|
|
By Claire Demers, originally published in Christopher Street, September 1977
Claire Demers: What do you think your influence has been on the New York art scene?
Andy Warhol: Gee, I don’t know. I just work all the time. There are so many different styles, you know, different ways of people painting and categories and… there’s so much, so much variety. I don’t know if I have influence it or not.
CD: How do you feel about New York?
AW: I just love New York. I have to fly around a lot, but I just can’t wait to get back to New York. I think it’s the best place in the world. I’d rather have an apartment Uptown than Downtown or in the middle, and that would be my vacation – going downtown.
CD: What makes New York unique compared to other cities?
AW: Well, right now we’re getting all the kids from the different countries in Europe
INTERVIEW: Andy Warhol – “An Interview with Andy Warhol – Some Say He’s the Real Mayor of New York” (excerpts) (1977)
Walker Evans’ Many Are Called is a three-year photographic study of people on the New York subway. Using a camera hidden in his jacket and a cable release running down his sleeve, Evans snapped unsuspecting passengers while they traveled through the city. Evans said that these photographs were his “idea of what a portrait ought to be,” he wrote, “anonymous and documentary and a straightforward picture of mankind.”
ASX CHANNEL: WALKER EVANS
(All rights reserved. Images @ The Metropolitan Museum of Art)
3D-ma.r.s.08, 2013, courtesy of David Zwirner, NYC
By Vladimir Gintoff, ASX NYC, 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 of photography for over three decades, his body of work remains peerless in its insight, diversity and envelope pushing tactics. Two new projects at David Zwirner, photograms and ma.r.s., extend Ruff’s flair for innovation, and his mining of photography’s past to reveal its future. Almost always working in series, Ruff frequently develops new technologies to facilitate concepts that are at the edge of visual and technical vanguards.
ma.r.s. (stands for “Mars Reconnaissance Survey”) is a series of images based on surface depictions of the fourth planet, taken by a high-resolution camera on an orbiting NASA satellite. Ruff downloads these images from the web and then performs desired alterations of color, orientation, and perspective. The results are monumental landscapes,
EXHIBITION REVIEW NYC: Thomas Ruff – “photograms and ma.r.s.” (2013)
New York City, circa 1940
Helen Levitt (August 31, 1913 – March 29, 2009)was an American photographer. She was particularly noted for street photography around New York City, and has been called “the most celebrated and least known photographer of her time.”
(All rights reserved. Images @ The Estate of Helen Levitt)
Richard Prince BROOKE SHIELDS (SPIRITUAL AMERICA), 1983 Ektacolor print, 24 by 20 inches (after an original by commercial photographer Garry Gross) edition of 10 + 1 AP, executed in 1983 courtesy Gladstone Gallery, New York
RICHARD PRINCE, Interview by Brian Appel, 2007
BRIAN APPEL: Hope you had a chance to read my review of your last show at Barbara Gladstone.
RICHARD PRINCE: Yes I did. Who are you? Do you write like this a lot? I’m amazed by your text on the auctions. Anyway, I thought it was pretty good.
BA: I think it was about 10 days ago or so that I saw you talking with Barbara Gladstone and a collector at the group show presently up at Barbara’s Gallery. I was with my daughter Li. She was enjoying John Dogg’s “The Final Curtain”.
RP: Hey, I remember you – especially your little girl. She was so great and seemed to be having so much fun running
INTERVIEW: “RICHARD PRINCE” (2007)
Back In The Days documents the emerging hip-hop scene from 1980-1989 – before it became what is today’s multi-million-dollar multinational industry. Back in the days, gangs would battle not with guns, but by breakdancing. Back in the days, the streets – not corporate planning – set the standards for style.
Back In The Days documents the emerging hip-hop scene from 1980-1989 – before it became what is today’s multi-million-dollar multinational industry. Back in the days, gangs would battle not with guns, but by breakdancing. Back in the days, the streets – not corporate planning – set the standards for style.
(All rights reserved. Images courtesy and @ Jamel Shabazz)
Elbowing, Out of Town Newstand, New York, 1954
Louis Stettner at Bonni Benrubi. The Fuller Building, 41 E 57 St, NYC
By Lew Schwartz, ASX NYC, March 2013
[column width="45%" padding_right="20px"]The first image you see in this small show, Out of Town, Newsstand, is of a neatly tailored woman, perhaps a model, looking down into the last pages of what may have been the latest edition of Vogue. Framing her is the dark rectangle of the newsstand’s enclosure, and, to our left, are tiers of out of town newspapers. This image, one of Stettner’s most famous, was chosen by him to lead off this retrospective show. It’s an odd choice given his life long interest in humanistic photography, yet it tells us much about the dichotomy he finds between Paris and New York. The woman is confident and self-assured in her fashionable clothing, not empathetic or vulnerable at all – she’s a Hitchcock heroine early in
EXHIBITION REVIEW – NYC: Louis Stettner – “Louis Stettner” at Bonni Benrubi (2013)
|
|
|
