By Paul Loomis, for ASX, August 2012
The photographs in “Photo Express: Tokyo” (Steidl, 2012) were taken in Tokyo within a single year by Keizo Kitajima, and looking at them is like leafing through his intricate memories. They are complex and celebratory, hopeless and certain and full of people with signatures of fate on their faces. This is a personal documentary invaded by a black energy.
Dark expressions and rippling patterns emerge from leather jackets and cheap suits and sweaters. Backgrounds are bursting with texture, and even the sky over the city is like fabric. It pulses with the same vitality that moves through all of these photographs, a dark thing that brings just enough light with it to push crystalize silver bromide onto a page. The black and white medium is here twisted into a shouting, tortured filter for the eye.
There are a few mundane scenes in Kitajima’s year, people smile at night or eat ice
REVIEW: KEIZO KITAJIMA – “Photo Express: Tokyo” (2012)
Have you wondered what is it like in Steidlville?
Well, this is a personal insight, shot with a Canon 5DII, of how the printing goes and the faces behind the scenes.
Shot in April 2012.
Chromes. Photographs by William Eggleston. Steidl, 2011. Cat# ZE662 ISBN-13: 978-3869303116
ASX CHANNEL: WILLIAM EGGLESTON
By Doug Rickard
William Eggleston is a “Southern” artist.
Without a deeper explanation, this statement itself could mean a few things. If you look at the body of his work on the whole, the majority of it (almost all) is set within the Southern environs of the US… places like Tennessee, Alabama, Georgia, Kentucky and Arkansas. Also, he was born in the “South” and still residing there. Surely, that makes him “Southern”. Finally, you could look at his work as “Southern” from a standpoint of “feel”… the nuances, the point of view, the character.
All of these things are accurate but it is more than that. William Eggleston can’t actually separate himself from his “South”. The “South” is embedded into him so deeply that it has become something of a stamp or a mark. This is so pronounced within him that his “Southern” is in a sense, placed on to the objects that he shows rather than the objects
WILLIAM EGGLESTON: “Before Color” (2010)