Avedon, Richard

Richard Avedon: Photographs 1946-2004

In August of 2007, Denmark's renowned Louisiana Museum of Modern Art presented Richard Avedon: Photographs 1946-2004, the first major retrospective devoted to Avedon's work since his death in 2004. (With stops in Milan, Paris, Berlin and, Amsterdam, the highly-anticipated exhibition concludes in at San Francisco's Museum of Modern Art in October of 2009.) This beautifully produced catalogue, designed by the renowned Danish graphic designer Michael Jensen, features deluxe tritone printing and varnish on premium paper, and includes 125 reproductions of Avedon's greatest work from across the entire range of his oeuvre--including fashion photographs, reportage and portraits, and spanning from his early Italian subjects of the 1940s to his 2004 portrait of the Icelandic pop star, Bjork. It also contains a small number of color images--including one of the most famous photographic portraits of the twentieth century, "Nastassja Kinski and the Serpent" (1981). Texts by Jeffrey Fraenkel, Judith Thurman, Geoff Dyer, Christoph Ribbat, Rune Gade and curator Helle Crenzien offer the most sophisticated and thorough composite view of Avedon's work to date. All color separations byRobert Hennessey.

Richard Avedon Portraits

For over 50 years, Richard Avedon (b. 1923) has captured the creative genius of our time with dazzling insight and incomparable style. Spanning the artist's entire career, from the late 1940s through his most recent work, Richard Avedon Portraits offers a superb selection of his photographic portraits.

With uncompromising directness, Avedon portrayed his subjects against a white background, with no extraneous details to distract from the essential specificity of face, gaze, dress, and gesture. This challenging innovation, coupled with the artist's intense interest in his subjects and mastery of his craft, resulted in mesmerizing portraits-among them Truman Capote, Willem de Kooning, Samuel Beckett, Francis Bacon, and Marilyn Monroe, as well as the uncelebrated Americans of his project, "In the American West"-that rival the greatest works in the portrait tradition.

Richard Avedon Portraits is published to accompany a major exhibition at The Metropolitan Museum of Art, New York. With its innovative accordion-style design and superb reproductions, the book is a virtual stand-alone mini-exhibition in its own right.

Avedon at Work: In the American West (HRHRC Imprint Series)

"Laura Wilson shadowed the Shadower, and showed us as much as can be shown of how his work wasdone."

—Larry McMurtry, from the Foreword

Internationally acclaimed for his portraits of powerful and accomplished people and women of great beauty, Richard Avedon was one of the twentieth century's greatest photographers—but perhaps not the most obvious choice to create a portrait of ordinary people of the American West. Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.

The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."

Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.

Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

Evidence: 1944-1994

The definitive account of the life and work of Richard Avedon, to accompany a major retrospective of the photographic work at the Whitney Museum of American Art, New York.

Versace : The Naked and the Dressed: 20 Years of Versace by Avedon

When Gianni Versace was shot dead outside his Miami villa on July 15, 1997, few believed that his fashion empire would survive. The chutzpah and flamboyance of Versace the fashion house seemed inseparable from Versace the man. And yet, a year later, Versace remained buoyant, its reputation and market position if anything enhanced by its creator's tragic fate.

This book goes some way toward explaining why. From his first 1980 collection, Versace cannily engaged a great photographer, Richard Avedon, who stylishly wedded his designs to a potent blend of celebrity, beauty, flesh, sex, and humor, which became instantly identifiable as Versace--poised, pansexual, tongue firmly in sculptured cheek. Whether in trademarked group shots of intricately entangled supermodels, Stallone nude and stone-faced, Elton gleeful in drag, or Bon Jovi proudly strutting his buff bod, Avedon equals Versace--to the extent that he can show Kate Moss, without a stitch of Versace (or anything else), and we know that she is thinking Versace. This gorgeous volume collects more than 170 photographs, and gives us, as it justly proclaims: "A glimpse of the impassioned shameful opulent titillating sewmanship of that daredevil magician of art and artifice who was and will always be Gianni Versace." --Alan Stewart

This book is almost completely full-bleed photographs taken by Richard Avedon of the Versace collections. The book is divided into 8 sections, by themes: Rembrance of Flings Past; Lust & Found; That Obscure Object of Desire; Gathering Moss; Rocks and Other Hard Places; The Way of All Mesh; Look Homeward Angel; and A Quick Stitch in Time. The sequencing of the photographs makes for an amusing, sexy presentation.

Richard Avedon

An Autobiography

A startling new look at the life's work of a photographer who had an enormous impact on the way we see the world.

Eye of the Beholder: Photographs from the Collection of Richard Avedon

When Richard Avedon died on October 1st, 2004, he left an extraordinary collection of photographs that spans two centuries and reflects an eye attuned equally to masterworks and mug shots. Few had seen the private collection with which he surrounded himself in his apartment on East 75th Street in New York. These photographs, assembled over five decades, are the subject of Eye of the Beholder: Photographs from the Collection of Richard Avedon, comprising five fully-illustrated volumes housed in a sturdy slipcase. Avedon knew a good photograph when he saw one. Though he was far more interested in making pictures than collecting them, he lived surrounded by photographs of every kind, from the exalted to the unknown. "Neurotic women" (his words) were among his particular interests, though his curiosity was vigorous and his pursuits could not be predicted. The photographs in Avedon's collection were acquired primarily by purchase, in some cases by gift. Several bear inscriptions of respect or affection from other artists, notably Jacques-Henri Lartigue and Henri Cartier-Bresson, photographers with whom he forged significant friendships. Avedon was also the first of only three people to purchase Diane Arbus's landmark portfolio A Box of Ten Photographs, a gesture that signaled so much to the artist that she re-titled his portfolio to include an eleventh print. Avedon's collections of portraits by Peter Hujar, of cigarette still lifes by Irving Penn, and of studies of the 19th century beauty, the Countess de Castiglione (1827-99), are unrivaled.

Richard Avedon, photographer: [exhibition] September 10 - October 4, 1975, Marlborough Gallery, New York

Richard Avedon: Made in France

This major new monograph stands as an important rediscovery of a small but central body of work in the career of one of the world's best known and beloved photographers. The Richard Avedon images presented here, many for the first time, were made in Paris for "Harper's Bazaar" during the 1950s. What is particularly special about this presentation is that the images are being reproduced to the exact scale of the engraver's prints made for Avedon by the master printer Andre Gremola, and are uncropped, on their original mounts, with all of the artist's notations on both front and back. Thus, they provide a remarkable portrait of the working methods of one of the most influential fashion photographers in history. This oversized book, measuring 12 x15 inches, is being printed without compromise with tritone plates throughout, and will be a stunning object in its own right. With this body of work, which includes the photographer's iconographic "Dovima with Elephants, Cirque d'Hiver, 1955", Avedon broke radical new ground in the history of photography. He documented the moment in which postwar France was striving through fashion to reclaim its cultural eminence. Judith Thurman, fashion writer for "The New Yorker" contributes the book's introduction. Edition of 100.

"And if a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible."-Richard Avedon

"(Avedon) is a passionate artist, always trying to climb inside his image. He gets there, too. It's a self-portrait in the eye of the beholder who is also, and so strenuously, beheld." -Thomas Hess

"Here, for instance, is all that I read in an Avedon photograph, the seven gifts it gives me: first of all, truth, the sensation of truth, the exclamation of truth; then character (pensivity, melancholy, severity, satisfaction, gaiety, etc.); then type (the politician, the writer, the executive); then Eros, a commitment, whether seductive or repulsive, to affect; then death, the corpse's vocation; then too the past, what has been caught, taken, can never come back again, can no longer be touched; lastly. . .lastly the seventh meaning, which is just the one which resists all the rest, the inexpressible supplement, the evidence that, within the image, there is always something else: the inexhaustible, the intractable element of Photography (desire?)." -Roland Barthes

Essay by Judith Thurman.

40 quadratone.

12 x 14.75 in.