Nice Interview With Adarsha Benjamin @ Hillbilly Mag

Adarsha talks photography, rebel, and the future with Christopher Lusher of Hillbilly Magazine: "Adarsha Benjamin is truly a unique and creative soul. I first encountered her work when I began contributing to Pas Un Autre where she holds reigns with Oliver Maxwell Kupper. Her work is beautiful and dreamy just like the woman herself." Read more here. 

Autre Issue #2 Review From Down Under

Enormous thanks to Alex Vancil and The Thousands, Australia's go to guide for all things culturally relevant and cool, for the amazing review on Autre's second issue. It was hard to choose just one quote: "Channeling a potent combination of anti-heroism and raw intimacy, the magazine casts long shadows of various experimental attitudes in a wide range of artistic nooks and crannies." Read the full review here. 

Its Gonna Be A Cool Summer: An Interview with Brad Elterman

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Boogie Nights at Brad's House

Brad Elterman's first photograph at the age of 16, of Bob Dylan performing on stage, started a life long love affair with photography. His images captured the last gasp of a bygone era of rock n' roll – the 1970s – the days when glamour was rare and pure and stars were stars because they were elusive and unattainable.  His classic images of Joan Jett hanging out in motels and flipping off the camera, David Bowie coming out of his studio, Playboy Playmates hanging out in his Hollywood apartment pool, and more, capture moments in a snapshot style instantly recognizable as Elterman's own. And his photographs were published in every major magazine. Then he gave it all up. For three decades Elterman laid low. Over the last few years Elterman started to reemerge: he started a blog that archived his oeuvre, but also documents new moments, in 2011 he published a coffee table book called Like It Was Yesterday, and he has been having gallery shows across the world including his latest show Factory 77 in Los Angeles which opened a couple of days ago and will be open all summer.  I got a chance to ask the very busy Brad Elterman a few questions about photography, Los Angeles, and some current projects he has been working on including including a new website that showcases his photographs from the 1970s and pop culture today, but is also a platform for new photographers.
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Joan Jett Flipping Off The Camera

PAS UN AUTRE: Can you remember the moment you knew you wanted to become a photographer - can you remember the first image you ever printed?

BRAD ELTERMAN: My first image ever printed was a performance photograph of Bob Dylan on stage in 1976. It was also probably the instant that I told myself that I would like to make a career out of this.

AUTRE: Who were some of your biggest inspirations - not just photographers?

ELTERMAN: Helmut Newton, Ron Galella, Richard Creamer all photographers of course. My mom was my greatest inspiration. She was a painter and she thought me to create my own style. She was so supportive as long as I was happy.
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Valley Chicks

AUTRE: Who was your favorite subject to photograph?

ELTERMAN: Probably Joan Jett. She always has style and so cool to hang with and of course to photograph. Talent and style, you just can't beat that.

AUTRE: What was your impression of Los Angeles then (1970s) and now?

ELTERMAN: I loved L.A. during the 70's, but I did not know the rest of the world. Since traveling the world now, I still always come back to Los Angeles. The weather, the light, and all the characters. It really is one of the most creative and comfortable cities in the world. Not the culture of Pairs and New York, but you can n't have everything.

AUTRE: What are some of your thoughts as you look through the view finder?

ELTERMAN: It's hard to believe that I am taking photos again after a more than two decade break. During my silence, there was nothing to photograph and the internet did not exist. So when I look though the view finder I am sort of in disbelieve. It's a fun feeling and I like it.
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Duran Duran At The Riot House

AUTRE: What is Factory 77 and what can we expect from your current show?

ELTERMAN: Factory 77 just launched. It's my 70's photos, my new photographs of pop culture today and most importantly it is a showcase for all of the amazing young photo talent out there today. I have met so many talented photographers via the internet and I enjoy sharing stories with them. Erica Lauren, a Los Angeles based photographer is the editor and I will photo edit. We would love to showcase young rock bands who embrace the internet for exposure. No performance photos. I want the pictures to be raw and captivating. It will be great fun.

AUTRE: Most exciting plans for the future?

ELTERMAN: I am part of Vogue Italia's Photo Vogue this summer at 10 Corso Como in Milan. It is an exhibition from 101 photographers. The collection is amazing and there is some incredible talent. My photo is entitled "Valley Chicks" and I took it back in 1977 on a roll of black and white film. My Factory 77 exhibition photographs at Kana Manglapus Projects, Venice is up all summer and I plan on spending time at the gallery. It's going to be a cool summer.

Brad Elterman's exhibition Factory 77 will be on view until Spetember 10, 2012 at Kana Manglapus Projects. Follow Brad Elterman on his tumblr page. Text by Oliver Maxwell Kupper for Pas Un Autre
Brad Elterman's Factory 77 Opening Kana Manglapus Projects Venic
Exhibition view of Factory 77 with a photograph of Steve Jones of Sex Pistols in Brad's Pool

[AUTRE TV] Maria - Conception - Action by Hermann Nitsch

With the recent rise of purported "zombie attacks," its sort of like we're all living in the sick wet dream of Ed Gein. And after watching a recent live performance by the artist Bruce LaBruce at a gallery in New York – where actors portrayed some sort of rebel faction and then execute a hostage all in one of LaBruce's signature bloodbaths – I started thinking of shock and extreme violence in art as a baptism of our consciousness. In 1909, at the very birth of modernism, Italian writer Filipo Tommaso Marinetti's published in France's leading newspaper Le Figaro his seminal piece entitled The Founding and Manifesto of Futurism which declared that "Art can be nothing but violence, cruelty, and injustice." To Marinetti violence was not only as a means of producing an aesthetic effect, but was also inherent to life itself. There is certainly a palpable depravity underneath our gossamer thin surface – the dark, primitive recesses of our unconscious can sit only so long under the heat until it snaps. Since 1963, the Austrian artist Hermann Nitsch has created a series of live happenings, which combine cruelty, sexuality, defilement, and visual shock for "purposes of purification, and "ab-reaction" of sado-masochist impulses." In these performances we can see the amazing creative lineage between Nitsch and artists like Bruce LaBruce who don't necessarily make this type of art for the sake of shock alone, but to reawaken our unconscious from a permanent state embryonic paralysis and to exact revenge on our general sense of collective torpescence. This is a film record, entitled Maria - Conception - Action, of Nisch's most controversial creation: the crucifixion of a young woman, the disembowelling of a lamb carcass, and her defilement with it. Text by Oliver Maxwell Kupper. (warning: film is EXTREMELY graphic, if you are under the age of 18, at work, or squeamish about real blood do not watch).