Selfie in the Manner of Richard Avedon
Stephen Alexander (2015)
New York has been home to many great photographers. But perhaps the greatest of them all remains Richard Avedon whose magnificent portraits continue to resonate within our cultural imagination.
Like Warhol, whom he famously photographed alongside members of the Factory in 1969, Avedon understood how art, fashion, sex, and commerce have an intimate and sophisticated relationship within modern society.
Further, Avedon knew that the non-essential essence of these things is revealed not at some underlying ideal level, but in the accessories, poses, and small personal gestures of his models and can thus easily be captured on catwalk, canvas, film, and face.
Like Warhol, whom he famously photographed alongside members of the Factory in 1969, Avedon understood how art, fashion, sex, and commerce have an intimate and sophisticated relationship within modern society.
Further, Avedon knew that the non-essential essence of these things is revealed not at some underlying ideal level, but in the accessories, poses, and small personal gestures of his models and can thus easily be captured on catwalk, canvas, film, and face.
He wasn't interested in revealing the hoary soul, but fascinated rather with how photography creates profoundly stylish images that grant access to the greatest of all truths (which is the truth of masks):
"My photographs don't go below the surface. I have great faith in surfaces."
This remark alone makes me love him dearly and recognise Avedon as a comrade-in-arms in the never-ending struggle against depth and interiority.
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