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Richard Prince
Wenn es einen “Künstler” gibt, den ich nie verstanden habe, und den ich nie verstehen möchte, dann ist es Richard Prince. Ein Künstler, dessen Millionen-machendes Werk fast vollständig darauf beruht, Fotos anderer Künstler abzufotografieren oder einzuscannen (wer weiss das schon so genau…), ist in meinen Augen kein Kreativer sondern ein Dieb und nichts anderes.
Die NY Times hat nun einen schönen Artikel zu einem der Opfer des Mr. Prince veröffentlicht: Jim Krantz. Nehtm euch die Zeit, lest ihn in Ruhe und denkt drüber nach. Unglaublich.
But on one occasion a woman active in the art world visited his studio in Chicago, and, seeing a print of one of his pictures, Mr. Krantz recalled, “she said, ‘Oh, Richard Prince has a photograph just like that!’” And in 2003 Mr. Prince’s version of an image that Mr. Krantz shot for Marlboro — showing a mounted cowboy approaching a calf stranded in the snow — sold for $332,300 at Christie’s. Although the shot was blown up to heroic proportions, “there’s not a pixel, there’s not a grain that’s different,” he said. And so Mr. Krantz, whose Marlboro ads now appear mostly in Europe and Asia, began to grow angry.
Chris Jordan is Running the Numbers
Über Chris Jordans “Running the Numbers” muss ich eigentlich nicht mehr viel Worte verlieren. Wer sie nicht kennt, der muss sich die Serie einfach hier anschauen. Bei TED ist nun ein wahnsinnig gutes Video veröffentlicht worden, in dem Chris selbst seine Bilder kommentiert und erklärt. Worth watching!
Aryan Outfitters
Ein Foto-Essay…
Coming from five generations of Ku Klux Klan members, 58-year-old “Ms.
Ruth” sews hoods and robes for Klan members seven days a week, blessing
each one when it’s done. A red satin outfit for an Exalted Cyclops, the
head of a local chapter, costs about $140.
Phillip Toledano-Interview
The F STOP hat ein schönes Interview mit einem meiner größten Fotovorbilder ever: Phillip Toledano
F STOP: You work in editorial and advertising and you’re also working on fine art projects now. What are the differences in working with editorial and ad clients versus with galleries?
Toledano: It’s interesting. There’s a sliding scale of freedom. Galleries there’s one hundred percent freedom. Editorial I’d say is probably about seventy percent; advertising is zero. Actually I think it’s about ten percent. So, I’ve been lucky for the most part with editorials in a sense, at least in the context of the conceptual stuff. People will just call me up and say, “what can you think of?” I have to say recently a few weeks I worked with some magazines and they haven’t gone that way. They’ll ask me to think of something and I’ll do it, but then they’ll start changing it after I’ve done it, and I get all pissed off. If you’re going to ask me to do the thing I do, then let me do that thing, or ask someone else. Gallery work is amazing because either the work is great or it isn’t great. And it’s just a question of picking out the pictures that they want to show. Advertising is also great but it’s different. I’ll have input in terms of whatever I think about doing it this way, or shooting it that way, or this kind of lighting or that kind of lighting. But the idea’s not mine, so I’m not going to try to make it mine
