Review: The famed fashion photographer turned to mural-sized group portraits in 1969
Avedon had a revered rival at Vogue: Irving Penn. That was manageable — stimulating, even. But a younger cohort of boundary-pushing photographers, including Helmut Newton and Guy Bourdin, was making these two elder statesmen of fashion photography look a little past their prime. Meanwhile, the world at large — in the forms of Vietnam, civil rights, the sexual revolution and a spate of assassinations — was collapsing in on whatever it was they all thought they were up to.
Together, the murals amount to, if not a picture of society, then certainly a statement about it. They pit establishment power against a new, scruffier and perhaps more vital power. But something more poignant than mere generational conflict is going on here. Tensions exist not only between the pictures but within each one. The Chicago Seven, whose trial was going badly, were beginning to splinter.
and Rembrandt, with large-scale pop and abstract expressionist paintings — and with Times Square billboards. That meant wrestling with the limitations of his medium.Organizing his subjects and taking the photographs at just the right time was the first challenge: Once film is inserted into an 8-inch-by-10-inch camera, you can no longer use the viewfinder to see what the composition will look like.
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