Captured within and around Los Angeles, Sandy Kim’s series is a reflection of her creative and non-binary photographic practice. Produced entirely without digital intervention, her work embraces the messy imperfection, the ‘mistake' and the aberration. Born in Monterey, California, Kim’s childhood and adolescence was marked by constant movement up and down the West Coast, and upon graduation Kim continued her itinerant movement to New York and back. Analog Brain, while collected in a single region, reflects the restless diaristic representation of Kim’s life, community and environments. Comprised of portraits, landscapes and illuminated end frames of 35mm film, her imagery’s diversity is connected by an analog intuition missing in an all-connected digital society. On display is an in-situ recreation of Kim’s studio, whereby visitors are encouraged to explore Kim’s archives. Her desktop is on display, completely unlocked, and further drawing connection to Kim’s imagery and its diaristic impulse to expose her internal ambition and aspirations. Sandy Kim "Analog Brain" will be on view until February 11, 2017 at Little Big Man Gallery in Los Angeles. photographs by Mike Krim
You could say that Keizo Kitajima is an heir to the Provoke photography movement’s electrifying foundation and principle idea that a photographic image can be a completely new type of language. It’s a language fired from the shutter of a camera – a lexicon that can encapsulate a fraction of a moment, yet recite an epic in a single explosive image. Often blurry, out of focus and with choking contrast, the short lived movement made icons out of photographers such as Daido Moriyama. Moriyama also seemed to have the most influence, especially on Kitajima who was encouraged to carry on in the tradition of Provoke, but also expand beyond its confines – to travel the world to see if that same language could tell a more universal story. Click here to read more.
Scottish Photographer, Ivar Wigan, presents a series of images taken around the street culture associated with the urban music scene of the American South. Captured on the urban fringes of multiple cities—predominately from Miami, Atlanta and New Orleans—the images are a defiant celebration of a marginalized and often demonized culture, here raised to iconographic status and suffused with a sense of admiration and empathy. The Gods will be on view until June 19, 2016 at Little Big Man Gallery, 1427 E. 4th Street
photograph by Oliver Maxwell Kupper
photographs by Oliver Maxwell Kupper
The first thing you notice when you meet Natalie Krim is her voice. She has the dialect and pitch of 1940s movie star and the demeanor too. It’s a cool glamour, a poised glamour that is as sharp as a razor blade. Perhaps the Hollywood lineage isn’t too far off – her grandfather was a Hollywood portrait photographer who shot everyone from ---- to ---. Her grandfather is also most likely where she gets her creative gene. Krim’s illustrations, which are highly erotic in nature in all manner of repose, self-pleasuring, orgiastic and mellifluously sensual, are feminine and delicate, like she is, but hint at darker overtones. They are a world all her own, alter-egos, characters from the unconscious, coquettish nymphs, desirous, wanting and wanton – they recall a world created by Henry Darger or the illustrations of Gustav Klimt. Before her current show on view now at Little Big Man Gallery, we got a chance to ask her a few questions about her work, sexuality and secrets. Click here to read more.