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C/O Berlin Foundation
C/O BERLIN FOUNDATION C/O Berlin is a charitable foundation that presents a cultural program with an international standing. The exhibition space for photography and visual media shows works by renowned artists, promotes emerging talents and accompanies children, teenagers and adults on their journeys of discovery through our visual culture. Foundation Through the civic commitment and entrepreneurial spirit of the three founders— photographer Stephan Erfurt, designer Marc Naroska, and architect Ingo Pott—a private initiative has developed into a unique institution that receives widespread public acclaim. As a non-profit foundation, C/O Berlin operates independently of commercial interests and is financed through admission fees, book sales, sponsorship, project funding as well as by donations and contributions of the C/O Berlin Friends e.V. Since 2020/21 financial year, C/O Berlin has received funding from the Senate Department of Culture and Europe and the Berlin Senate Department for Economics, Energy and Public Enterprises. Exhibitions Each year C/O Berlin shows as many as twelve solo and group exhibitions of internationally renowned photographers such as Annie Leibovitz, Martin Parr, Nan Goldin, Anton Corbijn, Peter Lindbergh or Irving Penn. As a place of encounter, C/O Berlin organizes Artist Talks, Panel Discussions, Film Screenings, and guided tours, thus offering visitors a direct exchange about the exhibition program and current debates in the visual media. The exhibitions are curated and put together in cooperation with renowned museums, collections and institutions worldwide. C/O Berlin Talent Award Supporting and accompanying emerging talents on their artistic path is an integral part of the C/O Berlin Foundation’s mission and self-image. -
HELMUT NEWTON Stiftung UND MK2 Films HELMUT NEWTON – the Bad and the Beautiful” ”
CHARLOTTE ISABELLA GRACE ANNA CLAUDIA RAMPLING ROSSELLINI JONES WINTOUR SCHIFFER HELMUT THE BAD AND THE BEAUTIFUL NEWTON DIE IKONE DER MODE- FOTOGRAFIE WIRD 100 HELMUT THE BAD AND THE BEAUTIFUL NDA e L g NUND e L ORK: g w , ART S g PRIN NEWTON ce S LI 1987, © A PRÄSENTIERTEINE INKO PRODUKTIONMIT UND INZUSAMMENARBEITMITDER UND cARLO FILMWELT VERLEIHAGENTUR LUPA FILM PRODUKTION - ZDF/ 3SAT MONARDA ARTS HELMUT NEWTON STIFTUNG MK2 FILMS HELMUT NEWTON – THE BAD AND THE BEAUTIFUL” e ONT ” , M MIT ISABELLA ROSSELLINI CHARLOTTE RAMPLING GRACE JONES MARIANNE FAITHFULL CLAUDIA SCHIFFER ANNA WINTOUR HANNA SCHYGULLA UND JUNE NEWTON TON New TONGESTALTUNG&MISCHUNG ORIGINALTON MONTAGE BILDGESTALTUNG HERSTELLUNGSLEITUNG MARKUS KROHN MARCO ZACHALSKY ELIE AUFSEESSER TOM WEICHENHAIN PIERRE NATIVEL SVEN JAKOB-ENGELMANN MARCUS WINTERBAUER CHRISTINE RAU LMUT , He S REDAKTION JULE BRODA ELISABETH RUPP KO-PRODUZENT TORSTEN BÖNHOFF PRODUZENT FELIX VON BOEHM DREHBUCH & REGIE GERO VON BOEHM g © 2020 LUPA FILM / MONARDA ARTS / ZDF PRIN 1 ce S LI : A OTO F www.helmutnewton-derfilm.de /FilmweltVerleihagentur präsentiert HELMUT THE BAD AND THE BEAUTIFUL NEWTON Regie & Drehbuch GERO VON BOEHM Mit HELMUT und JUNE NEWTON, NADJA AUERMANN, MARIANNE FAITHFULL, SYLVIA GOBBEL, GRACE JONES, CHARLOTTE RAMPLING, ISABELLA ROSSELLINI, CLAUDIA SCHIFFER, HANNA SCHYGULLA, CARLA SOZZANI, ARJA TÖYRYLÄ, ANNA WINTOUR u.a. AB 9. JULI 2020 IM KINO Im Verleih und Vertrieb von Filmwelt Verleihagentur GmbH HELMUT THE BAD AND THE BEAUTIFUL NEWTON VERLEIH & VERTRIEB Filmwelt Verleihagentur GmbH Karl-Theodor-Str. 68 | 80803 München Tel. 089 – 27 77 52 17 Fax 089 – 27 77 52 11 www.filmweltverleih.de [email protected] PRESSEBETREUUNG MEDIA OFFICE Kantstraße 54 | 10627 Berlin Tel. -
Peter Lindbergh Azzedine Alaïa
PRESS RELEASE AZZEDINE PETER ALAÏA LINDBERGH under the direction of Benjamin Lindbergh and Olivier Saillard With the support of Peter Lindbergh Foundation Exhibition from Sunday, February 28th to Sunday, September 19th, 2021 Opening dates and times are subject to the Government guidelines. Open every day from 11 am to 7 pm Tickets : 7€ - Concession : 2€ Métro : Hôtel de Ville Press contact : [email protected] [email protected] Fondation Azzedine Alaïa 18, rue de la Verrerie, 75004 Paris Tel. +33 ( 0 )1 87 44 87 75 [email protected] [email protected] For its first exhibition of 2021, the Foundation is proud to celebrate two great talents who made history in photography and in fashion. The works of Peter Lindbergh and those of Azzedine Alaïa have been brought together and dialogue with one another in a community of spirit that has never weakened. Like the artistic confluences that united Richard Avedon and Christian Dior or Yves Saint Laurent and Helmut Newton, Peter Lindbergh and Azzedine Alaïa found a common territory where each of their expressions seeks to reflect the other’s. Without saying a word, the photographer and the couturier were united by their love of black, a love that they would cultivate alike, be it in silver print or in solid color garments. Lindbergh ceaselessly turns to black and white to signify his search for authenticity in the faces he brings to light. Alaïa draws on the monochrome of timeless clothes, veritable sculptures for the body. Each of them finds therein this impression of poetic realism that magnifies the subject before satisfying their own creative ambitions Despite their geographically opposed origins, Lindbergh and Alaïa pursued similar horizons. -
Peter Lindbergh Biography
G A G O S I A N Peter Lindbergh Biography Born 1944 in Leszno, Poland. Lives and works in Paris, France; New York, NY; and Arles, France. Selected Solo and Two-Person Exhibitions: 2017 Shadow and Substance: Alberto Giacometti sculptures and their photographs by Peter Lindbergh. Gagosian, Britannia Street, London, England. Peter Lindbergh: A Different Vision of Fashion Photography. Kunsthal Rotterdam, Rotterdam, Netherlands. Peter Lindbergh/Garry Winogrand: Women on the Street. NRW Forum, Düsseldorf, Germany. 2016 Peter Lindbergh. Gagosian, Athens, Greece. 2014 Peter Lindbergh. Gagosian Gallery, Paris Project Space, Paris, France. Peter Lindbergh: The Unknown & Images of Women. HDLU Museum, Zagreb, Croatia. 2013 Peter Lindbergh: Berlin. Maison de la Photographie, Lille, France. Peter Lindbergh (with poetry by Forrest Gander). Vladimir Restoin Roitfeld, New York, NY. Peter Lindbergh: Images of Women. Corso Como Gallery, Seoul, South Korea. 2012 Peter Lindbergh: Known and “The Unknown.” Galleria Carla Sozzani, Milan, Italy. Peter Lindbergh. FotoMuseum, Antwerp, Belgium. 2011 Peter Lindbergh: The Unknown. Ullens Center for Contemporary Art, Beijing, China. 2010 On Street. C/O Berlin, Berlin, Germany. Invasion and Cinema. Photobiennale Festival, Grand Manezh, Moscow, Russia. 2008 Peter Lindbergh: Beauduc. Rencontres Internationales de la Photographie, Église des Frères Prêcheurs, Arles, France. 2007 Hearst Collection by Peter Lindbergh. Norman Foster Gallery, Hearst Tower, New York, NY. Peter Lindbergh: Cinema. Festival Transphotographiques, Lille, France. Peter Lindbergh. Camera Work Gallery, Berlin, Germany. 2006 Peter Lindbergh: Like a Rolling Stone. Galerie ACTE 2, Paris, France. Peter Lindbergh: Visioni. FORMA Centro Internazionale di Fotografia, Milan, Italy. Peter Lindbergh: Cinema. AmFAR, Cinema against AIDS, Cannes, France. 2003 Stories Supermodels, photographs by Peter Lindbergh. -
PETER LINDBERGH: the Unknown a Breathtaking Story in Photographs and an Innovative New Chapter in Fashion Photography
SCHIRMER/MOSEL VERLAG WIDENMAYERSTRASSE 16 • D-80538 MÜNCHEN TELEFON 089/21 26 70- 0 • TELEFAX 089/33 86 95 e - mail: press@schirmer- mosel.com Munich, March 2011 PRESS RELEASE PETER LINDBERGH: The Unknown A breathtaking story in photographs and an innovative new chapter in fashion photography Internationally-known German fashion photographer Peter Lindbergh was born in 1944 and grew up in Duisburg. During the eighties, he revolutionized his métier with his iconic images of Linda Evangelista, Naomi Campbell, Cindy Crawford, Tatjana Patitz, Nadja Auermann and other supermodels. His photographs sought to capture the personality, character, and identity of the models — and not just the glitter and glamour. In doing so, Lindbergh laid the foundation for the “supermodel” phenomenon that swept the globe. Peter Lindbergh: Peter Lindbergh’s new project, The Unknown, represents yet another innovative The Unknown The Chinese Episode chapter in the field of fashion photography. His exhibition at the Ullens Center for With an Interview by Jérôme Sans Contemporary Art in Beijing (1 April through 22 May 2011) consists of huge murals 200 pages, 89 plates that are reproduced in our new photo book Peter Lindbergh: The Unknown. The Chinese ISBN 978-3-8296-0544-1 English edition with German Episode (200 pages, 89 plates). Lindbergh’s extraordinary images are displayed within supplement an unusual framework and from a novel perspective for fashion photography: The € 49.80; (A) 51.20; sFr 70.90 Unknown is a photographic “serial novel” of fashion shootings set against the backdrop of a fictitious landing of beings from outer space. Peter Lindbergh commenced this visual tour de force in 1990, and he has pursued it with cineastic intensity to the present day. -
ALBERTO GIACOMETTI – PETER LINDBERGH SAISIR L’INVISIBLE 22 January 2019 - 24 March 2019
PRESS PACK ALBERTO GIACOMETTI – PETER LINDBERGH SAISIR L’INVISIBLE 22 January 2019 - 24 March 2019 Curator: Serena Bucalo-Mussely Peter Lindbergh Karen Elson, Los Angeles, 1997. © Peter Lindbergh (Courtesy Peter Lindbergh, Paris) Alberto Giacometti, Crouching Woman, 1959-1960. © Succession Alberto Giacometti (Fondation Giacometti, Paris + ADAGP, Paris) 2019 Institut Giacometti - 5 Rue Victor Schoelcher - 75014 Paris Press officer : Anne-Marie Pereira - [email protected] tél. : 33 (0)1 44 54 52 44 / 33 (0) 6 48 38 10 96 Fondation Giacometti - Offices : 3 bis, Cour de Rohan 75006 Paris Institut Giacometti - Exhibitions : 5, rue Victor Schœlcher 75014 Paris PRESS PACK SUMMARY - Presentation of the exhibition - Alberto Giacometti (1901-1966) - Peter Lindbergh - Exhibition catalogue - Interview with Peter Lindbergh by Catherine Grenier Extract from the catalogue - When the immaterial becomes visible by Serena Bucalo-Mussely Extract from the catalogue - The Institut Giacometti - Programm for 2019 - Team - Patrons - Press images PRESS PACK ALBERTO GIACOMETTI – PETER LINDBERGH SEIZING THE INVISIBLE 22 January 2019 - 24 March 2019 The Institut Giacometti presents the unreleased photographs of Alberto Giacometti’s works taken by Peter Lindbergh, one of the most important photographers of his generation. A selection of Giacometti’s plasters, bronzes and drawings selected by Lindbergh are presented alongside his photographs. This face to face gives us the opportunity to show the very intimate dialogue that took place between the photographer and the sculptor’s works, while revealing countless similarities in their ways to apprehend the representation of reality. The exhibition, curated by Serena Bucalo-Mussely, offers to the public more than sixty works by both artists. -
A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 the J
Icons of Style: A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 The J. Paul Getty Museum at the Getty Center 4 4 1. Louise Dahl-Wolfe 2. Louise Dahl-Wolfe American, 1895 - 1989 American, 1895 - 1989 ICONS _FASH ICONS ION _FASH Keep the Home Fires Burning, 1941 ION Andrea, Chinese Screen, 1941 Gelatin silver print Gelatin silver print Image: 13.7 × 13.1 cm (5 3/8 × 5 3/16 in.) Image: 32.6 × 27.8 cm (12 13/16 × 10 15/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © 2018 Center for Creative Photography, © 1989 Center for Creative Photography, Arizona Board Arizona Board of Regents / Artists Rights Society (ARS), of Regents / Artists Rights Society (ARS), New York New York 84.XM.195.12 84.XM.195.7 4 4 3. George Hoyningen-Huene 4. Cecil Beaton American, born Russia, 1900 - 1968 British, 1904 - 1980 ICONS ICONS _FASH _FASH ION ION Model Posed with a Statue, New York, 1939 Debutantes—Baba Beaton, Wanda Baillie Hamilton & Gelatin silver print Lady Bridget Poulet, 1928 Image: 27.9 × 21.6 cm (11 × 8 1/2 in.) Gelatin silver print The J. Paul Getty Museum, Los Angeles Image: 48.7 × 35.1 cm (19 3/16 × 13 13/16 in.) © Horst The J. Paul Getty Museum, Los Angeles 84.XM.196.4 © The Cecil Beaton Studio Archive at Sotheby's 84.XP.457.16 June 21, 2018 Page 1 of 3 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J. -
Bettina Ballard, Carmel Snow, and Diana Vreeland
51 Balenciaga and the American Fashion Editors Who Shared His PrivateWorld: Bettina Ballard, Carmel Snow, and Diana Vreeland Julie eilber Independent Researcher/Journalist. Her practice-based research includes pattern-making and reconstruction of twentieth century designer garments. Ms. Eilber is currently writing a biography of American designer Claire McCardell. In 2017 she presented a workshop on the history and practice of mending at the Museum of Modern Art in New York. → [email protected] To ciTe This arTicle Eilber, Julie. 2021. “Balenciaga and the American fashion editors ↓ who shared his private world: Bettina Ballard, Carmel Snow, and download Diana Vreeland.” Balda, Ana (ed.) I International Cristóbal Balenciaga This arTicle Conference Proceedings. Getaria: Cristóbal Balenciaga Foundation, 51-63. Biographical Aspects—Balenciaga and the American Fashion Editors… 52 absTracT Cristóbal Balenciaga, the notoriously private designer who shunned press coverage, nevertheless developed deep, intimate friendships with two highly influential American fashion editors: Carmel Snow of Harper’s Bazaar and Bettina Ballard of American Vogue. Their attachment to him, in tandem with his genius as a designer, ensured that his designs were promoted in the crucial post-WWII American fashion market. Though a third editor, Diana Vreeland, did not have as close a personal connection with the designer, the posthumous Balenciaga exhibit she mounted (at the Costume Institute of the Metropolitan Museum of Art) rescued her career, put her on the map as a curator, and ensured Balenciaga’s legacy in the U.S., both as a designer and an artist. This article shares glimpses of the private world of Balenciaga through the eyes of these three editors, and illuminates how his personal charm ensured his lasting legacy in the U.S. -
JACQUELINE KENNEDY and the POLITICS of POPULARITY by COURTNEY CAUDLE TRAVERS DISSERTATION Submitted in Partial Fulfillment of Th
JACQUELINE KENNEDY AND THE POLITICS OF POPULARITY BY COURTNEY CAUDLE TRAVERS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communication in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Associate Professor John Murphy, Chair Associate Professor Cara Finnegan Associate Professor Ned O’Gorman Associate Professor Jennifer Greenhill Associate Professor Pat Gill Abstract Although her role as first lady marked the real beginning of the American public’s fascination with her, Jacqueline Kennedy’s celebrity status endured throughout her life. Dozens of books have sought to chronicle that mystique, hail her style, and commend her contribution to the youthful persona of the Kennedy administration. She seems to be an object ripe for rhetorical study; yet, for many communication scholars, Kennedy’s cultural iconicity diminishes her legacy as First Lady, and she remains an exemplar of political passivity. Her influence on the American public’s cultural and political imagination, however, demonstrates a need for scholars to assess with greater depth her development from First Lady to American icon in the early 1960s. Thus, this dissertation focuses on three case studies that analyze Jacqueline Kennedy’s image across different media: fashion spreads in Vogue magazine and Harper’s Bazaar published immediately after the inauguration in 1961; her televised tour of the White House broadcast in February 1962; and Andy Warhol’s 1964 Jackie prints, which drew from her construction of the Camelot myth after JFK’s funeral. These case studies seek to show how “icon” becomes an inventional and conceptual resource for the role of a modern first lady and how Kennedy’s shift to public icon in her own right (after and outside of her position as first lady) was mediated in nuanced ways that both reflected early Cold War (suburban) culture and shaped the larger institutional discourses of which she was part. -
Harper's Bazaar
For each photograph featured in Harper’s Bazaar, dozens were styled, shot, and considered. The final, published image was a collaborative effort. These two photographs are similar, but subtle differences determined which one appeared in the magazine. The ocean backdrop, the presence of a camera, and the model’s sideways gaze in the image on the left combine to tell a story that is missing from the other version. Vreeland covered the American market for Bazaar, which brought her into contact with designers such as Carolyn Schnurer, an early advocate of sportswear-influenced fashion. Schnurer’s resort clothes frequently incorporated culturally inspired motifs. For example, the embroidered elephants on this loose-fitting cotton top reference her trip to Ghana (then known as the Gold Coast). Vreeland styled the top, which was intended for beach wear, with what she described as “heavy Zulu necklaces and bracelets.” Pierre Balmain’s elegant polo coat, reminiscent of an officer’s greatcoat, is an example of military-inspired fashions of the World War II era. Snow’s determination to help revive the Paris couture led her to travel there in December 1944, just four months after the city’s liberation. Dahl-Wolfe said Snow was “responsible for making the Bazaar . much more interesting, and less conservative, than Vogue.” Snow, whose office nickname was “Bossy,” didn’t hesitate to publish content her well-heeled readers might find objectionable. These included Walker Evans’s photographs of New York City housing project residents and a first-person account by a domestic servant who described her job as “human slavery.” Bazaar contributor Janet Flanner called her “an extraordinary editor.” Bazaar attributed this “flower-massed cap” to Adolfo of Emme, but Dahl-Wolfe remembered Vreeland constructing the headdress from French silk flowers. -
Harpers Bazaar Free
FREE HARPERS BAZAAR PDF Glenda Bailey | 320 pages | 01 Sep 2011 | Abrams | 9781419700705 | English | New York, United States Harper's Bazaar Glenda Bailey, longstanding editor of Harper's Bazaar, to step down. But after numerous iconic covers and almost 19 years at the helm of Harper's Bazaar, Glenda Bailey is stepping down as the magazine's editor-in-chief, publisher Hearst said Wednesday, January Renowned for her innovative and often playful approach, Bailey is credited by the fashion magazine with having "turned the title around to usher in a new era of success. Before taking her current role, Bailey, Harpers Bazaar was born in the UK but is now based in New York, oversaw the launch of the British edition of Marie Claire in She Harpers Bazaar on to become editor-in-chief of the title's US edition before moving to Harper's Bazaar in The covers and photo shoots produced during Harpers Bazaar tenure were renowned for their memorable imagery, whether it was Rihanna swimming with sharks, Naomi Campbell posing with an alligator or Lady Gaga appearing without makeup. She also used her platform to confront fashion media's dependence on digital Harpers Bazaar manipulation, notably running an unretouched photo of Harpers Bazaar Williams on a cover last year. An entire section of the magazine's October Harpers Bazaar was also completely free of retouched pictures. In her editor's note that month, Bailey wrote that "in a time when transparency and authenticity are valued more than ever, it seems fitting Elsewhere, she spoke out against counterfeiting, championed diversity through her "Fabulous at Every Age" franchise and was an active charity fundraiser. -
Harper's Bazaar's Representation of American Style in the 1950S
Master’s Degree programme in European, American and Postcolonial Language and Literature Second Cycle (D.M.270/2004) Final Thesis Harper’s Bazaar’s Representation of American Style in the 1950s Supervisor Ch. Prof. Ciani Daniela Assistant supervisor Ch. Prof. Simone Francescato Graduand Mariachiara Bertazzo Matriculation Number 848909 Academic Year 2017 / 2018 1 “...The only real elegance is in the mind; if you’ve got that, the rest really comes from it.” Diana Vreeland 2 TABLE OF CONTENTS INTRODUCTION ..........................................................................................................................4 CHAPTER 1 - WITHIN HARPER’S BAZAAR ........................................................................6 1.1 THE LAUNCH ..........................................................................................................................6 1.2 HARPER’S BAZAAR IN THE 1950S: THE DEFINITION OF FASHION ...................................14 1.3 THE QUARTET: CARMEL SNOW, ALEXEY BRODOVITCH, RICHARD AVEDON, DIANA VREELAND. ...................................................................................................................................31 CHAPTER 2 - HARPER’S BAZAAR: A READING OF AMERICAN SOCIETY IN THE 1950S .............................................................................................................................................44 2.1 AFTER WORLD WAR II: THE POST WAR CONTEXT ...........................................................44 2.2 THE COLD WAR RISING AND FASHION ..............................................................................58