Dash Snow, Mary Hansen (ed.), Glenn O'Brien (text)


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'I Love You, Stupid' demonstrates in Polaroid pictures the quick, short life of the artist who died young, and his importance to the New York scene and his friends. The abundance of Polaroid material and the "appearances" of many people in the New York scene of the 90s and 2000s, as Ryan McGinley or Gawin McInnes, founder of the legendary VICE magazine (and author of 'How to Piss in Public: From Teenage Rebellion to the Hangover of Adulthood ', 2012) make this book as an indispensable document American youth culture.

'I Love You, Stupid' belongs next to the publications from McGINLEY, already at the other side to show its aestheticizing recordings teenager.

"New York artist Dash Snow's death in July 2009, two weeks before his 28th birthday, sent shockwaves of grief through the art world, though it was not unexpected.

Since his late teens, Snow had used photography to documents his days and nights of extreme hedonism--nights which, as he famously claimed, he might not otherwise remember. As these Polaroid photographs began to be exhibited in the early 2000s, Snow was briefly launched to art-world superstardom, keeping company with the likes of Dan COLEN and Ryan McGINLEY, with whom he pioneered a photographic style whose subject matter is best characterized in McGinley's brief memoir of Snow: 'Irresponsible, reckless, carefree, wild, rich - we were just kids doing drugs and being bad, out at bars every night. Sniffing coke off toilet seats. Doing bumps off each others' fists. Driving down one-way streets in Milan at 100 miles an hour blasting 'I Did It My Way' in a white van.'

'Dash Snow: I Love You, Stupid' compiles these famous Polaroids, previously only published in relatively expensive editions. Opening with scenes of friends crashed on beds and couches, floors and even the street, it records hazily snatched glimpses of sex, hard drugs and hanging out; adventures in cars, baths, pools, subway cars, friends' apartments, on boardwalks and rooftops.
With 430 color reproductions, and at $55, this definitive and affordable monograph constitutes an extraordinary document of a life lived at full pitch." (publisher's note)

About the photographer (1981-2009):
Dash Snow was a great-grandson of the founders of the Menil Collection in Houston, Dominique de Menil and John de Menil, and grandson of the Buddhist scholar Robert Thurman.
After spending his teen years as a graffiti artist, Snow moved to New York, where he died on the evening of July 13, 2009, at Lafayette House, a hotel in lower Manhattan.

Snow was always on the go with the camera, as Ryan McGinley in his obituary published by VICE described (see: http://www.vice.com/read/remembering-dash-snow-980-v16n8) to be excessive life with his friends (including McGinley and Dan Colen) to hold. The catalog is on the occasion of the major 'Snow' in Berlin, curated by Blair Hansen, appeared in spite of his wealth as softcover edition, which fits very well to the scene artist.

After a 20-page introduction by Glenn O'Brien (with the subtitle 'Some thoughts inspired by Dash Snow) follow blurred bw-recordings from the preparation of a heroin injection - a counterpoint to the most life-affirming Polaroid-recordings and a reference to Snow's heroin dependence. Snow die by an overdose two weeks before his 28th birthday. Polaroid photographs of the entire book are divided by chapter like about ten such sites, on each side mostly two Polaroid pictures in original size - in color, but not highlighted typographically as in other publications.

'Dash Snow: I Love You, Stupid' ends with two short essays, a five-page text of Blair Hansen to the exhibition and the text of Gawin McInnes, which ends with a moving statement: 'I MIss Dash Snow'.
About the photographer: Dash Snow (* 27.07.1981 in New York - † 13.07.2009), American artist, known for his photography, collages and sculptural installations as a great-grandson of John and Dominique de Menil. de Menil, he came from a famous American patrons dynasty from which he turned away early. already he lived as a teenager on the street
Incurred during the New York underground Polaroid shots are next to his work in the graffiti scene as the beginning of his career.
The very spontaneous-looking images show mostly teenagers having sex, drug use, or as a participant relish staged orgies of violence in public spaces. As an important figure of the Bowery school of New York's Lower East Side in 2005 he began to sell his photographs. Already in 2006, the Wall Street Journal to be in a list of promising investments in the art market. Outside the United States, he exhibited mainly in Berlin. Dash died of a heroin overdose in Manhattan. N.Y.. (Abridged text from Wikipedia)

"It’s hard to remember exactly when I met Dash. It seems like we were immediately best friends. I guess I met him through Earsnot in the late 90s. Back then he was a graffiti writer known as Sace. He and Earsnot started the graffiti crew IRAK. They were the biggest vandals in the city. He was number one on the vandal squad’s most-wanted list. But they never got him. He somehow always got off or got away.

He was the wildest kid I’ve ever known. He would tag everything and be running up on rooftops and climbing fire escapes. I remember when I first met him, he had just done a fill-in on the side of the Brooklyn Bridge. It was insane. He climbed out on a tiny ledge on the outside of the bridge and did a huge “Sace.”

Dash and I bonded instantly over photography. One of our favorite books to look at and talk about was American Pictures by Jacob Holdt. We were always taking photos. We loved to document our adventures and then compare them later. He carried his Polaroid camera everywhere. His photos were from the heart. He had a loving obsession with taking photographs and the worst case of ADD you could ever imagine. I always assumed that’s why he shot Polaroids. I think even waiting a minute for the image to develop was hard for him. One time, he wouldn’t give me a bump of coke unless I did it off of Earsnot’s big black dick. Of course I did, and he took a photo of it and I think it’s one of his most famous photographs." (Ryan McGinley, in: 'Remembering Dash Snow, July 14, 2009 - te read the whole text, please follow this link: http://www.vice.com/read/remembering-dash-snow-980-v16n8

Dieser Band veranschaulicht in Polaroid-Bildern das schnelle, kurze Leben des jung verstorbenen Künstlers sowie seine Bedeutung für die New Yorker Szene und seine Freunde. Die Fülle des Polaroid-Materials und die "Auftritte" vieler Personen der New Yorker Szene der 90er und 2000er Jahre wie Ryan McGinley oder Gawin McInnes, dem Gründer des legendären VICE-Magazins (und Autor von 'How to Piss in Public: From Teenage Rebellion to the Hangover of Adulthood', 2012) machen das Buch zu einem unverzichtbaren Dokument US-amerikanischer Jugendkultur. Das Buch gehört neben die Publikationen von McGinley, schon um die andere Seite dessen ästhetisierender Aufnahmen Jugendlicher zu zeigen.

"Polaroids waren Dash Snows Eintritt in die Kunstwelt und wurden der Legende nach von ihm gemacht, um Erlebnisse zu dokumentieren, an die er sich aufgrund seines Rauschzustandes sonst nicht erinnern könnte. Die sehr spontan wirkenden Aufnahmen zeigen skurrile Alltagsszenen, Partys, Drogenkonsum, sexuelle Anspielungen und sehr intime Portraits aus der Umgebung des Künstlers. In vielen Polaroids taucht der Künstler selbst auf und wird damit gleichzeitig zum Verwalter und Subjekt seiner Bilder." (publisher)

Snow war immer mit der Kamera unterwegs, wie Ryan McGinley in seinem bei VICE erschienen Nachruf beschrieb (s.: http://www.vice.com/read/remembering-dash-snow-980-v16n8), um sein exzessives Leben mit seinen Freunden (u.a. McGinley und Dan Colen) fest zu halten. Der Katalog ist anlässlich der von Blair Hansen kuratierten großen Snow-Ausstellung in Berlin erschienen - trotz seiner Fülle als Softcover-Edition, was sehr gut zum Szene-Künstler passt.
Nach einer 20-seitigen Einführung von Glenn O'Brien (mit dem Untertitel 'Some thoughts inspired by Dash Snow) folgen unscharfe SW-Aufnahmen (wie auf dem Buch-Cover) von der Vorbereitung einer Heroin-Injektion - ein Kontrapunkt zu den zumeist lebensbejahenden Polaroid-Aufnahmen und Hinweis auf Snows Heroin-Abhängigkeit, an der er durch eine Überdosis zwei Wochen vor seinem 28. Geburtstag verstarb. Die Polaroid-Aufnahmen des ganzen Buchs werden kapitelartig von etwa zehn solchen Seiten unterteilt, dazwischen finden sich auf jeder Seite meist je zwei Polaroid-Bilder in Originalgröße - in Farbe, jedoch nicht drucktechnisch hervorgehoben wie in andere Publikationen.
Das Buch endet mit zwei symbolträchtigen Bildern leerer Zuggleise, wiederum eingerahmt von zwei kurzen Essays: einem fünfseitigen Text von Blair Hansen zur Ausstellung und dem proklamatorischen Text von Gawin McInnes, welcher mit dem bewegenden Statement endet: 'I MIss Dash Snow'.

Über den Fotografen: Dash Snow (eigentlich Dashiell A. Snow (* 27.07.1981 in New York - † 13.07.2009), US-amerikanischer Künstler, bekannt für seine Fotografie, Collagen und skulpturalen Installationen. Als Urenkel von Dominique de Ménil und John de Ménil stammte er aus einer berühmten amerikanischen Mäzenaten-Dynastie, von der er sich früh abwandte. Er lebte bereits als Jugendlicher auf der Straße
Die im New Yorker Untergrund entstandenen Polaroid-Aufnahmen gelten neben seinem Wirken in der Graffiti-Szene als Beginn seiner Künstlerkarriere. Die sehr spontan wirkenden Aufnahmen zeigen vornehmlich Jugendliche beim Sex, Drogenkonsum oder als Teilnehmer lustvoll inszenierter Gewaltorgien im öffentlichen Raum. Als wichtige Figur der Bowery School aus der New Yorker Lower East Side begann er 2005 seine Fotografien zu verkaufen. Bereits 2006 führte das Wall Street Journal sein Werk in einer Liste für viel versprechende Investments im Kunstmarkt. Außerhalb den Vereinigten Staaten stellte er vor allem in Berlin aus. Dash starb an einer Überdosis Heroin in Manhattan. N.Y.. (gekürzter Text aus Wikipedia)