| ||||||||||||||
 …#8217;t agree with the frank and excessive sex-and-drugs-and rock-and-roll light they were cast in. The film remains banned (by legal order) to this day. Frank then made Life Dances On (1979) after the death of his daughter, Andrea, in a plane crash in 1974 and even a video, Home Improvements (1984-85). With Candy Mountain, Frank skims the pavement again with the semi-auto biographical narrative of a two-bit musician, Julius (Kevin J. O’… ADAM BARTOS AARON SISKIND ALEXANDER RODCHENKO ALEC SOTH ALLISON SEXTON ANDERS PETERSEN ANDREA MODICA ANDREA STULTIENS ANDREAS GURSKY ANTHONY HERNANDEZ ANTOINE D’AGATA ARTHUR ROTHSTEIN ASAKO NARAHASHI ASGER CARLSEN AUGUST SANDER Tweet…  …e of scenes involving orgies and shooting up. (After years of legal hassles, Frank is now allowed to show the film only occasionally and in the context of his other film work.) Following the death of his 21-year-old daughter, Andrea, in a plane crash in 1974, Frank became increasingly remote. Some of his grief is recorded in the film Life Dances On (1980) and in the bleak Polaroid photographs that he made throughout the 1970s. In returning to pho… INTERVIEW: “Interview with Robert Frank: American Visions – Photographer and Filmmaker” (1996)  …unes of Depression times, but your photographs are not critical. I find them more of a glorification—glorification of the plain and simple reality. W.E.: I’m pleased to hear you say that, because I didn’t like the label that I unconsciously earned of being a social protest artist. I never took it upon myself to change the world. And those contemporaries of mine who were going around falling for the idea that they were going to bring d… INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974)  Swimming Pool, Ratingen, 1987 By Katy Siegel & Alex Alberro, Originally published in Artforum, January 1, 2001 Consuming Vision by Katy Siegel Andreas Gursky makes really big photographs. This is the one thing about his work that everyone can agree on. Why does he do it? The answer seems obvious: to see the big picture, things too vast to take in with either the human eye or a camera fixed at a particular viewpoint (mountains, public archi…  …n a vernacular culture, the architecture and details of a landscape that idiosyncratically described the U.S. This became the central theme of Evans’s photography as supported by both Keller and Rathbone, who dispel the labeling of Evans as a “socially concerned” photographer. Whatever Evans’s personal beliefs were about the social conditions brought on by the Depression, he did not use photography as a crusading practice…. WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996) …tists and the historical effects of their work are rarely synonymous. For example, artists who have benefited from the renewed critical and curatorial interest in Conceptual Art in the last decade have themselves resisted the label “conceptual.”(2) This is understandable – no practicing artist wants to be pigeon-holed as an example of an historical movement. Yet the conceptual designation has been crucial to the historical under… “The Photographic Idea: Reconsidering Conceptual Photography” (1999)  … work. I can’t stand to give him even that much credit. NF: Has your work aroused censorship in America? CS: No, I don’t think so. But I wasn’t surprised when Metro Pictures felt they should put up a warning label for kids. NF: You mean the sign at the exhibition of the Sex Pictures that read, “Parents might want to view the works inside before letting their children see them.” CS: Yes. But on the other hand, I suppo… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  …23-1971) wrote that she was compiling her photographs into a ‘Family Album,’ likening it to a ‘Noah’s Ark’ and imagining in it the people who might be remembered and saved in the aftermath of the tumultuous 1960s.” Exhibition label, Portland Museum of Art, Diane Arbus’ cast of characters is a startlingly unusual group. They are people held together by all sorts of bonds, traditional and alternative, yet each merits special attention. Her mothers,…  …ic integrity while admitting that everything he has accomplished as a creative artist depends on the participation of others. Demanding that he be seen as an artist is nothing new for Avedon; he has spent decades fighting the label “fashion photographer.” This is partly because it is important for him to claim his own identity as a photographic artist as opposed to a constantly compromised and therefore non-existent individual associa…  …y identifies a realist use of the medium, which could be seen to open up a much more complex and rich understanding of photography than the limiting implications of terms like formalism, which tend to get used pejoratively to label your writings and contribution to the history of photography. JS: When critics don’t know what to say about a good photographer who uses the camera simply and directly they say that the photographer uses the came… INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006) | ||||||||||||||
|
