Vivianne Sassen’s, Etan & Me (2013)
By Fanny Landstrom for ASX, November 2013
I would say this makes me watertooth. The dictionary suggests: this makes my mouth water. But since when is a mouth the same as teeth and what about the difference between what is mine and yours and you. (Barnabas)
Familiarities tend to come with some expectation. I expect my favourite band’s next album to have some similarities of the distinctive ‘sound’ that the last album had – and when my müsli brand releases a new addition to their selection it will still be based on that müsli that makes this my favourite müsli. Point I am trying to make is; Vivianne Sassen’s Etan & Me, published by Oodee Publishing House, is a little like that to me. The visual language is unmistakable Sassen’s – but her approach to subject matter is so different that I hardly understood it at first. And I keep discovering it still.
REVIEW: Viviane Sassen – “Etan & Me” (2013)
From photographer Nacio Jan Brown’s Rag Theater and ASX.
Unisex. All cotton.
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Made in the USA.
And Every Day Was Overcast
By Owen Campbell for ASX,
The recent past has seen the amplification of Florida as America’s most prominent locus of ignominy. Florida’s lavish multitude of embarrassments are mostly trivial and comic, yet often enough also deeply disappointing. It provides the background for a disproportionate number of cable news stories or is, in television and film, too-often depicted as a shallow landscape of wealth, leisure and luxury, a space of empty, undiscerning happiness. Florida is ubiquitous. Try as we might we cannot avoid it; yet to find a truly rich examination of America’s netherworld is a pleasure much too few and far between.
A sort of romantic ethnography by way of biography, And Every Day Was Overcast, is writer and photographer Paul Kwiatkowski’s debut work, what he calls an illustrated novel. In it Kwiatkowski plays the role of informing native for the town of Loxahatchee; his tone is equal parts weary traveler and, implicitly,
REVIEW: Paul Kwiatkowski – “And Every Day Was Overcast” (2013)
Many Japanese photographers came to New York to take photographs in the seventies and eighties, Kitajima arguably produced the best. Gritty images of New York streets and nightclubs and a vision of the city that overshadows the individual.
ASX CHANNEL: KEIZO KITAJIMA
(All rights reserved. Images @ Keizo Kitajima)
La Luna, Roma, Italia 2007, Gelatin silver print, 20 x 16 in.
Born in Mexico City in 1942, Iturbide did not begin as a still photographer. In 1969 she enrolled in film school at the Centro de Estudios Cinematográficos at the Universidad Nacional Autónama de México but was drawn to still photography when she met Manuel Álvarez Bravo, who was teaching there. He became her mentor and she assisted him on a number of photographic shoots throughout Mexico and assumed the mantle of revered interpreter of the Mexican spirit when Álvarez Bravo passed away in 2002, at the age of 100.
She continues to live and work in Mexico City.
On view at Throckmorton Gallery through January 11, 2014.
ASX CHANNEL: GRACIELA ITURBIDE
(All rights reserved. Images @ Graciela Iturbide and Throckmorton Gallery)
James Story, coal miner, Somerset, Colorado, December 18, 1979
Excerpt from Richard Avedon interview in Egoiste, September 1984
Nicole Wisniak: Do you think a photographer is a person obsessed by the fact that things disappear?
Richard Avedon: I can’t generalize. All the remains of my father is a photograph, that is to say film, but I don’t think that’s why I photograph. I see all the time – I very often don’t listen. I can be in conversation with someone and at a certain point, stop hearing what is said, start pretending to listen. My good friends know when that happens.
N.W.: But this overlapped eye is sometimes pitiless. You reveal in your portraits facets of character that people would perhaps have preferred not to show. Do you think it is possible to hide one’s self in front of your camera?
R.A.: I am not necessarily interested in the secret of a person. The fact that there
INTERVIEW: “Interview with Richard Avedon (Excerpt)” (1984)
Tract House No. 22, 1971
Oral history interview with Lewis Baltz, 2009 Nov. 15-17
An interview of Lewis Baltz conducted 2009 Nov. 15-17, by Matthew Witovsky, for the Archives of American Art’s Oral History Interviews of American Photographers Project, at Baltz’s home, in Paris, France.
Lewis Baltz and Matt Witkovsky have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose.
MATT WITKOVSKY: I start by saying this is Matt Witkovsky interviewing Lewis Baltz at his home on November 15, 2009, in Paris, France.
Thank you very much for agreeing to the interview. I’m going to start with some basic background. You grew up in Southern California. Is that right?
LEWIS BALTZ: Yes.
MR. WITKOVSKY: And went to school both for your undergraduate and graduate degrees in California. Did you look at any places other than San
INTERVIEW: “Interview with Lewis Baltz” (2009)