“However hard I tried to ‘illustrate’ an aspect of the urban environment, to unmask and present how this sleepy, suburban environment ‘functioned’ and fitted together somehow it always failed”.
“The premise and nature of each work, and its eventual architecture, develop as the work is progressing, and again I am led in this by my relationship with the particular site”.
39, WEST WALL, SMICOA, 333 MCCORMICK, COSTA MESA © LEWIS BALTZ, IP 39, FROM THE SERIES “NEW INDUSTRIAL PARKS, NEAR IRVINE, CALIFORNIA”, 1974; STEIDL Interview (excerpt) with Lewis Baltz Conducted by Matt Witkovsky At Baltz’s home in Paris, France. 2009 November 15-17 MR. BALTZ: You aspire to making something – at least at the time, […]
“If you wanted to work in the vein of Walker Evans, you could do very well at Yale. But if you didn’t want to do that, you were just – you’re kind of left alone.” Oral history interview with Lewis Baltz, 2009 Nov. 15-17 An interview of Lewis Baltz conducted 2009 Nov. 15-17, by […]
From 41 Hewitt Road By Niccolò Fano for ASX, May 2013 Anna Fox (born 1961) has been taking pictures for over thirty years, documenting her surroundings and reinforcing the strong tradition of British colour photography initiated and developed by practitioners such as Martin Parr, Paul Graham and Paul Reas. Her work is often described as […]
“I was aware I was taking art. That’s the conceit of young people. I knew that what I am doing is not only unique, but that someday I’m going to unpack that and shock people with it.” Fred Herzog In His Own Words, from interviews with John Mackie of the Vancouver Sun in June, […]
Taxi, from Ohio © Joachim Brohm, courtesy Brancolini Grimaldi “That was the mid- to late 70s and photography was not an art at that time – it was photography. It was advertising photography, and it was journalism.” By Fanny Landstrom, ASX London, March 2013 So, this is your first UK solo exhibition? Yes it is. […]
An Exclusive Interview with Robert Frank, Robert Frank’s Studio, New York, July 22, 2007
“I remember thinking that it’s important to put cars in photographs because they are like time seeds. And I learned this from looking at Evans.” By Noah Sheldon and Roger White Noah Sheldon: I heard a lecture once where you said that when you teach, you try to think about how you felt when […]
“I don’t see why you would want to reject it. Commerce makes things happen. One doesn’t want to be in the publicly subsidized ghetto, speaking to one percent of the population. Photography has the ability to be democratic, promiscuous and easy to digest.” Interview with Martin Parr – Conducted by Maarten Dings and Joachim […]
“There is a marginal point where I can stand here and it’s one picture or I can stand there and it’s a different picture. And this decision, of what is the meaning of what’s in the rectangle is entirely my decision.” By Ben Sloat Big, RED & Shiny, April 8, 2007 Stephen Shore is a […]
Thomas Ruff talks to Philip Pocock (1993) Philip Pocock: Unlike the Neue Sachlichkeit of Sander or Renger-Patzsch, there is a clear crisis of belief in the objectivity of your medium in your work. True or false? Thomas Ruff: It’s both. It’s true and false. They also used the camera as an instrument to take pictures. […]