ProQuest www.csa.com
 
About CSA Products Support & Training News and Events Contact Us
 
RefWorks
  
Discovery Guides Areas
>
>
>
>
>
 
  
e-Journal

 

Photographic Portraiture and the Work of Richard Avedon
(Released November 2002)

 
  by Staff  

Review

Key Citations

Web Sites

Conferences

Editor
 
Key Citations Short Format Full Format
  1. Avedon: simplement humains [Avedon: simply human]

    Ragey-Grace, Sylvie

    Connaissance des Arts (France), no. 589, Dec. 2001, pp. 27, 1 illus.

    Review of two exhibitions on show at the Kunstmuseum in Wolfsburg, Germany: Richard Avedon: in the American West (Dec. 2001-Jan. 2002) featuring the work of the American photographer and Gary Hill: Selected Works (Dec. 2001-March 2002) featuring videos by the American Gary Hill.

  2. Fast forward: Neville Wakefield on Steven Meisel

    Wakefield, Neville

    Frieze (U.K.), no. 45, March-April 1999, pp. 60-5, 7 illus. (5 colour)

    Discusses the work of the fashion photographer Stephen Meisel, who has established a reputation with a series of fashion shoots in which he adopts unconventional approaches borrowed from other media. An untitled spread for Italian Vogue (May 1997) depicts the model as a frightened animal in a desolate landscape, preyed on by the camera in the same way that the paparazzi prey on celebrities. For a later series of shoots for the same publication, inspired by the paintings of Alex Katz, he arranged his models in dramatic tableaux morte; the models are shown static, like waxwork figures, while the Galliano designs drape from them. He asserts that Meisel's black and white portraits of supermodels evidence the influence of Warhol (1928-87) and Richard Avedon in their style and celebration of celebrity, considers that his works have a burnt-out quality which reflects the fast-moving, ever-changing world of fashion, and describes them as some of the finest examples of photography currently being produced.

  3. Yves Nantel: Marge ou creve [Yves Nantel: margin or die]

    Riendeau, Isabelle

    Vie des Arts (Canada), no. 176, Autumn 1999, pp. 37-9, 4 illus.

    Discusses an exhibition of photographs by Yves Nantel (b.1954) entitled Les Squeegees at the Galerie Lieu Ouest in Montreal (28 Aug.-2 Oct. 1999). The author examines Nantel's portrayal of a marginalized group of young men who clean car windscreens at crossings in the city, illustrating their vulnerability despite their tattoos and unconventional clothing which serves them as armour, and allowing them to show their `true' faces depicted `objectively'. Influenced by Richard Avedon's approach to portraiture, Nantel creates unease in the spectator by the fixed poses and expressionless faces of his subjects, which suggest police photography and the uncertainty and anxiety of the environment in which these people live.

  4. Richard Avedon on Amy Arbus

    Avedon, Richard

    Aperture (U.S.A.), no. 151, Spring 1998, pp. 14-23, 10 illus.

    As part of a series of articles in which photographers select and present the work of a lesser-known, working photographer, Avedon presents images by the American photographer Amy Arbus. The images include a series of portraits of babies and a series of self-portraits.

  5. Photographie, mode d'expression [Photography, mode of expression]

    Wauters, Anne

    Art et Culture (Belgium), vol. 10, no. 1, Sept. 1995, pp. 20-1, 3 illus.

    Discusses how some of the greatest photographers of the 20th century have seen fashion photography as a challenge to be confronted through their personal sensibilities rather than merely commercial commissions and how others have used it as an inspiration for their personal work. Among those who have participated in this fusion between art and fashion photography are Irving Penn, Richard Avedon, Sarah Moon, Helmut Newton and Man Ray. The author suggests that these examples show that, for the photographer, fashion is a subject like any other, a creative prop that may be used to express a personal vision and as a source of experimentation and renewal.

  6. Listening to Avedon

    Leo, Vince

    Afterimage (U.S.A.), vol. 23, no. 2, Sept.-Oct. 1995, pp. 10, 1 illus.

    Considers the work of the American photographer Richard Avedon, with reference to a number of interviews with the artist which are currently available on audio cassette, Richard Avedon: A Sound Portrait (Santa Monica, California: Connie Goldman Productions) and Richard Avedon: Evidence 1944-1994 (Minneapolis, Minnesota: Minneapolis Institute of Arts). The author describes Avedon's struggle to be recognized as an artist, rather than as a fashion photographer, and his aim to represent his own feelings in his work, cites his views on portrait photography, and suggests that the true subject of Avedon's images is the social interaction between the photographer and his sitters. He makes particular reference to the relationship between photographer and subject in his In the American West series.

  7. Serious face

    Hamilton, Peter

    British Journal of Photography (U.K.), vol. 142, no. 7019, 5 April 1995, pp. 12-15, 6 illus.

    Examines the work of American photographer Richard Avedon, on the occasion of a retrospective of his work at the National Portrait Gallery in London. The author describes the composition of the exhibition, which focuses mainly on Avedon's portrait work, and discusses his attitude to the moral responsibility of the photographer. He considers the high proportion of celebrities portrayed by Avedon, notes his early obsession with photographing his beautiful sister, and explores the possible connection between this and Avedon's concern with the concept of the surfaces people construct around themselves. The author discusses the equipment and techniques Avedon uses, and concludes by noting that Avedon admits that his photographs say more about him than about his subjects.

  8. Richard Avedon: evidence 1944-1994

    Thijsen, Mirelle

    Katalog (Denmark), vol. 7, no. 3, March 1995, pp. 44-8, 6 illus.

    On the occasion of a touring retrospective exhibition and the publication of two books, An Autobiography (London: Jonathan Cape, 1993), and Avedon Evidence 1944-1994, of the work of Richard Avedon, the author charts the development of the American fashion and portrait photographer's career. She makes reference to his work for Harper's Bazaar and Vogue, and to the six books which he has published in the period 1959 to 1993, and comments on the evolution of his style and on the contrast between his fashion work and his portraits, with particular reference to a series of portraits of the photographer's father, Jacob Israel Avedon. She defines the characteristics of his portrait style, describes his work methods, and considers the significance of his book In the American West (see ABM 17 00841 for abstract).

  9. An exhibit design of light for Richard Avedon

    Iannone, Francesco

    Exporre (Italy), no. 23, March 1995, pp. 4, 7 illus. (4 colour) + diagram

    Francesco Iannone describes his exhibition design for Richard Avedon's show Richard Avedon: 1944-1995 in the Palazzo Reale of Milan (18 Jan.-5 March 1995). He notes that light was the most important aspect of the design and explains how he altered the atmosphere throughout the museum by using a range of lighting techniques.

  10. Avedon

    Checchi, Rosanna

    Zoom (Italy), no. 7, 1995, pp. 68-9, 3 illus.

    Considers the history of the Pirelli calendar, which features images of top models by top professional photographers. The calendar was first published in 1964, and contained photographs by Robert Freeman. It is now featured in the Tate Gallery in London and has considerable collector value. The 1995 edition contains images by the American photographer Richard Avedon. The author describes the process of producing these images, and lists some of the other photographers to have contributed their work to the calendar in previous years, including Sarah Moon, Uwe Ommer, Norman Parkinson, Joyce Tenneson, and Herb Ritts. In an insert, the author provides brief biographies of Avedon, the featured models, and the artistic director of the calendar project, Derek Forsith.

  11. Richard Avedon: an autobiography - de vierde illusie [Richard Avedon: an autobiography - the fourth illusion]

    Marsman, Eddie

    Foto (Netherlands), vol. 49, no. 9, Sept. 1994, pp. 46-53, 7 illus.

    Discusses two collections of photographs by Richard Avedon, An autobiography and Evidence 1944-1994, which contain studies of celebrities including Louis Armstrong, Henry Kissinger, Samuel Beckett and Marilyn Monroe, portraits of his family, and a self-portrait. The author traces the development of Avedon's photographic technique and visual language, his choice of subjects, and his organization of 300 photographs into a personal sequence depends not on chronology but on the power of photography to create a logical order of its own and to suggest connections between the people and events portrayed even when they are separated by a gap of many years.

  12. Richard Avedon

    Bell, Judith

    Photographer's Forum (U.S.A.), vol. 16, no. 3, May 1994, pp. 24-31, 5 illus.

    A profile of American photographer Richard Avedon in light of Evidence: Richard Avedon, an exhibition of his work at the Whitney Museum of American Art, New York (18 March-26 June 1994), which focuses on his photojournalism. The author considers his project for Life magazine in the late 1940s, for which he lived on the streets of New York for six months, documenting daily life. She notes that this body of work displays many of the concerns which Avedon explored later, in his fashion and portrait photography. The author discusses Avedon's magazine work, the influence of Alexey Brodovitch, art director of Harper's Bazaar, on his work, and also the incisiveness of his portraits.

  13. Evidence: Richard Avedon

    Bell, Judith

    Rangefinder (U.S.A.), vol. 43, no. 4, April 1994, pp. 42-5, 4 illus.

    Examines the career of American photographer Richard Avedon in light of the exhibition of his work, Evidence: Richard Avedon at the Whitney Museum of American Art in New York (18 March-26 June 1994), which focuses upon his photojournalism. The author considers his work for Life magazine in the 1940s when he documented life on the streets of New York, noting that the images display many of the photographic themes which Avedon was to explore in his later magazine and portrait work. The author also discusses the influence on Avedon of Harper's Bazaar art director Alexey Brodovitch, and the `hard edge' of his black and white portraits of the American cultural elite.

  14. Avedon: the photographs and the fury

    Halpert, Peter Hay

    Creative Camera (U.K.), no. 325, Dec. 1993-Jan. 1994, pp. 10-11, 2 illus.

    Considers the forthcoming Avedon retrospective at the Whitney Museum of American Art (March 1994) in New York and the publication of An Autobiography by Richard Avedon (New York: Random House). The author examines the publishing agreement between Avedon and Random House based on 10 books, noting the publisher's commitment to photography, and explores the politics surrounding the decision to stage the Avedon exhibition at the Whitney. In conclusion, he considers Avedon's role as a chronicler of American culture, describing him as the successor to Robert Frank.

  15. Notes on the ethics of seeing

    Kimball, Roger

    Modern Painters (U.K.), vol. 7, no. 2, Summer 1994, pp. 36-8, 4 illus. (2 colour)

    Examines the ethics of inspiration with reference to the work of William Bailey, whose paintings were recently exhibited at the Andre Emmerich Gallery, New York, and Richard Avedon, whose photographs are on view at the Whitney Museum of American Art, New York (June 1994). The author considers the nature of Bailey's artistic vision in his female nudes and still lifes and discusses the technique and atmosphere of his paintings as a type of `homage' where `the artist is essentially absent'. He contrasts this approach with Avedon's photographs of celebrities, artists, U.S. military personnel, mental patients, murderers and vagrants, which create an illusion of universal depravity and disillusionment. He concludes that Avedon's approach is viewed as an index of authenticity by the art establishment even though it bears little resemblance to reality.

  16. Making faces

    Wilson, Laura

    Reportage (U.K.), no. 3, Winter 1993, pp. 22-5, 5 illus.

    Presents photographs by Laura Wilson of Richard Avedon at work. Wilson photographed Avedon whilst he was working on his book In The American West (see ABM 17 00841 for abstract), and describes Avedon's techniques. The photographs show Avedon setting up his pictures of a rancher, and of the `bee man', Ronald Fischer.

  17. Unas palabras sobre el retrado [Some thoughts on the portrait]

    Avedon, Richard

    Luna Cornea (Mexico), no. 3, 1993, pp. 6-7, 3 illus.

    Writing in 1974, Avedon refers to the photographs he took of his father in the last years of his life as an example of how the subject of a portrait poses or acts in order to portray a specific image of him- or herself. When his father was alive the photographs did not seem real for the artist, but since his father's death they have adopted an independent reality not previously noticed.

  18. Realidad virtual: retratos de America [Virtual reality: portraits of America]

    Wolin, Joseph R.

    Luna Cornea (Mexico), no. 3, 1993, pp. 84-94, 11 illus. bibliog

    Examines recent approaches to portrait photography, with particular reference to Richard Avedon's book In the American West (see ABM 17 00841 for abstract). The author states that while the subject matter seems superficial, Avedon succeeded in creating a remarkable body of work which represents a conflict between traditional documentary photography and aesthetic expression. Avedon's work is compared to that of other portrait photographers, including Hannah Wilke, Tina Barney, Judith Golden, Cindy Sherman, Robert Mapplethorpe, Catherine Opie and Bill Jacobson. Their themes have ranged from the underprivileged to homosexuality, transvestism and AIDS.

  19. Richard Avedon: mode inversee, mode de la boue [Richard Avedon: inverted fashion, gutter fashion]

    Grundberg, Andy

    Art Press (France), no. 120, Dec. 1987, pp. 14-18, 6 illus.

    Richard Avedon is both a fashion and a documentary photographer; the author describes his documentary portraits, of politicians, writers, musicians, artists and couturiers, as deliberately and pitilessly unflattering to their subjects, showing the reverse side of their public image. Also discussed is his early work, commissioned for Harper's Bazaar, which was intended to shock and surprise.

  20. Interview

    Thompson, Mildred (Interviewer)

    Art Papers (U.S.A.), vol. 11, no. 6, Nov.-Dec. 1987, pp. 35-7, 2 illus.

    Transcript of an interview with Richard Avedon in which he answers criticisms of his exhibition In the American West and its accompanying book (see ABM 17 0841 for abstract). He considers his work to have deepened past a political left or right. He is afraid of not being able to feel, as he considers this to be the death of a photographer. He pays a lot of attention to detail in his photographs, whether or not these are consciously noticed by the viewer. In conclusion, he describes his feelings about the subjects of his photographs.

  21. Through Eastern eyes

    Kozloff, Max

    Art in America (U.S.A.), vol. 75, no. 1, Jan. 1987, pp. 90-7, 8 illus.

    Review of Richard Avedon's book of portrait photographs In the American West (see ABM 17 0841 for abstract). The author traces Avedon's magazine and book work, noting that he has been known since the 1960s for an unconcernedly abusive look achieved by the contrast between what is presented and how it is processed. The author concludes that this book is symptomatic of a failure of decency that no amount of vivid portrayal will redeem.

  22. Richard Avedon: In the American West

    Frailey, Stephen

    Print Collector's Newsletter (U.S.A.), vol. 17, no. 2, May-June 1986, pp. 50-2, 3 illus.

    Review of the travelling exhibition and book of photographs by Richard Avedon (see ABM 17 0841 for abstract of book). The author describes the technical processes involved in producing the massive portraits using a Deardorff view camera and states that Avedon has redefined the myths of the American West, opposing it to the more usual sentimentalized version, refusing to embellish it and striving for integrity. He is motivated by a profound interest in interpreting human theatre as it intersects the photographic medium.

  23. FRONTIER: ON RICHARD AVEDON'S VISION OF THE AMERICAN WEST

    ATKINS, R.

    ARTS MAGAZINE (U.S.A.), VOL. 60, NO. 8 (APRIL 1986), P. 60-1. 2 ILLUS.

    REVIEW OF THE BOOK OF PHOTOGRAPHS WHICH RICHARD AVEDON TOOK OF AMERICAN WESTERNERS, 'IN THE AMERICAN WEST' (SEE ABM 17 0841 FOR ABSTRACT). DESPITE AVEDON INSISTENCE THAT HIS BLEAK TREATMENT OF HIS SITTERS ENNOBLES THEM, THE AUTHOR IDENTIFIES A STREAK OF MISGUIDED SENTIMENTALITY AT THE HEART OF HIS WORK. ISOLATION IS ROMANTICIZED AND INTERNALIZED. THESE PORTRAITS DO NOT PRESENT THE MYTH OF THE AMERICAN WEST, BUT THE MYTH OF THE LATE MODERNIST ARTIST IN 20TH CENTURY SOCIETY.

  24. Avedon goes West

    Blake, Susan

    New Art Examiner (U.S.A.), vol. 13, no. 7, March 1986, pp. 29-31, 3 illus.

    Reviews Richard Avedon's uncharacteristic photographic touring exhibition In the American West, which began at Amon Carter Museum of Western Art, Fort Worth, Texas (14 Sept.-17 Nov. 1985, see ABM 17 0841 for abstract of associated book). It comprised a series of portraits of ordinary and usually overlooked people from the West, with a marked interest in individuals who are down and out. The author praises the presentation, and explains some of the stylistic techniques used. She concludes, that whilst the strength of the photographs lies in their subtle presentation of mundane and universal images, the disturbing portraits tend to divert the viewer's attention from this. In contrast to Avedon's earlier work, these photographs turn their subjects into mere physical objects and disclose the artist's voyeuristic and seemingly prejudiced attitude towards them.

  25. Richard Avedon in the American West

    Tazzi, Pier Luigi

    Wolkenkratzer Art Journal (G.F.R.), no. 1, Feb.-April 1986, pp. 34-41, 6 illus.

    Selection of photographs by Richard Avedon from his book In the American West (London: Thames and Hudson, 1985, see ABM 17 0841 for abstract). The author traces the route taken by the photographer in an attempt to find the roots of the project: to grasp the myth of the American West. He considers August Sander and the Farm Security Administration photographic programme to be forerunners of Avedon in their moral expression and political engagement.

  26. Visual resonances: August Sander and Richard Avedon

    Johnson, Warren

    Occasional Readings in Photography (U.S.A.), no. 1, 1986, pp. 5-20, 6 illus. bibliog

    Highlights similarities between the work of August Sander and Richard Avedon. From 1912 until 1929, Sander worked on a series of portraits of the German people, which he later organized into a book, Menschen des 20. Jahrhunderts. This work was intended to examine the different social strata in Germany at the time, but the times were changing so fast that the work failed. Since the 1950s, American photographer Richard Avedon (b.1923) has made his name as a controversial and critical photographer of fashion and celebrities. His most recent work, In The American West (see ABM 17 0841 for abstract), is a collection of portraits of ordinary American folk. In subject matter, in treatment, and in intention, the work parallels that of Sander, and certain photographs have exact parallels in Sander's work.

  27. THIS SILENT THEATER: THE PORTRAIT PHOTOGRAPHS OF RICHARD AVEDON'S 'IN THE AMERICAN WEST'

    ASHTON, D.

    ARTS MAGAZINE (U.S.A.), VOL. 60, NO. 1 (SEPT. 1985), P. 136-44. 8 ILLUS.

    REVIEW OF 'IN THE AMERICAN WEST' BY RICHARD AVEDON (SEE THIS ISSUE OF ABM FOR ABSTRACT). THE AUTHOR STATES THAT THE RANGE OF PHOTOGRAPHS OF THE AMERICAN GREAT PLAINS AND THE ROCKY MOUNTAINS SHOW THE SOCIAL CONSCIOUSNESS OF THE PHOTOGRAPHER, AND THAT THE ARTIST'S EXCEPTIONAL ARTISTIC MERIT IS FOUND IN HIS ABILITY TO RECOGNIZE THE DEEPEST THEMES THROUGH WHAT APPEAR TO BE SUPERFICIAL REFLECTIONS ON HUMAN FACES.

  28. TURNED OUT

    WILSON, W.

    ARTFORUM (U.S.A.), VOL. 14, NO. 1 (SEPT. 1985), P. 7. 1 ILLUS.

    REVIEWING THE EXHIBITION 'IN THE AMERICAN WEST', HELD AT THE AMOS CARTER MUSEUM, FORT WORTH, TEXAS (1985), THE AUTHOR DISCUSSES THE PHOTOGRAPHIC ADVENTURE IN THE WESTERN STATES OF THE U.S.A. BY RICHARD AVEDON. AFTER FIVE CONSECUTIVE SUMMERS TREKKING THROUGH 17 WESTERN STATES, AVEDON HAD SOME 752 PHOTOGRAPHS. THE AUTHOR CHARACTERIZES THE EXHIBITION AS 'A HUMAN CYCLORAMA' INCLUDING NOT ONLY COWBOYS AND INDIANS, BUT MINERS AND RANCHERS, PLUS A WIDE ASSORTMENT OF PEOPLE ENCOUNTERED BY THE PHOTOGRAPHER. HOWEVER, HE SEES THE WORKS AS CONTRIVED - '...GUTTER IS AS SUSCEPTIBLE TO CONTRIVANCE AND FASHIONABILITY AS GLITTER EVER WAS'.

  29. IN THE AMERICAN WEST: RICHARD AVEDON

    WILSON, L.

    LONDON: THAMES AND HUDSON (1985), 176PP. ISBN 0-500-54110-8. 120 ILLUS.

    A PORTFOLIO OF BLACK AND WHITE PORTRAIT PHOTOGRAPHS BY RICHARD AVEDON DEPICTING THE PEOPLE LIVING IN THE CONTEMPORARY AMERICAN WEST. IN THE TEXT, THE AUTHOR DESCRIBES INCIDENTS ON HER TRAVELS AROUND THE AREA WITH THE PHOTOGRAPHER AS BACKGROUND TO THE PHOTOGRAPHS. IN A STATEMENT, AVEDON EXPLAINS THAT THE PROJECT WAS COMPLETED OVER FIVE SUMMERS WITH THE SPONSORSHIP OF THE AMON CARTER MUSEUM OF WESTERN ART, FORT WORTH, TEXAS, FOR AN EXHIBITION AT THE MUSEUM. IN THE AMERICAN WEST: RICHARD AVEDON

    WILSON, L.

    LONDON: THAMES AND HUDSON (1985), 176PP. ISBN 0-500-54110-8. 120 ILLUS.

    A PORTFOLIO OF BLACK AND WHITE PORTRAIT PHOTOGRAPHS BY RICHARD AVEDON DEPICTING THE PEOPLE LIVING IN THE CONTEMPORARY AMERICAN WEST. IN THE TEXT, THE AUTHOR DESCRIBES INCIDENTS ON HER TRAVELS AROUND THE AREA WITH THE PHOTOGRAPHER AS BACKGROUND TO THE PHOTOGRAPHS. IN A STATEMENT, AVEDON EXPLAINS THAT THE PROJECT WAS COMPLETED OVER FIVE SUMMERS WITH THE SPONSORSHIP OF THE AMON CARTER MUSEUM OF WESTERN ART, FORT WORTH, TEXAS, FOR AN EXHIBITION AT THE MUSEUM.

  30. AVEDON'S WESTERN HIGHWAY

    HOLBORN, M.

    APERTURE (U.S.A.), NO. 101 (WINTER 1985), P. 28-33. 5 ILLUS.

    A REVIEW OF RICHARD AVEDON'S SERIES OF PORTRAIT PHOTOGRAPHS, 'IN THE AMERICAN WEST' (SEE ABM 17 0841 FOR ABSTRACT). THE AUTHOR COMMENTS THAT ALTHOUGH THEY ARE APPARENTLY VULNERABLE, HIS SUBJECTS SEEM TO RETURN TO THE VIEWER A BLEAK, COLLECTIVE STARE.

  31. Art Directors Club's 1982 `Hall of Fame' award: Richard Avedon /Amil Gargano/Jerome Snyder/Massimo Vignelli

    Tora, Shin'ichiro; Gargano, Amil; Snyder, Jerome; Ambasz, Emilio; Wolf, Henry

    Idea (Japan), vol. 31, no. 178, May 1983, pp. 80-99, 115 illus. (46 colour) biog

    Introduces the photographer Richard Avedon, American graphic designers Amil Gargano and Jerome Snyder and Italian graphic designer Massimo Vignelli, who were honoured by New York's Art Directors Club in 1982. As well as short autobiographical notes by Gargano and Snyder and a note by Emilio Ambasz on Vignelli, there is a brief note on the importance of the Hall of Fame by the Chairman of the 1982 selection committee, Henry Wolf.

  32. THREE PORTRAIT PHOTOGRAPHERS FROM NEW YORK: IRVING PENN, DIANE ARBUS, RICHARD AVEDON [TROIS PORTRAITISTES NEWYORKAIS: IRVING PENN, DIANE ARBUS, RICHARD AVEDON]

    BELLAVANCE, G.

    PARACHUTE (CANADA), NO. 22 (SPRING 1981), P. 5-13. SUMMARY IN ENGLISH. 6 ILLUS. BIBLIOG.

    DISCUSSES THE CHANGE IN THE STATUS OF PHOTOGRAPHY AND QUESTIONS WHETHER IT IS AN ART OR SIMPLY A MEDIUM. FOLLOWING SEVERAL HISTORICAL STRANDS LEADING TO PRESENT DAY PHOTOGRAPHY, THE AUTHOR COMMENTS ON THE SOCIAL FUNCTION OF PORTRAITURE WITH REFERENCE TO THREE PORTRAIT PHOTOGRAPHERS. HE DESCRIBES IRVING PENN'S LIFE AND EARLY WORKS, REMARKING ON THE VARIETY AND YET COHESION OF HIS WORK AND HIS COSMOPOLITAN SUBJECT MATTER IN WHICH HE LINKS EAST AND WEST. HE CONTRASTS PENN WITH DIANE ARBUS, WHOSE WORK TAKES THE OUTCASTS OF AMERICAN SOCIETY AS ITS THEME, THOUGH IN A SPECIFIC RATHER THAN A SOCIOLOGICAL WAY. HE THEN DISCUSSES THE PORTRAITS OF THE NEW YORK JET SET OF RICHARD AVEDON, AND DESCRIBES HOW AN UNINTENTIONAL CRUELTY IS INHERENT IN HIS THEORY OF PHOTOGRAPHER AS AUTOMATON, ILLUSTRATED IN HIS INTEREST IN DEATH.

  33. OUT OF VOGUE: PENN AND AVEDON'S 'SALONS DE REFUSE'

    EISLER, C.

    ART INTERNATIONAL (SWITZERLAND), VOL. 22, NO. 9 (FEB. 1979), P. 35-7.

    EXHIBITED AT THE MUSEUM OF MODERN ART, NEW YORK, AND THE MARLBOROUGH GALLERY, NEW YORK, STILL LIFES AND PORTRAITS BY THE PHOTOGRAPHERS IRVING PENN AND RICHARD AVEDON HAVE RECENTLY RECEIVED CRITICAL ACCLAIM. IN A REVERSAL OF THE EXPECTED, PENN AND AVEDON HAVE TURNED THE FAMOUS INTO THE INFAMOUS, THE VALUELESS INTO THE INVALUABLE, AND IN THEIR PUBLISHED DIMENSIONS, AVEDON'S IMAGES WORK EFFECTIVELY AND SOMETIMES BEAUTIFULLY. HOWEVER, BECAUSE NO ONE GETS HURT, PENN'S EXERCISES OUT OF 'VOGUE' ARE LESS DISTURBING THAN AVEDON'S. UNFORTUNATELY, PHOTOGRAPHERS CONCERNED WITH FASHION ARE NOT AS FREE AS OTHER ARTISTS TO 'REVALUE' THEIR WORK FOR THEY DEPEND TOO DIRECTLY ON THE OBJECTIVE VISION OF THEIR SUBJECT AS SEEN BY THE CAMERA. THESE PHOTOGRAPHERS FEEL THAT BY A SHIFT IN SUBJECT EMPHASIS THEIR WORK WILL BE MORE PERSONAL AND MORE IMPRESSIVE AS ART.

  34. RICHARD AVEDON: CULTURAL PORTRAITS (STEPHEN WIRTZ GALLERY, SAN FRANCISCO, CALIFORNIA: EXHIBITION REVIEW)

    FISCHER, H.

    ARTWEEK (U.S.A.), VOL. 10, NO. 5 (3 FEB. 1979), P. 1, 20. 3 ILLUS.

  35. EYES OF RICHARD AVEDON SMITH, R.

    ART IN AMERICA (U.S.A.), VOL. 67, NO. 1 (JAN.-FEB. 1979), P. 133-7. 10 ILLUS.

    DISCUSSION OF RICHARD AVEDON'S FASHION PHOTOGRAPHY, EXHIBITED AT THE METROPOLITAN MUSEUM OF ART, NEW YORK. THE SHOW GATHERED TOGETHER WORK THAT SPANNED 30 YEARS, FROM 1947-77, AND THE INSTALLATION, LARGELY THE PRODUCT OF AVEDON'S STUDIO, LEFT NOTHING TO CHANCE, THE VIEWER BEING GUIDED SMOOTHLY THROUGH A CHRONOLOGICAL SEQUENCE OF PHOTOGRAPHS. IT IS IN HIS EARLY WORK THAT AVEDON SHOWS FASHION PHOTOGRAPHY AT ITS MOST POWERFUL, AND BRINGS IT CLOSEST TO ART, FOR DURING THE LATE 1950S OR EARLY 1960S, AVEDON GOES FROM BEING A GREAT PROFESSIONAL WHO TRANSCENDED HIS COMMERCIAL MEDIUM, TO SOMEONE WHO LONGS TO BE CHIC. IN RECENT YEARS HE HAS CLARIFIED HIS AMBITION, HIS LATE WORK ELIMINATING THE POP INFLUENCE AND TAKING A MORE PURELY MODERNIST APPROACH. THE AUTHOR CONCLUDES IT IS AVEDON'S OVERCONTROL OF HIS SUBJECTS WHICH MAKES THE DISCREPANCY BETWEEN INTENTION AND ACCOMPLISHMENT CLEAR.

  36. DESCRIBING BEAUTY: RICHARD AVEDON

    SMITH, P.

    ARTS MAGAZINE (U.S.A.), VOL. 53, NO. 2 (OCT. 1978), P. 114-15. 1 ILLUS.

    DISCUSSES RICHARD AVEDON'S ACHIEVEMENTS WITHIN THE LIMITED FRAMEWORK OF THE FASHION PHOTOGRAPH. FOR AVEDON AND HIS VIEWERS 'THE STUDIO FUNCTIONS AS A LABORATORY WHERE CULTURAL CURRENTS ARE DISTILLED AND CAREFULLY ARRANGED INTO AN ABSTRACT STATE OF THE UNION MESSAGE'. HE DEPICTS BEAUTY AS A COMPLEX ENDOWMENT, BUT HIS OBSERVATIONS ARE NOT DRAMATIC OR MYSTERIOUS BUT OPEN.

  37. AVEDON PHOTOGRAPHS 1947-1977

    (WITH AN ESSAY BY) BRODKEY, H.

    NEW YORK: FARRAR, STRAUS AND GIROUX; TORONTO, ONTARIO: MCGRAW-HILL RYERSON (1978), 228PP. 325 ILLUS.

    PUBLISHED CONCURRENTLY WITH THE OPENING OF A RETROSPECTIVE EXHIBITION AT THE METROPOLITAN MUSEUM OF ART, NEW YORK, THIS BOOK PRESENTS A PORTFOLIO OF SELECTED PHOTOGRAPHS BY RICHARD AVEDON. AN INTRODUCTORY ESSAY PROVIDES A PERSONAL APPRECIATION OF AVEDON'S PHOTOGRAPHY WITH EMPHASIS ON HIS ARTISTIC ENHANCEMENT OF THE FASHION SUBJECT.

  38. PORTRAITS: RICHARD AVEDON

    (WITH AN ESSAY BY) ROSENBERG, H.

    NEW YORK: FARRAR, STRAUS AND GIROUX; TORONTO: MCGRAW-HILL RYERSON (1976), 140PP. 72 ILLUS.

    A PORTFOLIO OF AVEDON'S PORTRAIT PHOTOGRAPHS OF THE FAMOUS, RANGING FROM ARTISTS AND WRITERS TO PHILOSOPHERS AND PSYCHIATRISTS, PRECEDED BY AN ESSAY, 'PORTRAITS: A MEDITATION ON LIKENESS', IN WHICH ROSENBERG ANALYSES THE AESTHETIC QUALITIES OF AVEDON'S ART WITHIN THE CONTEXT OF PORTRAITURE TRADITION.

  39. RICHARD AVEDON (MARLBOROUGH GALLERY, NEW YORK: EXHIBITION REVIEW)

    FOOTE, N.

    ARTFORUM (U.S.A.), VOL. 14, NO. 4 (DEC. 1975), P. 71-2. 1 ILLUS.

  40. AVEDON'S PORTRAITS: THE BIG PICTURE

    COHEN, R. H.

    ART IN AMERICA (U.S.A.), VOL. 63, NO. 6 (NOV.-DEC. 1975), P. 94-5. 5 ILLUS.

    IN THIS ACCOUNT OF A RECENT RETROSPECTIVE OF PORTRAIT PHOTOGRAPHS BY ONE OF AMERICA'S LEADING FASHION PHOTOGRAPHERS, THE AUTHOR DISCUSSES THE CONTEMPORANEITY OF AVEDON'S APPROACH. HIS SINGLE FIGURE PORTRAITS SINCE 1968, BOTH SIMPLIFIED AND DELIBERATELY REPETITIOUS, REVEAL A FASCINATION WITH THE SERIES; AN ABSTRACT EFFECT IS CREATED BY THE SYSTEMATIC 'TRAPPING' OF THE SUBJECT BETWEEN BLACK BORDERS AND IN A STRICT FRONTAL POSE. HIS 'SET LIP MOTIF' BETRAYS A MODERN PREFERENCE FOR NON-PSYCHOLOGICAL FIGURAL REPRESENTATION, AND HE GIVES ICONIC PRESENCE, IN THE CASE OF A GROUP PHOTOGRAPH, TO THE FIGURES AT THE EDGES AS WELL AS TO THOSE IN THE CENTRE BY THE USE OF MULTIFRAME COMPOSING. THE AUTHOR MAKES PARTICULAR MENTION OF 'THE MISSION COUNCIL, SAIGON' (1971) IN WHICH AVEDON DEPARTS FROM HIS TRADITIONAL EGALITARIANISM BY PLACING THE HEAD OF THE GROUP, WHO IS DRESSED DIFFERENTLY FROM THE OTHERS, IN THE CENTRE, THUS CREATING A HIERARCHY.

  41. THE MATURE PORTRAITIST: RICHARD AVEDON

    ASHTON, D.

    STUDIO INTERNATIONAL (U.K.), NO. 969, VOL. 188 (SEPT. 1974), P. 89-92. 6 ILLUS.

    AFTER ACTING AS A PHOTOGRAPHER TAKING 'MUG SHOTS' IN THE MERCHANT MARINE, RICHARD AVEDON HAS USED HIS CAREER IN PHOTOGRAPHY TO CONDUCT HIS OWN ENQUIRIES INTO THE HUMAN CONDITION THROUGH ITS VISIBLE TRACES ON THE HUMAN COUNTENANCE. USING 'THE INCREASING CONCENTRATION, CONCISION, DARING AND ABSTRACTION' OF PORTRAIT PAINTERS, HE HAS ACHIEVED LATTERLY AN INTENSE EXPLORATION OF THE QUALITY OF OBSESSION. HIS CONCENTRATION COMMITS HIMSELF AND HIS SITTER TO A PERIOD OF TOTAL INVOLVEMENT FROM WHICH A FEW REVELATORY MOMENTS ARE SELECTED. TONAL GRADATIONS ARE ARRANGED WITH INFINITE SUBTLETY AND BLACK BORDERS ARE ALWAYS LEFT TO 'REINFORCE THE PARADOX OF IMAGERY ON THE TWO-DIMENSIONAL PLANE'. THE AUTHOR ANALYSES AVEDON'S TRIPTYCH OF STRAVINSKY PORTRAITS AND HIS SERIES OF PORTRAITS OF HIS FATHER, 'JACOB ISRAEL AVEDON - BUSINESSMAN', PRESENTED AT THE NEW YORK MUSEUM OF MODERN ART IN A SCHEME DEVISED BY MARVIN ISRAEL.

  42. Every picture tells a story

    Macintyre, Ben

    Times; 18 Mar 95, Magazine p.30-4, 36, 39

    Interview with photographer Richard Avedon. At 71, his fame rivals that of his most celebrated sitters. But while the public adores his images, many critics find the breadth of his work almost intolerable. Discusses his 50 year retrospective at the National Portrait Gallery in London. (Original abstract - amended)

  43. Master of the white stuff

    Cork, Richard

    Times; 28 Mar 95, p.33

    Discusses an exhibition of photographer Richard Avedon's work at the National Portrait Gallery, London. He captures the mind and the soul of his subjects, but rarely the heart. (Original abstract - amended)

  44. Great, on the face of it

    Graham-Dixon, Andrew

    Independent; 28 Mar 95, p.20

    Reviews the work of portrait photographer Richard Avedon.

  45. But what does it all mean?

    Conrad, Peter

    Observer; 19 Mar 95, Review p.2-3

    A profile of the career of photographer Richard Avedon, an incomparably expert commercial photographer, but no more than that.

  46. Light writer

    Gopnik, Adam

    Guardian; 30 Apr 94, Weekend p.6-7, 9-11, 13, 15

    Profile of American photographer Richard Avedon, whose work is often criticised for being carefully controlled and set up.

  47. Richard Avedon: the Big Apple's big A

    Haden-Guest, Anthony

    Sunday Times; 26 Sep 93, Magazine p.36-49

    Report on portrait photographer who has written an autobiography in pictures. Mainly photographs.