Book Review: Those Were The Days When I Used To Drive Around With A Horse’s Head On by Espen Ramberg Krukhaug


I love music. I love metal. I love punk. I’ve always gravitated toward the heavier side of music and the heavy/extreme music scene in general. “Those were the days…” is a book through the perspective of a person who has toured with bands. If you’re expecting crystal clear photos of bands that give you pangs of nostalgia or the spark to say “Hey, I have their first CD and it’s awesome…” You will be sorely left out. It took me a few viewings to figure out what this book was about and I think I nailed it. This book is breath you take when the after party is over. This book is the desolation of staring out into the street at no man’s hour and realizing everyone is in bed and you could be the only person awake for several city blocks.


I grew up playing in bands in NYC and the feeling I get from these pictures hits close to home. The show is over, the gear is loaded up, you’ve said your goodbyes to the people who were gracious enough to come, and now all that’s left is to try and find something to do with that post show restlessness. Sometimes it leads to exploring, getting a bite at a diner, or falling asleep in your car. Other times it leads to having a different perspective on things at 4AM on what could be a week night. This book encapsulates all of that. There are no rock god photos in here. This book isn’t backstage at the Motley Crue show. This is the unknown. You’ll find city views, street shots in not so nice neighborhoods, fans, teen angst emerging like fiery lava spouting forth from an erupting volcano through a swirling moshpit, and the chaotic rock show feeling that anything can happen at any given moment.

Super Pussy

The book is put together very well and makes a great conversation piece. The cover that reads “Super Pussy” in the distance is extremely intriguing to say the least. As far as photo selection goes this book takes you on the ups and downs of witnessing life on the road. There’s new places only to be explored after the sun goes down, tired eyes, strangers, and most important the feeling that whoever is in these photos are there to have a great time.


Those were the days when I used to drive around with a horse’s head on
by Espen Ramberg Krukhaug
Einer Books
For more info and to buy the limited edition book:


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London Life Competition Exhibition @ Art Bemondsey


London Life Competition Exhibition
7 – 29 August 2014

23 finalists will be displayed at Art Bermondsey – winners will be announced on opening night. The grand prize includes six months representation and mentorship with Gallery Director Laura Noble.

Art Bemondsey
1st Floor
183 – 185 Bermondsey Street

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Shai Kremer @ Julie Saul Gallery

 Shai Kremer, World Trade Center: Concrete Abstract #13, 2001-2013, 48 x 64", pigment print, ed. 7

Shai Kremer, World Trade Center: Concrete Abstract #13, 2001-2013, 48 x 64″, pigment print, ed. 7

Shai Kremer World Trade Center: Concrete Abstract
September 4 – October 25

Opening reception: Thursday, September 11, 2014, 6-8 pm

Julie Saul Gallery announces Shai Kremer’s third solo show, timed to coincide with the opening of the new World Trade Center. An evocation of site, a remembrance of tragedy, a progression towards healing – Shai Kremer’s Concrete Abstract series at once aims for an individual and universal response to the destruction and rebuilding of the World Trade Towers. Like his past series, Kremer maintains “a post-traumatic gaze to the cityscape of Manhattan – and by extrapolation, to the sociological landscape of America.” Kremer combined copious images to illustrate the site’s former self as well as its years of reconstruction. Kremer uses a process linking “accumulation, destruction, and reconstruction” forming images which are formally and psychologically complex. Here he literally layers images within one frame, whereas in past work he expressed his vision through individual images.

Julie Saul Gallery
535 West 22nd Street, 6th floor | New York | NY | 10011

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Kurt Kaindl @ Fotohof


Kurt Kaindl: Travelling in No Man’s Land
19 7 – 24 8 2014

In 1989 the Iron Curtain fell. Today, 25 years later, the next generation has scarcely an idea of ​​the significance of this border, and especially by the great influence of her disappearance on the European development.

Geographically Kurt Kaindl s photo report follows the intra-European border line from Lubeck to Trieste. He has, at the suggestion of the “Federal Ministry for European and International Affairs” (BMEIA) started this project in 2008 and continued to the present day. Retrieved from “both sides” – from the East and the West – he approaches the (former) border and represents the special atmosphere is photographically: The situation created by the vast no man’s land landscape that remained, but also destroyed settlements and especially the people, still or now live again only at this limit.

Inge Morath–Platz 1-3, 5020 Salzburg, Austria

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Andreas Müller-Pohle @ Prague City Gallery


Andreas Müller-Pohle: Coincidences
22 July—28 September 2014

Opening 21 July at 6:00 pm

Prague City Gallery
House of Photography
Revoluční 5, Prague 1, Czech Republic

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Hiroshi Sugimoto @ Cahiers d’Art


Hiroshi Sugimoto
through July 30, 2014

Cahiers d’Art
75006 PARIS

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DEAD RINGER @ Exhibit No.9


Opening Reception
Saturday, August 2, 7-10pm

An experimental photography exhibition, featuring works of international artists:


Exhibit No.9
550-102 Cookman Avenue
Asbury Park, NJ 07712

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Group Exhibition @ London Photo Gallery


29th July – December 2014

the following photographers were selected:
Andrew Hawkes
Andrew Lalchan
Anthony Cash
Joerg Karrenbauer
Laura McGregor
Linda Wisdom
Mark A Paulda
Mark Heathcote
Paul Bate
Robin Baumgarten
Stuart Cashmore

London Photo Gallery
Bridge Lounge Dining Room 186 Tooley Street, London SE1 2TZ

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Colin McPherson @ Free Space Gallery



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Book Review: Pamela Littky’s Vacancy


Welcome Cowboys, Beatty, Nevada

“Perhaps it was the dramatically macabre title – the Gateway to Death Valley – that sparked my curiosity. I found myself wanting to explore these small towns and observe the kind of people who would live in the middle of nowhere where temperatures hold at 120 degrees for several months of the year, where the nearest grocery store was 45 minutes away, and where there is seemingly nothing to do,” photographer Pamela Littky writes about Vacancy.  I can easily identify with that. In addition, I find it significant that she points out that she wants “to explore these small towns and observe the kind of people” there.  In other words, she does not tell us what the people she photographed told her, she shows us images of what she decided she wanted us to look at – and I very much liked what I was looking at: the Country Store in Baker, California, Kids in Beatty, Nevada, Socks hung to dry in Baker, California, the Ensenada Grill in Beatty, Nevada … all the photographs in this book were either taken in Baker, California (“a central strip, a few sit-down restaurants, and most of the residences are trailers”) or in Beatty, Nevada (“another small town that also claimed the title of Gateway to Death Valley.”)

Many years ago, I was driving from Las Vegas to LA and quite a few of the scenes pictured in Pamely Littky’s Vacancy brought back mental images and some of the accompanying feelings from back then. Spending time with this well-done book also triggered memories from a more recent trip through Death Valley that included a night at Marta Becket’s Amargosa Opera House in Death Valley Junction and a visit to a casino at the Nevada border – the pics that Littky took in Beatty brought vividly back this casino visit.

Although photography is said to bring time to stand still, the pics in this tome radiate a strange absence of time and that probably has to do with the sensation of eternity that one can feel in the desert. “The desert air clears everything away,” as Pamela Littky observes.

Country Store, Baker, California

Country Store, Baker, California

“I wanted to know why people made their homes in such an extreme environment,” she writes.  I would have also liked to know that but, unfortunately, pictures do not offer an explanation. Too bad that Littky did not jot down the conversations she had with the people living there but opted for showing us only pictures with not exactly helpful captions (“Flatbed, Baker, California” for instance, or “Burned Out Truck, Baker, California”). Nevertheless, this is a book I like. For these photographs make me recognise somewhat familiar scenes. But also because they trigger longings for the desert.

I thought it particularly significant that Pamela Littky put her Vacancy-project into a wider context. During the time of her taking the desert pictures there was “the economic crash, the housing and employment crisis, the long wars still going” that however did not affect the small towns of Baker and Beatty. Her explanation? “The gateways to the big desert have never had much to work with in terms of big job-drivers; the people there make it work for themselves.” It might very well be that this is the reason they have chosen, and are capable of living in, such an extreme environment.

Vacancy Cover

by Pamela Littky
September 2014
For more info:

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