A selection of works by the influential portrait photographer, packaged in an accordion-folding folio, spans his entire career and demonstrates his signature technique of portraying his subject without extraneous detail and against white backgrounds.
People note fashion photography and stark portraits of Richard Avedon, an American.
Richard Avedon captured ideals of celebrity and beauty in the 20th and early 21st centuries to helped to establish a contemporary art form. Avedon developed a distinct, iconic style. While his contemporaries focused on single moments or composed formal images, his lighting and minimalist white backdrops drew the viewer to the intimate, emotive power of the expression of the subject.
From 1945, he worked and revolutionized the craft even as he honed his aesthetic to 1965. He worked in magazines from Harper's Bazaar and Vogue to Life and Look. Later, he moved into journalism and the art world. His subjects included pop stars, models, musicians, writers, artists, workers, political activists, soldiers, victims of Vietnam War, politicians, and his family.
Curator Paul Roth observes: “In an Avedon portrait, the face maps an intersection: It is a place where the world outside the photograph meets the world inside the mind.”
The Metropolitan Museum of Art in New York presented solo exhibitions in 1978 and 2002. The Whitney Museum of Art in New York in 1994 mounted major retrospective. The Louisiana Museum of Modern Art, Humblebaek, Denmark, mounted his works in 2007, and the exhibit traveled to Milan, Paris, Berlin, Amsterdam, and San Francisco through 2009.
After a semi-interesting essay, we move on to what really counts - the photos. Some of the more recognizable faces were - Gabriel García Márquez, Truman Capote, John Ford, Groucho Marx, Jean Renoir, Carson McCullers, Henry Miller, William S. Burroughs, and Jorge Luis Borges. Very striking and great quality images.
Richard Avedon has a preternatural gift for revealing some odd facet of his portrait subjects in every photo he takes. Every page in this book is like its own section of an autobiography, each wrinkle in the subject's face reveals a wealth of experience, of deep sorrows or joys, of a deep respect for the chaotic tumults of life. The most fascinating portrait is the fold-out of Andy Warhol's Factory, a bizarre, detached parade of debauchery. It tries to subvert every societal norm it can in personalities so purposely contrived to seem wholly unnatural. These strange insights and the beautiful grey tones of his photos prove why he's, by far, the world's greatest portrait photographer.
This book is published in a novel accordian format. So you can open the book on one side and there is text with a few pictures, but when you open it from the other side and it's only photographs. You could potentially open the whole book across your living room floor and see all the photographs at once. Pretty cool. I only gave it three stars because, although Richard Avedon's portrait photography is genius, I prefer Leibovitz style of putting her subjects in a setting that tell a story. Avedon's trademark pure white background is, well, what it is.
There is beauty in this slim book of portraiture, although most of the poses and framing are not conventional. Avedon is my favorite, similar to a painter, he has a unique way of indenting his style into the photo.
His subjects range from authors, to poets, lawyers and politicians. Some of them look not particularly pleased to be posing, others look indifferent, and a few have let the camera into their being.
Truman Capote mentioned Avedon in an interview, so had to check him out. He was photographer to Hollywood and high society: the Duke and Duchess of Windsor, Marilynne Monroe, Truman Capote, Alger Hiss, Francis Bacon, Andy Warhol and the Factory, best dressed women and drifters. His portraits feature a white background and pensive faces.
While I enjoyed the introduction's discussion of the unavoidable photographer and the subject collaboration... the subject looks to present how he perceives himself and the photographer looks to show what he sees. And I do enjoy seeing the pictures of these mostly famous people stripped down to just themselves with little or no hint of their accomplishments or failures. But, overall, I won't remember the majority of these images tomorrow no matter how much intellectual stuff can be written on Avedon's method and reasons... and that's how I judge a photograph.