by William S. Dean
(01/12/05)
Eric Kroll is one of the world's best known fetish and erotica photographers. His background includes time spent doing photojournalism for the New York Times and Der Spiegel, and portraits for Vogue and Elle magazines. In 1988, he became a self-described “girlie photographer.“ He's also a major collector of “bad girl” art and has published a book on the famous artist John Willie for Taschen Books. Kroll is also the photographer for the illustrated The Transformation of Gwen books. His book Fetish Girls earned him the title of “The American King of Fetishism.”
Clean Sheets (CS): How has fetish art changed from the classic days of Bettie Page and John Willie? What are the hallmarks of today's more techno-oriented and grittier style?
Eric Kroll (EK): One thing comes to mind. The power and clarity of a few of the fetish models. Dita comes to mind; Persephone and Mashumi Max. These women know how they want to be perceived by their public and want to be shot in a certain way. This keeps me away from many of the superstar fetish models, because they are overexposed. They are beautiful women, but their persona is overpowering. I'm pretty certain that Bettie Page didn't control a shoot or have guidelines. The obvious difference between John Willie's period and mine is Adobe Photoshop. He didn't have it. He didn't need it. I use it and love it. So do the models. Another dimension to Willie was his ability to draw. He was a fine artist and a photographer. I just began a basic drawing course. So far, I suck.
CS: We seem to see a curious cyborg blending of techno-erotica and organic forms. Has this been influenced by artists such as H. R. Giger and other film production artists?
EK: Perhaps. I don't know.
CS: Although we don't see a lot of it in the United States, are galleries in Europe and Asia more attuned to promoting erotic fetish art?
EK: Well, Shooting Gallery in San Francisco did me very well in November of 2003, and they are showing the fetish work of Jeremy MF Thompson. But, yes, I think there is more of an appreciation for fetish erotic art in Europe. I have no idea about Asia. I was in Madrid, Spain, and saw the photo work of Sebastian Navarro. I don't know if I would call it fetish, but it certainly was erotic and reminded me of the new Terry Richardson book published by Taschen.
CS: Fetish art and photography certainly influence advertising and fashion, film costume and set design. Although there doesn't seem to be an “art school” (like Impressionism or Expressionism, Art Deco, etc.), are there nevertheless “guiding lights” (influential artists and trends) that seem to establish the parameters of erotic fetish art?
EK: There are always new artists coming along. Hopefully, they are aware of Willie, Pierre Molinere, Man Ray, Hans Belmer, and others. There is a photographer named Collin Rae that makes the most erotic foot photos and has been influenced by Elmer Batters and Natacha Merritt. The work of Aaron Hawks refers back to Man Ray and even Duchamp. It is always evolving, with plenty of visual references. I am certain that there are photographers out there responding to Gilles Berquet's work, my work, Richard Kern and Roy Stuart. It always has happened. Always will.
CS: Is there an underlying philosophy to fetish art? What might the artists be expressing?
EK: An obsession; whatever that might be. I respond to high heels and rounded asses. Collin Rae to barefeet, someone else to a woman peeing...someone else to satin, dangling earrings, long opera length kid gloves (as the illustrator Bill Ward did). The trick is to tap into one's obsession as purely as possible.
CS: The art of the fantastic, such as that done by Boris Vallejo, seems to be a strong influence in some fetish art. We see powerful and seductive bodies in fetish gear. But what about the grotesque and the ordinary folk involved in the “fetish life[an error occurred while processing this directive]” Will we ever see them in fetish art?
EK: Definitely. The fine work of Barbara Nitke comes to mind.
CS: Are there criteria that a fetish art connoisseur applies, besides “knowing what I like?”
EK: I wouldn't know about others. I have a huge collection that I gathered in my years in New York. I was obsessive then in my 40's. I enjoy and sell it now. I think you always buy what excites you.
CS: Do you think censorship of fetish art and photography has any relevance to real life today?
EK: I don't believe in censorship unless it is parental. In other words, I have a sixteen-year-old daughter. I don't expose her to the adult images I make.
CS: What trends and stylistic influences do you think will drive fetish art in the future?
EK: I suspect that the craze for fetish will increase then decrease and perhaps lay quiet for a time, but it has always been around...just more or less popular. It's in the mainstream now, but it may fade into the back rooms where it is probably most comfortable. For my 58th birthday, I received Herb Ritt's portrait of the back of Micheal Keaton's Batman costume: extremely fetish. I just found some early 1940s comics drawn by the artist Bill Ward of innocent babes, but in extreme fetish wear. Fetish has been around for a long time. Think of all the extreme heels that were worn in the 1940's as everyday wear. Where are they now?
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