They say that the downfall of every great hero is wine and women. In the case of Dirty Rendezvous it’s more like whiskey and women. Chas Ray Krider has made a career out of contemporary/classic fetishized retro pinup photos with a hint of mystery while using some of the most gorgeous alt models on the face of this planet. I hate using the word “alt” because truly what the fuck does “alt” mean any more? The hint of mystery I mentioned can be described as a mixed bag of feelings when viewing the photos in this book. The images are extremely well put together, well lit for mood, staged in an extremely alluring and provocative way and if you flip through Dirty Rendezvous you can’t help but question the relationship between photographer and model.
There must always be some kind of connection between subject and subjector, whether it be friendship, quiet kinship, money, a desire to create art, or any other unquantifiable and intangible reasoning behind a great photographic relationship. The beauty of this book is the suspension of belief you feel when you flip through the pages. Each visual tells a story and each model in frame begs many questions. These are the cool chicks you try and talk to, the girls you’re afraid are into things you have no idea about, the dangerous chicks who will ask you for a light and stomp right into your heart with a 6 inch heel. They could be your ex, your cheating wife, the mysterious woman you just met at the bar, your ultimate fantasy, or a nightmare just beginning to unfold. Stare at these photos and try to come to any sort of conclusion. The mystery is the majesty in these images. The anachronistic setting of the photos only adds to that illusive ambiance between dream and reality. Recently coming off a huge Twin Peaks/David Lynch bender makes me appreciate certain stylistic elements in these photos even more which harken to a forgotten time long ago.
Who are you and why are you here? The images will also fill you with a sense of detective noir. Are these women suspects or victims? Both? The photos lend themselves to a simpler life but one with many secrets buried underneath the covers. Krider’s excellent sense of lighting and composition leaves us wanting more. The audience wants to solve the mystery and hear the secret of the story that we’ve been swept up in whispered in our ear. On the other hand this book is full of awesome pictures of awesome babes and goddammit I love both.
by Chas Ray Krider
For more info and to purchase the book: https://www.goliathbooks.com/shop/en/books/all-books/4/dirty-rendezvous
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.
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
For more info and to buy the limited edition book: http://www.einer-books.com/product_detail.php?pid=18
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.
183 – 185 Bermondsey Street
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
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
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
through July 30, 2014
14 RUE DU DRAGON
Saturday, August 2, 7-10pm
An experimental photography exhibition, featuring works of international artists:
MING MURRAY SMITH
ROBERT PAUL KOTHE
550-102 Cookman Avenue
Asbury Park, NJ 07712
29th July – December 2014
the following photographers were selected:
Mark A Paulda
London Photo Gallery
Bridge Lounge Dining Room 186 Tooley Street, London SE1 2TZ