Irving Penn is one of my favorite artists and I am sad to hear of his passing. I saw a retrospective of his work at the Chicago Art Institute, probably 10 years ago and was blown away by so many of his photographs. In particular, this image of Miles Davis' hand, in which you can see every line in his palm.
There was also an image from his nude series of the model's vagina, which has stayed with me ever since. My experience up to this point with works of art of women and vaginas done by men made me embarrassed and uncomfortable in their sex and taboo. I could not look at them without being uncomfortable and often felt they didn't have much more purpose than to shock.
Although Penn's image was taken from the same familiar male perspective: directly from between her legs, Penn's image with it's emphasis on light and shadows made it somehow not sexual to me but a thing of beauty to be looked at with awe and wonder and no shame. I could have contemplated it for hours.
It was so lovely and abstract that it didn't hit you immediately what you were looking at it, but once you recognized it, you couldn't help but look closer.
Aw damn. I have adored and been fascinated with Irving Penn's work since I was a girl. I will miss him every month when I turn to Jeffrey Steingarten's monthly article. I loved the photo illustrations he created to accompany the articles. Even years later I can still recall many of those images.
@keldo: I agree, very dreamy. On Mad Men last week there was a sultry summer night, with fans on at the Draper house, and kids chasing fireflies..nicely evocative and this picture reminded me of that a bit.
I saw a show of his photographs of authors -- like Colette and Truman Capote (pictured here!), among dozens of others -- at the Morgan Library a year or two ago; they were great. The kinds of photographs you can stare at for hours.
America is way more conservative than Europe when it comes to fashion, that's why American Vogue is always a year behind the French or Italian version; American women - in general - need time to let the avant-garde become more mainstream before they will chance it.
So if it's Charlize in September, that must mean Drew Barrymore in October.
I got this issue over the weekend and well, it's OK. I don't know if I can handle another Charlie interview, but the Jenny Sanford article was at least somewhat interesting.
I still had trouble finding the table of contents. I wish there would be a little flap you could pull out and open up to the table of contents, but then that would deprive you of the wonderful majesty of flipping through a gajillion ads.
I might catch some flak for saying this, because even though I am a fan of Meisel, Leibovitz, et al, I think sometimes we get this deja vu because these photographers have worked for the mags so much that they're inevitably going to recycle some ideas, either consciously or not. More fresh, young/new talent would be welcome.
@galaxina: I think that's basically inarguable. The well of ideas runs dry for everyone after a while, and the constant productivity that top fashion photographers are pressed into only hastens the process. Vogue needs new blood.
Liya looks both highly skeptical and distinctly unimpressed with her hair in that first photo of her (photo 9).
I like the Leibovitz photo of Karlie Kloss, when it's juxtaposed against the editorial photos. I look at them and realise that what's stunning about her is not so much prettiness (which isn't to say that she isn't pretty), but an incredible level of photogenicity (if that's a word). It's like, if you take each of her features in the portrait separately, they are almost ordinary (note I said almost), but in the editorial shots, she becomes like a work of art. I am in awe.
@t-yo3: I once heard someone say that being photogenic really just means being able to hold your face really, really still. A lot of people with her features would have twitched before they could have caught that picture.
10/08/09
There was also an image from his nude series of the model's vagina, which has stayed with me ever since. My experience up to this point with works of art of women and vaginas done by men made me embarrassed and uncomfortable in their sex and taboo. I could not look at them without being uncomfortable and often felt they didn't have much more purpose than to shock.
Although Penn's image was taken from the same familiar male perspective: directly from between her legs, Penn's image with it's emphasis on light and shadows made it somehow not sexual to me but a thing of beauty to be looked at with awe and wonder and no shame. I could have contemplated it for hours.
It was so lovely and abstract that it didn't hit you immediately what you were looking at it, but once you recognized it, you couldn't help but look closer.
His work was art.
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A lovely appreciation of Penn, Jenna. Thanks.
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And yes, I smoke.
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(I like to pretend I have a smoking room. Where cognac is served.)
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I got this issue over the weekend and well, it's OK. I don't know if I can handle another Charlie interview, but the Jenny Sanford article was at least somewhat interesting.
I still had trouble finding the table of contents. I wish there would be a little flap you could pull out and open up to the table of contents, but then that would deprive you of the wonderful majesty of flipping through a gajillion ads.
08/24/09
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I like the Leibovitz photo of Karlie Kloss, when it's juxtaposed against the editorial photos. I look at them and realise that what's stunning about her is not so much prettiness (which isn't to say that she isn't pretty), but an incredible level of photogenicity (if that's a word). It's like, if you take each of her features in the portrait separately, they are almost ordinary (note I said almost), but in the editorial shots, she becomes like a work of art. I am in awe.
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08/24/09
In my ideal world, the articles on Roger will make the issue much bigger.
(Testino has the sitting photo credit, for anyone wondering what this could possibly have to do with fashion. :-))
[www.style.com]
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