From Polaroid to Impossible, Masterpieces of Instant Photography - The WestLicht Collection, Hatje Cantz Verlag
While the world evaporates into the digital, the anachronistic Polaroid snapshot dominates media and advertising. The recent sale of the photography collection owned by Polaroid’s inventor Edwin Land to the Viennese photography museum WestLicht marks an art-market trend toward the analog. Beginning in the sixties, Polaroid supplied artists around the world, from Ansel Adams to Andy Warhol, with each one of the imperium’s latest products. In return, 4,400 works by 800 photographers found their way into the company’s International Collection at their European headquarters near Frankfurt am Main. In 2008, when the last instant film factory was rescued from demolition by the company Impossible, the founder’s commitment to collecting could be carried on as well. This publication features selected Po...
Mark Morrisroe at Fotomuseum WinterthurMore than twenty years after Mark Morrisroe's early death, Fotomuseum Winterthur is presenting the first comprehensive survey exhibition on his work—an extraordinarily diverse body of works that has usually been shown in group shows, mostly in connection with his famous Boston colleagues Nan Goldin and David Armstrong. The exhibition, curated by Beatrix Ruf and Thomas Seelig, is a collaboration between Fotomuseum Winterthur and the Estate of Mark Morrisroe (Ringier Collection).
In the Boston of the early 1980s, Mark Morrisroe was a well-known, charismatic figure, who often appeared in drag together with the artist friends he had met while studying and who performed in bars and clubs with Stephen Tashjian (alias Tabboo!) as the "Clam Twins". As an artist and photographer he was also at the center of the...
Familair feelings on the boston groupPresenting all of the Boston Group active artists: David Armstrong, Philip-Lorca diCorcia, Nan Goldin, Jack Pierson, Tabboo! Gail Thacker and Shellburne Thurber.
Since the mid 1970's, a group of American East Coast artists started defying the conventions of the photographic medium both from its technical and moral aspects, hence greatly influencing the means of representation during the late 20th century. The defence of veracity manifested itself through an unknown degree of exposed privacy by exposing socially non-legitimised ways of life, such as night-time characters, marginal lives, addictions, affections, sexual experiences and the genre or irruption of new models of social conformation. Its fundamental contribution consists in turning uneventful motives into interesting narratives, which up until then had not be...