|
|
|
Photographer Todd Hido talks about his latest body of work, premiering in its entirety for the first time at the Transformer Station and in a new monograph published on the occasion of this show by Nazraeli Press. Inspired by the artist’s upbringing in suburban Ohio, film, fiction and current events, “Excerpts From Silver Meadows” weaves dark landscapes, highly charged portraits and appropriated images into a complex narrative. Hido discusses his use of many different cameras and film formats, the importance of understanding his images through their sequencing in his books and how his work lives somewhere between film and literature.
Produced by the Fred and Laura Ruth Bidwell Foundation Filmed and edited by Laura Ruth Bidwell
Since the late 1980s, Wolfgang Tillmans (b. 1968), has evolved as one of the most important artists of his generation, contributing crucial aspects of photography which became redefined as an art form. From the art collection of North Rhine-Westphalia is a long overdue survey exhibition, which includes previously never before seen early drawings and other works from the late 1980s. His earliest works, photocopies of newspaper images and his own photographs, go back to his first experiments with digital black and white photocopiers. Pictures and photo sequences of his friends and of young people from the pop and club culture made him known to a wider public.
Tillmans, who lives in Berlin and London, received in 2000 the prestigious British Turner Prize, the first for a non-UK artist. The breadth of his artistic work includes not only portraits, interiors, landscapes, sky shots and still lifes but also work created in his darkroom without a camera lens. Also, abstract paintings,
ASX.TV: Wolfgang Tillmans – “Wolfgang Tillmans” (2013)
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)
A radical feminist and a well-known figure of the Manchester punk and post-punk scene, Linder Sterling is known for her collages and montages, which often combine images taken from pornographic magazines with images from women’s fashion and domestic magazines, particularly those of domestic appliances, making a point about the cultural expectations of women and the treatment of female body as a commodity.
In the pigsty of my place, small pigs-two months old come in from another farm, and spend four months of their last moments before they are shipped.
Pigs of about the same size have been segregated to about 11 animals per cage.
Even though they may be a in a cage, there are pigs that become targets to receive bullying and are bitten.
However, you also can Tsu Rowa enclosed in everyone and there are pigs are weak.
At about 6 months of age, and 115-120 kg body weight, they will ship as meat.
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.”
Abby and Sam Corner a Cat, 1973
By David Spalding
Sometimes the subjects in Michael Jang’s photographic time capsule, “The Jangs,” perform for the camera: Uncle Monroe decked out in his golfing gear, reclines on a shag sectional like a suburban Odalisque. Elsewhere, they seem unaware of the young photographer documenting their domestic routines and occasional outings: think of his mom’s anxious smile as she stands alone at the center of a cocktail party. In the Jang’s house, nearly every surface is decoupaged with visual cues that both acculturate the viewer and timestamp the photographs. A Vietnam-era bumper sticker reads “P.O.Ws never have a nice day;” an R. Crumb cartoon, hung above a bedstead, encourages the Jangs to keep “truckin’ on down the line.” And they do. Throughout the house, images of TV beauty queens, rock bands, football stars and even the Jangs themselves—seen in a staged family portrait thumbtacked above the washing machine—all suggest
MICHAEL JANG: “The Jang’s”
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)
A shell-shocked U.S. Marine after the 1968 Tet offensive in South Vietnam
The Confession of a War Photographer
A Conversation Between World-Renown War Photographer Don McCullin and Jiang Rong, May 19, 2006 at a Hotel in New York.
J: You have been regarded as one of the greatest war photographers and you have just been given the Cornell Capa Award by ICP. But you have also said that you don’t like to be regarded as a war photographer. Why?
M: It doesn’t have a nice ring to the name of war photographer. It makes me seem like a demented person. It makes me seem like all I can do is to photograph war. You can’t imagine how many things I can do photographically, including still life and landscape. I can still do advertising if I want and which I hate. I work on negatives in the darkroom. I am a wide-range person and hate to be categorized.
INTERVIEW: Don McCullin – “The Confession of a War Photographer” (2006)
An ASX Interview with Hubert Marot, by Guillaume Blanc, ASX Paris, April 2013
GB: What type of education did you receive? (how do you perceive it, what did it teach you)
HM: I did a foundation course at the Beaux Arts in Nice, that’s when I decided I wanted to learn photography. So I enrolled in a school in Paris, with the sole purpose of mastering the photographic technique at the highest level I could achieve. I believe that technical training is the basis of any medium.
GB: What is your personal formation? (your influences, your inspiration in any realm, but also what you dislike and seek to avoid – in a word, what informs the way you view photography)
HM: I was shaped by encounters, conversations I’ve had, emotions I’ve felt, but also by some failures I’ve gone through. Like everyone, I have some knowledge about Art, and I work on my curiosity everyday. This allows me to
INTERVIEW: “Interview with Hubert Marot” (2013)
|
|
|
