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 …ientated ‘projects’ with a will, the worst of them forgetting that art has visceral as well as cerebral qualities, the best of them soon casting aside the theoretical crutch and continuing to do what photographers have always done – marking their perceptual connections with the world. Friedlander too, has followed the ‘project’ path of late, though without quite the systematic fervour and apparent conceptual rigour of the younger brigade. H…  …ong their ragged Chinese subjects; and we will still be impressed by the grandeur of the Imperial battle cruisers shining on the Huangpu River. A kind of emasculation was performed on Japan at the war’s end, just as was done to Kurosawa’s desperado when young Toshiro Mifune, looking for all the world like Gregory Peck, pinned him down in the mud and took away his gun. It was against this surgery on the mind of the nation that Mishima … DAIDO MORIYAMA: Daido Moriyama: Investigations of a Dog” (1999)  …ned to run aground from the outset. At this point, the photography of Nakahira’s group, that was intended radically to break away from institutionalised visual habits, became recognised as the bure, boke style1, although this label caused it to lose its initial potency. At a time when the media were beginning, here and there, to broadcast the Vietnam War or the Palestinians’ fight for independence, Nakahira hesitated to push the release. He was i…  …through the years, people have said, “You should make a film,’ or, “Aren’t you thinking about making a film, because it seems a natural next step?” But I never wanted to work with a crew, since I don’t like to work with other people. I like having full control of what I’m doing. If you’re making a film, you give up control. Which is also why I don’t want to act, because even if one does a real… 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… … viewing angle required by most canvases. Dibbets dismisses the photographs as unnecessary to the original intention of the work: “The documentation about the work isn’t of real importance to me either. I’ve done lots of works without taking photographs.”(9) Yet his documents have an independent existence as self-critical photographs. The most provocative part of the image is the area where photographic representation brea… “The Photographic Idea: Reconsidering Conceptual Photography” (1999)  …e years of building his career as a photographer, Evans felt that the chief merit in the government’s project “lies in the record itself which in the long run will prove an intelligent and farsighted thing to have done.”(18) In accepting the position of assistant specialist in information for the Resettlement Administration, he wanted to work independently, without shooting according to preconceived plans, and with the flexibili… WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996)  E.R.-G.E.-95 Conversation with Dirk Braeckman and Erik Eelbode From z.Z(t). Ludion, Ghent / Amsterdam, 1998 Is it really the role of an artist who is still active to talk about his own motivations? As a source, he is suspect. With a view to an ‘endangered’ future, it is probably preferable that art critics, in particular, should be mistaken. – Marcel Broodthaers, 1975 Dirk Braeckman: I don’t think it’s my place to say how people should look a…  …“Typical of Arbus’ interests and sensibilities as a photographer, she sought out men whose claims to fatherhood derived from different forms of authority and public presence.” Photographs of writer Normal Mailer and physician Donald Gatch are representative of this body of work. The Matthaei shoot An important collection of previously unknown contact sheets, working proofs, and final prints from a family photo shoot are included in this exhibiti…  … tape, Avedon bases his claim to being an artist on his “subjectivity,” the notion that when we look at an Avedon photograph, whether of Dovima or Marian Anderson, we are also looking at the photographer. “I don’t think that I’ve captured the essence of anyone that I’ve photographed,” Avedon says. “I think I’ve photographed what I’m feeling myself and recognize in someone else.” Li…  …ave a long career ahead of me. Yale: Could you tell us something about the experience of working with James Agee on the book, Let Us Now Praise Famous Men? W.E.: Oh yes. That of course is the most conspicuous thing I’ve done, entirely due to Agee. I have a lot of false renown because I was working with a tremendous man, and I’m embarrassed just talking about it because Agee’s character doesn’t fit the apotheosis he’s… INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974)  …m’s librarian – what photography exhibition he, Newhall, thought the museum should do in the spring of 1936. Newhall thought a minute and said perhaps a history show should come first, and Barr said all right, why don’t you do that. The year after Newhall’s epoch-making history show of 1937, “Photography, 1839-1937,” the museum mounted the perhaps equally significant “American Photographs,” an exhib… INTERVIEW: “Eyes Wide Open: Interview with John Szarkowski” (2006) | ||||||||||||||
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