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 …es nous font pénétrer dans les coulisses de l’American Way Of Life, espace onirique et cinématographique par excellence. Contemporain et lointain à la fois, son univers se situe quelque part entre Stephen Shore, Alec Soth, et Boris Mikhailov. La rudesse de certaines images n’est pas non plus sans évoquer le travail sur l’identité de Jeffrey K. Silverthorne. Les fresques dépeintes sont de puissantes amorces narratives tout en restant ancrées dans …  …man intermingling of a high-cultural longing for the absolute and everyday politics, the second sequence introduces more prominently the highly specific system of historical reference that will come to dominate U-ni-ty. Here, Boris Eichmann, perhaps in Jerusalem, is juxtaposed to Ludwig Erhardt, the minister of economics and later federal chancellor who is often credited with the great West German postwar economic boom. Like the first sequence, t… MICHAEL SCHMIDT: “Not Fade Away: The Face of German History in Michael Schmidt’s Ein-heit” (2003)  …D IN RECENT YEARS BY PHOTOGRAPHIC IMAGES WHICH HAVE LITTLE BEYOND THEIR DOCUMENTARY VALUE TO RECOMMEND THEM But we also need information, the less prettified the better. Of all the documentary photographers presently at work, Boris Mikhailov may be the least Platonic. Every homeless person he pictures is sunk in a misery so solitary that even sexual contact can’t relieve it, only show up its intractability. Working on the border of art, Mik…  …most responsive description we have of the spirit of Frank’s pictures. 4) Eugenia Parry Janis and Wendy MacNeil, eds., Photography within the Humanities (Danbury, N.H., Addison House, 1977), p.56. 5) Ibid., p. 56. 6) The wall label for his part of this exhibition was written by Evans himself: “Valid photography, like humor, seems to be too serious a matter to talk about seriously. If, in a note, it can’t be defined weightily, what it is not can b…  … stomach-cutting of the samurai, in the office of the commander of the new Japanese army. He wanted to see the restoration of Imperial power and military culture, he wrote, and he is therefore called a political rightist. The label helps us little toward understanding him, though. The leftist students who fought the police in the streets and tunnels of Shinjuku, and who appear in a few of Tomatsu’s and Moriyama’s photographs, also sho… DAIDO MORIYAMA: Daido Moriyama: Investigations of a Dog” (1999)  …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,…  … 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)  … but, on taking a closer look (as these images always demand), you can see shoes from both the fall and spring collections, a simultaneity never encountered in a Prada store. Despite the fact that fashion in general (and this label in particular) is all about currency and ephemer ality, Gursky creates from it something so paradoxically solid that the image compresses “fashion” to become its emblem. Shoes aren’t the only seemingl… …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)  …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)  … works are ‘portraits’ of spaces, but really you could just as easily turn that around: several of the portraits in my earlier work were to a certain extent already images of ‘spaces’, as I now see them. At the same time, the label that was attached to my photos very early on is proving stubborn. The same clichés keep on turning up in article after article. Admittedly, I still don’t make optimistic, colourful pictures, but I still believe I’m doi…  …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) | ||||||||||||||
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