaps a […]
Juergen Teller – “The Photographers Gallery 1998”.
The 88 years old photographer Saul Leiter in a talk with Brigitte Woischnik and his assistent Margit Erb in the Deichtorhallen, Hamburg were a great number of his photographs are exhibited. deichtorhallen.de More Videos on: whitetube.de Find Whitetube on facebook.com/whitetube Subscribe to vimeo.com/channels/whitetube
Fat hand and dollars, Monte Carlo, 1986 Perfection, perfect women, and perfect sex (as if such a thing exists) may be Newton’s medium, his outer preoccupation, his aesthetic obsession, but they are not the subject of his work. Skewing Lines: On Pervs, Pearls and Sex Dolls By Lily Azrielant, Mercer Street The warm […]
“There are two dirty words in photography, one is art and the other is good taste.” – Helmut Newton Skewing Lines: On Pervs, Pearls and Sex Dolls By Lily Azrielant The warm afternoon light strokes the ends of her dimly lit legs. They are thin, small, soft, and fitted with a pair of violent […]
Juergen Teller on shooting models. © TATE MODERN
Social class stands before us in all its detail and specificity. By Clare Hurley, December, 2004 “People of the Twentieth Century”: August Sander’s Photographic Portrait of Germany, Metropolitan Museum of Art, New York, May 25—September 19, 2004 A selection of 150 photographs from August Sander’s People of the Twentieth Century [Menschen des 20. Jahrhunderts] […]
Executed in 1991, Andreas Gursky’s New York Stock Exchange is one of the earliest examples and, at the time, largest of Andreas Gursky’s seminal series of photographs of global stock exchanges which he continues to this day. The original inspiration and philosophy for the series derived from the stock market collapses of the late […]