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Michael Krim is an acclaimed American photographer whose work has consistently pushed the boundaries of visual storytelling. With a career marked by a keen eye for detail and an unflinching dedication to capturing the zeitgeist, Krim has cemented his place in the pantheon of contemporary photographers. Born and raised in Los Angeles, Krim was immersed in the rich tapestry of urban life from an early age, a backdrop that would profoundly influence his artistic vision.
In 2013, Krim channeled his passion for art and culture into the creation of Paper Work. Founded as a reaction to the often elitist art world, Paper Work was designed to be an inclusive platform that merges the vibrancy of street culture with the sophistication of high art. The initiative began as a quarterly magazine, featuring in-depth interviews, thought-provoking articles, and striking visual spreads that highlight the works of both emerging and established artists.
Paper Work quickly evolved beyond its origins as a magazine. Under Krim’s visionary leadership, it expanded into an online portal, offering a digital space where artists from around the globe could exhibit their work, connect with audiences, and engage in meaningful dialogue. The platform’s commitment to diversity and accessibility has made it a beloved resource within the art community.
In addition to its print and digital presence, Paper Work has become synonymous with innovative exhibitions and events. Krim curates shows that not only display art but also create immersive experiences for attendees. These exhibitions often take place in unconventional venues, further blurring the lines between street art and fine art, and making the experience of art more dynamic and engaging.
Through Paper Work, Michael Krim has cultivated a vibrant community of creatives who share his vision of a more inclusive and democratized art world. His efforts have provided countless artists with the exposure and opportunities needed to thrive, while also enriching the cultural landscape for audiences worldwide. Krim’s work with Paper Work continues to inspire and challenge, solidifying his role as a pivotal figure in contemporary art.
Hi Michael! Thank you for sitting down with me! First question that I always ask: How does a regular day look for you in New York?
Hey Rubén! Well, I actually relocated back to Los Angeles in 2018, so I can’t tell you what a regular day in NYC is like anymore, but a regular day in LA starts off with a 5 AM wake-up call, and then I go train from 6:30 to 8 AM. I walk home and try to shoot for 30-40 minutes in DTLA, then I walk the dog and eat. Around 9, the crew shows up for my other company and we prepare for the day. Around 10, they head out, and it’s mostly emails until noon, followed by Paper Work for the rest of the day until the dog needs to go back out. I eat dinner and do it all again the next day.
I’m curious, growing up in Agoura Hills, Los Angeles, what kind of kid were you? What did you enjoy doing, and how did you spend your time?
Haha, I was a complete troublemaker and pretty much only cared about figuring out how to spend the least amount of time in school, paint graffiti and get out of Agoura Hills at every chance I had. I would link up with friends that were based all over LA County.
Real quick, what’s the story behind your nickname Spicy Mike?
Well, the real reason is we were having a BBQ, and this girl made all these bacon-wrapped cream cheese jalapeño poppers. I was so faded I ate like 40 of them, burned a hole in my stomach and had to go to the hospital, haha. Hence, Spicy Mike. But over the last few years, it’s more because I’ve got all the chicken wings doing handstands and backbends, and I be getting it in with that spicy content.
So how did you get introduced to photography? And how did you first start out practicing with your camera?
I first got introduced to photography by my grandfather, who was a famous Hollywood photographer. Even though he passed before I was born, my mom was always showing us his work and sharing stories. Most of my youth was spent going to downtown LA and documenting graffiti. I got my first real camera around 19 that I boosted at some house party. I ended up finding some banger that got smoked in the LA river early in the morning and got this sick shot of the cops in the river around him near Old County. After that, I was lucky to have a hot girlfriend who liked to get naked on film, so she was my muse for years.
Alright, so what made you want to start documenting the streets and various subcultures like sex workers, graffiti kids, etc.? And what are you hoping to convey?
I think I just answered this, but it’s really what’s just always around me and still is. I don’t think I’m trying to convey anything besides, “Hey, this is my life, love it or hate it, but it’s my life.”
With that in mind, what do you look for when you’re out looking for your next motif to capture?
Well, I know what I’m not looking for is super polished scenarios and subjects that everyone has access to. That’s why I travel, as I don’t want the same bunch of characters in my portfolio as everyone else has. LA has an issue with that now.
How important is authenticity in your work? And can a picture still be good if it doesn’t have any?
Extremely important. It’s not hard to figure out what’s going on with my photos and how I’m moving, and I think that’s what allows me to move the way I do, as my subjects are already engaged in many aspects of my life.
What makes photography your preferred medium of expressing yourself?
My attention span, I’m assuming, plays a big part as I can’t focus for long periods of time. A photo is instant, and you move on with the day while still creating and documenting your life for hopefully someone to look at years down the line and be interested in.
You shoot predominantly in black and white. How can a B&W photo impact the observer that colored photos can’t?
Black and white is very raw; it strips everything to its essence and you can’t hide behind the colors. Black and white for living subjects and color for still life is kinda my rule.
Can you tell me about some of your favorite memories from shooting in the field?
Most recently my favorite memory is being in Thailand with some of my closest friends. I really feel it’s some of my best work, which I’m excited to share soon.
Other than the camera and lens, are there any essential items that you always bring with you when shooting?
An extra battery and more film than I probably need.
You’ve published several zines, such as “SANCTUARY” and “Tokyo Spice.” Can you tell me about that? What made you want to start publishing zines?
I just had no desire to wait around to be asked to be featured in anything. I’d rather just do it myself. Zines offer a level of creative freedom and immediacy that traditional publishing often doesn’t. With zines, I can control every aspect of the content, layout, and distribution. It allows me to stay true to my vision without any external pressures or compromises.
By self-publishing, I also get to engage directly with my audience. There’s something incredibly fulfilling about handing over a physical copy of my work to someone and knowing that it’s going to be a part of their collection. It’s a tangible connection between my art and the viewer, which is something digital mediums can’t fully replicate.
Ultimately, publishing zines is about empowerment and self-expression. It’s a way to carve out my own space in the artistic landscape and share my story on my own terms.
Looking back over a decade, what have been some of the biggest obstacles in building PW? And what has been the most valuable lesson you’ve learned so far?
One of the biggest obstacles in building PW has been navigating the fine line between showcasing various fringe societies and presenting it in a way that is both respected and trusted by a wider audience. When you’re working with subjects that are outside the mainstream, there’s always a risk of misrepresentation or misunderstanding. It’s a challenge to portray these communities authentically and respectfully while still making the work accessible and engaging to people who might not be familiar with these worlds.
Another significant challenge has been staying true to the brand’s identity in a rapidly changing industry. With the rise of social media and the constant evolution of visual trends, it’s easy to get caught up in what’s popular at the moment. However, it’s crucial to maintain a distinct voice and vision that sets PW apart from others. We resist the pressure to conform and instead, focus on what genuinely represents the ethos of PW.
That being said, the most valuable lesson I’ve learned is the importance of staying in your lane- understanding and embracing our unique perspective and strengths, rather than trying to emulate others. It’s about trusting your vision and not getting sidetracked by the noise around you. I’ve realized that anyone can join the journey, but it’s vital to ensure they don’t steer you off course. Surrounding yourself with the right people who understand and support your mission is crucial.
Ultimately, building PW has taught me to be resilient, adaptable, and to always prioritize authenticity over popularity. It’s about creating work that you’re proud of and that genuinely reflects your journey and the stories of those you capture.
In a parallel universe, who would you be, and what would you be doing?
I’m very content at the moment.
Can you tell me a story about a time when a connection with someone had a big impact on you?
I used to rock heavy with this one individual, but we ended up having a falling out. Now, I respect it and understand it and could not be happier that I had them in my life, as it pushed me to accomplish so much in my art and in my health. A negative situation can be a blessing.
After the fallout, I had to reevaluate my priorities and focus on my own path. I had to rely on myself more, which led to significant personal and professional growth. I learned to trust my instincts and embrace my vision without the influence of others. Ultimately, the experience taught me that even negative situations can have positive outcomes. It’s all about perspective and how you choose to respond.
What qualities do you find most important in the people you choose to spend time with?
I look for people that inspire me and have a track record of making things happen. I avoid all chicken wings, drug users, and stagnant behaviors.
With that in mind, anybody you look up to?
My dog Ronaldo. He gets to chill all day, the ladies love him, and he is secretly the Mayor of the Arts District.
What motivates you?
Hustlers.
How would you describe a perfect day?
Refer back to the first questions, but if the phone does not ring before 10 AM and nobody is having a work meltdown, it’s a perfect day.
Alright Michael, I always ask these two questions at the end of an interview. The first is: What’s your favorite movie(s) and why?
Point Break. I just really love the idea of robbing banks and chilling on the beach.
The second is: What song(s) are you currently listening to the most right now?
Tee Grizzley, Pezzy, Kevin Gates.