Exhibitions

Photographing the women who blazed a trail through the 60s and 70s

From Twiggy to Jackie Kennedy, an exhibition in Berlin collates portraits of the women who shaped the style, politics and attitudes of the world we live in today.

Jacqueline Lee Bouvier, daughter of a wealthy Wall Street businessman, was unlike most girls her age. When she was just 18-years-old, she wrote down in her school notebook her plans for the future: “Not to be a housewife.” 12 years later, she became the First Lady of the United States, as her husband John F. Kennedy was sworn into the presidency in 1961.

The Kennedys Museum in Berlin recently opened an art exhibition showcasing portraits of powerful women pioneers like Kennedy alongside pop culture icons like Marlene Dietrich, Katharine Hepburn and Barbra Streisand, among others. They’re all on show in a photo exhibition called Decades of Change: Iconic Women of the 1960s and 1970s, which runs until October 16.

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UTOPIAN BODIES: FASHION LOOKS FORWARD

25 September, 2015-07 February 2016, LILJEVALCHS KONSTHALL, Stockholm, Sweden

Utopian Bodies: Fashion Looks Forward is the amazing new exhibition being held at Liljevalchs Konsthall in Stockholm, Sweden. By focusing on the positive aspects of fashion and how it relates to the human form, this exhibition aims to inspire visitors of all ages to search for their perfect vision through observation and participation, all the while shining light on our future and the impact fashion has on it.

 

THE CIRCLE

November 27–December 5, 2015 at Live Archives, 81 Mare Street, London E8 4RG.

via eventbrite.com

Live Archives presents THE CIRCLE – a fantasy, an exhibition fiction, exploring the notion of glamour. Inspired by author Elizabeth Wilson’s essay A Note on Glamour, THE CIRCLE revisits the occult associations of glamour’s ancient Celtic roots and rejects the ‘shameless self-exposure’ of tabloid-driven infamy, garish sequins and bared flesh.

THE CIRCLE features pieces from Live Archives private collection, showcasing designers Alexander McQueen, Anne Demeulemeester, BodyMap, Boudicca, Damir Doma, Dior Homme, Jean Varon, Lanvin, Maison Martin Margiela, Preen, Quorum, Rick Owens and Vivienne Westwood.

Helmut Newton, berlin

December 4, 2015-May 22, 2016, Museum of Photography, Berlin

Opening in Berlin in December is a retrospective of German photographer Helmut Newton’s colour works, with images taken from his out of print book Pages from the Glossies (first published in 1998 and reissued just for the exhibition). More than 500 images will be on display in chronological order, allowing visitors to trace Newton’s changing style over the decades, starting back in the 1950s.

PARIS PHOTO 2015

Over 147 leading galleries from 34 countries will be featured this year at the Grand Palais, presenting both historical and contemporary works. Joining them are 27 publishers and specialized art book dealers providing a complete panorama of the photographic medium.

For the first time this year, a selection of galleries will present series and large formats in a new PRISMES sector in the Salon d’Honneur.

PETER LINDBERGH at GAGOSIAN GALLERY, PARIS

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PETER LINDBERGH at Gagosian Gallery, Paris via gagosian.com, 2014

Wednesday, 10 September–Saturday, 22 November 2014
Opening reception: Thursday, September 25th, from 6:00 to 8:00pm

Gagosian Paris is pleased to present photographs by Peter Lindbergh spanning thirty years, his first solo exhibition in Paris in more than a decade.

Over the course of his career, Lindbergh has taken inspiration for his photography from modern dance, early German and East European cinema and photography, as well as his own personal history, resulting in a bold, elemental photographic language. With a minimum of artifice, spare styling, and openness to improvisation, he allows the innate character and natural beauty of his female subjects to emerge.

In his editorial photographs for Vogue, Harper’s Bazaar, Interview, and many other international magazines, Lindbergh replaced stagy, calculated glamour with a raw vérité approach, enhanced by his use of high-contrast black and white. Set in both rural and industrial landscapes, the women in his photographs are distinguished by beauty that is purposeful, self-possessed, and uninhibited. “I don’t think real beauty can exist without truth,” Lindbergh has said. “This idea disqualifies today’s excessive retouching.”

The exhibition includes the pivotal “Wild at Heart” feature inspired by biker culture and shot on the streets of Brooklyn for Vogue in 1991; the gritty image of Kate Moss shot for Harper’s Bazaar in 1994 that was inspired by Walker Evans’ iconic New Deal photographs; austerely beautiful depictions of women in motion that allude to modern dance; and editorial portraits of models including Kristen McMenamy and Uschi Obermaier, in which the subjects’ clothing and setting are secondary to their expressiveness and movement. Breaking with the idea of classical chic, in 1988 he photographed six emerging models—Karen Alexander, Linda Evangelista, Estelle Lefébure, Tatjana Patitz, Christy Turlington, and Rachel Williams—in identical men’s white shirts on a Los Angeles beach.

Some images are presented on an unprecedented large scale: In close-ups from 1990, Evangelista exhales a cloud of smoke, transforming her dark dramatic features into nebulous abstractions; in an image from 2000 Milla Jovovich is photographed in a dark turtleneck against a black background so that her elegant head and fixed gaze stand out in strong graphic contrast. Eschewing the established standards and artifice of fashion photography, Lindbergh has found artfulness in the conditions of reality, shot through with a grand cinematic sensibility.

Peter Lindbergh was born in Lissa, Poland in 1944. Solo exhibitions include “Peter Lindbergh: Images of Women,” Bunkamura Museum of Art, Tokyo (1996, traveled to Hamburger Bahnhof, Berlin; Kunsthaus Wien; Palazzo Delle Esposizioni, Rome; Pushkin Museum of Fine Arts, Moscow, and other locations); “Peter Lindbergh: Stories Supermodels,” Ludwig Museum Schloss, Oberhausen, Germany (2003); “Peter Lindbergh: The Unknown,” Ullens Center For Contemporary Art, Beijing (2011); “Peter Lindbergh,” FoMu, Antwerp (2011-12); and “Peter Lindbergh: Berlin,” Maison de la Photographie, Lille (2013).

Lindbergh lives and works between Paris, New York, and Arles.

For further inquiries please contact Edouard Pradère at edouard@gagosian.com or at +33.1.75.00.05.92.


“Horst: Photographer of Style”

The cover of the “Summer Fashion” edition of Vogue in May 1941, featured a lithe model decked in an old-world bathing suit and bonnet, her legs climbing up the wall towards a red exercise ball balanced on the tip of her toe. Her face is hidden from view, while her head is poised in a delicate angle, as if she is doing stomach crunches in style.

The photographer was Horst P. Horst (1906 – 1999), and the image is part of a retrospective, “Horst: Photographer of Style” that has opened at the Victoria & Albert Museum in London (until January 4, 2015). It celebrates the work of the artist.

Horst incorporated modernism and surrealism into the world of fashion photography, as well as contrasting dramatic light and shadow as if drawn from black-and-white films not to mention a stylish eye.

One of the 20th century’s master photographers, Horst’s career spanned six decades, during which he photographed the creations of couturiers such as Chanel, Schiaparelli and Vionnet in 1930s Paris. He also helped to launch the careers of many models.

Born in 1906 in Germany, he was considered a pioneer in classic fashion photography. He apprenticed with none other than Le Corbusier in Paris, and trained in architecturally constructing a photo. Think angles and dimensions.

His work first appeared in French Vogue in 1931, which was followed in British Vogue in 1932. After he fled Europe at the start of the war, he continued to work for American Vogue.

Some dramatic black and white photographs (Horst directing a fashion shoot with Lisa Fonssagrives), for example,  make one think of him as the still life equivalent of the filmmaker Ernst Lubitsch, with his contrasts of shadow and light, and diva poses of his beautiful muses, as if Marlene Dietrich had been cast in the perfect spotlight on screen.

In fact he did photograph the actress in 1942, in an image taken in New York. And he photographed her in her customary dark shadows, her cheek bones accentuated like the face of an angle, glowing in white light, her narrow body dressed in a black suit, disappearing into the background, making her half devil. The mouth captured in its delirious, downward pout.

The Horst directing this fashion shoot image from 1949, like a film still. It is filled with life. He shows himself directing a fashion shoot, the model holding her gown out behind her like a peacock’s tail, whilst kissing the skies in front of a white backdrop.

Considered his most iconic work and taken on the eve of WWII before he fled Europe, Horst’s Mainbrocher Corset from 1939, shot in black and white, shows a model’s back cast in dark shadows. She is wearing a corset, which brings to mind an early photograph of soft porn elevated to new heights. Perhaps drawing on film, it has been deemed a great “silent picture.” It had a message, however, to show how fragility and beauty can be destructed through war.

The image was taken before he took a break from photography which he continued then to practice however for most of his life.

There are images shown here that span the length of his career.

His Round The Clock photograph from 1987, shows a model’s legs in fishnets reaching into a ball of net, works like a cloud punctuating the black background, drawn with quiet mastery like a ballerina balancing perfectly on points.

From the end of the war in 1945, his Patterns from Nature Photographic Collage, meanwhile, looks like an etching of skin art from an African tribe in its graphic look, like a close up of a detail on a design.

In some of his color shots, he favored lines and blocks of bold colors as backdrops, like in a shoot of a dress by Hattie Carnegie in which his romantic muse stretches out across the floor decked in flowers, reaching out towards a sea of green stripes. The image dates back to 1939.

Likewise, in his Schiaparelli dinner suit and headdress image from 1947, the focus is on the blocks and lines of color. The model’s body is cast black like a shadow while the background blocks of color in the set and a regal chair that she clasps, are lit up as is a waistband in violet decorated with black embroidery.

What a fabulous use of light!

Capturing his work with surrealism, is an image showing Salvador Dali’s costumes for  Leonard Massine’s ballet Bacchanale from 1939. The legs of a dancer are shown bare, her head covered in a ruffled ballet skirt, fanned out like a designer head piece.

Carmen Dell’Orefice, the model who worked with Horst from 1946, opened the exhibition with Condé Nast’s International President and V&A Trustee, Nicholas Coleridge, Horst worked with Vogue throughout his 60-year career.

“Horst: Photographer of Style” displays 250 photographs, alongside Haute couture garments, magazines, film footage and ephemera.

On display are Horst’s best known photographs, alongside unpublished and rarely exhibited vintage prints, conveying the diversity of his output, from surreal still lifes to portraits of Hollywood stars.

It also includes all of the 94 front covers Horst shot for Vogue.

JUERGEN TELLER: MACHO DESTE FOUNDATION

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PRACTICAL INFO

PLACE: DESTE Foundation, Nea Ionia, Athens

DATES: 21.6.2014 – 29.10.2014

HOURS: Wed. 12:00 – 20:00 Sat. 10:00 – 14:00

This is the first solo show in Athens of Juergen Teller, one of the most celebrated photographers of his generation.

Juergen Teller: MACHO is scheduled to open on Friday, 20 June, 7.30pm at the DESTE Foundation. The exhibition will run until 29 October.

Under the ironic title MACHO, Teller, a photographer whose practice makes the debate about the boundaries between art and fashion obsolete, will be showing for the first time in Greece a highly introspective body of work.