• Shigeo Anzai


    Shigeo Anzai’s photographs of artists are generally small; one might even speak of them as glorified snapshots. This is part of their demythologizing aspect. There’s a sense of the unposed, the contingent—this we expect from the snapshot—but especially of the emotionally contingent, which is rarer, implying a greater “susceptibility” on the photographer’s part. Even when the scene is posed, as in the image of Joseph Beuys, his wife, and teenage daughter facing in different directions (at odds with one another—each like a perpendicular dropped away from the other, and thus emphasizing his or her

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