Landscape #3 (Doheny Drive), 1996, from Landscapes
The Drive to Describe: An Interview with Catherine Opie
Originally published in Art Journal, Summer, 2001 by Maura Reilly
Catherine Opie is a social documentary photographer of international renown whose primary artistic concerns are community and identity- gender, sexual, or otherwise. She rose to prominence in the early 1990s with an extraordinary series of portraits of her close friends within the Los Angeles S-M community. Her Being and Having series of 1991 consists of thirteen portraits of the artist’s lesbian friends, donning theatrical moustaches, goatees, and “masculine” names, (Papa Bear, Wolf, and so on), while another series from that period, Portraits, offers up lushly colored, sympathetic images of her “marginalized” subjects–cross-dressers, tattooed dominatrixes, female-to-male transsexuals, drag kings, and other body manipulators. In 1994, Opie surprised viewers accustomed to her gender-bender imagery by producing a series of small platinum prints depicting the Freeways in and around her California home.
INTERVIEW: Catherine Opie – “The Drive to Describe: An Interview with Catherine Opie” (2001)
Photographer David LaChapelle invites us into his LA studio and reminisces about his early days in New York when he used to work at Studio 54, hang out at the Mudd Club, and generally be a fabulous young man.
Edward Joseph Ruscha IV (roo-SHAY; born December 16, 1937) is an American artist associated with the Pop art movement.
Widely acknowledged as an artist who defined his era, Mike Kelley (1954–2012) created a stunning and protean legacy that encompasses painting, sculpture, works on paper, installation, performance, music, video, photography, collaborative works and critical texts. In the largest exhibition of his work ever organized—and the first comprehensive survey attempted since 1993—the Stedelijk Museum Amsterdam presentation of Mike Kelley will bring together over 200 works, spanning the artist’s 35-year career.
This exhibition is organized by Ann Goldstein (Stedelijk Museum Director), in cooperation with the Mike Kelley Foundation for the Arts. Curator of the first exhibition concept is Dr. Eva Meyer-Hermann.
Porno Film Strip #4, 1972
Lithographic film 57 x 17 1/4 inches
TAPE NUMBER: VII, SIDE TWO APRIL 14, 1996
LEHMER: All right. So let me rephrase that. There was an interesting statement made by an artist about the San Francisco Museum of Modern Art, that they always have photography exhibited in the hallways of the museum outside of the main galleries. They would shove it into the hallways with the idea that it was exhibited but not given the prominence of a main gallery that you might give to a large group of paintings. The mistake was made in failing to recognize the fact that everybody had to go to the bathroom or go from one gallery to another down that hallway. No matter what gallery people went to see, they would almost always see the photography, because it was in the hallway.
HEINECKEN: Well, that’s a very interesting fact, and funny in a way, ironic. But I was just thinking in that museum, which of course was
INTERVIEW: Robert Heinecken – “Photographist” Pt. 2 (1996)
Interviewed by Stephen K. Lehmer
TAPE NUMBER: I, SIDE ONE, MARCH 2, 1996
LEHMER: Your family moves to Riverside in ’46, and in ’49 you attend Riverside [City] College, where you get an A. A. degree in art from ’49 to 51.
HEINECKEN: Even in high school I was in a kind of college preparatory program, but I worked on the yearbook both as a kind of .writer and did drawings and stuff for this high school yearbook and was active in– Oh, you’d have the literature club or drawing club or art– None of these were taught as courses. They were–
HEINECKEN: Extracurricular kind of ideas. So again I have, or I had–I don’t know where they are now–sorae writings I had done and a lot of drawings and illustrations, really, for the kinds of things a high school does. But I did take, not in high school but maybe — Certainly in junior college I
INTERVIEW: Robert Heinecken – “Photographist” Pt. I (1996)
Seen is Richard Phillips’ 2012 exhibition at the Gagosian Gallery in New York. Included are paintings and films with Lindsay Lohan, Sasha Grey and Adriana Lima. An interview with the artist is included. Gianni Jetzer, curator and director of the Swiss Institute in New York and art critic Linda Yablonsky discuss Phillips’ work.
Richard Phillips talks about his new surf film with Lindsey Lohan.
Artist’s Statement: Loretta Ayeroff / The Venice Boardwalk, 1973
I lived in Venice, at 4th Street and Rose Avenue, in the small courtyard behind the laundromat, for over a year. I didn’t visit the Boardwalk very often. However, on this day, I found something I wanted to shoot: an artist’s installation in a window, and the people who stopped to look at it. Positioning myself on a bench, opposite this window, I photographed a random group of curious onlookers. The proofsheet also contains the view of the boardwalk from behind the window, where you can see the bench I sat on to take these photographs, as well as, the artist’s installation, a blank space, with what looked like a covered brick in it. Totally bland and uninteresting, a mystery why so many people were fascinated.
For the Hammer Museum’s Venice Beach Biennial, I decided to print this small time-capsule of the period, using the
LORETTA AYEROFF: “Venice Boardwalk” (1973)
ASX CHANNEL: JOHN DIVOLA
(Courtesy of John Divola. All rights reserved)