We are proud to showcase the pre-release of KRASS Journal, an Australian publication "centered on interviews" and "[the belief] that knowledge should be shared. That conversations can change us." The 136-page, advertistment free issue is set to launch in March with content dedicated to politics, poetry, art and fashion, and interviews from eleven remarkable personalities.
Tess and Sanja, the editorial duo behind KRASS, share outtakes, themes and inspiration from their promising first issue.
This is your first issue. What is the editorial line?
Sanja: Language is, above all else, seductive. You can’t go to bed with a website. Tess and I believe in the sanctity of the printed word, so we created KRASS. It was a natural progression for two writers that were forever told that print was dead, and never quite agreed. KRASS is an answer to the overwhelming proliferation of fashion magazines targeting a female audience, and an excuse to interview a never-ending supply of brilliant minds. In the same issue that we interview Henrik Purienne, we interview Australia’s leading human rights lawyer and feature a contribution by the father of the Greens movement, Bob Brown. Artist Molly Crabapple talks feminism and Guantanamo while India Salvor Menuez tells us “the sacredness of art is kind of a joke.” We interview a Catalan bank robber, the fiercely independent director Amiel Courtin-Wilson and the enigmatic model-cum-activist Ollie Henderson. In short, we aim for diversity. We launch our first issue in March, and just interviewed our first subject for Issue 2, Noam Chomsky.
"KRASS is [...] an excuse to interview a never-ending supply of brilliant minds."
Tell us about this theme: "Invisible Cities." What will it encompass? Who are the photographers you chose and why?
S: Under the influence of Angela Carter’s "The Infernal Desire Machines of Doctor Hoffman," we found ourselves asking questions about people’s relation to place. She says it more beautifully than I dare paraphrase: “Consider the nature of a city. It is a vast repository of time, the discarded times of all the men and women who have lived, worked, dreamed and died in the streets which grow like a willfully organic thing, unfurl like the petals of a mired rose yet lack evanescence so entirely that they preserve the past in haphazard layer.” We believe in the power of conversations and the pooling of wisdom. Invisible Cities considers Ana Kraš’s Belgrade, Jack Walls’ old New York and India Salvor Menuez "new" New York. Ren Hang shares his photography from Beiijing and Mike Brodie from his youth on the road. We chose these subjects because of how little they have in common, yet how much connects them.
Tell us about your piece on Henrik Purienne. How would you describe his photo aesthetics?
Tess: It is without a doubt that Henrik Purienne is prominent in photography today and his images are undeniably beautiful. But they are also important. His works theme voyeuristic sexual imagery that converge between provocation and profundity−and this is why KRASS approached him. His aesthetic is candid, and utterly amorous. He shoots women with vigour, with guts and vitality−women who are willing and responsible and able. He doesn’t shoot in front of seamless white walls in a studio, for that does not reflect his reality. This is the significance of his work we focused on.
Tell us about your piece on Robert Gaudette. Would you say that his photo aesthetics is high-end goth?
T: I discovered Robert Gaudette’s work when I was in Toronto - where he resides - and was immediately drawn to it. KRASS features his "Temples" series in our first edition. Interestingly, Gaudette started out as a fashion photographer, but this series depicts women without makeup, without edits and without clothing. It contrasts to his earlier work and we discussed this transition with him. On reflection, the Robert Gaudette feature creatively aligns with the theme of KRASS as a whole; in his words “for me, feminine beauty lies in the imperfections.” His somatic photography reminds me of ancient Roman sculptures- the twisting stance, the white, almost translucent skin tone and that in Temples, Gaudette does not show the subject’s head, which is also much like the ancient statues.