"Every dried out mummy-corpse, every dead child, every snarl of these fucking dogs - it's like they invade my dreams- I can't get relief either awake or asleep."
The watchtower is not, typically, an offensive weapon. It’s an anticipatory instrument, a hedge against the inevitability of future conflict. By Eugenie Shinkle, ASX, July 2015 Built in the 1950s,
Excerpts from “Shashin Workshop No. 8.” Japan: Shashin Workshop Group, 1976, First Edition, PB, 72 pp, 28 x 14 cm, b/w photos, text in Japanese. Nobuyoshi ARAKI, Daido MORIYAMA, Shomei TOMATSU,
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
Presented as a trip through Tokyo, perhaps even snapshots of one wild night out, Tokyo Blur shows the reader a clear view from a back-row seat.
William Klein was invited to Tokyo in 1961, where he shot for three months and made more than 1,000 pictures.
Yamamoto Masao had not only treated these prints with a range of teas, and chemicals—this I already knew—but also with tears from his own eyes.
We exist in this sinkhole of economic disparity, careening along needles and rocks, the disease creeping through the cracks on the soles of our feet. By Brad Feuerhelm, ASX, April
To act out of one’s desire that has been purposefully cloaked under ideology is in fact a direct transgression against the state. By Brad Feuerhelm, ASX, April 2015 First, let
Mirage swings between the dynamic of a lover’s intimate photographs and those of a lonely stalker. By Owen Campbell, ASX, March 2015 The standard, reflexive way of referring to Mirage
The theme is a twine of two strands: the uncanny connection of human bodies and questionable distinction of humanity from nature. By Owen Campbell, ASX, March 2015 The fifth floor
Feeling of Spring Unworthy of Compassion. By Alex Bocchetto, ASX, March 2015 As soon as I open I open Marvelous Tales of Black Ink I’m welcomed by a woman with