Professional Documents
Culture Documents
R01777 IbbTT
779.9391 A948av
Avedon- -photographs 1947-1977
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1979
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779.9391
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Marcus
way:
how we
with
in this
live
is
chiefly
is
death.
concerned
would say
He
his
theme
that
is
we
believes that
much
photographs
in his
we
most of
flee
will die.
from
But
il-
is
and
frivolity say
nothing makes
sense, that
to
hundred axioms
fashions, to
in the
is
a clock.
He
said to
Herrmann has
me
it
was a truism
"There are
written,
or the flash of a talent to drown the noise of the clocks in the room.
Perhaps the
rich
in the
."
am
And
so on.
is
a Jew.
snout of terror, a
a tired
He
fish
it.
He
You
Time
often time.
is
pulse
isn't a single
time varies by
No one can
human measurements
we
dismay
of intelligence
we
and
which we
tell
ourselves.
have come
life's
is
a dream.
is
little
is. It
our
it,
it is
lips.
Much
it
does
it
to
of what we do not do
A common
statement of
more time.
in
meanings, and the duration of such time has only to do with stories we
Is
find a time
had a
If only I
us what time
tell
It
is
seems
a dream
like
to
experience
this.
is
true.
is
artifacts are
made
in a field?
we
act.
Fashion, as a verb:
new
turn, that
we
is
unlike
be unlike what
will
we take older objects and imagine virtues in the past dead or stilled
virtues
and we reform, we reverse time, rescue those virtues (we think) and objects, we
hint that time makes beauty, proves value. Neither an emotion nor a pyramid, not beauty,
not elephants can sustain the weight of time: our emotions change and we don't quite
remember we don't know what the truth is here. Objects, feelings, gestures our moods,
our emotions
as we express them or name them, are fashion. Fashion, as a noun, means
things that have been made for us to use as we try to live now.
older people were; or
Fashion
is
us
trying to live.
mean
a way, anyone's
common methods
combined
in a
verses
itself,
a swindle.
we can have
salesmen.
style
restores
Style
it is
more
it
it.
can mean us
is
an
assert ourselves so
we need
to
is difficult
to judge unless
elegance or beauty
now
is
to joke
bitterly
it,
re-
or to intend
But
in
Style, realistically,
is
art.
looking at
it,
in valuing
it.
Such a symmetry
first
in
to
is
being con-
it,
in
comprehension,
which may be as quick as a camera shutter's closing, which may indicate time
efficiency, with technology, a
we take
Something sketched or
quered with
is in-
al-
in a sense,
an endless look.
gives us an image.
It
photograph there
in a
is
Our
lives, if
our attention
is
we
caught,
if
we
in the
human
it
without
so?
much
viewer.
make
that deludes
memory,
in spite of ana-
life is
like
a novel: I could
tell
think,
you things
and you could make them into a book that would get you a fortune.
Our senses and minds cannot grasp a present moment either: we say, "Christ. I m
going crazy," we feel so harassed. We cannot, except willfully, make sense of anything.
After all, actuality is not sane: what principle would make it sane or arrange it sanely? It is
what we do in regard to it which we judge sane or not.
A photograph aids our senses and bestows on our memory a gift of the stillness of an
object or a face for study so that we can stalk it at leisure: we are flattered by seeing and
remembering for study with such seeming exactness. The untruth and distortion in a photograph which makes it humanly true
and important sometimes we often ignore in order to
.
of testimony
in the
mixed, of the ideal and the carnal reality inconsistently but often enough intoxicatingly
joined.
What does
a photograph
show?
It
in lite: in lite,
the light,
the object, the face are part of time, of a sequence, a parade of moments: of change, therefore: a
in
bits.
We make
In a lie,
failure to
is
The
We
dream
our perceptions
in
portions and
be believed
rate existence
ot
then
it
is
nonsense) because
it:
in a lie,
how we
lit
meaningless
utter
it.
fixity.
what we sa\
is
is its
a sepa-
everything:
but this
not so
is
if
we make
must
it is
and
times;
dangerous
our
really,
and
in itself;
we go about our
lovely
animals,
think.
we know
business. This
is
it
exist
it,
dif-
time but
which makes
around us
us sudden and
we
try to see as if
in a
in life
we wish
And
human
in the
to photograph,
we
can,
lights
if
how much
we
still-
camera, devices, simple and complex, of the photographer, the date we look
at the picture,
we look
is
actual or mental
with which
at
it,
We
Nor
an
art;
is
it is
this
may turn
in
medium in short
know how satisfying
out to be a
sell
and
the
woman
and
will
distill
being
fully expressive of
not define
itself: it is
mersed
is
in
some
success,
it is
inevitabilities but
quality or other.
what
we become
an okayed insanity
restless
and
Modern
succeed,
it is
is
entirety of being,
life, like
history.
sanity, or
will
spasm of
It
far.
We
are so imis
an okay,
say something
is
incredible but
we mean
the opposite:
and
we mean
our individual existences and daring are safe somehow, but not so safe we are bored or must
less
and
less possible
and admired
it is
too singular:
it
meaning of a
dissolves the
Good taste God if you recall was supposed to be timeless, like a religion. It
with time. But our tastes die in a welter of arguments,
bargain, it was a communion
congregation.
was
is
facts,
ial
we trembled with
fugitive longings to
based astonishingly on the eye and on a dementia which perhaps ought not
The
idea, after
Must
If
all, is
new
that all of us
must
try to live.
my
in
me.
produce a
flurry of
It
book of
my
unreli-
is
The photographs
erratic.
man
exist.
as he lives.
graphs, and they do not play sentimentally with the stillness of the photographic image
unearned or mechanical
tion, the hint of
he can manage
stillness. In
a single picture:
is
to say, emotion.
He
on the motionlessness of a
movements
stillness is
will
single
photograph a fact
is
and
backgrounds are
motion.
If
all
the
photograph he
of comparisons,
it
will su-
movements of
the
in a single
settings or white
gence
at
ravaged by mo-
mind. Didactic and godless, kinetic and beyond moralizing (usually), he gives
it is
in
his photographs.
The photographer
sent
be rebuked.
somehow.
live
to
The
shapes, angles,
name
of the
in a face or
sitter,
intelli-
an unlikely or almost
alle-
gorical juxtaposition of people or objects (or parts of people: their noses, say), you are
invited to enter a fragmented novel, a special
ist.
a wordless novel-
His pictures are always blasphemous, are always prepared for misinterpretation
some-
meaning
in
an eye, the
up
of fluid or
means of divorce from him as photographer, are the elements of the gift he makes: an active gilt. He has become famous by claiming least, as a photographer by being the most modest of them all. Part ol the m\ stcrv in any
photograph of
his
is
gown
are
is
not defined
as
idealism or lunacy or bitterness, as anything but changeable, quick, often Inspired, maniacal,
bothersome
is
to critics.
He
is
at
photographs
Avedon
is,
on study,
most
but he too
is
in
in
games with
over
if
time.
Have any
stillness are
stilled
The movements
stilled surface.
spirit is usually
part also of the subject matter; sometimes a lapse from this assertion of spirit
made
merge unexpectedly
in the
little
to
his
part of the
his
life
else's
to
do with
is
all
lie: it
it
lies:
so language
if it
sorts of facts
and
processes of fact
must begin and a photographic language created which was not used by painters
their different
is
and touch:
moments
at various
way but
in a private
let
to see
is
Everyone looks
is
mind
is
invites the
banal, banality
itself.
The
is
is
the
human
in
the
but present.
The
and
wit, pride
and
sterility,
amusement, desola-
and
excitement
a
that
is
form of meaning.
Avedon's work.
Avedon' s Art.
a defiance:
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Dorian Leigh
Hat by Dior
Gare de Lyon, Paris
August 1949
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Barbara Mullen
Dovima
Hat by
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Paris studio
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studio
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August 1950
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Dorian Leigh
Evening dress by Piguet
Helena Rubinstein apartment
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Paris studio
August 1949
August 1950
25
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Marlene Dietrich
Dovima
Turban by Dior
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August 1955
August 1948
August 1950
Elise Daniels
Turban by Paulette
Dovima
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Ritz, Paris
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Maxim's, Paris
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Evening dress by Patou
Chez Yvonne, Paris
August 1955
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Place de la Concorde. Paris
August 1955
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Grand Palais,
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Theatre Marigny, Paris
August 1954
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Evening dress by Gres
Casino, Le Touquet
August 1954
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Sunny Harnett
Turban and dress by Dior
August 1955
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Dovima
Dress by Dior
Grand Palais,
August 1955
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Paris
Dovima
Wrap by Brooke Cadwallader
Great Pyramids of Giza, Egypt
January 1951
August 1954
Cloche by Balenciaga
Cafe des Deux Magots, Paris
August 1955
Dovima
Hat by Dior
Paris
Fouquet's, Paris
Hat by Balenciaga
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August 1957
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Dress by Nina Ricci
Champs-Elysees, Paris
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August 1961
Paris
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Hair by Kenneth
New York studio
December 1959
80
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Antonella Agnelli
Hair by Kenneth
New York studio
January 96
August 1962
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August 1961
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China Machado
Suit by Ben Zuckerman
Hair by Kenneth
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Dolores Guinness
Hair by Kenneth
New York studio
November 1961
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93
Spain
September 1964
Paris studio
94
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Dolores Guinness
Toga by Forquet
Hair by Alexandre
Paris studio
August 1965
January 1959
September 1964
Paris studio
95
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Jean Shrimpton
Hair by Kenneth
Dress by Cardin
New York
Paris studio
August 1962
August 1965
Christina Faolozzi
studio
June 1961
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Coat by Cardin
Hair by Alexandre
January 1959
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Great Exuma, the Bahamas
October 1968
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Twiggy
Dress by Roberto Rojas
New York
Lauren Hutton
Sweater by Van Raalte
103
New York
April
Janis Joplin
studio
1967
studio
August 1969
108
Penelope Tree
Dress by Cardin
Picasso
104
Paris studio
January 1966
100
London
studio
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Raincoat by Main Street
New York
July
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January 1968
109
105
January 1965
101
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Penelope Tree
New York studio
June 1967
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Joan Baez
New York studio
June 1965
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New York
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Paris studio
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February 1965
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August 1970
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November 1967
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Antony Arland
New York studio
March 1972
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New York studio
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December 1971
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December 1977
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Suzy Parker
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New York
Paris studio
January 1950
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Suzy Parker
Antigua, West Indies
January 1962
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studio
August 1956
129
Loulou de La Falaise
Paris studio
January 1968
128
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Elise Daniels
Hat by Paulette
Place Vendome, Paris
August 1948
Hat by Paulett
Paris studio
August
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New York studio
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New
115
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October 1977
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Round
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February 1959
New York
Fire Island,
151
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158
157
160
159
Lauren Hutton
f
-.
mmM
156
162
161
159
October 1968
August 1955
156
Dovima
Dress by Claire McCardell
Great Pyramids of Giza, Egypt
January 1951
157 Zouzou
New York
160
161
Marella Agnelli
New York studio
December 1953
162
June Leaf
Mabou Mines. Nova
October 1972
November 1976
West Indies
March 1978
studio
Renata Adler
July
1975
Scotia
Anna Avedon
Carmel Snow Alexey Brodovitch Diana Vreeland
Evelyn Avedon
John Avedon
Laura Kanelous
Marvin
Israel
Feitler
Grace Mirabella
Robert Bishop
Polly Hatch
Virginia
Pat Knack
Andre Gremela
Waldman
Suzanne Mosel
Betti Paul
Alicia Grant
Ingrid
Drotman
Norma Stevens
Yasuhiro Wakabayashi
Peter
Sidney Rapoport
Joanna Brown
Heyman
Polly Mellen
Jeff Niki
Alen MacWeeney
Eiishiro Sakata
Sebastian Chieco
Gideon Lewin
74 1 039
if
II
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