INTERVIEW: “Stephen Shore with Noah Sheldon and Roger White” (2005)
Oklahoma City, Oklahoma, July, 1972 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 you were the student’s age. Stephen Shore: Or at that place. Sheldon: Right. Shore: I see myself in the role of a guide. I...
DAVID LACHAPELLE: “Neo-Pop and Photoshop” (2007)
Lady Gaga By Matthias Harder, Originally Published in Sleek Magazine for Art and Fashion, No. 13, Winter, 2006-2007 It is as if we were staring into the faces of Marilyn Monroe and Liz Taylor, as only Andy Warhol could have rendered them. But we are actually looking at Amanda Lepore, one of David LaChapelle’s favourite...
BILL BRANDT: “Don’t Smile – You Look Stupid” (2004)
Dylan Thomas, 1941 By Sebastian Smee, March 22, 2004 Taking celebrity portraits involves making a crucial decision. You can embrace the celebrity machine, relishing your own role in the business of image-creation; this was the approach of Cecil Beaton and he handled the task more deftly than almost anyone, as the crowds at the National Portrait...
Photographer Robert Yager Interview
For photographer Robert Yager, there is no formula. The soft-spoken Brit, now 38, was a teenager when he first thought about photography. Hitchhiking around Europe, he borrowed a friend’s camera and started making pictures. When he returned to his home city of London, he viewed a show of American photographers that caught his eye. Especially...
In Memoriam Corinne Day
Corinne Day portrait by Mark Szaszy, Japan 1987 © Estate of Corinne Day, Courtesy Gimpel Fils, London As August 27 2011 marks the one-year anniversary of Corinne Day’s death, next month sees Gimpel Fils gallery, Mörel Books and Whitechapel Gallery all pay homage to the legendary image-maker. Revolutionising fashion photography in the early 90s with her candid and documentary aesthetic, sensationally labelled...
An excerpt from Conversations with Picasso by Brassaï (1943)
Wednesday 20 October 1943 The table, only yesterday covered with dust, is completely clean. Catalogs, brochures, books, and letters have been carefully dusted and even arranged by size into regular piles. Picasso appears, delighted with my surprise. Picasso: I searched again all night for my flashlight. I hate it when people pilfer my things. Since...
VICTOR COBO – “Down in the Hole” (2011)
The Spectre of Theater By Tricia Lawless Murray Masochism is itself an aesthetic formation. The only place where its contradictions and impossibilities can be reconciled is that specific zone that modern aesthetic philosophy, from Kant to Lyotard, has identified as the sublime, that unique and illogical experience that carries with it both pleasure and pain. —Nick...
BILL BRANDT – “A Statement on Photography” (1948)
Street scene, Peckham, 1936 By Bill Brandt, First published in Camera in London, 1948 I had the good fortune to start my career in Paris in 1929. For any young photographer at that time, Paris was the centre of the world. Those were the exciting early days when the French poets and surrealists recognised the...
“Katie Simpson, Fashion Photography Archivist” – AnOther Magazine
Katie Simpson Photography by Niall O’Brien As the Alexander McQueen exhibition at the Metropolitan Museum comes to a close after drawing over 582,000 visitors (ranking the exhibition among the top 20 the museum has ever staged) has definitely proven: fashion has an increasing currency and relevance in the art world. Uniquely poised to benefit from...
Letter to Robert Frank: by Hugh Edwards (1960)
Photograph by Hugh Edwards Originally published in DoubleTake Magazine, Summer 1996 May 23, 1960 Mr. Robert Frank 34 Third Avenue, New York City, New York. Dear Mr. Frank: It seems so long since I was in New York and talked with you on the telephone that I am afraid you have forgotten the conversations we had...
Marianne Mueller: The World As Archive
When Marianne Mueller uses her camera to collect the ‘world’ the viewer experiences something of the twofold astonishment typically triggered by early photography: astonishment at how the eye of the camera can transform the world into an image and renewed astonishment at the world as it appears in the image. The camera becomes a tool for...
PIERRE VERGER: “Black Gods in Exile”
Cidade, Porto Novo, Benim, 1948-1958 Introduction to Pierre Verger – Black Gods in Exile By Manfred Metzner and Michael M. Thoss The Pierre Verger Foundation lies in one of the rapidly expanding suburbs of Salvador da Bahía not far from the expressway Vila América, with which the coastal town spreads its feelers deep into the...
Henry Diltz: Legendary Photographer – Looks Back on Career (2011)
The official photographer of Woodstock, who lives in North Hollywood, shares his career highlights with Patch. by Paul Zollo July 22, 2011 If you’re the kind of person who pores over the credits of classic albums, you already know the name. If you’re not, you’ve seen the pictures. The name is Henry Diltz, and not...
One to One with Claude Cahun
FOLLOWING that common cliche of the ‘one to one’, where a writer enacts an interview with a celebrity or person of merit (whether deceased, imaginary, or otherwise), this article was my attempt to conduct an interview with the infamous writer and photographer, Claude Cahun. Although initially written for Jersey Now, a local magazine distributed in...
DIANE ARBUS: “Notes from the Margin of Spoiled Identity – The Art of Diane Arbus” (1988)
Untitled, (1970-71) By Gerry Badger, Originally Published in Phototexts, 1988 ‘Photography both loots and preserves, denounces and consecrates.’ Susan Sontag1 The principal issue raised by the remarkable photographs of Diane Arbus seems not to be their remarkableness, which few would dispute, but their morality. The very potency of her images, their dangerous, disturbing allure, demands...
TATE MODERN: “Cruel and Tender” (2003)
Young Couple in Parked Open-Air Car, Ossining, New York 1932-34 By Carter Radcliff, Originally Published in Tate Magazine, Issue 5, 2003 In 1932, Walker Evans photographed a young couple in a roadster parked at the curb in a small town somewhere in America. The top is down, giving the photographer and his subjects direct views...
Lou Reed: Photographer (2009)
As frontman with the Velvet Underground, Lou Reed epitomised the rock’n'roll lifestyle. But a book of his photographs reveals a quieter, more reflective figure. He tells Hannah Duguid what inspired him Tuesday, 10 November 2009 A walk on the wild side: Reed captures his wife, the performance artist Laurie Anderson, in the only image in...
“In Camera” Interview w/ Kate Moss
Owing to the traffic levels during Kate’s interview. We apologise to those viewers who were unable to access the full interview. Please check the Transcript for the bits you missed. Penny Martin, Editor, SHOWstudio: Kate Moss, we have invited you to participate in our series of interviews with major image-makers because you occupy the roles...
Reinterpreting Unconventional Family Photographs: Returning to Richard Billingham’s “Ray’s a Laugh” Series (2007)
Reinterpreting Unconventional Family Photographs: Returning to Richard Billingham’s “Ray’s a Laugh” Series By Outi Remes, Afterfimage May-June, 2007 The British artist Richard Billingham photographed his family–his alcoholic father, large mother, and unruly brother–in their council flat in the West Midlands, England, between 1990 and 1996, producing the photo book Ray’s a Laugh (1996). It departs from the typical...
Salvador Dalí for Playboy magazine – AnOther Magazine
Salvador Dalí for Playboy Magazine, 1973 Playboy magazine has been entertaining, titillating and informing men (and women) for almost six decades. The first issue was released in December 1953 by the now infamous Hugh Hefner and produced in his Hyde Park kitchen. Featuring Marilyn Monroe in the centrefold, the issue sold out in just a...
