Publishing

Photography, Publishing

Podcast: John Brian King in New Books Network

The photographer Lorena Turner spoke with John Brian King about his recent and not-so-recent artistic work in a podcast for New Books Network. They discuss everything from Nude Reagan and LAX: Photographs of Los Angeles 1980–84 to King’s cryptically titled series “Hospital.” Seriously, King’s scathing description of Ronald Reagan is not to be missed, plus King brings up one of his sources of inspiration for Nude Reagan that anyone who is reading this page is sure to love: J. G. Ballard’s short story “Why I Want to Fuck Ronald Reagan.”

INCIDENCE OF ORGASMS IN FANTASIES OF SEXUAL INTERCOURSE WITH RONALD REAGAN. Patients were provided with assembly kit photographs of sexual partners during intercourse. In each case Reagan’s face was super imposed upon the original partner. Vaginal intercourse with “Reagan” proved uniformly disappointing, producing orgasm in 2% of subjects.

Publishing, Literature

A Minor Masterpiece: Kim Morgan Reviews “I Am Not Ashamed”

Film writer Kim Morgan reviewed Spurl’s edition of I Am Not Ashamed, by Barbara Payton. In her aptly titled essay “Notes from the Unashamed,” Morgan delves deep into Payton’s life and the book’s utterly unique writing style, comparing it to Dostoevsky’s Notes from Underground:

Payton’s drunken ramblings and recollections (who knows how much are true or truer than you could ever imagine?) melding with Guild’s jazzed-up pulp speak becomes something of a minor masterpiece. A dime store (in the best sense of the term) Notes From Underground — the bellowing of the underground woman, telling us there is something wrong with her looks (and most certainly her liver), filled with regret, self doubt, black humor, pride and touching reassurance that it might work out one day knowing damn well it won’t. As she, via Guild, wrote with all the flavor of Horace McCoy: “Forever is just a weekend, more or less.”

Morgan later analyzes the role of Hollywood sexism in Payton’s demise:

But there’s a raw power to I Am Not Ashamed, that, even with and because of its questionable veracity, stuns with a harrowing account of that timeless struggle so many face in Hollywood — keeping a firm grip. And adding to the struggle — keeping a firm grip as a woman in Hollywood. The book works as real documentation of a downfall but also allegorical — mythic in its observations of just how hard some women can fall. And how much men can want women to fall. And how women can even embrace that fall. The shelf life of an actress was terrifying then, and terrifying now. Barbara’s demise reads like a horror movie for any actress losing one too many parts as time marches on. The roles are drying up. What to do? The world twists to make them seem a grotesque — Barbara actually became it.

It’s a compelling, tremendous review – enjoy!

Literature, Publishing

Excerpt from “I Am Not Ashamed”

From I AM NOT ASHAMED

by BARBARA PAYTON

My rent was overdue a week and I only had one dollar in my pocket. I had had two warnings from my landlady. In my refrigerator there was some American cheese and soda water. Also a can of peaches someone had given me as a joke, I forgot what the joke was. But that would see me through a day or two.

I took the dollar, my last, and went to the movies to see one of my old pictures, Kiss Tomorrow Goodbye with James Cagney. I enjoyed it very much but it was ironic that I had been paid so many thousands of dollars to do it and I only had a dollar left to see it.

All during the picture I kept my mind off my troubles – I couldn’t solve them anyway. Then I walked home just thinking about how I loved to act and make movies.

I hadn’t eaten all day so I opened the can of peaches. They were delicious and the whole can filled me up. Then I looked around through all my things to see what I could pawn. There wasn’t anything. I was down to bedrock.

But I still had a telephone. I went through my address book. I had borrowed from everybody. Some, more than once. There were still men who would take me out to dinner. But how do you live on no money at all?

I didn’t answer the knock on my door because I knew it was the landlady and I wasn’t ready to talk to her yet.

I looked in the mirror. To me I looked the same as ever – just as I had in the movie. What had happened? I undressed and looked at myself in the nude – not much change. I could lose five pounds but not more. I put on a dressing gown and washed the peaches dish and spoon.

There was a knock on the door. I opened it this time. It was the landlord, a tall, kindly man browbeaten by his wife. “I’m sorry,” he said, “but my wife says your rent is overdue.” He said it as if his wife had made some mistake.

“Come in,” I said, with what little charm I could muster for the situation.

He came in and stood, looking uncomfortable. “Wasn’t it a lovely day?” he said finally.

I nodded. I knew landlords such as these had heard every excuse in the book but I decided to try one anyway.

“Mr. Gordon,” I explained. “My husband’s alimony check, which is usually here long before this, should definitely be here tomorrow. I can almost guarantee it. I will slip the hundred-dollar check under your door before noon.”

He looked miserable. “My wife said – I have nothing to do with it – that I should either get the rent money or ask you to move out . . . tonight.”

“Don’t look so sad,” I said. “If that’s what she wants, that’s what it will have to be. I really don’t have any money.”

We both just stood there. “Could I . . . lend you five dollars for food?” he said.

I just shook my head “no.” Then, though I had been feeling great and had been smiling just a few minutes before, I suddenly burst into tears, great gulping sobs accompanying them. It seemed as if the whole world was collapsing on me.

Mr. Gordon patted me on the shoulder at arm’s length and tried to give me a handful of crumpled bills. I wouldn’t take them but I put my head on his chest and continued to sob.

“Please,” he said, “don’t cry. I’ve collected other rents and I have some money. My wife won’t know – if you can pay in a week it will be alright.”

A week. It sounded glorious, but what then? It was no silver lining to my black clouds.

I tried to stop crying. “Don’t worry about me. I’ll be alright – honest I will.”

He patted my head. Then he kissed my forehead gently. “I’d help you if I could. My wife . . . ”

I nodded understandingly and went to brush my hair back with my hand. It hit his hand by accident and some of the money fell to the floor. I bent to pick it up for him and when I handed it to him I noticed he was staring. I looked down and my dressing gown was open, showing almost everything I had.

“I’m sorry,” I said.

He swallowed hard. “You . . . ” I don’t know what he wanted to say, but he moved to me as if in a trance and moved his hand from my neck down past my breasts. I didn’t try to stop him.

He kissed me gently again, this time on the lips. “The hundred dollars,” he said, “is in my wall safe. I’ll pay your rent. It’s my fishing vacation money. I need you – to prove I’m a man. To prove to me . . . I mean.”

I would have gone to bed with him for nothing. I had a great compassion for him. I locked the door and dropped my dressing gown.

My rent was paid for one more month.

Photography, Publishing

“LAX” makes the Sunday paper edition of the LA Times

LAX: Photographs of Los Angeles 1980–84 made the Sunday paper edition of the LA Times’ Arts & Books! Pick up a copy or read it online for a fascinating article by Carolina A. Miranda, featuring an interview with photographer John Brian King.

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

An Interview with John Brian King, a Playlist, and More

The photographer chatted with Impose Magazine writer Matt Draper about his book LAX: Photographs of Los Angeles 1980–84The article features other photographs taken by John Brian King in the 1980s (including photographs of Disneyland and the band Public Image Ltd/PiL), as well as a playlist of what the photographer was listening to at that time.

That, and a few choice quotes, like…

“Los Angeles in 1980 was the year Dorothy Stratten was murdered and Kim Kardashian was born – and I know which celebrity I prefer.”

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Publishing, Photography

“LAX” Featured in Slate (with an interview!)

Slate writer Jordan G. Teicher interviewed John Brian King via e-mail about his photography book LAX. The resultant article, which appeared in Behold: Photo Blog on Slate on November 30, is a fascinating look into King's aesthetic and photographic process.

John Brian King was 18 when he first started making photos at Los Angeles International Airport (LAX). It was 1980, and only a year earlier he’d purchased his first photography book by Weegee, who is famous for his flash-heavy, black-and-white photos of urban life. The influence is clear in King’s series, “LAX,” which appears, along with another series, “LA,” in LAX: Photographs of Los Angeles 1980–84, published by Spurl this month.  
“I think the photographs in my book stand out as documents of a disappeared time—for me and my subjects—and a visual commentary of how I perceived humanity in my youth,” King said via email.
“I loved photographing these travelers arriving at the airport, brutally assaulted by this sea of ugliness, attempting to cope. I wanted to show, through the stark art of black-and-white photography, the dry vulnerability and humor of these people.”

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Literature, Publishing

Spurl Editions profiled in MobyLives

Chad Felix, of Melville House, wrote a wonderful piece about Spurl Editions and Henri Roorda’s My Suicide on November 13, 2015. It was published in MobyLives, and includes a sneak peak into our anticipated spring translation release.    

An excerpt of the work published in Asymptote reveals [My Suicide] to be a wry, self-aware affair.
[…] Suffice it to say, this is an exciting start for Spurl Editions, and good news for the world of literary translation.


Photography, Publishing

The Weary And Harried Travelers Of LAX In The Early 1980s

Photographer John Brian King spoke to Danny Jensen of LAist about what drew him to LAX and what has changed since he took these photos. The interview is accompanied by a slideshow of images from the book. Plus, in even more awesome news, LAX is now available at Skylight Books in Los Feliz.

Looking back on the photos, what has changed about LAX and Los Angeles in general over the years in your opinion?

LAX back then was always in a constant state of controlled anarchy; now it is just controlled, fixed and rigid. Having been to many other airports since I photographed “LAX,” I now try to avoid flying through LAX at all costs; I currently live in Palm Springs, which has a genius open-air airport designed by the noted mid-century modern architect Donald Wexler (who also is the architect of my house).

To me, Los Angeles has become banal, corporate, dysfunctional, and aesthetically inert. When I took the photographs, it was the era of punk rock shows at the Whiskey, “Repo Man” being filmed in my neighborhood, and performance art by Mike Kelley at LACE—an atmosphere that I thrived in.

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

L.A. By Night – Interview with John Brian King

LAX was featured in Amadeus, an arts and culture magazine based in LA, with text by Taylor Wojick. The article includes an interview with photographer John Brian King. Here's a little excerpt.

Observational documentation and archival footage is what allows my generation to gain a better understanding of the past, through an unbiased visual narrative. What sort of impact do you think these photographs will have in 60 or even 100 years?
John Brian King: To my mind, there is no such thing as an “unbiased visual narrative.” Even cameras that are technically “unmanned” – bank surveillance cameras, police dash cams, Google Maps cameras – create their own biased narratives by the very nature of the people who control them.
A hundred years from now, I hope my photographs will be viewed as another tiny blip of aesthetic evidence of humanity’s absurdity and possible decline. I would be haunting someone from my grave if my photographs were curated by a nostalgic academic who was only interested in recontextualizing them into a horrible miasma akin to “Humans of New York” or “The Family of Man.”

Available now. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

Flashback: Los Angeles Airport in the 1980s

LAX was featured in the fabulous AnOther Magazine, with text by Maisie Skidmore and – if we may be so bold – a terrific slideshow of images.

"I don’t want to be nasty," Karl Lagerfeld told Susannah Frankel shortly before the beginning of Chanel’s S/S16 airport extravaganza at Paris Fashion Week, “but of course in an airport, with the bus tours, it’s not the same as an airport as it was in the past, with first class, when travelling was something people dressed for.” It’s an incisive observation, as it is Lagerfeld’s wont to make, but of course he has a point. “We live in another world,” he summarises, and it's this world, in which airports are no longer the domain of the rich and famous, which is the subject of a new book of photographs by John Brian King, entitled LAX: Photographs of Los Angeles 1980-84.

Releasing November 2, 2015. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

From Airport to City: Moody Photos of 1980s Los Angeles at Night

LAX was featured in Flavorwire over the weekend, with a terrific write-up by Alison Nastasi and a slideshow of John Brian King’s photographs.

You’re probably already familiar with the work of photographer John Brian King. He’s designed the film titles for dozens of movies, including Boogie NightsThe RingMagnoliaPunch-Drunk Love, and Lilo & Stitch. King also directed a movie called Redlands, set in the California city. But it was over 30 years ago that King first had his eye on the Golden State. 
His photographs, focused on the harried travelers bustling in and out of the Los Angeles International Airport and the gritty streets of Los Angeles at night, haven’t seen the light of day since the ‘80s. Those black-and-white negatives have finally reemerged in a new book published by Spurl Editions, LAX: Photographs of Los Angeles 1980–84, available on November 2. 
The photographer’s monograph tells a parallel story that ushers us from airport to city — the chaos of the LAX lobby to the Sunset Strip, revealing images of a metropolis that has since vanished.

Releasing November 2, 2015. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

“LAX” Featured in KCET’s Artbound

KCET’s Artbound features photographs from John Brian King’s LAX, as well as the photographer's afterword. 

Releasing November 2, 2015. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Photography, Publishing

“LAX” Featured in We Heart

“John Brian King's confrontational style ignites the tension at early '80s LAX…” writes Rob Wilkes of We Heart, a journal that combines in-depth stories with design-led news from all areas of contemporary culture. He goes on:

There’s a palpable sensation of restless tension that seems to permeate the atmosphere at airports, and the bigger and busier the terminal, the more that tension is felt. There’s simply too many people all trying to do the same thing in too little space. The stop-start queueing, the frantic dashes for a far-flung gate, or just as often the long, boring wait to be called. Lost baggage, cancelled flights, forgotten passports, screaming kids, travellers both nervous and the exhausted, bursts of joyous excitement — emotion at every step.
Even in the days before the stringent anti-terror security measures, airports were a pretty fraught experience. Back in the early ’80s, brash young photographer John Brian King threw himself into the potential powder keg that was Los Angeles International Airport with flash blazing — deliberately intrusive and often unwelcome — to see what might combust. Aside from the human drama, King was also drawn to the fabric of the building itself, and the detritus and damage left behind by the transit of so many people. Born and raised near LAX, King was fascinated by flight from a young age; his childhood home was on a street called Flight, he went to a school named after Orville Wright, and his father was an engineer on both the B-52 bomber and the space programme. He shot his airport images while a teenager before leaving for art school, later returning to take up a night-time survey of Los Angeles’ streets for a second series.
The negatives remained in a box for 30 years as King abandoned photography for writing and filmmaking, but the two series are now seeing the light of day together in this photobook. LAX: Photographs of Los Angeles 1980-84 by John Brian King is published by Spurl Editions, and due for release in November.

Releasing November 2, 2015. 24 cm x 22 cm softcover, shrink-wrapped, 132 pages (117 black & white photos), limited edition of 750 copies, afterword by the photographer in English, German, French, Spanish, and Italian.

Literature, Publishing

Excerpts from “My Suicide” in Asymptote

Excerpts from the forthcoming ebook My Suicide, by Henri Roorda, are featured in Asymptote’s October 2015 issue! Read them here. Asymptote is an international journal dedicated to literary translation.

The post is accompanied by short biographies of the author and translator, a letter written by Henri Roorda the day before his suicide, an illustration by Samuel Hickson, and the French text. 

Eva Richter, the translator of My Suicide, was the blog editor at Asymptote from 2014 to 2015. During that time she interviewed authors such as Luis Negrón and reviewed literature in translation.

We hope you enjoy this preview! The full ebook will be published November 18, 2015.