понедельник, 8 ноября 2010 г.

Ричард Аведон. Альбом "The sixties".

Ричард Аведон (Richard Avedon) - известнейший американский фотограф. Можно назвать его фото-летописцем 20-го века. Он родился в Нью-Йорке в 1923 году в еврейской семье, которая эмигрировала из России в Америку. За его плечами Колумбийский университет, морская пехота, школа фотографии знаменитого арт-директора журнала «Harper’s Bazaar» Алексея Бродовича. С 1966 года Ричард Аведон работает в "Vogue", и его сотрудничество с этим модным журналом продолжалось вплоть до 1990 года.
Революционное настроение 60-х годов не прошло бесследно в жизни фотографа, да и это было невозможно, творческий человек не мог пройти мимо того, что творилось в эти годы. Создавалась история, и он создавал ее вместе с остальными. В это время он фотографирует участников Движения за гражданские права, Антивоенного движения.Так появляется его альбом «Avedon: The Sixties». И этот пост посвящен именно этому альбому фотографий.



Welcome, dear viewer. This is the opening page of a newsworthy Legends Online experience: At this time, Kodak and PDN are pleased to present an excerpt of the latest book from one of the most celebrated photographers of our time, Richard Avedon.
AVEDON: THE SIXTIES, published by Random House and Kodak Professional, is scheduled for an October release. The book is co-authored by Avedon and Doon Arbus, the photographer's long-time creative collaborator. It marks the first time that this work, created three decades ago, is being seen in the form in which it was originally envisioned: Avedon's photographs combined with the interviews Arbus conducted at the portrait sessions.
Введение, представленное NANCY MADLIN. 
This is the story of how this extraordinary book was created. This is how it began...
In 1969, photographer Richard Avedon and writer Doon Arbus set out together on a quest, a kind of creative mission that, loosely formulated, defined and refined itself over time:

"We had no plan," recalls Avedon, "just my feeling that I wanted in some way to respond to the demands of the time."

"You were clear on what you wanted to do," says Arbus, expanding and clarifying Avedon's memory in the way of long-time working partners. "I mean, as clear as things like that can be before you actually start them. It was an emotional thing and also something political. You said to me, when we first met to discuss working on this, kind of apologetically, as I suppose one must. You said you wanted to photograph people who were putting themselves on the line. As it evolved, it got less and less structured by that. But that was the initial thought."

"So much time has passed," Avedon interjects, "that whatever we told ourselves it was about is now buried deep inside what it became--the process of making anything is so, sort of loony."

If this is lunacy, it is surely of the inspired variety; the way of all artists. Following their journalistic radar and the call of their artistic souls, Avedon and Arbus thus respectively photographed and interviewed quite an assortment of characters, now revealed to us in the book called AVEDON: The SIXTIES. The personal collection is a sort of grab-bag of the era; turn the page and you never know who'll turn up to surprise you. Twiggy, Dorothy Day of The Catholic Worker Mission, Sly Stone, Malcolm X, Rudolph Nureyev, A Vietnamese leper, The Chicago 7, Janis Joplin, Edward Albee.

Arbus' interviews were conducted in conjunction with the photo sessions; before, during or after the pictures were taken. They are startling in their intensity and immediacy. The edited versions she created for the book crystallize for the reader something really powerful about each subject's experience. We are transported back, as though in a time capsule, to an era we suddenly realize was defined by all kinds of intensity: violence, a longing for community, a reckless belief in justice, and political theater played to the hilt on a world stage.

The pictures, too, are absolutely intense and immediate, marking an important change in the way Avedon made pictures. "I had worked with a Rolleiflex, doing portraits for so many years," says Avedon. "It was my way of seeing. I had begun to feel that the camera was taking the pictures. I was looking down into the Rolleiflex and my relationship to the sitter was gone. They were left confronting the blank neutrality of a lens. I wanted the interaction of myself and the person I was photographing. So I began to work with the 8 x 10 view camera, standing beside it, face to face with my subject. I also liked the size of the larger negative."

Thus, Avedon stepped out from behind the camera, created what was to become his signature portrait style, and began this project, all at the same significant moment. He also began working with Doon Arbus, a creative collaboration now thirty years long.

"The nature of collaboration is such a mysterious thing," he continues. "We meet to work as two totally different people, and with the participation of our subjects, create something that seems to be the product of a single intelligence."

That mysterious synergy is made perfectly visible in this book, the layout of which grew organically out of Avedon and Arbus re-discovering and reorganizing the source material--the photographs and interviews. The process of editing the material kept revealing hidden connections between disparate faces and voices.

The result is a book showing an extraordinary relationship between text and images. "It just flows; it flows so magically," says Avedon. "It's unlike any other book. No picture is there without a structural link to the text, and no text is there without advancing the narrative. It's not a book of pictures and interviews. It's like discovering a new form."

But you don't have to take our word for it.
You can see for yourself.

Цитата Чарльза Диккенса, 1985 год



Фотографии

Twiggy, model, Paris ©1999 Richard Avedon



ABBIE HOFFMAN, Yippie
Chicago Seven Conspiracy Trial
September 25, 1969

Living in America I expect to get killed. I mean,...I've been active for a long time. I've seen Mississippi and I've seen the rest of the country turn into Mississippi. So going to jail or dying or any of those things...I don't know...what's the difference? Both times you're like- you're removed from, uh...the streets. From what you feel you have to do.... Dying is...I don't know. It makes a better movie but...what's the difference?

Physical injury I've grown up with all my life, ever since...I was a juvenile delinquent...football player. Death or the fact that you might die at what you're doing is something that...that I can face in my mind and deal with and...overcome. I've overcome my fear of death. I've not overcome my fear of jail.

I'm very much into survival. Survival is what I'm best at. I'm a pool player and pool players, pool hustlers, they know how to survive. I live on the Lower East Side, which is a jungle. I live on one of the most vicious blocks in the country. I have a plant that's been mugged.

Survival is where it's at. Survival and fightin'. 'Cause I think we are at war. I'm not against the war in Vietnam. I'm for the National Liberation Front winning. So I'm...I'm not for peace there. Peace is a very complicated concept. When the lion gobbles up the lamb and wipes his lips, then there's peace. Well, I...I ain't for that peace at all.



Ed Sanders and Tuli Kupferberg, The Fugs, rock musicians / political satirists, New York City
©1999 Richard Avedon



Alice Cooper, rock singer, New York City
Frank Zappa, musician, The Mothers of Invention, New York City
©1999 Richard Avedon


Edgar Winter and Johnny Winter, rock singers, New York City
©1999 Richard Avedon



JANIS JOPLIN,
blues/rock singer
Port Arthur, Texas
September 3, 1969



I have like what anyone would call like, say, a loneliness, a loneliness of my own. But it's just a private trip and probably shouldn't be forced on other people that much, you know what I mean? God, fuck it. Who cares how lonely you feel. You just have to learn to deal with it like everybody else does. Everybody has that, I think. Everybody. Even Christians.

I remember I used to think, goddamn it, it's because I'm a chick or it's because I haven't figured it out yet. It's because I'm not twenty-one. It's because I haven't read this or I haven't tried that.... Well, I've done every fucking thing and now I know better. There is no "because." And it's not going to get any better.

My father.... See, my father is a very intelligent man and I used to talk to him a lot because he reads and he's pretty sensitive and I was a mixed-up kid and too smart for my age-right? Anyway, so when I was eighteen, I ran away. Well,...went to California. One day this thing comes along and I learned something. It went pfshutt right in the side of my head and I sat up...and realized something. I ran up and wrote a long, long letter to my father all about how I'd felt growing up was like climbing a hill and that sooner or later you'd figure it out and it'd all come together and you'd level out and it wouldn't be such a fucking struggle every day, you know?... But then I realized there wasn't any leveling out, you know? You have the same fucking problem- or more-when you get old. I mean, you got more to deal with. It isn't gonna turn that corner, man. It just keeps going right on straight uphill.
So I wrote my father and explained this whole thing. Well, the next time I came home-my father has this friend, another man who's also very intelligent-and my father had evidently let him read my letter. You know, "Look what Janis is going through." They were proud of me because I was a thinker and they liked that because they were thinkers. So when I got home, this guy comes up to me and he says, "Well, I hear you learned about the Great Saturday Night Swindle." That's what he called it.

The realization that there isn't going to be any turning point.... There isn't going to be any next-month-it'll-be-better, next fucking year, next fucking life. You don't have any time to wait for. You just got to look around you and say, So this is it. This is really all there is to it. This little thing. Everybody needing such little things and they can't get them. Everybody needing just a little...confidence from somebody else and they can't get it. Everybody, everybody fighting to protect their little feelings. Everybody, you know, like reaching out tentatively but drawing back. It's so shallow and seems so...fucking...it seems like such a shame. It's so close to being like really right and good and open and amorphous and giving and everything. But it's not. And it ain't gonna be.


Anita Siegel and Nancy Grossman, artists, New York City
Louise Nevelson, sculptor, New York City
©1999 Richard Avedon



Times Square, New York City, November 22, 1963
Bob Dylan, singer/songwriter, New York City
©1999 Richard Avedon


Unidentified American soldier, Fire Base Charlie, D.M.Z., Vietnam
Joan Baez, folk singer, New York City
©1999 Richard Avedon




Vietnam is just a confirmation of everything we feared might happen in life. And it has happened. You know, a lot of people in Vietnam-and I might be one of them-could be mourners as a profession. Morticians and mourners. It draws people who are seeking confirmation of tragedies...


War Resisters League
New York City
September 10, 1969
If you're gonna live in a city, you're gonna pass alcoholics by on the street. Or else you don't get to work. But that is to be brutalized and...it doesn't excuse what you've just done. That you've passed by someone lying in the gutter.... You know what I mean?... I have the feeling...that I really ought not to lock my door. But if I didn't, then I wouldn't have anything in the apartment, and I know I can't function on that level. Personally. So that is the function of this city. That we lock ourselves in at night. We're all...we're all...voluntary jailers. It's really a very frightening thing we do. We have bars on the windows. I do, too. This is a very difficult problem for somebody who really would prefer...not to have his door locked....

VIVA, actress
New York City
October 2, 1969


VIVA, actress
New York City
October 2, 1969


George Harrison, The Beatles, London
Dao Dua, "The Coconut Monk," Mekong Monastery, Vietnam
©1999 Richard Avedon


Santa Monica, California, September 30, 1963
Ringo Starr, The Beatles, London
©1999 Richard Avedon
Andy Warhol, pop artist, New York City
John Lennon, The Beatles, London
©1999 Richard Avedon

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