Fwd: Richard Avedon, 81, Dies In Texas

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More news on http://www.nppa.org

Richard Avedon, 81, Dies Following A Cerebral Hemorrhage In Texas

(October 1, 2004) SAN ANTONIO, TX - Richard Avedon, 81, the famous American
fashion and portrait photographer, died today at Methodist Hospital in San
Antonio six days after he suffered a cerebral hemorrhage while shooting an
assignment for The New Yorker magazine in Texas. A spokesperson for the
magazine, Perri Dorset, said Avedon was shooting "a large essay on
democracy" that was slated as a November presidential election piece for the
magazine, and that he had been working on the project around the country for
some time.

Avedon, who lived in Manhattan, fell ill last Saturday while working on the
assignment and has been in critical and guarded condition in the hospital
since then.

He was the first staff photographer for The New Yorker, starting in 1992
under then-editor Tina Brown. For more than 50 years his portraits have
filled the pages of major magazines, and he's considered by most to be one
of the world's premier portrait photographers. His photographic style has
nearly always been "minimalist," with the subject making eye contact,
against a white backdrop, and very well illuminated. The result is often a
highly intimate portrait, where the subject appears to be interacting more
with the intensity of the photographer than with the camera. His portraits
today continue to be as stunning as his earlier work and to garner the
nation's attention. His photograph in this week's issue of The New Yorker of
Teresa Heinz Kerry, accompanying Judith Thurman's profile of her titled,
"The Candidate's Wife," has been widely described as "glamorous."

In 2003 when Avedon was 80, he spoke along with Laura Wilson to a gathering
of students at the University of Texas in Austin at the Harry Ransom Center,
a rare Avedon appearance to promote the publication of Wilson's new book,
"Avedon at Work: In the American West." During the early 1980s as Avedon
traveled the West taking photographs of ordinary people, Wilson, herself an
accomplished photojournalist and writer, traveled with him for nearly six
years documenting his making of what turned out to be a milestone project in
Avedon's already-famous career. The Amon Carter Museum of Fort Worth, TX,
commissioned Avedon in 1979 to create the body of portrait work for an
exhibit.

Wilson had been one of a handful of people present at a dinner party in
Texas with Avedon when the idea for "In The American West" was proposed; in
the following days she wrote Avedon a letter declaring her interest in
helping if he decided to accept the project. When he got her letter, she
told the audience, he called her immediately. They then spent the next five
summers trolling the backroads and plains of the jagged Western range in
search of the faces of the land, in a station wagon with two assistants and
an 8x10 Deardorff view camera, a cumbersome and lumbering tool that demands
precision and multiple assistants and all but eliminates mobile spontaneity
-- but it was the portrait camera of choice for Avedon after he switched
from his Rolleiflex in the late 1960s. Wilson watched the watcher,
documenting Avedon at work as he found, photographed, and built an
unprecedented body of work across the countryside. Her photographs and
observations make up "Avedon at Work: In the American West."

Avedon spoke to the standing-room-only gathering of UT students that night
after a brief slideshow of his images from Wilson's book. Looking into the
eyes of the everyday people he photographed for "In The American West" --
the drifters and oil field workers and ranch hands he found by driving the
West's back roads and photographed against a white seamless backdrop taped
to a shed or barn's side -- it was clear that these subjects had the same
intense relationship with Avedon, however brief and unexpected, as did
Marilyn Monroe, Andy Warhol, Truman Capote, the Duchess of Windsor, Charlie
Chaplin, and legions of other celebrities and fashion models in his Upper
Eastside Manhattan studio. "I remember each one of them," the photographer
replied to a student's question.

The editor of News Photographer magazine, Donald Winslow, sat next to Avedon
in the Ransom Center auditorium that November night before the photographer
was introduced and took the stage. When he was introduced, Avedon said
beneath the sound of applause, "This may be my last trip to Texas -- heck,
it might be my last trip out of New York for all I know." After the
evening's presentation, and Avedon's book signing for the many students who
stood in the long line to see him, Winslow wrote this note about the
experience of meeting and observing Avedon:

"At 80 years old, Richard Avedon appears to have more energy than almost
everyone I know who is half his age or younger. The intensity of his
presence is such a visible force that even while he's seated in a chair on
stage lecturing more than 300 students and visitors in an overflowing
auditorium, Avedon just cannot sit still. As he reaches the apex of an
anecdote or when answering an audience question, it's as if he levitates
from the seat to project his words all the way to the back row. Energy
overflows from him and fills the room; his animation is sublime. If someone
never understood it before, it's now very clear that one of the many reasons
that Richard Avedon is one of the most successful and admired portrait
photographers of our time, aside from the breadth of his talent and a deeply
intellectual understanding of his craft, is simply the awesome intensity of
his being. To interact with this man, even just by being in the same room,
is to be captivated by his personality, even seated rows away in a crowded
lecture hall. One can only imagine the degree of intensity that must emanate
from Avedon to anyone who is a subject before his camera; it is impossible
to not be fully engaged and captivated by this man's personality, even in a
crowd, even as a stranger, as simply an observer. If this is his strength at
80 years old, how overwhelming must have been his sway years before?"

Avedon was born in New York City in 1923 and went to De Witt Clinton High
School and in 1941 graduated from Columbia University. He served in the U.S.
Merchant Marines photographic section from 1942 to 1944. After the service
he went to work in a department store, and after a couple of years he was
"discovered" by an art director. The young photographer's work started
appearing in Look, Vogue, Harper's Bazaar, and other magazines.

He started as a staff photographer at Harper's Bazaar in 1945 and only two
years later made his mark as a fashion photographer of note covering the
French collections in Paris for that magazine and for Vogue. Avedon was
named "one of the world's ten greatest photographers" in 1958 by Popular
Photography magazine, and in 1962 the Smithsonian Institute curated the
exhibition, "Richard Avedon."

His book "Avedon: Photographs 1947-1977" was published in 1978 and coincided
with a major exhibition in the Dallas Museum of Fine Arts, the High Museum
of Art in Atlanta, GA, and the Isetan Museum in Tokyo. In 1993 he was
awarded the International Center of Photography's Master of Photography
medal. In 2001 he was inducted into the American Academy of Arts and
Sciences, and in 2003 he was given the Lifetime Achievement Award by the
American for the Arts, National Arts Award.

© 2004 News Photographer magazine


--
Emily L. Ferguson
mailto:elf@xxxxxxxx 508-563-6822
New England landscapes, wooden boats and races, press photography http://www.vsu.cape.com/~elf/




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