#Richard Avendon

[famous-dujenoir]

Richard Avendon

Liz Taylor

[fridavaldi]

Claudia Schiffer 1995

Versace in campaing with Richard Avendon

[billieonmars]

Beatles photographed by Richard Avendon, august 11, 1967

[k00281190]

Risograph workshop

My second time doing the workshop really enjoyed the process, which was quick and easy to achieve results. Relating to the temporary project I decided to do an illustration of myself, adorned with scarification and Nigerian tribal symbols I took inspiration from.

My own photography inspired by Richard Avendon

[enochbelton01]

Richard Avedon: The Comforts Portfolio Files #2

“A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion .... All photographs are accurate. None of them is the truth”. Richard Avedon was an American fashion and portrait photographer. He worked for Harper's Bazaar, Vogue and Elle specializing in capturing movement in still pictures of fashion, theater and dance. Richard Born May 15th 1923, Was born In Manhattan New York,Starting his education at dewitt clinton Highschool and continuing and Columbia University in New York. His images are very bold and artistic thru his passion for fashion.they all share the fashion concept and visuals of color later in his career and in known events such as vogue capturing the outfits and runway of models and there authentic character thru pictures. In The following these two bodies of work - (“The comfort files # 2 and Debutante Cotillion,) these very know photos showcase his perfection behind the camera and draw so much people too enjoying these artistic photos.he had an unfortunate death in October 1st 2004 (81 years of age) he lived a long and fulfiling life.

.Richard Avedon has put together “The comoforts Portfolio # 2” in the late 19 90’s, thes photo graphs were shot with an 6 x 10 inch view camera and Potrayed on A village in Montauk New york, The focus of this moment was a bride in her royalty like outfit (dress) that symbolized their efforts of a prestigious wedding day, “I often feel that people come to me to be photographed as they would go to a doctor or a forture teller--to find out how they are. So they’re dependent on me. I have to engage them. Otherwise there’s nothing to photograph. The concentration has to come from me and involve them. Sometimes the force of it grows so strong that sounds in the studio go unheard. Time stops. We share a brief, intense intimacy. But it’s unearned. It has no past...no future. And when the sitting is over—when the picture is done—there’s nothing left except the photograph...the photograph and a kind of embarrassment. They leave..and I don’t know them. I’ve hardly heard what they’ve said. If I meet them a week later in a room somewhere, I expect they won’t recognize me. Because I don’t feel I was really there. At least the part of me that was is now in the photograph. And the photographs have a reality for me that the people don’t. It’s through the photo.”(Comfort files Quote) My opinion in this body of work is ,The images are undoubted , beautifully taken,the attention too detail from the crown and pitch perfect angle too the picture showcases the mastery and position, as you can see there is a bride and her crown and her fairy wings back attachment is really standout in New Orleans,

In This body of work (Samuel Beckett, writer, Paris, France,) which was taken in Paris France in the 70’s this is similar to the comfort files because the photographer (Richard Avendon) used the same camera with what seems too be the same intention due too the old school like like and lighting and since this was a primitive time with technology they used the best they can with what they had a Cannon Ae-1 Which was introucuted in the 19 70’s which is a 35mm point & shoot film camera widely used by professional photographers during these days in this period of time in history.Richard Avedon's encounter with Samuel Beckett, the renowned Irish writer, in Paris, France, is a captivating intersection of two artistic titans. Beckett, celebrated for his existentialist and absurdist works such as "Waiting for Godot" and "Endgame," and Avedon, the legendary photographer known for his iconic portraits, shared a brief yet significant moment in the vibrant artistic milieu of Paris.

In the early 1950s, Avedon, already a rising star in the world of fashion photography, embarked on a project that would lead him to Paris. His assignment was to capture the essence of the city's cultural elite for Harper's Bazaar. Among the luminaries he photographed was Samuel Beckett, then gaining recognition for his groundbreaking literary contributions.

Their encounter epitomized the collision of two artistic realms. Avedon, with his keen eye for capturing the essence of his subjects, aimed to distill Beckett's enigmatic persona into a single frame. Beckett, known for his reticence and introspective nature, presented a challenge and an opportunity for Avedon to penetrate the layers of his psyche through the lens of his camera.The resulting portrait of Beckett is a study in contrasts - his penetrating gaze, stoic demeanor and aura of intellectual intensity juxtaposed with the extreme simplicity of Avedon's composition. Photography goes beyond mere documentation; it becomes a deep meditation on creativity, loneliness and the nature of the human condition.Paris, with its rich cultural walls and bohemian spirit, was the backdrop for this meeting. The cafes, galleries and streets of the city are a fertile ground for artistic exploration and collaboration. Beckett's stay in Paris, where he spent much of his adulthood, further deepened the connection between his work and the city's atmosphere of existentialism and artistic experimentation.Although their meeting may have been brief, the legacy of the portrait of Beckett's Avedon lives on. . as a testament to the power of visual storytelling. Through his lens, Avedon captured not only the essence of a literary icon, but also the spirit of an age—an age defined by artistic innovation, intellectual inquiry, and the search for truth in an uncertain world.these all tie together because of the element he was in during this time period.

Richard Avedon's collaboration with acclaimed German actress Nastassja Kinski in Los Angeles marks the exciting moment when two creative forces came together to create a timeless image that transcends the boundaries of photography.1980. in the early 1990s, Avedon was already known for his pioneering work. work in fashion and portraiture, sought to capture the essence of Hollywood's rising talent. Kinski, a rising star known for her mesmerizing performances in "Tess" and "Paris, Texas," emerged as the epitome of youthful beauty and raw talent.Their meeting in Los Angeles typified the fusion of art and fame. defined the cultural landscape of the city. Against a backdrop of palm trees and neon lights, Avedon set out to capture Kinski's magnetic presence in a single shot. With his trademark minimalist approach and meticulous detail, he became famous for revealing the essence of his subject.Kinski's printed portrait is a study in sensuality and vulnerability, a hauntingly beautiful composition that captures the mystery. the charm of the actor. Her piercing eyes and ethereal presence jump off the page, drawing the viewer into a world of mystery and intrigue.Los Angeles, with its glitz and glamour, was the perfect setting for this collaboration. The sprawling landscapes and cinematic atmosphere of the city were Avedon's backdrop for his exploration of celebrity culture and the cult of personality.Besides the superficiality of Hollywood, Avedon's portrait of Kinski goes beyond mere celebrity worship. This is a testament to photography's ability to capture the essence of the soul - to reveal the deepest depths of human experience through the lens of a camera.Kinski's portrait of Aavedon captivates audiences decades later with its timelessness. beauty and emotional resonance. It's a testament to the lasting legacy of two creative visionaries who briefly crossed paths on the sun-soaked streets of Los Angeles, leaving behind a legacy that transcends time and space.this portrait shows the undoubtedly mastery and attention too detail richard shows and his perfection too his craft.

Fun fact -In addition to his work in the fashion world, Avedon was a master in portraiture and worked in political photography as well, He photographed countless icons such as Dr. Martin Luther King, Jr., Marilyn Monroe, the Beatles, and President Eisenhower.Authour of many books and won awards for years.

Work Cited

Debutante Cotillion, New Orleans, Louisiana) - The New Yorker

(The Comforts Portfolio, #02,) Avedon's Masterpiece" by Arthur Lubow - Vanity Fair

"Richard Avedon: A Remembrance" by Alex Needham - The Guardian

"Remembering Richard Avedon" by

Dodie Kazanjian - Vogue

"Richard Avedon's Other Half" by Norma Steven -Vanity Fair

https://photoquotes.com/quote/i-often-feel-that-people-come-to-me-to-be-photogra

[sarahkempphotography]

Fashion Contextual Task

Richard Avedon (1923-2004)

Avedons work was important as he played a key role in redefining and developing American visual culture, he worked across fashion and portrait photography, he redefined the genres and made a lasting contribution to both.

Richard Avendon was one of the first major photographers to use models of colour, he broke boundaries in the photographic, fashion and political world, with his ability to capture the rare emotion and unique essence of his subjects

Richard Avedon has a very distinctive style that he has maintained throughout the years for his minimalism. His portraits are often well lit and in front of a white backdrop, Avedon took models that seemed to be somewhat frozen in time and gave them vigour, personality, emotion and even flaws

Avedon wanted to establish intimacy between him and his subject, his candid emotive portraits printed in large format is what helped reconfigure photography as an expressive art form.

Ann Demeulemeester

Ann Demeulemeester is well known for their androgynous, gothic style, with a minimalistic approach.

Places ; Chapel London, SE15 ; Grungy/abandoned, https://asylumchapel.co.uk/gallery

How to get there - Flights from Glasgow or Edinburgh > London Gatwick

What you’ll need ;

● Models ● hair and makeup team ● stylist ● creative director ● assistants ● Travel and equipment insurance ● transport for heavy equipment hire car/van ● Tripods ● Lights (and lighting adapters ie. soft box, beauty dish) ● Reflectors

Location

Style

[letizia-bollini]

Il colore del neri di Richard Avendon

[ricardogurriti]

I think all art is about control - the encounter between control and the uncontrollable.

Richard Avendon

[for-all-mankind]

With Gigi Hadid’s recent photoshoot at Kennedy Space Center, spaceflight once again is the backdrop for fashion photography. Photographers in that industry have found the allure of space technology irresistible since the dawn of the space age in the 1950s. Famous fashion photographer Richard Avendon photographed world-renowned supermodels such as Domiva, Isabella Albanico and Jean Shrimpton in front of rockets, sights around Cape Canaveral, and even a Mercury-era spacesuit during the late 1950s and 1960s. Gigi’s shoot occurred around Kennedy Space Center’s Visitor Complex in the rocket garden, Moon theatre and other locations. All the photos above - including Richard Avendon’s from the early space race era - were shot for Harper’s Baazar.

The models and photographers from above:

Domiva in front of an Atlas-Able rocket by Richard Avendon, 1950s.

Isabella Albanico by Richard Avendon, 1959.

Jean Shrimpton by Richard Avendon, 1965.

Gigi Hadid by Mariano Vivanco, 2017.

[yourmusepaper]

Veruschka, wrap by Giorgio di Sant’Angelo, New York, March 1972 © Richard Avedon

[garudabluffs]

In 1964, Richard Avedon and James Baldwin published “Nothing Personal,” their collaborative exploration of American identity.

Richard Avedon and James Baldwin’s Joint Examination of American Identity

By Hilton Als  November 6, 2017       

View 15 photographs                                                                                   READ MORE https://www.newyorker.com/magazine/2017/11/13/richard-avedon-and-james-baldwins-joint-examination-of-american-identity

The Terror Is Constant: On Richard Avedon and James Baldwin’s “Nothing Personal”                    

By Buzz Poole   FEBRUARY 5, 2018

“Nothing Personal is a book of Avedon’s photographs, edited to correspond with Baldwin’s four texts, making it, as Als sees it, “about remembrance and the Other,” as evoked by subjects inhabiting the realms of civil rights, celebrity, and mental health.”

“As reported by Baldwin biographer W. J. Weatherby, “They discussed a theme — the alienation of people, what keeps them apart.”

“As Baldwin saw it, from its inception America has been about diminishing the individual in order to make it easier to inculcate lies believed to be true:The poor white was enslaved almost from the instant he arrived on these shores, and he is still enslaved by a brutal and cynical oligarchy. The utility of the poor white was to make slavery both profitable and safe, and, therefore, the germ of white supremacy […] Two world wars and a world-wide depression have failed to reveal to this poor man that he has far more in common with the ex-slaves whom he fears than he has with the masters who oppress them both for profit. […] To be locked in the past means, in effect, that one has no past, since one can never assess it, or use it: and if one cannot use the past one cannot function in the present, and so one can never be free.“

READ MORE https://lareviewofbooks.org/article/the-terror-is-constant-on-richard-avedon-and-james-baldwins-nothing-personal/

A Lifeline for the Hour of Despair: James Baldwin on 4AM, the Fulcrum of Love, and Life as a Moral Obligation to the Universe

“I have always felt that a  human being could only be saved by   another human being. I am aware that we do not save each other very often. But I am also aware that we save each other some of the time.”

“Punctuating Avedon’s signature black-and-white portraits —    — are four stirring essays by Baldwin, the first of which gave us his famous sobering observation that “it  has always been much easier (because it has always seemed much safer)  to give a name to the evil without than to locate the terror within.”

first published in 1964       Reprint edition (January 2, 2018)  

READ MORE https://www.brainpickings.org/2020/04/23/james-baldwin-nothing-personal-4-am/?mc_cid=48f014c863&mc_eid=5f669a6cf1

[vecchiorovere-blog]

Scusi signora Brigliadori ma Satananon è l'oppositore? L'antico serpente che invita alle tentazioni? Non immaginavo che vaccinandomi avrei mangiato la mela! Fotografia Richard Avendon

[dear-missmonroe]

Black sequins photoshoot - Richard Avendon, 1958

[countfrodo1]

Courtney Love by Richard Avendon for Versace 

[chez-mimich]

AGNES POIRIER: “RIVE GAUCHE”

Leggere “Rive Gauche” di Agnès Poirier edito da Einaudi, nel 2018, è un po’ come assistere, affacciati a una finestra, agli eventi che si sono succeduti dopo la liberazione di Parigi, fino alla fine degli anni Cinquanta. Quella finestra potrebbe avere la vista sulla Place Maubert, o sulla chiesa di Saint Germain Des Pres e sul Café de Flore, o magari sulla Fontana di Saint Michel. Un libro che riporta con maniacale cura, tutti i fatti, gli episodi, gli incontri, che hanno fatto della riva sinistra della Senna un luogo leggendario, per una volta potremmo proprio dire “magico”. Insomma una ricostruzione della Storia con la “S” maiuscola come ha riconosciuto anche il New York Times. Potrebbe sembrare strano (ma non poi così tanto), che epicentro di tutte le vicende raccontate dalla giornalista e saggista parigina, sia un caffè, il Flore, culla dell’Esistenzialismo, seconda casa (o anche prima), di Simone de Beauvoir: “Al Flore le persone si presentavano solo con il loro nome di battesimo (…) Si parlava a bassa voce, l’atmosfera era seria, tra i bicchieri c’erano i libri, e le luci erano soffuse…” come scrive l’autrice. Tutta la storia sembra ormai passare da lì: quella della Parigi appena liberata dal peso sul cuore dell’oppressione nazista, ma anche quella del pensiero umano, della poesia, dell’arte e, naturalmente, della letteratura. Intorno alla coppia Beauvoir-Sartre, anzi mescolati a questa, scrittori, intellettuali e artisti che con la coppia intrattenevano rapporti dialettici, politici, sentimentali o anche solo sessuali, un modo di vivere libero ed anticonformista che divenne il paradigma stesso della libertà personale e di pensiero. Con queste libertà afferenti alla sfera personale erano in gioco i grandi temi della emancipazione sociale; a questo proposito basta ricordare, che un capitolo del volume della Poirier si intitola “Lussuria ed emancipazione”. Sartre, con lungimirante lucidità scrisse che “Non siamo mai stati così liberi come sotto l’occupazione (…) il veleno nazista si insinuava nel profondo dei nostri pensieri e quindi ogni pensiero giusto era una conquista…” Il Café Flore, divenne un formidabile “castello dei destini incrociati”, per mutuare una metafora da Italo Calvino, ma oltre ad un luogo fisico, il nascente Esistenzialismo, aveva bisogno anche di un veicolo delle idee, questo veicolo fu “Les Temps Modernes”, rivista fondata dalla coppia di scrittori—filosofi evocando nel titolo il celeberrimo film di Charlie Chaplin. Intorno a tutto ciò, una galassia di artisti e intellettuali che mai s’era vista e mai si vide fino ai nostri giorni: Pablo Picasso, Henri Cartier-Bresson, Alberto Giacometti, Roland Petit, Richard Wright, Jean Cau, Albert Camus, Jean Cocteau, Nelson Algren, Arthur Koestler, Art Buchwald, Norman Mailer, Saul Bellow, Irwing Shaw, Samuel Beckett, Boris Vian, Miles Davis, Juliette Greco, Jean Marais, Simone Signoret, Christian Dior, François Sagan per citarne solo alcuni, che passano sotto la lente di ingrandimento nella cronaca quasi spietata di Agnès Poirier. Tanti anche i “palcoscenici” dove, dopo la liberazione, andarono in scena la nascita dell’Esistenzialismo e la rinascita culturale e artistica della vera capitale d’Europa: la Sorbonne come Le “Tabou”, la Shakespeare & Co. come “Le Bœf sur le toit”. Indagati a fondo tutti i temi del dibattito culturale di quegli anni, a cominciare dal difficile rapporto di Jean-Paul Sartre col Partito Comunista Francese, anzi, di quest’ultimo col grande filosofo. Al centro di questo dibattito la dottrina Zdanov fautrice del “realismo socialista” e le impellenti necessità estetiche delle avanguardie. Un libro indispensabile per chi ha vissuto quegli anni, per chi avrebbe voluto viverli e anche per chi, come me, è come se li avessi vissuti, avendone amato le tematiche, avendone letto i “sacri testi”. Volume completo, dettagliato, con esaurienti apparati e dalla scrittura fluida dal ritmo jazz, come quello di quegli anni indimenticabili…