Episodes / Ep. 267 - Max Zerrahn

267. Max Zerrahn


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Max Zerrahn is a photographer based in Berlin

Episode 267: Max Zerrahn is an artist that I am familiar with through his exceptional photobooks.

I first encountered Max and his work through his previous publication Snake Legs, published in 2019. I remember being deluged with books to review at that moment and was not sure if the book had made its way to me from an official solicitation or not. With ASX, we receive a high number of books per year for review. It is virtually impossible to review all. In the case of Snake Legs, I distinctly remember thumbing through the book, its small diminutive frame perfect to thumb through thinking more of an experience that one might have with a novel, more than a photobook. The contents were alarmingly good.

Having set the book aside in the pile of things unsolicited, but exciting material, I had forgotten about the book until some time later. Its small size had escaped my sight and in due honesty, I did not get back to it until later at which point I had contacted Maz to re-tell the tale of his book. When his new book Mit Delfinen schwimmen, Swim with Dolphins published by White Belt Publishing came out, Max and I made a plan to finally catch up and speak with Max about his work and the new book in particular. I think of Max’s images as being consistent and easily spotted. There are hints of John Gossage in his work, the formal games that he plays throughout the book spreads, and the gravity with which he continually makes work.  It is quite hard not to be impressed by the work. In the episode, we spoke about all of this, but also Max’s background with the medium and life in Germany. It was a highly enjoyable episode to record. Please pick up Max’s books and support his work.

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Music: Algiers, with their full permission

Photograph Credits: Max Zerrahn
Editing: Adam Mead
Producer: Lucas Callaghan
Executive Producer: Brad Feuerhelm

Rights are reserved to Nearest Truth. No copies of this content is permitted without express permission from Brad Feuerhelm.

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