Richard Avedon Interview on Atlanta Art Exhibit (
1940's, 50's and 60's fashion photographs. Photographer, whose photos are on exhibit, explains the use of celebrities as fashion models and what makes a wonderful fashion photographs.
Richard Avedon (May 15, 1923 – October 1, 2004) 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.[1] An obituary published in The New York Times said that "his fashion and portrait photographs helped define America's image of style, beauty and culture for the last half-century".[2]
Avedon was born in New York City to a Jewish family. His father, Jacob Israel Avedon, was a Russian-born immigrant who advanced from menial work to starting his own successful retail dress business on Fifth Avenue called Avedon's Fifth Avenue.[3][4] His mother, Anna, from a family that owned a dress-manufacturing business,[2] encouraged Richard's love of fashion and art. Avedon's interest in photography emerged when, at age 12, he joined a Young Men's Hebrew Association (YMHA) Camera Club. He would use his family's Kodak Box Brownie not only to feed his curiosity about the world but also to retreat from his personal life. His father was a critical and remote disciplinarian, who insisted that physical strength, education, and money prepared one for life.[3]
Avedon attended DeWitt Clinton High School in Bedford Park, Bronx, where from 1937 until 1940 he worked on the school paper, The Magpie, with James Baldwin.[6]
In 1944, Avedon married 19-year-old bank teller Dorcas Marie Nowell, who later became the model and actress Doe Avedon; they did not have children and divorced in 1949.[31] The couple summered at the gay village of Cherry Grove, Fire Island, and Avedon's bisexuality has been attested to by colleagues and family.[32] He was reportedly devastated when Nowell left him.
In 1951, he married Evelyn Franklin; she died on March 13, 2004.[33] Their marriage produced one son, John Avedon, who has written extensively about Tibet.[34][35][36][37]
In 1970, Avedon purchased a former carriage house on the Upper East Side of Manhattan that would serve as both his studio and apartment.[38] In the late 1970s, he purchased a four-bedroom house on a 7.5-acre (3.0 ha) estate in Montauk, New York, between the Atlantic Ocean and a nature preserve; he sold it for almost $9 million in 2000.[37][39]
According to Norma Stevens, Avedon's longtime studio director, Avedon confided in her about his homosexual relationships, including a decade-long affair with director Mike Nichols.
Death
On October 1, 2004, Avedon died in a San Antonio, Texas, hospital of complications from a cerebral hemorrhage. He was in San Antonio shooting an assignment for The New Yorker. At the time of his death, he was also working on a new project titled Democracy to focus on the run-up to the 2004 U.S. presidential election.[2]
Legacy[edit source]
The Richard Avedon Foundation is a private operating foundation, structured by Avedon during his lifetime. It began its work shortly after his death in 2004. Based in New York, the foundation is the repository for Avedon's photographs, negatives, publications, papers, and archival materials.[42] In 2006, Avedon's personal collection was shown at the Pace/MacGill Gallery, New York, and at the Fraenkel Gallery, San Francisco, and later sold to benefit the Avedon Foundation. The collection included photographs by Martin Munkacsi, Edward Steichen and Man Ray, among others. A slender volume, Eye of the Beholder: Photographs From the Collection of Richard Avedon (Fraenkel Gallery), assembles the majority of the collection in a boxed set of five booklets: “Diane Arbus,” “Peter Hujar”, “Irving Penn”, “The Countess de Castiglione” and “Etcetera,” which includes 19th- and 20th-century photographers.[43]
In popular culture[edit source]
Hollywood presented a fictional account of Avedon's early career in the 1957 musical Funny Face, starring Fred Astaire as the fashion photographer "Dick Avery." Avedon supplied some of the still photographs used in the production, including its most noted single image: an intentionally overexposed close-up of Audrey Hepburn's face in which only her noted features – her eyes, her eyebrows, and her mouth – are visible.
Hepburn was Avedon's muse in the 1950s and 1960s, and he went so far as to say: "I am, and forever will be, devastated by the gift of Audrey Hepburn before my camera. I cannot lift her to greater heights. She is already there. I can only record. I cannot interpret her. There is no going further than who she is. She has achieved in herself her ultimate portrait."[44]
The 2005 film Capote contains a recreation of Avedon photographing convicted murderers Perry Edward Smith and Richard Hickock in April 1960. Avedon is portrayed by the film's cinematographer, Adam Kimmel.
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