David Seidner: Fragments, 1977–99 | International Center of Photography
David Seidner, Francine Howell; Azzedine Alaïa, 1986. David Seidner Archive, International Center of Photography © International Center of Photography
Written by Max Wiener
Photo Edited by Kelly Woodyard
David Seidner’s photographic career was rarely on exhibition, much to his fan’s chagrin. His work-primarily fashion photography for the likes of Yves Saint Laurent and Madame Grès-was seen but rarely showcased. After his 1999 demise, his work largely disappeared from the public eye. This, retroactively, placed him firmly within a forgotten zeitgeist of years past. Thankfully, the International Center for Photography in New York highlights Seidner’s unique voice in their new series Fragments: 1977-99. Or, an overarching look onto one of the most fascinating careers in the photographic medium. The series showcases his early fine art photography and some of his notable fashion photography, encompassing all endeavors of a man designed for art’s Upper Echelons. The series premiered on January 24th with a scheduled closing date of May 6th, 2024.
David Seidner, Grès from Théâtre de la Mode, 1990. David Seidner Archive, International Center of Photography © International Center of Photography
Seidner’s early work deals primarily in artistic exploration, a smattering of techniques and approaches each aimed at pushing the medium far past its traditional envelope. Similar to the artist himself, Seidner’s photography did not belong in one particular category. In applying different stylistic elements, he placed himself within his own subcategory of photographers. Ultimately, he should be celebrated as both a pioneer and beacon of self-exploration.
David Seidner, Tina Chow/Chanel, 1984. David Seidner Archive, International Center of Photography © International Center of Photography
Seidner’s photographic ability is pure mastery, and in each of the images presented this becomes increasingly evident. His lens transports us to a different world, and through these portals we see fragments of times we wish we could go back to. His fashion photography is justifiably lauded, and his subjects appear almost mythical when posed in front of his camera. He is able to toe the line precisely, bringing out human nature in their form, while simultaneously elevating them beyond the parameters of mortal beings. This technique is remarkably apparent in one of the series’ marquee images-Eleonore Le Monnier. She is not looking directly at us, yet somehow her body language begs us to look further into the image. Her status is elevated beyond ours but her struggle feels familiar. There is no clear focal point of the image, allowing ourselves to place our own selves within the frame; we resonate deeper because of this. This is Seidner’s true ability with the digital camera. His presentation is not as straightforward as other fashion photography- making it so brilliant and thought-provoking. Seinder incorporates different photographic styles, allowing him to further elevate the medium and present masterful images.
David Seidner, Lucinda Childs, 1978. David Seidner Archive, International Center of Photography © International Center of Photography
Fragments: 1977-99 proves that Seidner should stay in artistic conversations. Mainly, as his voice is one of the most unique of his generation. What if he had been more celebrated during his life? Would his output change? Would he be willing to take more artistic risk if he had more of an audience? These questions unfortunately will never be answered. Instead, let us focus on what we can celebrate, and that is only one thing: a master.
David Seidner, Self-Portrait, 1992. David Seidner Archive, International Center of Photography © International Center of Photography
