Leslie Krims

By Eugene Struthers

Leslie Krims: A Provocative Visionary in Conceptual Photography

Leslie Robert (Les) Krims, born on August 16, 1942, in Brooklyn, New York, stands as a pivotal figure in the world of conceptual photography. His work, characterized by its intellectual engagement, ironic undertones, and deliberate shock value, has provoked strong reactions and sparked critical discussions since the 1970s. Krims' distinctive approach challenges societal norms and pushes the boundaries of photographic art, making him a controversial yet influential artist.

Early Life and Education

Krims grew up in the post-war era, a time marked by technological advancements and increasing affluence. He studied art at the Cooper Union for the Advancement of Science and Art and the Pratt Institute, both in New York. Despite his formal education, Krims is largely a self-taught photographer. His early career included positions as an assistant in photography at the Pratt Institute in Brooklyn and at the Rochester Institute of Technology.

Conceptualism and Artistic Philosophy

Conceptualism, the artistic doctrine emphasizing ideas over physical forms, is central to Krims' work. This movement asserts that universals exist only within the mind and lack external or substantial reality. Krims' photography exemplifies this by engaging viewers intellectually and conveying powerful ideas, often through the negation of traditional aesthetic values.

Provocative Imagery and Themes

Krims' work often explores themes of artificiality, mechanization, and dehumanization. His images, such as a dentist's X-ray apparatus consuming a naked woman's head or a naked body sewn with needle and suture, starkly expose a society where individuals are mere components of a mechanized world. These shocking visuals serve as a critique of modern life's artificiality and the loss of genuine human connection.

Two of Krims' notable publications, "Making Chicken Soup" and "Fictcryptokrimsographs," highlight his unique style and thematic concerns. "Making Chicken Soup," in which Krims used his own mother as a model, depicts a naked woman cutting up a chicken carcass, evoking a sense of dehumanization and emotional numbness. In "Fictcryptokrimsographs," Krims employed a Polaroid SX-70 camera to create a series of humorous and surreal images, parodying fashion trends and societal norms.

Controversy and Public Reaction

Krims' provocative work has often sparked controversy. When the French monthly magazine Photo published a portfolio of his pictures in 1975, it received a flood of protest mail, subscription cancellations, and the withdrawal of advertisements by a major French company. Despite this backlash, critics and art historians hailed Krims as one of the greatest symbolists of his time. His work challenges viewers to confront their own discomfort and preconceptions, making it both impactful and divisive.

Major Works and Exhibitions

"The Incredible Case Of The Stack O'Wheat Murders" (1972)

In this series, Krims parodies forensic photography by staging crime scenes with stacks of pancakes near each "victim," represented by his friends and family. The number of pancakes signifies the number of crimes, with each stack topped with butter and syrup. This work highlights Krims' dark humour and his critique of societal norms.

"Diane Arbus Lives in Us"

This series of four images pays tribute to Diane Arbus, a photographer who profoundly influenced Krims' work. Through these images, Krims acknowledges Arbus' impact on his artistic vision and his exploration of the human condition.

Criticism and Controversy

Krims' work has faced significant criticism, particularly from anti-porn feminists and feminist photographers, who argue that his images are objectifying and misogynistic. Critics contend that his photographs often humiliate women by reducing them to mere objects. However, Krims includes captions with his images to provide context and challenge viewers to look beyond surface interpretations.

Kidnapping Incident

In 1971, Krims' controversial work led to a dramatic incident in Memphis, Tennessee. A young boy was kidnapped, and the kidnappers demanded the reinstatement of four of Krims' photographs that had been removed from an exhibition for being potentially offensive. The boy was returned unharmed, and the photographs were reinstalled. Krims had no involvement in the kidnapping, but the incident underscored the intense emotions his work provoked.

Legacy and Impact

Leslie Krims' photography remains a passionate protest against the mechanization of life and the erosion of human values. His work is a testament to the power of art to provoke thought, elicit strong reactions, and challenge societal norms. Through his provocative imagery and conceptual approach, Krims continues to influence contemporary photography and inspire discussions about the role of art in society.

Conclusion

Leslie Krims' body of work stands as a provocative testament to the power of conceptual photography. His images, characterized by their intellectual rigor, dark humour, and unflinching critique of societal norms, have consistently challenged viewers to confront uncomfortable truths about modern life. From his early days at the Cooper Union and Pratt Institute to his groundbreaking publications and controversial exhibitions, Krims has pushed the boundaries of photographic art.

Krims' work is not merely about shock value; it is a profound exploration of the human condition, exposing the artificiality and mechanization of contemporary society. His use of provocative imagery and surreal scenarios forces viewers to question their own perceptions and societal values. Despite facing significant criticism and controversy, including accusations of misogyny and objectification, Krims' work has remained influential and thought-provoking.

The legacy of Leslie Krims is marked by his ability to elicit strong emotional responses and provoke critical discussions. His contributions to conceptual photography have left an indelible mark on the art world, inspiring future generations of photographers to explore the depths of human experience and the complexities of societal norms. Through his passionate protest against the dehumanization of modern life, Krims continues to be a vital and contentious figure in the history of photography.

Bibliography

1. Warren, Lynne. Encyclopedia of Twentieth-Century Photography. Routledge, 2005.
2. Bolton, Richard. The Contest of Meaning: Critical Histories of Photography. MIT Press, 1992.
3. Sontag, Susan. On Photography. Farrar, Straus and Giroux, 1977.
4. Krims, Leslie. The Deerslayers. Humpy Press, 1972.
5. Krims, Leslie. Making Chicken Soup. Humpy Press, 1972.