![]() Presented in one gallery, their enormous portraits will stage an unlikely conversation among historically opposed camps, as well as contemporary viewers. In them, Avedon assembles giants of the late twentieth century-members of Andy Warhol’s Factory, architects of the Vietnam war, and demonstrators against that war-who together shaped an extraordinarily turbulent era of American life. ![]() For Avedon, the murals expanded the artistic possibilities of photography, radically reorienting viewers and subjects in a subsuming, larger-than-life view. On the centennial of the photographer’s birth, Richard Avedon: MURALS will bring together three of these monumental works, some as wide as 35 feet. Facing down groups of the era’s preeminent artists, activists, and politicians, he made huge photomural portraits, befitting their outsized cultural influence. Instead of dancing around his subjects from behind a viewfinder, as he had in his lively fashion pictures, he could now stand beside a stationary camera and meet them head-on. Trading his handheld Rolleiflex for a larger, tripod-mounted device, he reinvented his studio dynamic. ![]() After a five-year hiatus, the photographer started making portraits again, this time with a new camera and a new sense of scale. ![]() In 1969, Richard Avedon was at a crossroads. ![]()
0 Comments
Leave a Reply. |