William Klein: The New York School - Photographs, 1936-1963 (1992)
"I wanted to be visible in the biggest way possible. My aesthetics was the New York Daily News. I saw the book I wanted to do as a tabloid gone berserk, gross, grainy, over-inked, with a brutal layout, bull-horn headlines. This is what New York deserved and would get."
William Klein: "Life is Good & Good for You in New York" (2010)
Everything about him suggests an anarchic temperament, capable of playing any worldly system to the hilt and then throwing away its benefits.
Brought to ASX by Errata Editions. Full essay included in Books on Books #5 William Klein: Life is Good...New York!
By Max Kozloff, Excerpt from William Klein and the Radioactive...
Nan Goldin: The Other becomes The One
“Instead of seeing Goldin’s re-edit as encompassing the visibility of any specific group, it invites reconsideration in an approach delinking the narrative of otherness towards what I see as a photographic project of genuine care."
Diane Arbus - Flirt, Flash & Mirror (2013)
Diane Arbus at "Love-In," Central Park, New York 1969 @ The Estate of Garry Winogrand
Arbus hunts out forms that can be judged as impure, hidden from the view of everyday onlookers. Whilst transsexuals, tattoos and prostitutes are now very much part of the "Official Institution of the Conventional Archetype...
'Like a One Eyed Cat', Lee Friedlander - Out of the Cool
Haverstraw, New York, 1966
Friedlander is a photographer, never forget. Although a major photographic artist, he is not an ‘artist utilising photography.’ He uses the camera, that unthinking machine, to transcribe his visual perceptions of the world.
Out of the Cool - Lee Friedlander at the V&A
By Gerry Badger, from Creative...
William Eggleston: NY MOMA Press Release (1976)
"These photographs are clearly fixed facts of the real world impartially recorded by the camera, but they are something more as well."
William Eggleston: Who's Afraid of Magenta, Yellow and Cyan?
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.
"Arbus reveals the powerful ability of photography to lie, but also it is a testimony of how the lie is not mere betrayal, but a far-reaching human necessity to escape factual reality, the human urge to create and believe in stories, to draw mythical worlds and the inter-subjective life’s...
Diane Arbus MoMA Exhibition Wall Label Text (1972)
She was not a theorist but an artist. Her concern was not to buttress philosophical questions but to make pictures.
By John Szarkowski, Director, Department of Photography, NY MoMA
Diane Arbus's pictures challenge the basic assumptions on which most documentary photography has been thought to rest, for they deal with private...
The Indecisive Moment: Frank, Klein, and 'Stream-Of-Consciousness’ Photography (2004)
Half the time the photographers seemed not to have even looked through the camera. Far from seeking the perfect composition, the ‘decisive moment’, their work seemed curiously unfinished. It captured ‘indecisive’ rather than decisive moments.
By Gerry Badger
"Frank... and Klein brought to the decade a feeling for its woes which,...