By David Campany, originally published in IANN magazine No.2, 2008
The photographic art of Thomas Ruff makes very particular demands of us and offers very particular kinds of pleasure, both aesthetic and intellectual. His work seems cold and dispassionate, willful, searching and perverse but at times surprisingly beautiful. Whether he is working with found photographs or shooting his own, the results are similar. He makes images that are at once familiar clichés and estranged visions of our collective photographic order. Ruff’s art dramatises photography for us as an image form that is always as public as it is private, and as anonymous as it is personal. The viewer may find themselves switching between thinking about the particular image they see before them and contemplating the state of ‘all photography’ in its terrifying and sublime totality.
Indeed what is particular about Ruff’s work is its potent ability to solicit individual and global responses that cannot be entirely reconciled. His images
THOMAS RUFF: “Aesthetic of the Pixel” (2008)
Jean-Michel Basquiat Reclining Nude @ Paige Powell and courtesy The Suzanne Geiss Company
By Shahrzad Kamel for ASX
January 15th 2014, New York City
Paige Powell’s candid photographs of Jean-Michel Basquiat are on view at The Suzanne Geiss Company until February 22nd. I had a conversation with Paige the night before the opening about the show, her extensive archive, and her life in New York City in the ‘80s.
SK: You have an extensive archive of photographs and ephemera from the Manhattan art scene of the 1980s. Why did it stay hidden for so long and what led you to the decision to begin showing this work to the public now, some 30 years later?
PP: I left New York City because I wanted to move away from the art scene and make a different life for myself. I had lost a lot of friends to AIDS and drug overdoses. I worked for Andy Warhol at Interview magazine,
INTERVIEW: ASX Interviews Paige Powell – “Jean-Michel Basquiat Reclining Nude” (2014)
A clutter-filled studio is a route to creativity, says photographer Mark Ruwedel.
From his home in Long Beach, California, Mark Ruwedel, shows us around his studio and talks about why it can take him years to complete a photographic series, after an evolving process of sifting and selection.
One such series involved a 14-year study of old abandoned railroads in the American and Canadian West. He describes documenting these incredible feats of engineering, and a history of human endeavour long lost and almost forgotten.
This film is one of Tate’s ‘Global Studios’ series, in which they visit artists’ studios around the world. The artists also take part in question and answer sessions with visitors at Tate Modern, via online video.
ASX CHANNEL: MARK RUWEDEL
From Tulsa, @ Larry Clark
By Megan Bradley, first published in Volume 3 of the Concordia Undergraduate Journal of Art History
Memory is largely based on lived experience. We remember important events that mark the passage of time, and as we get further away from those events our memories may be distorted; we lose details and make additions along the way. When we see or hear about other people’s experiences they may influence what we believe to be our own past. This paper aims to work through situations of real and imagined memories, focusing on adolescence, a time where we begin to discover who we are. The work of Larry Clark is inextricably linked to memory, memory of both his own past and of the pasts of his audiences. He takes pictures of messed up kids, makes movies about messed up kids and was and, arguably, still is one of those messed up kids, his pictures and films
LARRY CLARK: “Larry Clark’s Memory”
By Brad Feuerhelm for ASX, January 2014
Lorenzo Vitturi’s “Dalston Anatomy” has seen a nearly unparalleled foray into an examination of East London’s pluralistic social patterning through the remnants of its populace’s debris. Focused mainly on the ephemeral passing’s of the Ridley Road market, the work examines leftover consumer ephemera…rotting food, scraps of paper, dust, hair… a nascent reliquary for 21st century consumerism. Many of the totems of this dialogue are focused on the Nigerian, Pan-Carribean, and Anglo-Asian communities within East London’s vibrant social taxonomy.
This same community is currently being forced to re-examine the possibility of life under east London gentrification. Over the past ten years, Dalston has become a magnet for new wealth and the tax of higher earners pushing much of the community out for re-development. Dalston Anatomy has succeeded in recording…obliquely and artistically the metaphors of social decay and vibrancy in equal measure. I caught up with Vitturi about his practice in making the work.
INTERVIEW: “Interview with Lorenzo Vitturi” (2014)
REVIEW: ANNA FOX – RESORT 1
By Niccolo Fano for ASX, January 2014
“Where to stay, dine and play.” – Buntlin’s official website
A young girl sits in front of a large mirror adorned with white sparkling fairies hung on its fluffy and pink contour. Through the reflection, a woman standing behind her carefully places a shiny crown above her red fringe; the final touch to an elaborate preparatory routine suggested by the vast assortment of makeup propped next to a vertical stack of chupa-chups lollipops. The room is a space Barbie herself would ideally live in if she were human: the overwhelming pink walls, details and trimmings are perfectly coordinated in colour with the large fairy wings, embellished dress and crown centrepiece worn by the young girl who solemnly inspects her own reflection: Fairy-tale princess transformation achieved.
This is the full-bleed, glossy photograph featured as the hardcover sleeve of Anna Fox’s book Resort 1 (Schilt Publishing). Although the
REVIEW: Anna Fox – “Resort 1″
Art as journalism: Richard Mosse takes us through “The Enclave” featured at the Pavilion of Ireland at the 55th Biennale di Venezia. Art reveals and changes the world’s untold tragedies.
Carol Jerrems was an Australian photographer. Jerrems studied photography at Prahran College 1967-70. She is mainly known for documenting the counter-culture spirit of Melbourne in the 1970s.
(Images @ National Gallery of Australia and Ken Jerrems and the Estate of Lance Jerrems)