Academic Art: Early '70's Work
How Many Things Can You Find Wrong with this Picture?
Medium: Selenium toned silver print
Date: 1978
Size: 8x10" contact print on 11x14" paper
Edition: 7/25
Medium: Selenium toned gelatin silver print
Date: 1977
Size: 8x10" contact print on 11x14"paper
Edition: 11/25
Silvered Silhouettes, Mary Miracle (with Coyotes)
Medium: Selenium toned gelatin silver print
Date: 1977
Size: 8x10" contact print
Edition:
Silvered Silhouettes (Work) #12/25
Medium: Selenium toned silver gelatin print
Date: 1977
Size: 8x10" contact print o 11x14" paper
Edition: 12/25
15 Funny Things (Six of which begin with the Letter P) and a Pyramid
Medium: Selenium toned gelatin silver print
Date: 1977
Size: 8x10" contact print on 11x14" paper
Edition: 10/25
Eight Views of my Lover’s Apartment and One View of Mine
Medium: Selenium toned silver gelatin print
Date: 1978
Size: 8x10" contact print on 11x14" paper
Edition: 10/25
Large Drawings and Other Things – Twin Titties
Medium: Selenium toned silver gelatin print
Date: 1977
Size: 8x10" contact print on 11x14" paper
Edition: 11/25
Medium: Selenium toned silver gelatin print
Date: 1978
Size: 8x10" contact print on 11x14" paper
Edition: 7/25
Uranium Robots
Untitled, Uranium Robots (Tin)
Medium: Selenium toned gelatin silver print
Date: 1976
Size: 8x10" contact print on 11x14" paper
Edition: 1/25
Untitled, Uranium Robots (Winner)
Medium: Selenium toned silver gelatin print
Date: 1976
Size: 8x10" contact print on 11x14" paper
Edition: 1/25
BIOGRAPHY
Les Krims is an internationally known and influential photographer, currently a professor at Buffalo State College. His highly controversial photography has been published in numerous books and magazines. Many major museums, including the Boston Museum of Fine Art, the Museum of Modern Art in New York, the National Gallery of Canada, Tokyo College of Photography and the Georges Pompidou National Museum of Modern Art in Paris, have either exhibited or acquired his work for their collections. Krims’ works are meant to shock and provoke their viewers. The photographs subvert the meanings of cultural symbols like the female nude by placing them in startling, yet ambiguous, contexts. Krims confronts us visually with fears and taboos otherwise confined to the imagination. By giving concrete form to repressed issues of sex, anti-Semitism, Freudian complexes and objectification of women, Krims forces us to consider our aversions.