Ponte City came to stand for urban decay and criminality, and in some of the more right-wing imaginings, as a symbol of the failure of black majority rule.
The book by Kominek is nocturnal in every way. Black pages, black endpapers, black outlook, black object, black vision.
The content may criticize the media or the state or the history of photography, but I would be disappointed if the work were reducible to any one of those things.
“The time when a picture is taken is like an emotion, it’s like a sexual encounter. It’s like a fuck! So, timing is very important.”
Many Japanese photographers came to New York to take photographs in the seventies and eighties, Kitajima arguably produced the best. Keizo Kitajima spent six months in New York roaming it’s
Sunless is Tiane Doan Na Champassak’s most elevated work yet. The publication itself is beautifully printed and plays with chromophilic metaphor of color in the red, white, and blue of
"There is a sense in which this kind of photography involves taking something from people without giving them something in return."
Romance is inescapable; the L.A. river is maybe the most romantic strip of concrete in the world, the light in the window of a Todd Hido exterior is romantic, just
Brad Feuerhelm of ASX interviews Simon Baker - On Conflict, Time, and Photography. Pt. 3
Mark Ruwedel is an artist who has been photographing American deserts and other remote locations for over 25 years. With an affinity for stark, barren landscapes that are otherwise uninhabited,
Courtesy of THESE AMERICANS
Explore the entire 'Paris at Night Gallery
Eggleston brought MoMA around eight carousels of slides made around 1970 from which Szarkowski chose seventy-five for the exhibition and, of those, forty-eight for publication in the Guide.
Brad Feuerhelm of ASX interviews Simon Baker - On Conflict, Time, and Photography. Pt. 2
History has been kind to Martin Kippenberger. Following his untimely death in 1997 at the age of 44, the art world scrambled to retrofit Kippenberger into the Postmodernist canon.
Brad Feuerhelm of ASX interviews Simon Baker - On Conflict, Time, and Photography.