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seth the huang was only sow we can i'm going
to mention the name of richard allen has translated to fashion sharp the excitement that has leaped at us and bringing pages of the most exclusive fashion publications has been his excitement transmitted places he works and to his models they seem to infect environments they wear the same tension so that an avid and fashion photograph is one big elected so it is that he's staying in fashion photography as long as he did except themselves and keep finding new directions to go in retrospect are showing his work titled evidence photographs in nineteen forty seven to seventy seven made clear that while adam's earlier label lightly fashion he was creating all the time the same kinds of explosions in his few days and dance and theater music and other areas of the visual arts the exhibition also established that some little while ago ever gone had
moved far beyond the limitations of fashion photographers sat expanding and intensifies get the photographs document the chairmanship reflected on britain's foreign intelligence and curiosity that accompanies the exhibition has opened at the vastness of the finance in an admirable installation by elizabeth hall who also designed to show for that the photographs are using finance richard out of here was it out of your experience that you and your camera into fashion my father's job is like that of a schoolteacher went into business and then owned department a woman's specialty shop called lam announced a feathery end they had all of fashion magazines in the house that it fair and vogue harper's bazaar at a high period of the nineteen thirties and forties when
i was a child and i remember looking at those photographs i think also the fact that my sister was very very beautiful duty was the event of her life in the event of a family and i started photographing her as a as a child snapshots of them than imitating the photographs and in and harper's bazaar with her when she was fourteen or fifteen and i think it eases into an understanding of fashion photography in that way that's fascinating do with the names that she remember our teacher remember them by name or did you remember them best style the photographers that were working well i don't think i was too aware of their names as a tear up the pictures i like happened they were best i can and many and mostly by martin catchy and
he was in hungary and photographer who went to work in germany and left at the end of the beginning hitler and it was the first photographer to do use action with a small camera and that was an enormous influence on me on the idea that they could be free e laughing women that didn't look like greek statues that looked like real women he also was very interested in big women in broad shouldered strong women running by the sea was very exciting to look at his work and those who actually sit her up and pinned the war next monday once you got into this field what were the restrictions that you had to overcome where i was extraordinarily lucky that it came out of a merchant marine at a time when the editor is
when there was a sense of a rebirth of rebirth the french fashion rebirths of the war was over what the fashion magazines could now turn their attention back to their original purpose and there were a great many older photographers great lions photography and the art directors and editors were a little bit fed up with these stars and wanted to encourage a new and young photographer so in those days i think i was the only young photographer and anything i did i was taught by three amazing people who were the editors of our visitors at that time and encouraged so i have very little to overcome that would be nineteen forties safe i was my first issue the three people would've been alexi brought over germany are director carmel snow was the editor and he and everyone was the fashion as she later became the internship well which of the three of these was most influential for you know influential in different ways carmel snow was an
instinctive editor she would i bring photographed her desk and should say that there's something in the eyes in this one she's very humanistic the end everyone was a only interested in the kind of a suit or a coat and she also spoken very strange code she free associated and then would she throw you a ball and enrollment and she never wanted to come back with what she said and interpretation of the learning that language was the but greatly great teacher of in my life of that time and maybe it will time in photography was alexi brought of age and he taught in a very silent and crick dick way he was a white russian who left russia that have the revolution went to paris came two new york brought to new york by carmel snow to re
design harper's bazaar and i took as when i left the merger with when the war was over i was out of the merchant marine i went to all of his classes he taught at the new school we ended up teaching in my studio actually because he felt the atmosphere of a studio's better for students than a classroom and taking all his courses i took corpses in graphic design in and everything to do with a graphic arts as well as photography and the assignment in one of these classes was to create a neon sign the broadway and after the class was over i went up to his desk and said mr brother joe economist abramowicz even in the last years of working together when he was a room why not to call me alex lee i would say well yes alexi announced a broader challenge and i couldn't and that student ed teacher relationship never change as in this rubbish you see i'm a photographer and
i'll i'm taking this class there's no way that i can draw and i don't know how i can design a sign for a neon sign the time square is that was always there and then he'd live to this great hitters and he said why not to use spaghetti and i thought my god that is the lesson i will never be stuck again that you can't do in one way you do one another i got some pipe cleaners and made a neon sign and it was the key lesson in my life that you have to solve problems you don't stop because well your pictures are often highly complicated very active do you know exactly what you want or do you set the stage and wait for something to happen to do both you know if you know what you want in a general way you know what it is you're trying to achieve
but for example if i do a photo of the woman running i know the attitude that i know the one of the dramatic elements of the close close a very often they're just fortunate gifts to a photographer because they have such foreman pattern in line to work with then when she starts to run one hopes for the happy accident but within the foreman within the discipline i think really the most for me interesting part of fashion photography is that you must always look effortless it's a little like jab fred astaire and ginger rogers began to think you could do and its craft its discipline it's worked out every decimal the second and the same thing applies to cash and driving to work can show whether we let it four
hours and rehearsed it for hours and of course moving out of fashion for a long time really here to tyre for a broad broad area what is it that you look for in any case you still concerned with people that's right isn't it that's yes a caricature quality a reflection of my concerns of the moment in someone else's face dissolves of i'm writing my autobiography with their faces what do you mean just that that my work is in a sense my autobiography and i write it through other people's faces in the face and people and help in other words to face at one time my movie work one way or another face another candidate it only matters that in some way i relate to them and i feel connected to them and that there is an exchange of energy between myself and the center and it's when those
two energies meet that the photograph was taken it i just came back from paris where i thought of a francis bacon and he's an artist and he's looking for a great one and he came to the sitting and said that he was interested and posing because he liked the way in which i simplified everything down to the essential and i said then you realize how tricky a setting like this is because since there no backers insensible just be you against a sheet of white paper it could indeed be a passport picture and the only thing we have to work with is this tension that i do have to say anymore he turned into the camera and he gave me a lot of what is not really a performance because it was bacon but he knew what i need and gave it to matt harvey to work that's very rare
is that conscious or having an impact on his part was conscious but usually because of unconscious it's a quality that the sitter has without know being aware of what do you as a photographer have to do to get that to happen you'd like a conversation he would just your conversation if you're speaking to a child you speaking one catholic if you speak to the bank teller of negotiate a loan is begin the vocabulary to speak to your parents you speak in a different way or teachers and i think of automatic savings a little like that he would just you know shift its probably exactly like what you have to do when you win and you are it's like being an athlete isn't a currency that you're here with me we have these few minutes i you know what's going to come out of my mouth you have to be right there you have to shift to control it bring me forward or if you see me slipping away bring me back or if you want me to slip away if that's a quality
that you think is interesting let me go with exactly like what you'd was there a time when your work was the most satisfying to you well next year's work i'll live much in the past not all really i find this exhibition it's almost as if i'm heading into the work of another photographer and i hardly live in the present and i live a great deal in the future a future for the refugees well you always worked in many areas at the same time and in the sixties you use vinegar deal of time in vietnam but you never released as far as i know but one of those pictures are not well i had never done war photography and in a funny way we know we know about war unless we've experienced it directly only what we haven't
assimilated through other or other artists photographers movies i had never photographed a warrant ice tonight when they're in a funny way almost like a hollywood movie or like david duncan oh kappa it took me a long while to refine and then develop my own subjectivity i did a great many pictures of napalm victims of victims of war and i felt an attorney jim yoga looking at and that was something almost were graphic disgusting about the idea of a beautiful photograph terrible and tragic thing it's it seemed to me to be the dead opposite of what the photograph was supposed to accomplish it says if i was adding to the sum of violence in the world instead of to
going against it i think that these pictures of burned people live with terrible terrible things we see on television every night it's the servants satisfy something unconscious way wrist take an ugly i haven't resolved that i don't quite understand of ice or porch of those photographs until it's clear in my mind well that sounds as if you had always known when you were changing or when you were going to change well i guess i was thinking about and perhaps more simplistically in terms of not working in in fashion feel that the pictures she took in vietnam opinions of the politicians the that movement out of them out of one area identification does not come at a specific time as a result of something or is that simply an element of snowmen go for example in order to have the exhibition i worked loosely for seven years an intensely for two had to report every single click
or re edit and find pictures that had been lost or not not been chosen in earlier years then in the last two years and edit the book if supplies the engraving and korea and make the prints and design create the show so i couldn't possibly have taken on the last two years with anything new in the moment the show over the metropolitan museum here i thought now want them i can do with my time and thats when this new assignment this new project camel i couldn't i'm going to use know i'm ready for it so it has something to do the practicality of time you're speaking of the commission from the language a welder yeah seven on west yeah well tell me about that that seems to be absolutely as far from haute couture as you could possibly get well as the fashion is of course very far as a fashion photographer as photographer i've been fashioned are also been important our vote simultaneously in tandem since the first amendment in the late nineteen forties
and this exhibition gives you a feeling that i'm a fashion photographer if you seen the previous one you'd say in the portrait weren't in any case the mitchell waters would be a very serious tragically was libyan economy is in fort worth and after this exhibition opened he called and asked if i would be interested in photographing in the west what he didn't know was that i had started that project on my own life i've spent many years in montana at the madison valley that's right and i had begun photographing my friends in ennis montana and felt that this this was a new quality of a person to meet a photograph of them they weren't that a lot to learn about people of the worst things they would it's the path of the west in a way is a country with in this country in a very powerful one and a very mysterious one to a nice dinner so
whereas people of accomplishments are what i am afro wrote for thirty years there are obviously less interesting to me now than they were when i was much younger was i met with water and bob wilson and other people than using him and we began to perceive the project into development and i i will now spend the next five years working in the waste possibly intend so that i do and you know i'll just beginning the research now some a return to those ten times that and the heat for five years so that i the change of season for change and people change and the quality of the towns and concerns and then in the end of the fifty or sixty or this work will be which is my
next body of work will be the uncompromising i think of definite how much how much time do you anticipate that will take out of the five years i mean i can't hell i have the studio and the staff and i have to keep functioning you know and i have to do a cinematic tour short to keep that going so how does no i'm a sense that time is getting shot of me and i'd like to take a much of it from us when i feel of my more interesting where people were as i can get probably have fear is that enough to to satisfy you were you need in addition to that some other projects do you acquire to do a lot of things that don't know why well you know for practical reasons i will have to do other things but other than that of the public eye this is so overwhelming exciting it's so in the tradition of the great western photographer todd was like
curtis i'm ready to go in to do portraits in the west is that it has a great tradition behind me into an enormous challenge it's also changing so analysts agree part of it i want it i want to record these faces before that they are change with information takes over and mining is no longer what it is and ranching is no longer what it is i want that one of those faces you see that as a documentation they're rather than an interpretation know interpretation or the house to be very subjective although it seems have the structure of an occupation that reality doesn't really exist in the photograph and if i photograph he was i see right now that's not the picture that would be taken from from an inch away or a moment later ended yet it implies something about you for example one of the things that concerns me what interests me
is the whole nature of masculinity in the west west him in a very different way from men in the east they all have guns we don't all have guns and then idealism and i don't know about that i want to learn about it and i might photograph as i did in sweet water of the rattlesnake roundup of eleven to fourteen year old boy holding up the head and rattlesnake in a blood covered shared that with a face of a do or angel and the contradictions and the metaphor and that has a great deal to do with mike interest in defining the difference in western men and other men of country so that's very far from doing a picture of a cowboy looks like walmart and so that's how we
work it's the use of imagination and hopefully a little can you sum up for me what it is that you want the camera to do for you i think the exhibition and my books i'm just continuing with my language thank you thank you the exhibition about the non photographs which opened today at the dallas museum of fine arts will continue through june twenty fourth meantime the art is alive and well at the hands of its local practitioners dealers and aficionados the human carter museum in fort worth is right now showing twentieth century photographs from its permanent collection after an injured in the art gallery in the quadrennial closes the current show the work of harry callahan this saturday the family visited the surreal color photography of michael say day to be seen through june sixteenth the central business district
association and the dallas downtown news are sponsoring a photography contest with downtown balance its people and it's look as the subject it trees are to be submitted up until june the thirtieth and the top fifty entries will be displayed in august in the great hall of the dallas city hall afterwards and other downtown locations on friday the allen street gallery the home of the center for visual communications will open its texas women's photography show organized to draw attention to the quality and variety of work done by female photographers living in the state the exhibition for seventy two entries from twenty nine entrance and was judged by linda connor and sentences got three purchase price it's a three hundred dollars each will be announced at the opening festivities this friday evening our car has arranged a brief preview of this exhibition for you to look at as we say goodnight
this week
nice many are
Series
Swank in The Arts
Episode Number
154
Episode
Richard Avedon - show at DMFA
Producing Organization
KERA
Contributing Organization
KERA (Dallas, Texas)
AAPB ID
cpb-aacip-5e119de82a2
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip-5e119de82a2).
Description
Episode Description
At the end of the program an exhibition of photos taken by women is previewed. The photos were part of a contest judged by Linda Conner.
Episode Description
Host, Patsy Swank interviews fashion photographer, Richard Avedon ahead of his retrospective show titled, Avedon: Photographs 1947 - 1977. He talks about his start in fashion photography and editors he worked with at fashion magazines such as, Carmen Snow, Deanna Dreland and Alexi Bronovich.
Series Description
“Swank in the Arts” was KERA’s weekly in-depth arts television program.
Broadcast Date
1979-05-02
Created Date
1979-04-28
Asset type
Episode
Genres
Interview
Talk Show
Topics
Fine Arts
Subjects
Fine Art; Photography
Media type
Moving Image
Duration
00:30:35.434
Embed Code
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Credits
Director: Parr, Dan
Executive Producer: Howard, Brice
Interviewee: Avedon, Richard
Interviewer: Swank, Patsy
Producer: Swank, Patsy
Producing Organization: KERA
AAPB Contributor Holdings
KERA
Identifier: cpb-aacip-34895171c5c (Filename)
Format: 2 inch videotape: Quadruplex
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Swank in The Arts; 154; Richard Avedon - show at DMFA,” 1979-05-02, KERA, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed November 28, 2022, http://americanarchive.org/catalog/cpb-aacip-5e119de82a2.
MLA: “Swank in The Arts; 154; Richard Avedon - show at DMFA.” 1979-05-02. KERA, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. November 28, 2022. <http://americanarchive.org/catalog/cpb-aacip-5e119de82a2>.
APA: Swank in The Arts; 154; Richard Avedon - show at DMFA. Boston, MA: KERA, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-5e119de82a2