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어떤 사진가의 촬영에 대한 메이킹 필름만으로도, 작업이 될 수 있는지의 여부는...잘 모르겠지만 쨌거나 재밋는 사진들이다. 사진가를 사진찍는다는 생각을 계속하고 있는 요즈음의 나로서도 매우 흥미있기도 하고, 늙어서도 저 정도 가다가 나올 정도라면 어서 빨리 나도 삭아버리고 싶기도 하다. 어벙한 이야기이긴 하지만.
작업과정이 책으로 엮여져 나올 정도면 분명 영향력 있는 작가라 미국에서 여기겠지만. 웬지 오바같다는 느낌도 있고, 보면 볼 수록 의미의 경쟁에서의 문단들이 들락날락한다. 무당같은...느낌도 더불어.
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p.s : 예전에도 느꼈던 거지만, 8R 카메라치곤 진짜 트라이포드 부실해 보인다.
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Davis, California, May 1981
Laura Wilson and Richard Avedon photographed by Ruedi Hofmann
Davis, California, May 1981
Wilson, Wyoming, July 1982
Jordan, Montana, 2003
Jordan, Montana, 1983
Jordan, Montana, 2003
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Laura Wilson: Avedon At Work
It was in 1978 that the Amon Carter Museum in Fort Worth, Texas commissioned Richard Avedon to create a photographic portrait of the men and women of the American West. In that period Avedon had just completed his major retrospective, "An Avedon Portrait", at the Metropolitan Museum of Art in New York that, among other things, saw him featured on the cover of Newsweek--the first time a photographer had been feted in an American news magazine. Mitch Wilder, the new and dynamic director of the Amon Carter Museum made a wise choice in entrusting this artist at the height of his career with such a grandiose project to round out the museum's collection. But the project represented a risk for each of them. Both Wider and Avedon knew all too well that the result would not have matched at all the slightly romantic view of the myth of the men of the West so entrenched in public consciousness, but they accepted the challenge. For six consecutive summers Avedon covered the wide-open spaces, traveling from central Texas to the Sierra Nevada and from the Rio Grande to the Canadian border, stopping over on his way in Colorado, Montana, Wyoming, California and New Mexico. With him were his three assistants, including the young photographer Laura Wilson. In the attempt to strip each photo of any type of cliche, Avedon decided to remove the spatial reference point--the surrounding environment--the primary and constituent point-of-reference for these men and women. His photos captured the faces, gestures, embarrassment and exhibitionism of everyday people, each quite different from the other. The faces of these people became themselves a representation of the naked, crude reality with the earth, work and the difficulties of the human condition faced by some.
This is where Laura Wilson came in. She participated in this adventure with all the simplicity and admiration of someone who is aware of being present at an extraordinary event, at the epiphany of the creative process. In the images in the book this photographer reveals the energy of creation, its speed, its tension and the intimate aspects hidden behind each photo, while choosing not to conceal the attempts, failures (such as the attempt to introduce animals on the set) or eccentricities. She photographed sketches, notes and the behind-the-scenes of the often artificial photographic sets, the editing work of the staff, the legendary equipment cases often used as a stool to look into the camera. She captured the coming into being of human relationships which from a simple rapport between photographer and model became one of sharing and friendship.
The book, Avedon at Work in The American West is not only a lovely collection of photographs, it ends up being an homage to photographic history as seen through one of its leading figures. And, at the same time, it documents the concept that underlies each photograph made up of long experience but also spur-of-the-moment insights. As Richard Avedon admitted, in these black and white photos, "Laura Wilson makes the invisible creative process visible."
Daniela Valle Vallomini
All images from:
Laura Wilson, Laura Wilson: Avedon at Work, University of Texas Press
* zabel님에 의해서 게시물 이동되었습니다 (2005-09-25 17:58)
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