theresa lee portfolio
DESCRIPTION
my portfolioTRANSCRIPT
182 183
186 187
I
C
O
JA
CK
NIS
BE
RG
134 V A N I T Y F A I R www.vanityfair.com D E C E M B E R 2 0 0 9
P HO TOGRAPHY
Avedon with art director Henry Wolf, in Paris, 1960.
“IF AVEDON WANTED TO CHARM YOU, YOU DIDN’T HAVE A CHANCE,” REMEMBERS CHINA MACHADO.
U
135
SHRIMPTON’S “EARTH GIRL” WAS JUST ONE OF THE YOUNG HEROES FLINGING ASIDE THE OLD ORDER.
IN A WINK
Jean Shrimpton, cover, April 1965.
136
F
P HO TOGRAPHY
“FASHION PHOTOGRAPHY IS SUCH A DELIGHT,” AVEDON DECLARED. “IT’S SUCH A VACATION FROM LIFE.”
EIFFEL TRIFLE
F
H
128 V A N I T Y F A I R www.vanityfair.com D E C E M B E R 2 0 0 9
P HO TOGRAPHY
MA
RC
RIB
OU
D
BE-GLOVED
Diana Vreeland, editor in chief of Vogue, with
Avedon, 1964, Paris.
“MY BRILLIANT CRAZY AUNT, ” AVEDON CALLED HARPER’S BAZAAR FASHION EDITOR DIANA VREELAND.
I
129
FASHION PHOTOGRAPHY WAS YIELDING TO SOMETHING STARTLINGLY NEW: THE AUTEUR.
MOON MAN
Paul McCartney, London, January 26, 1965.S
130
P HO TOGRAPHY
“WHAT I TRY TO EXPRESS OF MYSELF IN MY PORTRAITS IS VERY OFTEN VIOLENT,” AVEDON SAID.
TEXT APP EAL
James Baldwin, Harlem, New York, January 1, 1945.
I
T
W
D E C E M B E R 2 0 0 9 www.vanityfair.com V A N I T Y F A I R 131
ON THE LINE
Nothing Personal, above,
Below,
AVEDON FOUND HIMSELF CAST AS AN “OUTRAGE EXPLOITER” FOR NOTHING PERSONAL.
127
THE NOW OF AVEDONAs the 60s dawned, Richard Avedon was in crisis, wrestling with his role as America’s
national portraitist. Then he turned his eye to the future–the youthquake, Pop art, the moon landing, racial integration, even reality TV–and poured that
prophetic vision into one indelible issue of Harper’s Bazaar
BY DAVID MICHAELISN
P HO TOGRAPHY
SWING SET
Richard Avedon with Twiggy, Paris studio, April 26, 1967.