William Eggleston: Making a Name, the Southern Way
The photographer once stated dryly that the centripetal composition of all of his pictures was based on the Confederate Flag.
Notes from the Margin of Spoiled Identity - The Art of Diane Arbus (1988)
"I always thought of photography as a naughty thing to do, that was one of my favourite things about it, and when I first did it, I felt very perverse."
- Diane Arbus
By Gerry Badger, Originally Published in Phototexts, 1988
The principal issue raised by the remarkable photographs of Diane Arbus...
William Eggleston: NY MOMA Press Release (1976)
"These photographs are clearly fixed facts of the real world impartially recorded by the camera, but they are something more as well."
William Klein: "Life is Good & Good for You in New York" (2010)
Everything about him suggests an anarchic temperament, capable of playing any worldly system to the hilt and then throwing away its benefits.
Brought to ASX by Errata Editions. Full essay included in Books on Books #5 William Klein: Life is Good...New York!
By Max Kozloff, Excerpt from William Klein and the Radioactive...
The Indecisive Moment: Frank, Klein, and 'Stream-Of-Consciousness’ Photography (2004)
Half the time the photographers seemed not to have even looked through the camera. Far from seeking the perfect composition, the ‘decisive moment’, their work seemed curiously unfinished. It captured ‘indecisive’ rather than decisive moments.
By Gerry Badger
"Frank... and Klein brought to the decade a feeling for its woes which,...
William Eggleston: Who's Afraid of Magenta, Yellow and Cyan?
Eggleston brought MoMA around eight carousels of slides made around 1970 from which Szarkowski chose seventy-five for the exhibition and, of those, forty-eight for publication in the Guide.
"Arbus reveals the powerful ability of photography to lie, but also it is a testimony of how the lie is not mere betrayal, but a far-reaching human necessity to escape factual reality, the human urge to create and believe in stories, to draw mythical worlds and the inter-subjective life’s...
Lee Friedlander: Photography and the Aesthetics of Abstract Painting (2012)
New York City, 1963. Lee Friedlander (Fig. 2)
What I have been trying to argue is not intended as a criticism of Friedlander’s work nor as a challenge to his status within the world of (art) photography. If anything it is a challenge to the ideas that held such sway...
Nan Goldin: The Other becomes The One
“Instead of seeing Goldin’s re-edit as encompassing the visibility of any specific group, it invites reconsideration in an approach delinking the narrative of otherness towards what I see as a photographic project of genuine care."
Luke Willis Thompson: Photography, Technology and the Shortcut to Empathy
What aspects of this collaboration, both Thompson’s and Reynolds’ are complicit in the same ideology and methodology of representation that perpetuates this distance between the photographic, its technological apparatus and its subject matter?