“The object of art is not to make sellable pictures. It is to save yourself.”
Sherwood Anderson in a 1927 letter to his son.
I am your Baudelaire, your Apollinaire!
This is me: Old, fat, and bald. Now you know what to expect.
I also let models shoot me. Photo by Sarah Beth Harris: http://www.modelmayhem.com/2138499
Lighting and post by yours truly.
Currently represented by the Bruce Lurie Gallery in Los Angeles, California. http://www.luriegallery.com/jorge-kreimer
Represented in Lima, Peru by Galeria Impakto.
Upcoming exhibitions and shows:
Lacen Project, Los Angeles; June-July 2013
Galeria Impakto, Lima Peru; August 2013
FIFI Projects, Mexico City; TBA.
Red Dot New York. Bruce Lurie Gallery.
The Hamptons Art Show. Bruce Lurie Gallery.
Estudio Aldo Chaparro, Mexico City; TBA.
Art Miami, Miami Art Basel. Bruce Lurie Gallery.
PhotoVogue Italia Website, in case you care about this stuff.
http://www.vogue.it/en/photovogue/Profi … de8d7/User
Although I don't always succeed, I strive for my images to be interesting and meaningful, or at least to have a coherent aesthetic, even if it's somewhat awkward.
I don't look to having a particular "style", since I get bored rather quickly. I'm done with naturalism, and at the moment, I am making images according to the tennets of what I call "Stylistic Austerity".
The model is the source of emotion in the photograph, even when she's out of context. That is why at the moment I'm not shooting location, but only white or grey backgrounds, so that the model is the sole element and dictates the content of the image. The model as subject interests me. The model as mere shape within the frame, does not: I consider an image with an objectified model as flat and uninteresting. Form without content is boring.
I make terrific Lavazza espresso, "Italy's favorite coffee!"
(None of that icky Starbucks aftertaste); and I make it on request.
Escort Policy: Female escorts are welcome. Male escorts make me too self conscious, and are detrimental to the shoot (though apparently that's changing).
Please, no pets!
Already had a dog take a piss in my studio.
I don't charge models. Never have, and never will. Models are not clients, but collaborators. If you like what I shoot (nude or clothed), don't hesitate to message me. This goes for MUAs and Stylists as well.
Unfortunately at this time, I cannot do trade with male models, unless I contact them first. Sorry, but I've been getting a lot of requests lately.
Cropped cover of the second edition of my book:
Fragment of a write up by the Mexican artist, gallerist, and critic, Aldo Chaparro Winder:
For Jorge Kreimer, there's very little difference between the professional and non-professional model. In his images, professional models don't appear to be professional: Jorge is mainly interested in the psychology of the model. He relishes in challenging and directing them as if they were characters in a film. Each image is presented as a small piece of something bigger.
His images can only be called austere: he uses no tricks, no stylistics, no scenery, and no Photoshop. The photos are taken either against a plain background, or in the same repeated spaces in his home. His work reminds the viewer of the portraits of Lucien Freud in which the portrayed is always sitting or reclining in the same leather sofa. He also reminds us of the photographic projects of Lucas Samaras, who solely used his apartment in New York as scenery for all his constructions.
In the same manner, Jorge liberates the image from all accessories; from story and from the unnecessary details that are mostly used by lesser artists to hide a lack of content.
His ability to generate situations is a quality evident in his work. He takes control of a situation, but only as a detonator. He provides the gasoline and the matches. He watches as the fire starts by itself.
The same beautiful light falls every day through the windows of his home. The models change, but the atmosphere remains. We can appreciate how Jorge's interests remain as well. For him, the model is not just another element of the composition: the model is the character that imposes the content of the image. He sets the parameters, which are quite abstract, and detonates a state of mind in the model that is taken to the point where they stop posing and simply "are". It is in this instant in which the images reveal the human being: a model who is no longer conscious of the camera and who establishes a silent intimacy. They go to a place where the camera becomes the tool of communication between them, and the situations become unrepeatable. We could compare it to photographing a river: always changing.
Aldo Chaparro Winder