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by Benedikt Taschen Verlag,Richard Kern
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Photography & Video
  • Author:
    Benedikt Taschen Verlag,Richard Kern
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  • Publisher:
    Taschen (February 1, 1997)
  • Pages:
    64 pages
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    Photography & Video
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    1590 kb
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New York Girls: Mini book. This Copy looks new. The book cover has no visible wear .

New York Girls: Mini book. The book cover has no visible wear Book condition good. item 2 New York Girls: Mini book by Richard Kern, Benedikt Taschen Paperback 1997 -New York Girls: Mini book by Richard Kern, Benedikt Taschen Paperback 1997.

The photographs themselves, however, generally show a serious lack of imagination and creativity.

Publisher: Taschen, 1997.

Shop with confidence. NEW YORK GIRLS (AMUSES GUEULES) By Benedikt Taschen Verlag Excellent Condition. Excellent Condition! Quick &Free Shipping.

Heartbeats, Hard-ons, Freak Outs Opening Reception. Richard Estes: African Sketches Opening Reception. Opening Reception: Marlborough Lights. Andrew Kuo and Scott Reeder, THINKERS Nightclub Opening.

Eric Stanton (Amuses Gueules) Paperback – February 1, 1997. You probably won't even need to phone that number. by. Eric Stanton (Author). Find all the books, read about the author, and more. Are you an author? Learn about Author Central. Eric Stanton (Author), Benedikt Taschen Verlag (Author). Series: Amuses Gueules.

By (author) Benedikt Taschen Verlag, By (author) Richard Kern. Close X. Learn about new offers and get more deals by joining our newsletter.

Paperback, amuse-gueule series, 64 pages. Published February 1st 1996 by Taschen (first published November 1st 1995).

This book traces the career of New York's most infamous er, Richard Kern. John Waters said of one of Kern's notorious scum-bag Super-8 movies: 'Finger is the ultimate date movie for psychos. It's the best orno movie in the world and I always show it to people very late at night to make them happy. Paperback, amuse-gueule series, 64 pages.

Uwe Ommer, a sought-after commercial photographer based in New York and Paris, has made a name for himself with his own uncommissioned works, as this book eloquently attests. For the aesthete Uwe Ommer, the bodies of black women represent the epitome of beauty. His photographs are exactly what they show, no more and no less than a homage to female beauty.

Thirty postcards of images taken from the Photobook.

Basically, this is what a porn photographer thinks is artistic work - some of it is, most of it isn't. Simply taking a photo of a naked lady, or nearly naked ladies, is not erotic photography - any idiot with a camera can do that. The best erotic photographers have an eye for lighting, staging, props, poses, scenes, you name it - it requires thought, effort, and imagination. That is why I like books on erotic photography, I love the creativity and I like to get ideas myself, as I'm an amateur photographer and greatly enjoy boudoir photography. All that said, the format and layout of this book are quite nice and up to Taschen's typical high quality for their first printings (second and third editions always seem to suffer).

The photographs themselves, however, generally show a serious lack of imagination and creativity. I don't know if it's just laziness on behalf of Kern or if he's just seen so many gorgeous naked ladies through the years that he's grown accustomed to it and doesn't really care, but there's just not a lot of truly great photos here. I was favorably impressed with perhaps 1/3 of the photos shown, but the vast majority are little more than what you'd expect to see if you picked up a ten-year-old Penthouse magazine - actually, worse in fact.

If you can get this one at a good price it's worth having, but it's certainly not phenomenal, and actually, there are VERY few photos in this book that I would consider "fetish" photography at all - most of it's just nearly naked ladies posing in fairly boring settings making facial expressions that are trying to convince you they're either viciously fierce, or they're having an orgasm for some unknown reason - again, pretty much what you would see picking up any cheap nudie magazine or surfing the internet for five minutes.
Always a fan of Kern photography. Real girls that I could have gone to parties or art school with. Color, lighting, and composition.
kern's photography is unique. i plan to purchase more of his photography. i would like to see other photographer's work that have simular to kerns.
At first glance it is tempting to see Richard Kern as an imitator of Eric Kroll. This is hardly the case, but the comparison is inevitable. Both are New York photographers who specialize in fetish work, primarily photographing women. Both have a good sense of graphic imagery. In truth, though, the similarities end at the surface. Their intent and approach are radically different.
Kroll has a strong background in commercial and fashion photography which gives his images a more glitzy, mainstream look. Kern came to New York and immediately fell in with the extreme sex crowd. He spent his early years publishing little, Xeroxed magazines and making short films with such dark stars as Lydia Lunch, Nick Zedd and Cassandra Stark. In a sense, "New York Girls," marks a shift closer to mainstream fetish work.
These are harsh, revealing images. His color work reminds me a bit of Nan Goldin, but his black and white images are uniquely his own. The sexuality is blatant, sometimes erotic and sometimes not. There is a profound alienation in his images. These are people being sexual to and for themselves. They rarely meet the viewer's eyes. When they do face the camera it is to issue a challenge, to dare the viewer to cross the line into a solipsistic universe of tension and release.
Many of the photographs are haunting. There seem to be layers of content that keep the viewer's attention for hours. If you haven't encountered Kern's work before or a looking for the right collection of fetish work you will find this and excellent introduction to photography's more challenging visions.
This is a fairly good sized book of good sharp images.

There's a lot of bondage sort of images but not in poor taste, everyone looks to be having fun, even if a little perturbed now and then but always looking completely consenting. There's a little bit of penetration with objects but it's not in poor taste.

I like this book for it's quality of printing and happy feel to the images. Though it's not by any means quality glamour (I guess I mean arthouse!), I don't believe it ever set out to be. It's engaging and creates a nice feel, like you're sharing some women enjoying pushing their sexual boundaries and then sharing it with the reader.

It's not a book you'd give someone to learn photographic rules by but it is a book you'd give to someone just to feel they were sharing in all the good things about putting convention aside and wallowing in the pleasure of their own sexuality. A nice coffee table book for somewhere fairly liberated that, in that environment, would probably bring the reaction Mmmmmmmmm, yuu-uum more than too many other reactions.


Richard Kern's photographic and film works are immediately identifiable -- blending S&M, punk-rock, documentary and fetish styles into a sensibility that is at once bold and revolting, sensual and ugly.
His photographs are more intriguing than his films, which suffer from too much emphasis on violence, oftimes bad acting, and shaky shot selection (and I'm not referring just to the handheld style). It's surprising how beautiful some of Kern's photographic subjects appear very often, just because his style has a complete lack of pretension that can be inviting.
Granted, all the violent imagery, gun fetishes, and people (usually women) in compromising positions gets repetitive. But Kern is one artist you can pick out from the crowd on the spot, and his toughness can be welcome in a world of airbrushes and perfect bodies and makeup. You could even argue some of these subjects look more human in this style than in any fashion magazine!
There are very few that can pull off flash photography like Richard Kern. Although some of the models were a little too bland to pull off the subject matter, he shows us some gems that make buying the book worthwhile. What you get from his flash work in this book is the starkness of the themes, and the sense that these could easily be home photo's taken by you or me.