Exhibition Review: Avedon Glamorous
The Vicomtesse Jacqueline de Ribes with Raymundo de Larrain, New York, May 16, 1961
© The Richard Avedon Foundation
Written by Jaden Zalkind
Copy Edited by Kee’nan Haggen
Photo Edited by Olivia Castillo
In celebration of the centenary of Richard Avedon’s birth, Hamilton’s Gallery in London presents Avedon: Glamorous to showcase iconic and rare photographs prioritizing glamor as Avedon’s oeuvre. Avedon, born in New York City in 1923, is widely recognized as one of the pioneers of modern photography and one of the most influential artists. His ability to evoke the personality and individuality of those he photographed made his work extraordinarily unique and original. In doing so, Avedon’s work often challenged and pondered the boundaries of conventional beauty, on view from May 17 to August 11.
Sunny Harnett and Alla, evening dresses by Balmain, casino, Le Touquet, August,1954
© The Richard Avedon Foundation
Debutante Cotillion, New Orleans, Louisiana, February 19, 1963
© The Richard Avedon Foundation
As one progresses through the exhibition, Avedon’s blank backgrounds seemingly grow more lively and full. His work features a bleak background containing only a white or gray backdrop. However, images such as “Sunny Harnett and Alla” and “Debutante Cotillion” creates a brimming experience. Although these images are denser than others, they are not more charismatic. Avedon dismantles the lonely aroma within his black-and-white photography style. The photographs allow the model's soul to beam through the frame of the one-dimensional image. The omittance of color allows the viewer to be immediately drawn to the sitters' emotion, expression, and posture.
Ingrid Boulting, hair by Ara Gallant, New York, July 1, 1969
© The Richard Avedon Foundation
Throughout his career, Avedon developed tight-knit relationships with some of the most desired models of his time. These relationships created familiarity with one another and allowed for a deeper understanding of their mannerisms and personality. His comprehension of the models of who they were allowed Avedon to explore femininity in fashion photography. When photographing, he never centralized physical beauty. Physical beauty was of little importance to him, as he instead searched for individuals who could elicit extravagant qualities akin to his style and vision. His focus on understanding and highlighting that models have personalities and quirks to them allowed him to become one of the most beloved and cherished photographers to work. The late American model and actress Suzy Parker once said, “he’s the most wonderful man in the business because he realizes that models are not just coat hangers.”
Andy Warhol and members of the Factory (#8), left to right- Gerard Malanga, poet; Viva, actress, Paul Morrisey, director; Taylor Mead, actor; Brigid Polk, actress; Joe Dallesandro, actor; Andy Warhol, artist, 1969
© The Richard Avedon Foundation
Each photograph provides a path into each person’s soul and personality, creating a different story in every piece. Avedon focused on revealing the character of his sitters and humanizing them, allowing the audience to interact with the individual and to be able to sneak a peek of who they are outside of what is generally presented of them. The glamorously fun poses of the sitters speak to more length and profound than words ever could. Whether or not Avedon was photographing a celebrity or a friend, he consistently sought to bring glamour even to the most mundane settings, ultimately doing so to understand human psychology to illuminate the charisma of his subjects.
