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 …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…  … 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,…  … 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)  … Friedlander, Garry Winogrand, and Diane Arbus was introduced together in an exhibition at the Museum of Modern Art, New York, entitled New Documents, setting the standard for a new notion about the ‘documentary.’ In his wall label for that exhibit John Szaskowski wrote, ‘In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it.’ 18….  … 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…  …as. I understand that – consciously, intellectually. But even now I find myself overlooking everything suburban around me. It’s some sort of deeply ingrained habit, a shitty default setting. Because of this, the work of Glenn Sloggett remains surprising to me, each and every time I encounter it. I saw it on the ABC ‘s The Art Life recently and it totally shone, as did he. The work, the voice, held so much honesty. Its mix of melancholy and … | ||||||||||||||
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