ISSUE 28 JAN 2021
Helmut Newton & 100 B
homage
th
irthday celebration
faddymagazine
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FOLLOW, CONTACTS Instagram: faddymagazine Instagram Showcase: faddyshowcase Facebook Page: faddymag Email: faddymagazine@gmail.com FADDY Magazine submissions: candicevalentinesolomon@gmail.com Web Page: http://faddymag.com MANAGING EDITOR Biagio De Giovanni FADDY MAGAZINE EDITOR-IN-CHIEF & ARTISTIC DIRECTOR Candice Valentine Solomon FADDY SHOWCASE EDITOR-IN-CHIEF Biagio De Giovanni SVP SALES AND ADVERTISING Candice Valentine Solomon candicevalentinesolomon@gmail.com FADDY SHOWCASE REVIEW CHIEF Alessandra Galati JOURNALIST/WRITER Linda Arroz Gabrielle Smith Jamie Valentino Anneysa Gaille Rhett Butler EDITOR-IN-CHIEF ASSISTANT Helen Wilkey GRAPHIC DESIGN CONSULTING Massimo Storari GRAPHIC Giulio Cesare Silvestri & Biagio De Giovanni FADDY MAGAZINE HEADQUARTERS FERRARA - 44124 - Via Giglioli 28/A 5
Editor’s note
to dream and most of all to be free to explore both sides of myself,
When my dreams becomes a reality…
the femme and the androgynous.
I would like to venture into 2021 with deep gratitude for all the cre-
I would like to thanks Matthias Harder, the curator and director of
atives and people who I collaborate with to make Faddy Magazine
the Helmut Newton Foundation and the Helmut Newton Estate for
great.
this beautiful honor and priviledge to feature Helmut Newton´s
When I first thought about how I wanted to enter into 2021, I
photography and share his legacy with our readers.
thought to myself “Candice it needs to be special and meaningful.“
I would also like to thank Matthias and Nadine (Dinter, press officer
Then I said to myself “It must be the master and most legendary
of the HNF) for collaborating with me and trusting my vision for
photographer in the world, Helmut Newton.” Helmut Newton has
this beautiful homage and 100th birthday celebration of Helmut
been an integral part of my life’s journey since the budding age of
Newton.
12.
I hope everyone enjoys this beautiful salute to the incredible and
I remember vividly the day I purchased “Sleepless Nights” and
iconic Helmut Newton.
“White Women.” These books had a profound influence on my life
Happy 2021!
changing it for good, as if the “light switch was turned on.” I found
Wishing everyone a blessed year ahead.
“myself as a person” in his glorious images and most of all a place where I had the freedom to dream and fantasize.
Candice Solomon
I want to thank Helmut Newton for allowing the little girl inside me
Editor in Chief Faddy Magazine
C
andice Solomon a native
segment of the fashion industry. She also operates a highly suc-
New Yorker, resides in Man-
cessful e-commerce showroom servicing blue ribbon customers
hattan with her fiancé and
globally. She is Editor-in-Chief and Artistic Director for FADDY
artist Robert Santore.
Magazine and the Sr. Vice President of Sales & Advertising.
Candice is a world traveler and the
Candice Solomon has an accomplished and impeccable reputa-
quintessential Native New Yorker.
tion in the world of fashion and fashion design as;
She is a highly successful female en-
•
Creative director
trepreneur running the operations,
•
Design director
“day-to-day” and strategic business
•
Editorial strategist & executive produce
offerings in the highly competitive
•
Stylist
and ever-changing landscape of the fashion industry. She is an
•
Content creator
award winning bridal and evening wear designer noted for her in-
•
Fashion merchandizing strategist
ternational and celebrity red carpet patrons.
•
Fashion and style trendsetter and Mentor
She has been featured in People Magazine’s “Best Dressed” for
•
Branding specialist
dressing her distinguished clientele, most notably, Donna Ha-
•
Instagram & social media influencer & strategist
novers wedding dress in People Magazine and “Town And Coun-
•
LikeToKnowIt influencer
try” magazine. In addition, she was featured in multiple concurrent years in the
Candice is renown throughout the fashion industry as the “go
highly prestigious “Best Of” in New York Magazine. Candice was
to girl” for “anything and everything” from sourcing incredible
regularly featured in the New York Times, “Style and Fashion”
location for editorial photo shoots, engaging with and securing
sections, and in many global publications, both print and digital
the worlds best and acclaimed photographers, stylists, award
editions.
winning hair and makeup professionals to securing multi-million
She was the executive producer and an on-screen commenta-
dollar apparel pulls for promotions and presentation, as well
tor for the award winning documentary “7 Years Underground”
as working with an inclusive, multidimensional pool of talent as
which focused on the early years of Rock & Roll, Jazz and Blues at
models.
the famous “Café A Go Go” located in Greenwich Village in New
She is passionate and a life-long supporter of the LGBT Commu-
York City. “7 Years Underground” winning awards in film festivals
nity, Trans Lives and mentor to many talented young people who
around the world.
have become incredible successful under her guidance.
Candice is the owner of a boutique consultancy/agency in New York City focusing on optimizing strategic placement, strategy and trend management for a broad cross section and inclusive
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LINDA ARROZ - Writer Linda Arroz is a writer based in California. The first plus sized spokesmodel to get a contract with a major brand, Spiegel Catalog, Arroz’ career spans the evolution of her skill sets. During her three years with Spiegel, she learned how to tell stories, discovered the story behind the story, the art and craft of the pitch, and how to produce and style a TV segment. Co-author of “Affordable Couture,” published in 2012, Arroz’ experience includes working as an apparel firm marketing director, magazine editor, fashion stylist, and TV personality, producing hundreds of morning television makeovers. Her portfolio of work has always been a voice of inclusivity. Her consulting firm, Makeover Media, continues to advise clients on a range of issues and opportunities. Arroz is currently working a memoir of her years working on the assembly line at General Motors. GABRIELLE SMITH - Writer Gabrielle Smith is a freelance journalist and creative copywriter. The London College of Fashion alumna has written widely about fashion and culture, with her work published in numerous magazines such as; Harper’s Bazaar UK, House of Solo Magazine, French Fries Magazine, Overdue Magazine etc.
ANNEYSA GAILLE - Writer Anneysa Gaille is a poet, educator, and journalist based in New York City. In 2018 her chapbook, No Such Thing As, was published by the Center for the Study of Gender and Sexuality at the University of Chicago. She is currently an adjunct lecturer in the English Department of Brooklyn College. Gaille also serves as the poetry and visual arts editor for the Brooklyn Review.
JAMIE VALENTINO - Writer Colombian-born writer, Jamie Valentino is the Editor-at-large of POP Style TV, and his column Sexpert is published biweekly in PROVOKR. You can read his essays and interviews in Google Arts & Culture, W42ST Magazine, LUXE Magazine, The Queer Review, Vulkan Magazine, and more.
RHETT BUTLER - Writer Rhett Butler is a print and broadcast journalist from New York City. His work has appeared in TIME Magazine, Money Magazine, UFC Magazine, JET Magazine, Heavy.com, The Shadow League, and more. He is also a Boxing Writer’s Association of America Member, Play-By-Play Commentator, and Combat Sports Insider.
HELEN WILKEY - Assistant to Senior Fashion Editor Helen Wilkey spent her first two years out of The University of Chicago working in talent, most recently at Paradigm Talent Agency. Ready to explore realms beyond her desk, Helen looked to fashion for hands-on production experience. She is now assisting on shoots in and around New York City.
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table of contents 266
242
Mark Seidenfeld
Personal Feature
218
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Personal Feature
Mark Williamson Film in Noir
190
Yves Kortum
326
Miss Aniela
160
Steven Lyon
124
Mark Arbeit
Personal Feature
Jacky Wruck
Exclusive Interview
F A D DY Mag
Antoine Verglas
Exclusive Interview
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Helmut Newton Homage & 100th Birthday celebration
152
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George Holz
Exclusive Interview
Gero Von Boehm
Exclusive Interview
304
Gianluca Fontana
Personal Feature
286
Freddy Koh
Personal Feature 9
Helmut Newton homage & 100th Birthday celebration
This page and on Front Cover: Alice Springs, Helmut Newton, Monte Carlo 1987, Š Alice Springs courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun
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Helmut Newton, Tied Up Torso, Ramatuelle 1980, © Helmut Newton Estate courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun
Those images are part of the exhibition “I Like Strong Women”, at the Center of Contemporary Art, Torum/Poland. On view through 28 March 2021
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Helmut Newton, Elle, Paris, 1969, © Helmut Newton Estate The following images (page 15 - 29) have been part of the outdoor exhibition “HELMUT NEWTON. ONE HUNDRED” which took place between October 30th - November 16th, 2020, celebrating the 100th birthday of Helmut Newton. Location: Köpenicker Straße 70, Berlin-Kreuzberg
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Jerry Hall, American Vogue, Paris, 1974, © Helmut Newton Estate <- on left page: Helmut Newton, Human and Dummy III, Paris 1976 - © Helmut Newton Estate
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This page and on Back Cover: Helmut Newton, Rue Aubriot, French Vogue, Paris 1975, © Helmut Newton Estate courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun
Helmut Newton, Woman examining Man, Calvin Klein, American Vogue, St. Tropez 1975, Š Helmut Newton Estate courtesy Helmut Newton Foundation
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Helmut Newton, German Vogue, Berlin, 1979, Š Helmut Newton EstateÂ
Helmut Newton, Reichstag, Berlin 1987, Š Helmut Newton Estate
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Helmut Newton, Amica, Milan, 1982, Š Helmut Newton Estate
Helmut Newton, Untitled (Chicken), French Vogue, Paris 1994, Š Helmut Newton Estate
Helmut Newton, Claudia Schiffer, Vanity Fair, Menton 1992, Š Helmut Newton Estate
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Helmut Newton, Madonna, Vanity Fair, 1990, Š Helmut Newton Estate
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Helmut Newton, Monica Bellucci, Monte Carlo 2001, Š Helmut Newton Estate
Helmut Newton, Mario Valentino, Monte Carlo 1998, Š Helmut Newton Estate
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Helmut Newton, Bergstrom over Paris, 1976, Š Helmut Newton Estate courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun
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Helmut Newton, Elsa Peretti, New York 1975, Š Helmut Newton Estate courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun
Helmut Newton, Catherine Deneuve, Esquire, Paris 1975, Š Helmut Newton Estate
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Between 9 October 2020 and 10 October 2021, the exhibition "America 1970s/80s", featuring works by Helmut Newton, Sheila Metzner, Evelyn Hofer and Joel Meyerowitz is on view at the Helmut Newton Foundation
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Helmut Newton, Stern, Los Angeles 1980, Š Helmut Newton Estate
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Taken from the current exhibition “America 1970s/80s”
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Helmut Newton, Elizabeth Taylor, Los Angeles 1985, Š Helmut Newton Estate
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Taken from the current exhibition “America 1970s/80s”
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Helmut Newton, Oui Magazine, Las Vegas 1975, Š Helmut Newton Estate
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Poster from the “America 1970s/80s” exhibition, on view between October 9, 2020 and October 10th, 2021 at the Helmut Newton Foundation -> on the right page: Helmut Newton, Sigourney Weaver, Los Angeles 1983, © Helmut Newton Estate
Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski
Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski
Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski
Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski
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Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski
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Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski
Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski
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Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski
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MATTHIAS HARDER
M
atthias Harder has been the curator of the Helmut Newton Foundation in Berlin since 2004 and also the Foundation’s director since 2019. The Newton exhibitions Us and Them; Sex and Landscapes; Helmut Newton’s Private Property; A Gun for Hire; Yellow Press; Playboy Projections; Men, War and Peace; WANTED; Fired; Sumo; Polaroids; White Women / Sleepless Nights / Big Nudes; World without Men / Archives de Nuit; Paris Berlin; Unseen; Pages from the Glossies, and Permanent Loan Collection as well as Alice Springs; Veruschka’s Self-Portraits; Pigozzi and the Paparazzi; Three Boys from Pasadena; Greg Gorman; Frank Horvat; Guy Bourdin; Saul Leiter; David Lynch; Inez & Vinoodh; Vanessa Beecroft; Cindy Sherman, and Mario Testino have been presented over the course of his engagement. He also has been teaching photography and photo history at the Free University of Berlin since 2002. Prior to his current position at the Helmut Newton Foundation, he was the director of the Kunstverein (non-for-profit art organization) in Glueckstadt, near Hamburg, for two years and a guest curator at the Photomuseum Munich for three years, where he curated the retrospective shows of German pho-
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F A D DY Mag
tographers Herbert List and Stefan Moses, among other projects. As a freelance curator, he has organized numerous exhibitions of contemporary art and photography around the world since 1995, among others in museums and other institutions in New York, Montreal, Tokyo, Hong Kong, Tel Aviv, Kiev, Triest, Omaha, Paris, Helsinki, Stockholm, Budapest, Venice, Genova, and Rome. He also has served as an advisor and a jury member for numerous competitions. Dr Harder is a member of the German Society of Photography and a board member of the Berlin Photography Festival and the European Month of Photography in Berlin. He publishes regularly in respected international magazines, such as Art in America, Eikon, Aperture, Foam, and Photonews. He has written numerous articles for books and exhibition catalogues as well as he has edited or co-edited monographic books on Herbert List, Stefan Moses, Nelly, Max Scheler, Willy Ronis, Dirk Reinartz, Luzia Simons, Moritz Partenheimer, Vera Mercer, Stephan Erfurt, and Viktoria Binschtok in collaboration with publishers like Distanz, Taschen, Hatje Cantz, Schirmer/Mosel, Prestel, Dumont, Kehrer, Kerber, Reimer, Hirmer, Sieveking, Monacelli, and Seuil.
Matthias Harder at the Helmut Newton Foundation in the group show „Body Performance“ in front of a Vanessa Beecroft photograph, photo David von Becker
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Matthias Harder M AT T H I A S H A R D E R EXCLUSIVE I N T E RV I E W B Y L I N D A A R RO Z
Helmut Newton…his wife,
Helmut Newton Foun-
who became president of the
June, a.k.a. Alice Springs.
dation along with your
foundation after Helmut’s
Never has there been a more
role and responsibilities.
sudden death in Los Angeles
dynamic duo, a true marriage
In addition to the many
– but for the last few years, I
and a meeting of the minds.
requests for use of the
have been responsible for it
For 16 years, their body of
Newton’s images, what is
alone.
work has been archived in the
one of the most surprising
Helmut Newton Foundation
things you’ve encountered
In 2019, I was appointed di-
in Berlin. Newton, the original
during your tenure?
cultural provocateur, carefully crafted every image. Springs was a powerhouse in her own right. Sheer skill, combined with clever concepts, created careers that have yet to be surpassed in the world of photography. FADDY speaks with Dr. Matthias Harder, Director and Curator of the Helmut Newton Foundation, to provide some perspective on these iconic images and the work of the foundation.
The Helmut Newton Foundation preserves the photographic legacy of Newton and his wife June, who created an independent work under the name Alice Springs; it is a fantastic institution, unique in the world, housed in a historic building with fairly large exhibition rooms. I joined the Foundation after meeting with Helmut Newton in Berlin. He offered me the opportu-
As guardian of the ar-
foundation, which was in the
chives of such a public
process of being established
figure, could you describe
at the end of 2003. Initially,
how you came to the
I worked directly with June,
F A D DY Mag
I’ll continue to be the foundation’s curator.
nity to become curator of his
56
rector of the foundation, but
Since 2004, we have been organizing a wide variety of photography exhibitions, sometimes solo shows by Helmut Newton or Alice Springs, where a certain aspect of Newton’s work is the thematic starting point. In “Body Performance,” for example, it was his series of photographs from the Ballet de Monte Carlo, which have never before been shown in an exhibition. Currently, we’re showing “America 1970s/80s,” a show with four photographers who stand next to each
Harder Matthias other in a quasi-monographic
look sad.” And June said,
during his long career in a
manner. Those years the US
“‘When you look at your
now forgotten magazine - and
became a land of longing not
pictures, you cannot deny
which are now to be rediscov-
only for Helmut Newton.
your past.’ “
ered. Recent exhibitions at
The pictures by Evelyn Hofer,
Helmut Newton’s oeuvre is
the Foundation have traveled
Sheila Metzner, Joel Meyerow-
vast and well known. How
itz, and Helmut Newton from
does the HNF consider the
the 1970s and 80s give us a
work in terms of future
glimpse into a cool, progres-
exhibitions, in order to
sive, and liberal America.
showcase how his work evolved?
In 2001, Helmut Newton’s
to New York, Houston, Seoul, London, Stockholm, Venice, Milan, Rome, Paris, Amsterdam, and Budapest. Such exhibitions of his still inspiring oeuvre attract a large audience everywhere, of all generations.
wife, June, a.k.a. Alice
It’s true that Newton’s work
Springs, curated an exhi-
is vast and complex, with
bition, Helmut Newton:
numerous icons that appear
Work, at the Barbican in
again and again in various
London. Newton was ad-
exhibitions and publications.
amant that the show was
Yet Newton’s pictorial world
not a retrospective. Ac-
still seems challenging and
cording to The Guardian,
timeless today, even 17 years
he said, “That’s something
after his death. Curating a
you do when you’re dead.
relatively well-known work like
I think that’s depressing.
Newton’s always involves a
I can’t think of anything
kind of re-contextualization,
more boring than walking
a new approach and per-
into an exhibition and
spective on the work, as well
seeing the same old shit!
as tracking down motifs that
Without evolution, things
the photographer published
His body of work shows a sense of humor as well as a desire to provoke. Is there any one particular image that you feel could tell us everything we need to know about Helmut?
I think “Self Portrait with Wife and Models” shows quite well how humorously and subtly Newton worked - and how surprising it is when you know
Matthias Harder 58
the story behind it, because
and from the front – meaning
he remains in the background
most of his photographs are
the photographer must have
– and yet is the reason for
very cleverly constructed, with
been behind her. What is
this shot. The raincoat is the
complex content references.
special about this extraordi-
actual main subject of the
The picture was taken in Par-
nary and ambivalent image
picture, but it is marginalized
is, after he had published his
is the integrated portrait of
in the visual composition. The
third book, “White Women,”
June Newton, who is sitting
composition also unites the
which was as legendary as it
on a director’s chair next to
three main genres in New-
was provocative - and was at
the mirror and observing the
ton’s work: fashion, nudes,
a first high point in his career.
situation like a fashion editor,
and portraits. The model in
This iconic image is a fashion
with an air of professionalism
the image is Sylvia Gobbel,
shot produced for the Italian
and curiosity. The exit of the
who around the same time
men’s Vogue.
ground-floor studio of Paris
also posed nude for New-
In 1981, Newton was asked
Vogue is visible behind her.
ton’s famous diptych They’re
to photograph raincoats for
In fact, June had stopped
Coming, as well as several
an editorial – and promptly
by to pick up her husband
recruited himself as a mod-
for lunch and was unaware
el. There he is, standing in a
that she was in the picture.
room with his twin-lens reflex
The photograph staggers
summer house.
camera, wearing a Burberry
the figures in a way that is
In 1981, Helmut Newton
trench coat – next to a nude
interesting both formally
started working on his leg-
female model, photographing
and in terms of content: the
endary Naked and Dressed
both himself and the mod-
photographer is the smallest
series for the Italian and
el through a large mirror.
figure in the picture, almost
French Vogue. For this series,
We see the naked woman
dwarfed next to the permis-
models took a pose or made
doubled, so to speak, in the
sively posing naked woman
a movement twice: both
left half of the picture – si-
beside him. Looking down
dressed and undressed. The
multaneously from behind
into his camera’s viewfinder,
resulting images were pub-
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times when he worked in Ramatuelle near Saint Tropez, where the Newton’s owned a
Harder Matthias lished as diptychs in the fash-
images show the intimate life
of diptychs: one portrait is by
ion magazine. Self-Portrait
and love story of Helmut and
Helmut, the other by June.
with Wife and Models stems
June Newton. We see them
In the immediate juxtaposi-
from the same basic visual
in Paris and in Ramatuelle in
tion, the completely different
concept but was realized as a
the south of France, in New
staging idea becomes appar-
single work.
York and Los Angeles, we see
ent; it is as if we are looking at
them naked in the shower or
two different people in front
in the garden of their sum-
of us when we look at the
mer house, in a hotel room
pairs of pictures of Charlotte
just before a dinner party, in
Rampling or David Hockney,
the lobby of an airport or in
of Hannah Schygulla or Rudi
hospitals before or after an
Gernreich. The joint project
operation. More navel-gazing,
“Us and Them” by Helmut and
more visual participation in a
June is in this respect instruc-
private life is hardly possible.
tive and eye-opening, daring
This approach amounts to an
and convincing. It still touches
anticipation of the Instagram
us and our visitors today. And
revelations of today’s stars.
that is why I plan to present
In addition to these interest-
some of these pictures in the
“Us and Them” was published in 1999. The photos turn the reader into the voyeur, offering up glimpses of their private moments. The success and longevity of their relationship and collaboration is evident in the trust these images reveal. Looking at this collection of photographs 20 years later, what do you want us to understand about them and of the couple themselves?
ing, revealing self-portraits and mutual portraits of Helmut and June Newton in the “Us” section, within the
2022 redesigned permanent exhibition “Helmut Newton’s Private Property” on the ground floor of the museum.
project we also look into the faces of numerous celebri-
This book, and the accom-
ties, i.e. “Them”, which are
panying exhibition, opened
presented in the book and
our museum in 2004. The
in the exhibition in the form
In our current world of Photoshop and filters that instantly alter an image, 59
Matthias Harder Newton is known to have
technician.
and tear the other one up.
never adjusted his images.
Newton usually came to the
We can see that control over
The resulting photos are what he saw in the lens and as such, in spite of
the pervasive themes of
suggestiveness, there’s a
candor to them. What can
you tell us about Newton’s approach?
set well prepared, with a concrete and precise image idea, which he only had to realize
there with the model. Some-
times Polaroids, as preparatory sketches so to speak, were
helpful at the beginning of the shoot to check composition and constellation of figures. In
Helmut Newton’s work is exclusively analogue. We have all contact sheets and the corresponding negative strips, slides and Polaroids in our Foundation archives, only
60
addition, there are of course also some spontaneously created images in his work, not unlike street photography, some of which can also
the print quality, whether it
is a photographic print or a
reproduction in a publication,
was rather important to New-
ton. But this refers to the end of the production process; in the beginning there was very often a note of an observation of his immediate envi-
ronment, written down in one of his countless small notebooks, and the subsequent or much later implementation in a commissioned photograph.
be counted among his iconic
a fraction has been lost over
images.
Newton’s landscapes
the years - or in the case of
In a documentary video film,
fascinate us, particularly
Polaroids, given away or sold.
we watch the Newton couple
since they aren’t as large
During his lifetime there were
sitting in front of two almost
a part of his work and as
no relevant image processing
identical large-format nudes
such, not as widely known.
tools that Newton would have
in a Parisian photo lab and
There’s a broodiness to the
used. In fact, we see what he
discussing at length the
series of images featured
saw in front of his camera
depiction of the leg muscles
in “Sex and Landscapes,”
lens printed, and he relied on
of the model. Finally, they
lending a feeling of loneli-
the skill of a few selected lab
decide on one of the prints
ness to the series. In par-
F A D DY Mag
Harder Matthias ticular, “Leaving Las Ve-
free works and, taken togeth-
Of course, numerous iconic
gas,” and “Helmut Newton
er, are another piece in the
Newton images from his oth-
Landing France,” come to
mosaic for understanding his
er two main genres, portrait
mind. With his keen eye he
incomparable visual language
and nude, will not be missing.
was able to capture fleet-
and world view.
These will be supplemented
ing scenes that many of us miss as we go about our
daily lives. What do these types of photographs tell us about Helmut?
by Polaroids and contact
The Helmut Newton Foundation was established 18 years ago, just before he died. What are some upcoming projects in the
Here another side of Newton
works? Is there work we
is revealed, his interest in the
haven’t seen?
offside, mysterious and dark. Street scenes from Prague, Vienna and Moscow under melancholic dark clouds (as part of “Helmut Newton for Press Freedom”, a catalog for “Reporters Without Borders”) or deserted nature pictures in Vienna or interiors from run-down factories in Milan (in: “Helmut Newton. Archives de Nuit”). These photographs from the 1980s and 1990s had no commission, they are
sheets, providing insight into
Newton’s final image choices for magazine editorials, couturiers and advertisers, thus expanding his well-known body of work. This will be a very special exhibition. I’ve developed a full calendar of interesting exhibitions and
Yes, there are a lot of pictures
programs for the coming
that most people have not
years. A visit to the Helmut
seen. I’m currently looking
Newton Foundation is always
through this material in our
worthwhile.
archives. For example, the early publications and thousands of contact sheets and slides. In our next retrospective, opening in the fall 2021, I’ll focus on Newton’s fashion photography since the 1960s, using many previously unknown or forgotten images. 61
NADINE DINTER
S
ince 2009, Nadine Dinter has been working as the press officer of the Helmut Newton Foundation. Based on her profound admiration for Helmut Newton and his work, she considers this role one of the greatest honors there is. “As long as I can remember, I have been a huge admirer of Newton’s work. His distinctive visual language, his innovative and sometimes outrageous ideas, and the ability to always be ahead of the zeitgeist made him an icon of classic
Frank Horvat, Thomas Kretschmann, Christopher Makos, Sheila Metzner, Erwin Olaf, Vincent Peters, Jean Pigozzi, Platon, Sebastião Salgado, Lawrence Schiller, Alice Springs, Mario Testino, Albert Watson, and Ellen von Unwerth.
photography. Even today, many photographers are inspired by Newton’s work and imitate his style. But nothing beats Newton.”
this path at the German Academy for Public Relations (DAPR), then moved to the US in 2001, where she studied arts administration at New York University. Parallel to this she laid the foundation for her German-American arts and culture network, working at the renowned gallery White Columns and managing public relations and procurement for the camera club PPA – Pictorial Photographers of America.
With her own Berlin-based agency for media relations, PR consulting, and art administration, Nadine works across a variety of sectors in the fields of contemporary art, lifestyle, and art & commerce, with a primary focus on photography. Over the last 15 years, Nadine Dinter PR has supported many cultural institutions in Germany and abroad, including museums, galleries, foundations, festivals, and private collections. The agency nurtures a national and international network thanks to longstanding work with high-profile clients such as the Helmut Newton Foundation, Galerie Bene Taschen, St. Moritz Art Masters, the Mark Shaw Archives, the Richard Avedon Foundation and artists working in photography and beyond, such as Roger Ballen, Till Brönner, David Drebin, Larry Fink, Katja Flint, Greg Gorman, René Groebli, F.C. Gundlach, Olaf Heine, Marc Hom,
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Nadine Dinter’s career had a classic start: after training as a certified foreign language correspondent, she worked for several years in marketing for the pharmaceutical company Schering in Berlin. She continued along
Back in Berlin in 2003, she found her footing in the city’s dynamic, booming art gallery scene. One of her first stations was a PR project initiated by C/O Berlin for the company Canon; she then served as director of Galerie Asperger and later as art manager for Alexander Ochs Galleries Berlin|Beijing. In 2006, Nadine drew on these multifaceted experiences to go into business for herself. Since then, her agency Nadine Dinter PR upholds her mission to “consult, communicate, connect” with a commitment to: ENGAGEMENT, INDIVIDUALITY, FLEXIBILITY, EFFICIENCY, REALITY PRODUCTION.
photo by Steven Kohlstock
In addition to supporting a distinguished client base, Nadine Dinter also channels her passion and expertise in independent projects. In fall 2018, she curated the exhibition “Corpus Delicti” at The Ballery, an independent art space in Berlin. With works by Sonia Szóstak, Steven Kohlstock, and Simon Lohmeyer it sparked wide interest and
media coverage as a photographic discourse on the ambivalence of body representations in social media and its wider impacts today. Since September 2019, Nadine Dinter has also engaged photography fans and practitioners alike as a guest columnist at the prominent photography website, L’Oeil de la Photographie. Her interviews
with figures from the international photography scene are published monthly under the title “What’s new?” In October 2020, the pr consultant was nominated as a new member of the German Photographic Society (DGPH – Deutsche Gesellschaft für Photographie).
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Lobby view inside the Helmut Newton Foundation, Berlin - photo by Stefan MĂźller
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Installation shot, exhibition, Helmut Newton. Sumoâ&#x20AC;&#x153;, Helmut Newton Foundation Berlin, 2019, photo Gerhard Kassner
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Installation shot, exhibition, America 1970/80sâ&#x20AC;&#x153;, Helmut Newton Foundation Berlin, 2020, photo Gerhard Kassner
Installation shot, exhibition, Helmut Newton. Sumoâ&#x20AC;&#x153;, Helmut Newton Foundation Berlin, 2019, photo Gerhard Kassner
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Installation shot, permanent display, Helmut Newton’s Private Property“, Helmut Newton Foundation Berlin, photo Stefan Müller
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Installation shot, permanent display, Helmut Newton’s Private Property“, Helmut Newton Foundation Berlin, photo Stefan Müller
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Installation shot, exhibition, America 1970/80s“, Helmut Newton Foundation Berlin, 2020, photo Gerhard Kassner
Don’t miss the upcoming retrospective “HELMUT NEWTON. LEGACY”, which will open on October 31st, 2021 and run through May 15th, 2022
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George Holz
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George Holz ”Souvenir from Berlin” Photo by June Newton ©2009
Rebecca Romjin Pink Motel Burbank ©1999 George Holz
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GEORGE HOLZ GEORGE HOLZ EXCLUSIVE I N T E RV I E W BY ANNEYSA GAILLE
In a 1996 interview,
shot in Los Angeles or Berlin
intimately—you don’t have to
Helmut Newton says, “My
or Paris or anywhere around
go to the four corners of the
camera is a way of show-
the world—were really a re-
world, to “exotic” locations to
ing the world my kind of
flection of his upbringing and
make great pictures. Often,
universe, the world how I
point of view. Helmut would
the best things are right
would like it to be or how
often shoot very close to his
under your nose, in your own
I think it is. But it isn’t like
home. He went back to Berlin
home or backyard. I think that
that at all, of course.” Do
and did many pictures there
his pictures showed that.
you agree with this sen-
that were a reflection of his
timent? Is following this
childhood and upbringing in
ethos in photography an
pre-Nazi Germany. Of course,
act of capturing or ma-
he left, but I think he always
nipulation? Do you think
had a soft spot for the Ger-
those categories are even
many he remembered; and
apt ways of describing it?
I think his very statuesque, very powerful women were a
I do think that the camera was a kind of mirror into his life. He definitely had a point of view—a very strong point of view. To me, all his pictures—whether they were 78
F A D DY Mag
lot like those early very heroic pictures. He always would go back to familiar themes like that. He often would say that your most interesting pictures are going to be in your backyard because you know it
Helmut showed with his camera almost like a writer would with words. In a way they were like documentary pictures, but they were fantasy documentary pictures—more so than some of his contemporaries, though not necessarily those working in the same vein. For example, Guy Bourdin and Chris von Wangenheim also made amazing pictures, but
Madonna Hollywood Š1983 George Holz
79
GEORGE HOLZ Helmut’s pictures were deep-
this as being a part of his
all loved Helmut—there was
er because they were a bit
autobiographical impulses
never a bad word said about
autobiographical—when you
towards fantasy documen-
him by a model.
look at their pictures you can’t
tary pictures?
tell as much about the person as when you look at Helmut’s
I often think that Helmut
rector who would get what
would say things for a little
he wanted. So—in his own
bit of shock value. But I’m
words—that was how he
Speaking of the person-
not saying he didn’t manipu-
manipulated the models to
al… In the documentary
late—he did describe him-
perhaps be in these fantasy
Helmut by June, Helmut
self as being a manipulator.
worlds. But everything was
Newton rather controver-
However, being on his shoots
done with respect and maybe
sially described female
and knowing the models and
a little bit of humor. Every-
models as commodities,
how he treated models and
body he shot—from models
whom he directed to make
editors, I never really saw
to actresses—all knew they
his compositions without
that. Of course, there may
were working with a master.
really caring who they
be people who would say
There are obviously people
were on a more personal
what I’m saying is not correct.
who could not pull that off,
level—just like how some-
But the models and muses
but there was just something
one would manipulate
that I saw and know were
about Helmut’s aura and
copper or wood to make
only treated with the utmost
presence that made people
a product. Do you see
respect by Helmut and they
feel like they were living with
work.
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I think he was a strong di-
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Linea Italiana Madonna Inn St Luis Obispo California ©George Holz 1981
81
GEORGE HOLZ greatness and they went
do you approach the act of
portrait of a celebrity, you
along with it.
externalizing your internal
obviously have the subject
gaze to create an image
themselves, usually coming in
that is distinctly your own
with a large entourage—un-
while simultaneously tap-
less they’re quite young and
ping into that which may
in the infancy of their careers.
be unseen or has yet to be
This entourage consists of
amplified in your subject
people like their publicist
to make the image one
and manager and all sorts of
that also captures some-
other people. So, it can be
thing that is distinctly
very hard to get intimate with
them? Because this bal-
a subject in short period of
ance is something that I do
time and really get your thing
see in your work.
across. Though, obviously, the
Interesting. I also think
that the word “manipu-
late” can trigger a lot of negative connotations
very quickly without people really thinking about the different valences of the word.
It’s a word that needs to be
person usually knows your
put in the context of the times, though it is certainly a word that has taken on a bit of a harsher context in the last number of years. Obviously, words have a lot of strength. And I don’t think that I manipulate the subject myself as much as I manipulate my camera and techniques and lighting. But by any sense of the word, when you are directing someone, you are manipulating them to
I think it’s always a little bit of a compromise. You also have to break that down into whether it’s a consigned assignment like when you’re working for a magazine or a movie studio or record company, versus if it’s something that you’re just doing for yourself. Are you speaking generally?
Sure, but also your nudes
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conduct research by looking at magazines or maybe some Xeroxes that were sent over. But, if you have their trust and confidence, they know that you’re going to try to make them look good.
You also obviously always assignment required if they were paying you, but I always had in the back of my mind what I wanted to do. That
When you are taking a
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internet when you’d have to
have to do the things that the
and other bodies of work.
portrait of someone, how
than in the days before the
about celebrity portraiture,
do what you want to do; so, in some ways we all do that.
work—which is easier now
Okay, well, first of all for a
was always kind of driving the
Amy Hood in Apple Tree Camp Holz Woodland Valley ©2017 George Holz
83
george holz train anyways. So, once I felt
wouldn’t get bored. I tried to
the hell! Where did they go??
like I had what they wanted, I
make it an exciting adventure
But it was great to do all that
would try to dig a lot deeper
for them as well.
because we could both be
and bring something out of
that person that was uniquely them and uniquely my vision of them. I also would usually not do a lot of research on
people because I purposefully didn’t want to see too many
a bit freer. I wasn’t trying to
What’s an example of a
technique you would use to facilitate this oscilla-
tion, to keep things exciting in a shoot?
pictures of how they looked.
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trick them or trip them up—I was just wanting to keep it interesting, not just, Okay, well, you’re here to do this, so we’re going to do that, and then you can go. I wanted to push it to the second they
There was a certain naivety
Just moving very quickly from
were walking out the door
of working with somebody
one set to the next. You
and getting in their car, like
and just thinking, Ah! This
know, not stopping to show
Oh, just one more shot! or
would be cool, that would
them polaroids or show them
Let’s try this, let’s try that. You
be cool. I mean, I did have
the screen—just trying to do
know, keeping that positive
ideas and concepts, but a lot
everything in camera. For
energy up so that they felt like
of times I would put those
example, if it was more of a
you weren’t just there doing
by the wayside when I saw
structured portrait in a studio,
your job—you were really
something else that excited
I’d do that; but then also do
trying to create something
me. And I don’t shoot a lot.
things more like a fly on the
that was cool. And then just
I would often have to shoot
wall, building a repertoire of
talking to them like a person.
quickly, which is something
everything going on behind
You don’t always have a lot
that I sort of learned from
the scenes. I’d often do this
of time to do that, but some-
Helmut. But it’s not the kind
just by going to a little corner
times you do. I’ve had any-
of thing where I would just
and lighting it or walking out
where from three to five min-
shoot, shoot, shoot! I would
to the parking lot or down an
utes all the way to two days
try to think more about what
alley and getting the subject
to photograph someone. So,
I’m doing and move quickly
away from their entourage so
it really stretches the gamut.
so that my subjects wouldn’t
that I could get a little bit of
Also, photographing people
get bored. I’d always try to
personal freedom with them
more than once helps: a year
oscillate, to keep them off
to do things. Sometimes, we’d
later they might request you
balance so that there was not
take a ride somewhere. And
for something else, and when
too much comfort and they
everyone would be like, What
you go back four or five times,
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Angelina Jolie on Sink New York 1998
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GEORGE HOLZ there’s a certain familiarity
Helmut was definitely inter-
Andie MacDowell, whom I’ve
with each other that is quite
ested in a certain class of
photographed ever since she
nice.
people that he was photo-
was a model, to Jerry Hall.
graphing. But that changed
For sure. Over the years,
you’ve become known for photographing famous— or almost famous—subjects, like Joan Jett and
Angelina Jolie. This brings to mind another Newton
quote. While describing his fashion photography later on in the aforementioned interview, he says that “it is a social statement” because “it shows the kind of world a certain class of
he did photograph fantasies from his boyhood as well
as very wealthy, decadent
people. Decadent is the word
I would use because it doesn’t necessarily have to mean a
certain class. You could photograph a housekeeper and have it be a very decadent
picture as well as a famous movie star. But jumping ahead to my work, I think it
So, I just think that it was so diverse that it would be hard to pigeonhole and say, Yes, it was a document of a certain class of people. Obviously, some of them were very well known and well off, whereas some just had one hit wonders. So, that kind of ran the gamut as well. Maybe a commonality is the consistent presence of differences?
definitely runs the gamut over the thirty years of people I’ve
I just tried to create what
photographed. Just looking
was in my eyes a portrait of
back, I think that the people
them, though sometimes that
What drew you to pho-
are very diverse. I mean, you
would be dictated by a client
tographing the class of
look at a rock and roller like
as well. I don’t know. That’s a
subjects featured in your
Joan Jett, versus someone like
really tough question because
book, Holz Hollywood:
Angelina Jolie who might also
it was just such a wide gamut
Thirty Years of Portraits?
be kind of rock and roll, espe-
of people over that thirty-year
Do your see the portraits
cially during that period when
period of time. Like very early
compiled in that book as
I photographed her. Then you
in the eighties with some of
being a social statement?
can look from Jack Nicholson
those pictures of Madonna,
What has—or has not—
to Anthony Quinn, who was in
that was just someone who
changed in regard to your
his nineties. And then some
we were walking down the
perception of Hollywood
people who were just won-
street with after picking out
over the course of that
derful and very simple in their
her clothes—no one knew
timespan?
beauty and down to earth like
whom she was. But if I pho-
women live in.”
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from time to time because
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Anna on Balcony Hotel Bogota Berlin Š2009 George Holz
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george holz tographed her five years ago,
that, your point of view
times in the studio at 400
then obviously she would be
definitely makes sense.
Lafayette and the people who
a very different person than
So, would you say that
came through there, which
she was in 1983.The same
this change is at least
was just a wonderful time in
can be said about the early
somewhat a product of
New York that is totally gone.
pictures of Brad Pitt. It was
mass media and culture?
It’s all gentrified. Right now,
just us fishing with his dog
Of other’s people’s images
it’s obviously very different
and his parents hanging out.
projected onto them?
because of the times we’re
Photographing him after
Once Upon a Time in Holly-
wood would be a very different experience because we
would both be very different
people. My eye has changed. While looking back at sessions that were taken thirty
years ago, I selected different images than I did back then because my eye became refined, it changed. Also, my perception of some of the people had changed over the years—maybe some of them went on to be huge stars, maybe some of them didn’t, and some people like Brittany Murphy are no longer with us. It’s hard to put them into any category. Maybe you see it differently as an outside viewer, but for me it was very diverse.
living in due to the pandemic,
Yeah, I think that you can’t
say that you’re not affected like that. From a historical
perspective, some of Angelina Jolie’s pictures were taken
when she was a bit of a wild child, but now she’s a mother
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3,500 square feet and pay $1,500 a month and be in the middle of everything—that was great, and you thought it would last forever. That was it.
and involved with all of these charitable causes. So, that
So, though that part of me
was a portrait of her in that
is still there, and it is nice to
period, and that was a por-
look back, I look at things
trait of me in that period, too:
very differently now that I
like her, I’ve changed. I was a
live in the country and am a
product of all the sex, drugs,
father. I’m also always look-
and rock and roll back in the
ing forward because I’m still
seventies and eighties. It was
shooting, still working. That
a wonderful time to be in New
same energy is still there,
York and to be in Italy, though
even with the surroundings
you didn’t realize when you
we are forced in right now
were in the middle of it—you
with the pandemic, which has
never do. You’re like, Ugh!
of course shaped things in a
Will anyone ever remember
very weird way from day to
the fashion of the eighties?
day.
It’s terrible! when you’re in it. When you explain it like
but still. You know, to have
But then I think back to those
Bode in Airstream Camp Holz Woodland Valley ©2016 George Holz
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GEORGE HOLZ Another thing that makes me
It’s very interesting. When
it was a monthly like Vanity
look at things differently is
was the last time you
Fair, you would shoot months
when a picture becomes his-
took a portrait of an actor
in advance. But now Jay-Z can
torical. For example, the pic-
or musician who could
shoot Beyoncé on their yacht,
tures I took of Trump and Me-
actually be considered as
and that becomes a series. It’s
lania. They’re just sitting there
being at the start of their
much more about shooting
in Trump Tower; she’s just
career? Have you found
things with the iPhone and
sitting in his lap. They’re some
that your own success
Instagram. The pictures are
really bizarre photos taken
has perhaps hindered
out instantaneously—there’s
the first time he thought
your ability to access such
not that waiting period. There
about running for president.
moments if only due to
was a certain element of trust
At the time I never thought he
the high demand for your
before because you would
was going to be president. So,
work and the well-estab-
shoot things with film, and
those pictures have become
lished clients you attract
that film was in your posses-
very historical and are looked
nowadays?
sion. It wasn’t something that
at very differently now than when I took them. When I go back and look at them again, I just think, These are crazy pictures from a crazy time, you know? But who’s to say the next person I photograph twenty years from now won’t be like that? I think the wonderful thing about having done this for a while is that though you never think that in your lifetime your pictures will be historical, once you start getting twenty, thirty years away, those pictures are historical. Some become more iconic or whatever, but that’s just nature. It’s interesting. 90
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could be leaked out and disTo sidetrack this on a little bit of a tangent, I think that social media and definitely the internet as well as the instant gratification aspects of
seminated around the world very quickly, which affected not only you, but also your subjects and fanbase—your fanbase, their fanbase.
the business that accompanies those developments has
But to get back to your origi-
really affected how people
nal question, I photographed
interact with each other in
Jessie J for a record company
the arts. It used to be that
job. We did really interesting
you’d shoot somebody, and it
photographs, and she had
would be shot on film. Then,
that huge hit album and was
you’d wait three days and get
followed around by the pa-
that back; then you’d edit,
parazzi. So, that’s one person
send that back, and have it
who really sticks in my mind
come back in maybe a week
and wasn’t photographed
if it was a weekly publication
too long ago. But I can’t really
like Entertainment Weekly. If
think of anyone else. Maybe
Brad Pitt, A River runs through it Montana Š1991 George Holz
george holz by the end of the interview
been continuing to work
ferent levels, and sometimes
something will come to mind!
together. It’s so cool to see
through a backdoor as well.
something you’ve done like
Actually, someone else I’ve worked with is Melissa Auf der Maur, the bass player
from Smashing Pumpkins. She was in a lot of great
bands, and I’ve worked with
her recently. She’s somebody who I thought was of that
level of Courtney. But people change. They have kids or buy a huge place Upstate
for the arts. And for me, it’s as interesting as being in a different band. So, it’s not
“Glitter” become a cult thing again. So, a lot of that stuff has a second life. Just this
past year, “Glitter” was even bigger than when it came
out. And you read about how it was released on 9/11 and was doomed, but her fans
pushed this; and when she
comes into the limelight, your pictures do, too. So, a lot of
times these things have a second life that’s bigger than the first life, which is kind of cool.
your initial encounter with Helmut Newton and his first ride in your 1969 Dodge Dart when you had to open the trunk using a fork and prop up his seat with a milk crate has arguably become the stuff of legend. To borrow a phrase from Audre Lorde, if you were asked to write what she called an mythobiography, what moments would you include? When
always about that “stardom.” I mean, Beyoncé is someone
Then of course there’s people
would it start? Have you
I photographed not that long
I’ve shot in my personal work.
ever thought about the
ago who was big, obviously,
For example, I was in Berlin
process of self-mythologi-
but not as big as she is now,
photographing this won-
zation or even the mythol-
which I knew would happen.
derful model named Maria,
ogies surrounding super-
She was very humble—it
and I just thought, She’s just
stars you may have helped
was just her mom and glam
too amazing. Then a couple
shape with your iconic
squad. So, that’s somebody
months later, I saw her with
portraits?
more recent.
Willem Dafoe at the Berlin Film Festival. I knew she
There are also people I’ve worked with over the course of many years as they grow into their stardom. I’ve worked with Mariah Carey for years, and we have 92
Speaking of amazing,
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was way too cool to just be someone I was introduced to through Instagram. So, sometimes I see these things, and I’m just like, Wow, they’re so amazing. It happens on all dif-
Mythobiography? What’s the definition? Sorry I’ve never heard that before, but it’s a great term!
Joaquin Phoenix New York ©1996 George Holz
GEORGE HOLZ No worries! It is a really
moments that could have
very hard to get where he
great term from Audre
happened around birth all
was. My mother was a public
Lorde’s book, Zami: A New
the way to the present that
health nurse. I had three sis-
Spelling of My Name. My
shape who you are in a kind
ters; so, I was always around
explanation is going to
of roundabout way?
women, and I always felt very
give neither the term nor the book justice, but to
really boil it down, I’d say
that in Zami: A New Spell-
comfortable around my older
Yes, that’s definitely one way of putting it!
ing of My Name, Lorde
shaped me photographing women. I had a camera from a very young age and was
is concerned with both
Wow! That’s intense. Well, I
always fascinated by pho-
horizontal and vertical
think that you never choose
tography. I think at a certain
relations. This leads her to
who your parents are. I grew
point—maybe when I was
construct an idiosyncratic
up in Oak Ridge, Tennessee—
nine or ten—I started disap-
mythos anchored in the
that’s where I was born. Its
pearing from family pictures
influences of the women
fame was that it’s where the
because I was always taking
she feels in her blood and
Manhattan Project devel-
the family pictures, even just
meets throughout her
oped the atomic bomb. So,
with a Brownie or Instamatic.
life; then she uses this as
my father was a scientist in
Then I got into photography
a frame through which to
Oak Ridge who had escaped
clubs and took classes about
better understand ways of
Nazi Germany to come to
it in high school. My sister
living a legible life. So, ba-
the United States when he
bought me my first serious
sically, I’m just really curi-
was around the same age
camera when she was in the
ous about the mythologies
as Helmut. They are almost
Navy over in Guam. Eventu-
people use to understand
exactly the same age, actually,
ally, I started photographing
their lives, the trajectories
separated only by a year; they
my girlfriends and thought,
of their lives. You know,
were basically born around
This is really cool. Around
when does it start? What
the same time. So, they had a
the same time, I discovered
forces shaped you as a
very similar life pattern.
Helmut Newton, Guy Bourdin,
person? How would you describe those forces?
and David Bailey and realized My father came when he was thirteen, so he had to take life
Okay, so you’re talking about life-shaping or defining 94
sisters. Maybe that somehow
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by the bootstraps and work
people could make a living with photography—even though I didn’t think I would at the time.
Brittany, Homeland Security, Woodland Valley 2016 George Holz Š2020
george holz I also did a lot of travelling
when I was younger: I spent a year in Israel and backpacked through Europe. Then, I
realized I loved the work of people like Micha-Bar-Am,
who was an Israeli documentary photographer. So, I was
really into that, but I was also into photographing portraits and women. Eventually, I
came back to Tennessee
and went to the University of Tennessee for a few years. I was also into the sports, but realized that I wanted to really study photography. I had a cousin who had gone
because I wanted to emulate
money was flowing; there
him and loved his direction. I
were huge daily rates; pho-
mean, we learned how to do
tography was king; magazines
everything in school—pho-
were king; and you thought
tographing buildings, archi-
that would never end. Then
tecture, food, and products.
I segued into celebrities with
It was like bootcamp for
people like Madonna and
photography; it was very
Brad Pitt; so, my fashion pho-
technical. But then seeing
tography gave way to doing
Helmut and what he did
more portraits and enter-
and being able to follow him
tainment-related work. At the
around was very seminal.
same time in the mid-eighties,
Him recommending me going
I started pursuing more of the
to Europe, that was another
fine art work with nudes, hav-
moment that really shaped
ing gallery shows and group
my career—it let me get into
shows and one-man shows
Condé Nast. But I still stayed
in great galleries all over the
in contact with home all the
world—Vienna, Budapest, Los
time.
Angeles, New York.
After coming back to New
Around then, I met my won-
York and having that studio
derful wife, Jennifer. We’ve
from the early eighties to the
been married since ’94. We
nineties, I started off doing a
had a son in ’96 and bought
lot of fashion and advertising.
a house Upstate. Originally,
I got an agent in New York
the house was just a place to
and worked with a lot of great
escape on the weekends. But
art directors like John C. Jay,
eventually, after 9/11, it be-
—just a lot of really wonder-
came more of a fulltime place
ful, influential people who
though I still traveled quite a
were really at the top of their
lot for work to New York City,
careers even though maybe
Los Angeles, and Europe. I
they didn’t know. It was a time
also continued doing that fine
of opulence and decadence:
art work. That was a quick
to the Art Center College of Design out in California, and I thought, Well, I could either go there or the Rochester Institute of Technology. Then I looked at the weather and lifestyles in those places and decided that I was going to go to California!
Eventually, through chance and some friends I met Helmut. This was obviously a very life shaping moment 96
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Dora with Rifle Nashville ©2013 George Holz
GEORGE HOLZ Cliff Notes version, and it’s all
much more uptight. When I
like Helmut but worked in a
mythos! But there’s always
think about my son’s life and
very different direction in the
more when you think back.
how much he’s up against…
fine art part of photography.
I mean, I suppose we were
In exploring things like that in
always up against things, they
friendships, they all become
were just different.
important.
accident with a bicycle spoke.
You always hear about people
To continue exploring this
So, I was right-handed but
saying, Well, this was the day
thematic concern with
then became left-handed
that changed my life. But
friendships, would you say
because of that. And then I
of course, there’s probably
that Helmut Newton’s in-
was kind of left-eyed, and it
many of those days and
fatuation with Americana
became very easy to wind
there’s a path; in those bullet
is a part of what helped
my camera because I didn’t
points, there are always other
you get along? Do you love
have a thumb right there!
things that shaped you, like
Americana? How does the
That’s mythos, and I think it all
perhaps a teacher you had. I
history of your hometown,
shapes you from a very early
remember my photography
Oak Ridge, in Tennessee
age. You also need to think
teacher in high school, James
being established as a
about how it all shapes your
Watson. Seeing that first print
production site for the
kid, everything, every day.
come up in the developing
Manhattan Project shape
tray was lifechanging for me;
or complicate your view
seeing that print develop and
of Americana? How would
just thinking, Wow, that’s so
you even begin to define
cool! A life shaping moment
the concept of Americana?
For example, I lost my thumb when I was very young—like two and a half—in a freak
There are a lot of outside moments that influence what becomes a part of the mythos as well. The eighties were very carefree. You know, there were things like AIDs around, but we didn’t have pandemics or national security concerns. It was a very different time. I think things are definitely 98
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could even just be when you meet a friend. I met Kim Weston, the grandson of Edward Weston, and we became very good friends. Just seeing that whole legacy of another Great was really amazing—his grandfather was someone
Well, I grew up in Tennessee and was born in the mid-tolate fifties. So, of course in the fifties and sixties I saw: some of my older sisters who were hippies and their
Heather Graham Alexandria Hotel Los Angeles Š1999 George Holz
george holz hippy friends; all the crazy
maybe when he saw my car,
ily discussed your work
parties; Elvis; and all the great
he thought, this is kind of
photographing famous or
rock and roll bands of that
cool, you know. I definite-
almost-famous subjects,
time. But my town, I think, is
ly liked country music and
I am also very interested
the largest per capita place
Western movies. I thought it
in your newer work pri-
anywhere in the world for
was fun to show him great
marily consisting of nudes
the highest concentration
a great place to get burg-
taken at your farm, which
of PhDs—right in the heart
ers or play rock and roll or
will soon culminate in
of Appalachia! So, it was
country music driving down
a book, The Camp Holz:
not maybe the most typical
Sunset Boulevard. So, maybe
Guestbook. What caused
town. But I remember when
he saw us as being typical
you to shift your gaze from
integration started and have
American dudes whom he
Hollywood to your farm?
lots of memories of that time
wanted to hang out with, but
How do you decide whom
growing up in the South. And
I don’t really know. I never
to photograph for these
I was definitely surrounded by
asked about it. We were all
photoshoots? Do you see
things that were Americana. I
very funny and personable
this change in subject
remember my father buying a
and goofy in our own way, so
matter as being related to
Pontiac Grand Prix, this huge,
maybe he saw a bit of himself
the previously discussed
powerful car that was like a
in that or just liked that none
impulse to use your cam-
houseboat. Sometimes I felt
of us were pretentious in any
era as a means by which
a little embarrassed driving
way or came from that kind
to capture and share your
it, you know, because some
of background. Maybe he
personal world?
of my friends’ parents had a
liked that we weren’t some
Volvo or something, whereas
suave European assistants, or
this was a huge muscle car
whatever.
before muscle cars were cool. But I definitely did think it was
cial work though production has obviously slowed down.
The three boys from
The pandemic has made it
Pasadena! That being
harder to travel and just pick
said, I would like to shift
up and go to L.A. for a day. It’s
I don’t know if when Helmut
our focus more so to the
a nightmare—the pandemic
first met me that he knew
present, because though
and quarantine. I can still go
that much about me. I think
thus far we have primar-
to the City and do things and
kind of cool.
100
Yeah! I’m still doing commer-
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Jada Pinkett Smith Los Angeles ©1997 George Holz
GEORGE HOLZ have been able to do some
there was so much natural
So, I don’t always have a pre-
shoots that are in a bubble
beauty. It was easy but famil-
conceived direction of what
up here because I can work
iar for me to photograph, and
I’m doing. If I find someone
with local people. But getting
I love shooting. So, it wasn’t
who is interesting, I want to
back to your question, I’ve
like I just wanted to wait
photograph them. Sometimes
been shooting these pictures
until I was back in the City or
it’s easier; sometimes it’s
since I first moved up here;
Los Angeles or Paris to do a
harder. I go through phases
it’s been a long time. I guess it
shoot. I wanted to be shoot-
when I don’t do a lot; I go
was just that in the beginning,
ing here. So, I just thought
through phases when I do
this was more of a weekend
that this would be my canvas.
a lot and I’m really inspired.
place. So, since I was spending more time in the City, I
would be importing subjects up here or people would come by and visit. But then it really started picking up, and I started working not only with people who would come up and visit or subjects whom I was interested in, but also people from the local area— local artists, dancers, models, just subjects. The subjects really have run the gamut. A lot of them are friends or friends of them.
I think these days it’s really
It’s always changing as well, but not just because of my subjects—it changes every
day because of the light. Year after year, I just grow with it. After a while, I was like Hmm… there is a really large body of work involved in this! So, it kind of segued into a series even though it didn’t start off as being one. It’s like Holz Hollywood: Thirty Years of Portraits—I just kept shooting and shooting, and at some point, I just had to tell myself to stop and finish it! You
To return to the idea that
know, because you’re always
things are really amazing just
like, I want to do this person!
in your backyard, it started
And this person!
off as something I liked to do when I was here because 102
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important that you work on your own work and aren’t shooting for Instagram. I know it seems possibly trite to say that, but so many people shoot just because they want to get stuff out there on social media. And that stuff is obviously super censored. It’s just become too bizarre for me. I don’t want to put down the medium, because for me it is an interesting way to communicate with that world, but it’s difficult because there is that censorship which has become even worse recently. In other words, it has its merits, but it’s important that you do also have a book or shows—though that has got-
Kadijah In Shwowe Chelsea Hotel New York ©2002 George Holz
george holz ten harder now since every-
that have since became super
that when I get young interns
thing is on hold with galleries
valuable, limited edition
or assistants and, well, obvi-
and publishing companies. It’s
collector’s items. It took on a
ously most of them know who
tough, wading through all of
whole new life.
Helmut Newton is, but they
those waters. I think you just have to stay true to yourself,
your vision and your gaze and sort it out later.
usually don’t know who Guy
So, a book to me is a kind
of forever. Holz Hollywood:
Thirty Years of Portraits is in the Library of Congress and
Have you found that see-
the printing quality is archi-
ing your photographs in
val. It will be something that
a book dedicated entirely
someone’s kids, grandkids,
to them is a significantly
or great-grandkids is going
different experience than
to find on a dusty shelf a
seeing them in a magazine
hundred or two-hundred
or framed on a wall? If so,
years from now. Additionally,
how and why?
a book is something that is
Definitely. It’s interesting for me because even when I did the book, it seemed like it was never finished—even up to the last second. But a book is around forever. Even though that particular publisher went bankrupt and all of the Holz Hollywood: Thirty Years of Portraits books in storage were destroyed because he didn’t pay his bills, I still had a number of copies myself 104
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Bourdin or Chris von Wangenheim are—they just know who the Instagram stars are. And I go, You got to do your homework! If you’re interested in fashion and photography, there are so many great people out there beyond the Instagram stars who were shooting back in the eighties or seventies.
a real anchor point in some-
In other words, I think a book
one’s life and career for a
is a milestone and anchor
certain kind of work. And
point in someone’s career
though there may be re-
that helps define how they
vised editions, it’s something
are going to be remembered.
people are going to look back
I mean, obviously there’s gal-
on and it will influence how
leries and stuff. But that’s not
someone is remembered.
as tangible. You can’t have a
You know, Irving Penn or even
gallery show on your book-
Helmut Newton, most young-
shelf. And books are beauti-
er people who aren’t yet
ful: the writing, the design, the
familiar with them may see
shapes, it’s everything in them
their books in bookstores and
that makes them beautiful.
then become familiar with their work. I’m always amazed
Aly Dunn Palm Beach ©1990 George Holz
GEORGE HOLZ Yes! I am so happy to hear
work solely with digital except
I have certain catalogs of,
you talk about books like
for rare cases when there’s
say, my most iconic images
that because I’m a huge
an assignment that someone
for galleries and. PDFs for
book and book arts lover.
wants you to shoot with film
presentations and for books,
or polaroids. It has been that
of course. So, I do have stuff
way for many years. I can’t
in folders in case someone
remember the last time I did
needs something because
an assignment on film. But
it’s easier to find. But there’s
I do my personal work on
many, many shoots where the
both digital and film. I have
entire shoot is on there but
all my film cameras still—I
maybe we’ve only selected
didn’t get rid of anything! And,
a few things, especially with
sure, digital media is easier
digital shoots. So, it really is a
to store, just because stuff is
big task going through those
on a hard drive. I mean, I still
and just keeping everything
have a lot of stuff on CDs, but
backed up and organized
that’s all being transferred
because hard drives go bad.
to hard drives. You can also
You could also lose hard
store stuff in the Cloud. But
drives in a fire. You can lose
it’s just all a little precarious
magazines, negatives, contact
when you think about it—ev-
sheets in a fire, too. So, you
erything is in this little box
really need to have like one of
that can break or go corrupt.
those Hollywood, Fort Knox
So, you need to just have
vaults. But even those have
multiple and multiple backups
fires. Or things get stolen. I
of things.
also just really don’t trust a lot
Yeah, I used to love going to Strand and looking around. I have so many books now
that I’ve run out of room! But I am going through a huge
organizing stage. A part of the storage issue is that so much
stuff is analog, which takes up a lot more room than a hard drive. So, the biggest problem for me is archival storage because you have to worry about temperature and mice and everything—especially out in the country—to really secure things carefully. But it’s also really nice having it all under one roof and hopefully being able to find things!
of cyber security with images
Do you find yourself working more with digital media now because it’s easier to store?
Have you worked on creating a digital catalogue of
out there on the Cloud—high res, especially.
your analog photos? Yes, archival work is very
Well, commercially I have to 106
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difficult—regardless of
Inge jumping Antwerp
107
george holz whether it’s paper or
zine is probably really valu-
and June. Those are all very
digital. I’ve spoken with
able right now. It pays to be
dear to me. Otherwise, I have
librarians doing archival
a packrat and hoarder when
just kept pretty good records
work at the Regenstein
it comes to photos, writing,
from shoots: there’s pola-
Library in Chicago, and
memorabilia, ephemera, and
roids from location shoots or
they’ve said that a lot of
anything relating to what you
just personal polaroids with
the archival problems
do. I’ve saved everything, and
people on shoots. I have a
they are facing now are
when we’ve had shows at the
signed polaroid from when I
related to the degradation
Helmut Newton Foundation,
shot Steven Spielberg around
of digital media files that
having pieces of notes from
the time of Schindler’s List.
are more vulnerable than
the Beverly Hills Hotel that I
My mother always loved his
paper files. So, they have
just wadded up in my pock-
movies, and she has that
to work with digital me-
ets and then didn’t throw
polaroid on her mantel piece.
dia files much faster than
away have come in handy.
She’s one hundred now!
paper files to try and stay
It’s important. But I have lost
ahead of the bit rot. This
stuff that I really have no idea
often means they have to
where it went.
That’s so wonderful!
make hard decisions about what to keep and what to let deteriorate in some cases.
Are there any pieces of memorabilia you’ve collected over the years that are particularly dear to
Interesting. Yeah, I just never
you?
throw away anything. I have a huge file of old tear sheets and whole magazines and newspapers I’ve saved. I’m glad I did even though they may take up a lot of room. It’s really cool to have the FHM with Melania on the outside. You know, the whole maga108
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Yes, so just little things like that are really dear. There’s a lot of them. Every time I go through a film session, I’ll find some polaroids that I forgot I had. I think that polaroids are wonderful memorabilia be-
Well, some of the stuff from
cause they’re originals. I also
working with Helmut: like I
have coasters from bars at lo-
said, notes from the Beverly
cations I shot at and bumper
Hills Hotel and books that he
stickers on my camera cases.
would sign when we’d bring in
I have this one old camera
one of his books. Also, post-
case that I just can’t throw
cards and letters from him
away because it’s covered
Kimbra jumping, Camp Holz 2016 George Holz Š2020
109
GEORGE HOLZ with stickers from that period
amazing portraits. In recent
needed to do that for their
in my life. They become kind
years people have started to
art because it freed their
of like collectible things.
become more familiar with
minds. Similarly, I think there
her work. She was a force
are people who believe they
of nature—she still is! I saw
have to put their work first
her not too long ago; she’s a
to be successful. But there
wonderful woman. So, I just
are definitely many artists
have to preface that though
who have had very successful
photography was really, very
careers and still had relation-
important to Helmut and his
ships in their life that were
pictures were very important
very important—if not more
to him, June was really a very
important— than their work.
So, to follow this thread of what you value and
hold dear, I have another
question based off of June Newton’s documentary,
Helmut by June, in which she divulges that while
proposing Helmut told her, “photography will always be my first love, and you will be my second.” Do you think it is necessary for artists to love their craft more than anything? How
integral part of his life and his work—she really was and continues to be a huge force in his life and his legacy. It would be interesting to hear what she would say, as well.
do you feel about it?
Wow, that’s a very interesting comment. I mean, I could definitely see that, but I know that she was his confidant and art director and critic.
you know? Maybe they fed off that in some kind of weird symbiotic relationship
Yes, I’d love to hear that!
relationship and the artist’s
But what about what you
work—like people who like to
think about this question?
have a fight and then make
Do you think that artists
up and make love. Or maybe
need to love their work
you need to be really distract-
more than anything else?
ed by or angry at that person to bring out certain things in
concepts; she came up with
Back in the seventies and
a lot of concepts. They were
eighties, there were definitely
a real team, those two, even
artists and people who would
though she did have her own
get involved with substance
career and took a lot of really
abuse and thought that they
F A D DY Mag
tionships were tumultuous,
between the conflicts in the
He came to her with his
110
Maybe some of those rela-
your work. I mean, you look at people like Patti Smith and Robert Mapplethorpe and you can see how people go through different periods and have relationships that shape
Woman Garden of Agave Tequila Mexico ©1996 George Holz
george holz their art. The period when I
their work who’s not going to
people I’ve always wanted to
was doing the animal bone
be jealous and isn’t going to
photograph but haven’t been
series was shortly after my
hold them back. My wife has
able to, like Barack Obama
father had died. So, I saw that
always been very supportive
and Meryl Streep. But I don’t
as a way of dealing with death
of me and whatever I wanted
know if those are the people
and mortality: bones and
to shoot. She’s never been
whom I would want to use
skeletons juxtaposed with the
the jealous type or anything
that one roll on. Selfishly, I’d
human form was my way of
like that. And I think that’s re-
say maybe a great self-por-
dealing with that.
ally important, that you have
trait. I don’t think I’ve ever
that kind of relationship both
taken a self-portrait that’s a
ways. But there definitely are
defining portrait. So, perhaps
artists that thrive on conflict
that would be what it would
and can’t work unless they
take. I don’t know. But I do
have that. Sorry, I don’t really
think a scenario like that
know if that answered your
would force you to do some-
question!
thing really self-introspective.
to each other, and that was a
It was a lovely answer—
For sure—why not turn
very strong common denom-
thank you for your per-
the camera inward for
inator through his work. I
spective on that!
once?
But Helmut and June’s re-
lationship was such a long relationship. I’m sure it wasn’t always a bed of roses; I’m sure they had their twists and turns like anybody would. But they always came back
think that they were loyal to each other in that way. Like I said, there’s twists and turns. I think some artists need conflict to thrive; others need the nesting effects of a relationship to thrive. But I think the most important thing for an artist is that—whether it’s the
My final question is admittedly a bit absurd, but if there was one roll of film left in the world and it was yours, what and/or whom would you want to photograph?
husband, wife, boyfriend, girl-
112
friend, or partner—they have
Wow! Let’s see. That’s a really
someone who lets them do
tough question. There are
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Rebelkah Underhill in Sugar Maple Š2020 George Holz
Rhona with deer Antelrs New York ©1986 George Holz
Simone with Turkey Hunting Mask, Camp Holz 1992 George Holz Š2020
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Shelbie Dimond Cabin 11 Woodland Valley ©2018 George Holz
Tenley opening Day Camp Holz ©2010 George Holz
Zoe thrown under the Trailer Camp Holz Woodland Valley ©George Holz 2019
119
Tenley with Peaches Woodland Valley ©2010 George Holz
June Newton, Cafe Einstein Berlin ŠGeorge Holz 2009
Mark Arbeit
126
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1982 Mark,Helmut & Just Photobooth Milan
127
MARK ARBEIT MARK ARBEIT EXCLUSIVE I N T E RV I E W B Y J A M I E VA L E N T I N O
American photographer Mark
Cosmopolitan, Figaro Ma-
of Fashion, portraits, beauty,
Arbeit started his career work-
dame, Vanity Fair, InStyle, Peo-
and nudes.
ing at a boutique in Beverly
ple, Forbes, Harper’s Bazaar.
Hills, simultaneously studying photography at the Arts Center College of Design. When fashion and portrait icon, Helmut Newton, visited his
workplace, Arbeit pursued this as an opportunity to direct himself for greatness.
You actually worked as
As Faddy Magazine’s cele-
Helmut Newton’s assis-
brates Newton’s 100th anni-
tant. How did this happen?
versary, Arbeit takes us back to his first encounters with Newton, and the prolific visual journey that followed.
I was working for a boutique in Beverly Hills on Rodeo drive called Lina Lee. Lina mentioned Helmut New-
As far as influences and mentors go, Helmut Newton will remain one of the most remembered and controversial photographers of this century. Working as his assistant first
Can you give us an idea of
ton would be stopping by
Faddy Magazine’s upcom-
the next day. With a friend
ing special January issue
George Holz, we arrived at
dedicated to photographer
the boutique early and waited
Helmut Newton? What can
almost to the end of the day
we expect to see?
when Helmut finally walked in. We told him we were
for an editorial published in Stern Magazine, this would
A story of one of the most
only be the first of several
influential and prolific photog-
impressive collaborations. It’s
raphers of the 20th century.
no wonder why today Arbeit’s
The magazine will curate a
portfolio reads like a list of
selection of Helmut Newton’s
the powerhouses in fashion,
greatest images in the fields
including Vogue, Marie Claire, 128
F A D DY Mag
photo students at Art Center College of Design and showed him our work. He invited us to come over to the Beverly Hills Hotel. After looking at our work, he asked if we’d like to go location hunting
ARBEIT MARK with him for an upcoming
creative photographers, some
revealing from the subject.
editorial photoshoot with
called him the ‘King of Kink.’ I
Attempt to be original. I once
Stern magazine. We spent a
was once told (by June New-
photographed Carol Bouquet
week driving up and down the
ton) that Irving Penn called
and had never seen her smile
California coast, looking for
Helmut a ‘magician’ because
in a picture, so it was my goal
locations. We were invited to
he could convince his subject
to see her differently.
help out on the shoot, and in
to do anything.
As a fashion photographer,
the weeks, months to come, we began assisting him on shoots in LA for Vogue, GQ. Later in Milan, Rome, Venice for advertising and editorial
I love working on location What three words do you feel encapsulate his photography style?
and exhibitions. Whenever
and telling a story, a still in a movie. I love when the clothes work together with the location; Once shooting in Thailand, the clothes that season
in the same city we always
Graphic, storytelling, strong
met for lunch, dinner or an
had an Asian influence, so it
woman.
looked natural in the envi-
exhibition.
ronment. I like to make my Helmut Newton said: “My
For someone unfamiliar
job as a portrait photogra-
with Helmut Newton, how
pher is to seduce, amuse
would you describe him?
and entertain.” What do you consider your role as a
One of the kindest, coolest
photographer?
people I’ve ever known. When
pictures timeless and classic. Once shooting an editorial with fashion designer Christian Lacroix, I was asked to do both a portrait of Christian and a fashion story of his designs. I worked in a Parisian artist atelier, asking Christian
it came to work, one of the
As a portrait photographer to
to play the part of Tou-
most serious, perfectionist,
capture something real and
louse-Lautrec, painting the 129
MARK ARBEIT models wearing his designs.
Do you have a favorite celebrity portrait from your portfolio?
It was exciting flying to China
it’s a different story. You’re
beers we drank). Out of it, I
looking for something more
started a series, ‘In and Out-
specific in a model to show
of-Focus,’ A flower in the fore-
colors of make-up: Space
ground sharp in Focus, with a
above the eyes, lip shape,
nude in the background out
nose. Beauty is more sculp-
of focus playing against the
tural.”
shape of the bloom. George
to photograph actress Gong Li for French Marie Claire. I photographed her in and around Beijing and the Forbidden City. I was able to combine a historic location with Portrait, beauty, and fashion.
From living in Hawaii to Milan, how has traveled influenced your photography? “Growing up in Hawaii influenced the type of woman I choose for my fashion photography; exotic, multicultural, dark hair (mostly). For beauty, 130
F A D DY Mag
Holz was working on a series In Paris, you and a few ambitious photographer friends from the Art Center formed a group called ‘The Cauldron.’ Can you tell us more about this and the purpose?
of bones with nudes. The still-life boys, James Wojcik, Peter Bosch, Bob Butler, were creating incredible original work. We fed off each other, pushed each other. I missed many meetings in Paris, but when I was in New York, they always made time to meet.”
“It was actually on my trips to New York that it happened. Our idea was to create something original that wasn’t related to anything we were shooting for magazines or advertisements. We all grew from our meetings and positive criticism (and all the
From Vogue to Vanity Fair, you’ve worked for almost every dream publication of any fashion photographer. How would you describe your approach to storytelling for an editorial?
ARBEIT MARK “I think magazines like how I
they help him live out his
accomplish and like what I’m
use a location and incorpo-
fantasy as a storyteller in his
doing as an artist.”
rate the model/fashion into
photographs.
that setting. Helmut taught
me that one lesson was ‘never forget why you’re there,
to show the clothes.’ I think magazines also appreciate my lighting and quality. I also learned from Helmut how to sculpt a model, working from toe to head, sculpting the model to exactly what you want. If you work with an experienced model, it makes everything so much easier.”
Besides portraits, what
In the exhibition at the
is your favorite subject
Helmut Newton Foundation
matter?
in 2019, I showed for the first time a series of Torsos, where the arms, legs, and head are covered with black velvet, only exposing the Torso. I was worried (with comments by friends) that these might be considered politically incorrect. But as I was printing the pictures for the show at a lab in LA, working with a young
Newton didn’t believe in
woman, I put that question
being politically correct.
to her. “Do you think I am dis-
Do you agree/do you think
respecting the woman in my
photography can ever be
photographs,” she said that
politically incorrect?
she felt it was a celebration
“My work (You can view a part of these on my website under the heading ‘Art Projects’) pictures exhibited in galleries in the US and Europe. These are personal pictures shot for me; Artist atelier series, In and Out-of-Focus series, Polaroid Construction, Photograms, Torso, and Hawaiian; Portraits and landscapes of Hawaii.”
of the female nude. Yes, I use “I think Newton is misunderstood. He loves woman, and
the artist model as an object, but I explain what I want to 131
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June,Helmut & Mark - Venice
Gero von Boehm
Gero VON BOEHM
GERO VON BOEHM EXCLUSIVE I N T E RV I E W B Y J A M I E VA L E N T I N O
It’s unlikely to think about
way many can argue Playboy
Helmut Newton’s most capti-
Helmut Newton without it
did, albeit with considerably
vating work. He doesn’t deny
being linked to photography,
more style and engaging
the photographer’s critics but
Vogue, or industry scandal,
storytelling. He empowered
confirms Newton’s genius and
at least, the appearance of
the women in his portraits
reveals the person.
it. The German-Australian
and that passion translates
photographer immortalized
into the many female voices
himself through his iconic,
featured in Boehm’s film look-
provocative black and white
ing back on the artist, even
imagery, mostly portraits of
that of Susan Sontag accusing
powerful, often nude, women.
Newton of being a misogynist, or model Sylvia Auermann
Marking what would have been Newton’s hundredth
birthday, filmmaker Gero von
speaking on the strength and liberation she felt modeling
with Helmut Newton, what do you hope would be the biggest takeaway from your documentary Helmut Newton – The Bad and the Beautiful?
during his shoots.
Boehm released the critically acclaimed documentary
Boehm accessed Newton
Helmut Newton – The Bad
through the eyes of his wife
and the Beautiful. It’s a timely
actress June Browne and her
coincidence for a film about
personal footage, and those
a man who rarely thought
within his inner circle, while
about death. Newton lived
simultaneously featuring
vigorously and unabashedly
selected work chosen from
and took that same approach
hundreds of thousands of
to accomplish an unforgetta-
photographs provided by the
ble career in fashion photog-
Helmut Newton Foundation.
raphy.
154
For a viewer unfamiliar
“We can learn from him how important courage or even provocation are in the arts. And he showed us how strong women are, strong and open-minded - much more so than men. But I think the story of his life is extremely touching and interesting. A Jewish boy from Berlin who suffered under the Nazis then fled Germany went on an odyssey to Asia
For Faddy Magazine’s special
and Australia, and finally re-
Helmut Newton celebrated
January issue dedicated to the
turned to Europe, starting an
the female body in the same
icon, Boehm shares some of
incredible career in fashion
F A D DY Mag
gero VON BOEHM photography. And he loved to
ion photography. One has to
“Again: His courage to pro-
come back to his hometown,
see the photographs, espe-
voke, his view on women
Berlin. Considering what he
cially the nudes in the times,
(totally new at the time), his
lived through when he was
Of the late 60s and early 70s.
celebration of female beauty.”
young, this is a very generous
The sexual revolution had
gesture.”
just happened, but the naked body was no longer taboo,
Where did the catalyst
to create a documentary about Helmut Newton
originate from? Why now?
and also everybody was wait-
ing for a revolution in fashion photography. There were
in creating a film about someone who spent his whole life behind the lens?
marvelous pictures by Rich-
ard Avedon and Irving Penn,
“First of all, Helmut would
“Photographers don’t like to
real icons, but they were
have been 100 years old last
be photographed or filmed;
beauty and loveliness icons.
October, certainly an op-
they want total control over
And what was needed was
portunity to look back at the
the picture. And June wasn’t
not only loveliness but what
life and work of one of the
amused in the first place
Anna Wintour calls stoppers
greatest photographers of
because Helmut was her
in the magazine, something
the 20th century. And then
Helmut, she had been filming
about the world at large to
I think it is the right time
him during shootings, but in
the culture, and something
because the period we live in
the end, I got his approval
provocative. And there was
is becoming more and more
and her full confidence. June
Helmut who was a provoca-
politically correct and prudish.
let me use all the material she
teur anyway, sometimes an
There is a tendency towards
had shot with Helmut. A real
anarchist, and he revolution-
control and censorship of
difficulty was the vastness
ized fashion photography by
taste and the freedom of ex-
of his work. I had to choose
his way to show women.”
from hundreds of thousands
pression; the freedom of art is in danger. I think it’s good to look back when Helmut Newton had total freedom and could revolutionize fash156
Were there difficulties
F A D DY Mag
of photographs in his esWhat do you consider the three most exciting facts about Helmut Newton?
tate at the Helmut Newton Foundation in Berlin. In the very beginning, I established close and exclusive coopera-
VON BOEHM gero tion with the Foundation and
that.”
June provided access to
its curator, and that helped a
Beyond his work, the
her private photographs
lot. I had total freedom in my selection and could include
the most meaningful pictures from each film period. And I
had access to notebooks, to contact sheets, to objects.”
If Newton was a working photographer now, do
you think he would create differently?
documentary dives vividly into his relationship with
actress June Browne. What made you decide this route?
prudish and often politically
overly correct times than the
Seventies and Eighties. Many
of Newton’s pictures wouldn’t appear in magazines today. And some feminists would
rather like to lock them away, just like other works of art.
But it is a dangerous tendency. Freedom of Art, Freedom of expression is something very precious. Censorship is a characteristic of dictatorship. In this case, it’s about dictating taste. We should oppose
the scenes, most probably never before publicly seen. A documentary is intrusive, sometimes emotionally difficult, by nature. Was this a blind trust
“Helmut met June in Australia.
because of your past with
Later she became a photog-
Newton, or did she have
rapher in her right, working
any special requests to
under the name Alice Springs.
showcase or off limits?
In his 2003 autobiography,
he wrote that “It was a totally
“Today, we live in rather
with Newton and behind
different affair from any I’d had with any other girl. All the other girls were only
about fucking. With her, there was another dimension.”
“No, there were no restrictions at all. Helmut and I had become friends, and June was really an important part of that friendship.”
Their marriage lasted until
his death, and June played a
significant role for Helmut. As
Anna Wintour says in the film, she was a girlfriend, wife, and a mother for him. She gave
You’ve said Helmut Newton’s photos often inspired your fantasies. Can you describe examples?
him the structure he needed, and she curated his books
“I’m not going to talk about
and exhibitions. But most
my fantasies. But what I
of all, there was deep, deep
meant when I said that was:
love between them.”
Look at his pictures. They are 157
THE BAD AND THE BEAUTIFUL - GERO VON BOEHM TESTIMONIAL Movie Clips
MONTE CARLO
HANNA SCHYGULLA (ACtress)
NADJA AUERMANN (MODEL)
GRACE JONES (SINGER)
marianne faithfull (SINGER)
CHARLOTTE RAMPLING (ACTRESS)
ISABELLA ROSSELLINI (ACTRESS)
CLAUDIA SCHIFFER (MODEL) 158
F A D DY Mag
VON BOEHM gero very cinematic. They often
photographers and other
Helmut Newton’s career
look like scenes from a movie.
artists. They should have the
and personal life, but
He tells us the beginning of
courage to provoke. I miss
you’ve released it during a
the end of a story, and it is
that in our times. It is a ques-
pandemic. I’m sure there
up to us to imagine what
tion of freedom. And without
are not enough words to
happened or what is going
freedom, no interesting art.”
describe the experience,
to happen. That’s great. No other photographer does that, especially in fashion
photography. By the way,
this was one reason to make the documentary for the big screen. Most of his pictures
are actually made for the big screen - that’s where they have an amazing effect.”
By your own words, he
was a “provocateur, even
sometimes an anarchist,” how would you envision
the evolution of his work
and subject matter today
now that creating shock is difficult in such a sexually liberalized culture?
“As I said before, it would be difficult for him to do what he did. But my documentary is also meant to speak to young
After spending so much
but what were the most challenging obstacles?
time in his shoes and
learning about the icon,
“We would have celebrated
has your perception of
our world premiere at the
the human side of him
Tribeca Film Festival in New
changed? Was there any
York in April. Of course, the
discovery that absolutely
festival was canceled. In
surprised you?
the summer, the film was in
“I found out that he had kept his boyish, sometimes child-
ish attitude. He was so playful and so positive and open to
the world. He followed Henri Matisse’s advice, who once
said: „Never lose the ability to see the world through a child’s eyes. We all should
cinemas worldwide only for a short time - because of the pandemic. Then it was shown on streaming platforms, very successful. But as I said, the film was made for the big screen. When the situation is better, there will be special screenings, and that consoles me a little bit.”
keep that side in us.”
This film is not only groundbreaking because of the insight it shed’s into 159
Steven Lyon
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Yves Kortum featuring Jacky Wruck
Photographer Yves Kortum @yveskortum Model Jacky Wruck (winner GNTM 2020 by Heidi Klum @jackywruck Make-Up/hair Nina Grässer @ninag_makeup Styling Diana Gasteier Modelagency Oneeins Fab @oneeins.fab Historical Cars Alain Schneider @alainschneider5
Jacky Wruck JACKY WRUCK
As Winner Of Germany’s Next Top Model
EXCLUSIVE I N T E RV I E W BY RHET T BUTLER
When Jacky Wruck entered
Talk about the amazing in-
Before modeling, you
season 15 of Germany’s Next
ternational travel you did
worked as a veterinary
Top Model as a replacement,
to Costa Rica, Los Angeles,
assistant at your parents’
her chances at victory seemed
and New York. Had you
veterinary practice. Was
slim.
already traveled interna-
that the backup plan of
After all, her opposition had a
tionally for gigs or was
modeling didn’t pan out
this your first experience?
this way?
head start to develop allianc-
es, snuggle in and get focused. Still, the 22-year old model
Also, what was it like for you?
shone through, never losing a
challenge and skating past the
backup plan with animals.
It was the first time that i trav-
Maybe to become a vet or
eled internationally to Costa
to become a physiotherapist
Not bad for your average gor-
Rica, LA and New York and it
and osteopath for animals.
geous veterinary assistant.
was such an amazing part of
This is still my backup plan,
this time. Seeing all this plac-
but now I will work in front of
es is something very special.
the camera and and I will see
competition to victory.
What was it like being a
what happens in the future.
contestant on Germany’s Next Topmodel? You came
You were able to be SAFE
in as a replacement, was
for all 17 episodes, ulti-
What was it like learning
it harder to win coming in
mately winning the 2020
from Heidi Klum up close
relatively late in the show?
competition. What was the
and personally? As a Ger-
secret to your landslide
man-American, was she an
success and was it devoid
inspiration for you grow-
of internal drama between
ing up?
It was one of my dreams to become a part of this show and this dream came true!
the other models?
The replacement was a part
Heidi is a big role model. She
of my way and I do not know
My secret was: always being
is a businesswoman and a
the direct way. Sure, the girls
myself and doing everything
mom - a familiy lover - at the
they hated me, but I was
with passion and fun! Sure
same time. She has achieved
the other girls were a part of
a lot!
okay with this, cause I was on this journey for me and MY DREAM. Maybe it was harder to win, but this was no obstacle. 194
Yes, I had and I sill have a
F A D DY Mag
this journey, but they were not my focus.
Blouse: Zara - Latex Pencil skirt: Bright&ShinyStore - Leather holster: Una Burke Design
Jacky Wruck How has Helmut Newton
sions. Everything is connected
inspired you?
with love.
KEEP ON BEING YOURSELF!
What can we expect from Well, I think Helmut Newton
What are your thoughts on
was a stunning photographer
relationships and are you
with a lot of inspiring pictures.
single, dating, or other?
Every picture tells a story and every story inspires me.
Letâ&#x20AC;&#x2122;s talk LOVE! What are your thoughts on love?
Love is such an important
many kinds of LOVE. Love exists everywhere. I love my family, my animals, my friends, my job and my pas-
We will see. I will walk the coming way of my life with
Lol. What would you say?
fun and with all of my pas-
Maybe I am a single or maybe
sions and I will take all my
I am dating or maybe I am
chances! Sure, not everything
in a relationship. Itâ&#x20AC;&#x2122;s a secret
will be funny and there will
cause I try to protect my
come hard times again and
loved ones - my family and
again and again, but this is
friends - and my private life.
the game of life. AND I am
part of life and LOVE is such a big word and there are so
Jacky Wruck in the future?
still ready for this and I am Tips for aspiring models who now look up to you after this great accomplishment?
looking forward to a lot of adventures.
Blouse: Zara - Latex Pencil skirt: Bright&ShinyStore - Leather holster: Una Burke Design
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Leather leggings: Cuir Royal - Corset: Alexandra Fuks
Blouse; Zara - Corset: Alexandra Fuks - Latex High waist: Bright&ShinyStore - Boots: Mineli Boutique
Body: Maison Close - Posture collar: Una Burke Design Fuks
Body: Maison Close - Posture collar: Una Burke Design - Boots: Mineli Boutique
Body & Stockings: Maison Close - Leather Trenchcoat: Cuir Royal
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Leather Dress: Cuir Royal - Overlap Body Brace: Una Burke Design
Leather Dress: Cuir Royal - Overlap Body Brace: Una Burke Design
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Leather bustier: Alexandra Fuks - Leather trousers: Cuir Royal - Collier: Simon Azoulay Paris
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Leather bustier: Alexandra Fuks - Leather trousers: Cuir Royal - Collier: Simon Azoulay Paris
Strapped Dress: Una Burke Design
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Leather leggings: Cuir Royal - Vegan Leather top: Angelic by Jolonta Pilinkaite - Body: Wolford
Leather leggings: Cuir Royal - Vegan Leather top: Angelic by Jolonta Pilinkaite - Body: Wolford
Jacket: Karl Lagerfeld - Harness: Angelic by Jolonta Pilinkaite - Latex High waist: Bright&ShinyStore
Body &Käppi: Etienne Jeanson - Boots: Mineli Boutique
Body &Käppi: Etienne Jeanson
Film in Noir by Mark Williamson
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Creative direction and concept by Mark Williamson @markwilliamson45 @aristmanagementmiami Photography Jaun Pablo Castro @juanpablo.castro Assisted by Sebastian Toro @iamcu4tro @someoneagency Model and muse Kasey Wamsher @kasey_aw At Elite models Miami @elitemiami
Styling by Steven Lassalle @stylebylassalle at Agency Gerard @agencygerardartists2 @confessional_showroom_miami Assisted by Stacey Jackson @flawlessly_stacy Make up by Pablo Rivera @pabloriveraart for Artist Management Miami @artistmanagementmiami Hair by Mark Williamson @markwilliamson45 for Artist Management Miami @artistmanagementmiami using @amikapro
Jacket and pants by Rossi - Shoes by Prada
Dress: FDD Collection - Shoes: Tom Ford
Gloves: Yoro Jewel - Pants : Helmut Lang - Shoes: Tom Ford
Dress: Patbo - Shoes: Prada
Dress: Patbo
Hat: Lassalle - Panties: Victoria Secret
Hat: Lassalle - Panties: Victoria Secret - Shoes: Stuart Weitzman
Lingerie: Dkny - Shoes: Stuart Weitzman
Top: Alice And Olivia - Pantie: Provocateur - Shoes: Tom Ford
Jacket: Kobi Halperin - Shoes: Stuart Weitzman
Bra And Panties : Victoria Secret - Shoes: Stuart Weitzman
Dress: Miri Mari
Dress: Miri Mari - Pantie: Victoria Secret - Shoes: Tom Ford
Suit: Alexandro Fratelli - Shoes: Stuart Weitzman
Jacket: Fiodulce Dolls - Shoes: Prada
Dress: Lenshina Nchami - Shoes: Prada
Coat: Ahmad Couture
Coat: Heike Ny
Antoine Verglas
ANTOINE VERGLAS A
ntoine Verglas began his career in Paris
in several international editions of Elle maga-
on the other side of the camera, working
zine. Antoine Verglas’ photographs were candid
as a host on a popular French television
and uninhibited, with natural light. This intimate
show. He then started photographs of his swed-
style of capturing a personality has become
ish girlfriend, discovering his love and passion
known as the “Verglas Signature”.
for photography. Antoine spends his time between St. Barth, In the late 80s Antoine moved in New York City
Paris, East Hamptons and New York City where
and introduced a new style of fashion photog-
he cofounded with Christiane Celle Clic.com a
raphy when he captured models Stephanie
concept store with contemporary and vintage
Seymour, Naomi Campbell, Claudia Schiffer and
books, photographs, home goods, fashion items
Cindy Crawford among others in a series of inti-
and accessories.
mate, documentary style photographs that ran 244
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Mark Seidenfeld
Puppy Love
Corporal Kim
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First Touch
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Dial M
Gardenn of Eden
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Light Up
Girls Room
Night Blossom
No More For Her
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Smokers
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The Storyteller
Trouble In Heels
Whoâ&#x20AC;&#x2122;s The Fairest
Freddy Koh
Gianluca Fontana
Gianluca FONTANA P
hotographer and Director Gianluca Fon-
ia, Vogue China, Vogue Russia, Vogue Turkey,
tana is based in London.
W and Allure Korea, Numero China, Numero
Originally from Italy, He graduated in
Russia, Vanity Fair, various editions of Harper’s
architecture before turning to Photography,
Bazaar, French Elle, L’Express Dix, Air France
having developed in that time a sense of com-
Madame, Wallpaper amongst others.
position and balance which remain key in his
Clients include Alessandro Dell’Acqua, Cartier,
work, today.
Chaumet, Fendi, Givenchy, La Perla, Le Bon Marche’, L’Oreal, Maxmara Group, Moschino,
His sophisticated approach produces images of
Net a Porter-Yoox Group, Prada.
intimacy and sensuality, work which is enriched with both sense of truth and immediacy.
He is Author of the book “Private Sitting”, the result of a five-year period of personal exploration,
His Photography has featured in Vogue Ital306
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published by Skira Publishing and distributed worldwide by Thames & Hudson and Artbook.
Nina Fresneau, Paris 2019
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Flowers, Polaroid, Milan 2012
Eniko Mihalik, Dubai 2018
Greta Varlese, Mauritius 2020
Georgia, Paris 2017
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Irene, Milan 2012
Greta Varlese, Milan 2020
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Rebecca, New York 2011
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I take the clouds with me, London 2018
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Greta Ferro, Milan 2020
Isabeli Fontana, Cannes 2017
Monica Bellucci, Paris 2017
Matilde Gioli, Private Sitting, Milan 2018
Katlin Aas, Mauritius 2019
Rebecca, New York 2011
Miss Aniela
White witch awakening
MISS ANIELA MISS ANIELA EXCLUSIVE I N T E RV I E W BY ANNEYSA GAILLE
Jessica McQueen, the As-
fine art. And, so I thought, I
I think that in order to really
sociate Curator at Saatchi
don’t really know who is going
appreciate the series, you ide-
Art, has described your
to buy these pieces of art if
ally would be able to appre-
“photographs” as being
they’re to be sold. For some
ciate both sides of that coin
“both real and imagined…
time I was confused about
because sometimes a piece
elaborate scenes that blur
whether I should try to be a
of work has really warranted
the boundaries between
fashion photographer, trying
a lot of compositing and overt
fine art and fashion.” Do
to get fashion stories into
surrealism. But then some-
you feel as though this is
a magazine. I was trying to
times we’ve made something
an apt description for your
do that for a bit, but then I
in camera, and it’s nice for the
work? Why or why not?
just got kind of sick with that
viewer to be able to appreci-
because I didn’t really like the
ate rather than just expecting
fashion world so much. It was
everything to be real or every-
more about wanting to do
thing to be Photoshopped.
I love that quote because it sums up a lot of what I do in Surreal Fashion. When I first
what I wanted to do. Yeah, I’m really interested
started making these images,
330
I was concerned that the two
What Jessica says about the
in that tension, which can
genres that were going into
real and imagined is also
be seen in the title of this
the image - the fine art and
important because in my
series, Surreal Fashion. It
the fashion - were too at odds
series there is stuff that is
brings to mind the opening
with each other. Normally you
Photoshopped and stuff that
of André Breton’s Manifes-
don’t see fashion models in
isn’t quite so processed. And
to of Surrealism:
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The Governess
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Poster & Plumage
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MISS ANIELA “So strong is the belief in life,
babe and, as for the approval
stale discontentment brought
in what is most fragile in
of his conscience, I confess
about by what Breton called
life—real life, I mean—that
that he does very nicely with-
“the realistic attitude,” which
in the end this belief is lost.
out it.”
he sees as “be[ing] hostile
Man, that inveterate dreamer, daily more discontent with his destiny, has trouble assessing the objects he has been led to use, objects that his nonchalance has brought his way, or that he has earned through his own efforts, almost always through his own efforts, for he has agreed to work, at least he
This quote comes to mind because, as you mentioned earlier, notions about “fashion” and the world that surrounds it can be rather jaded: someone may see it as a vain form of expression for empty
al advancement.” Do you believe the incorporation of surrealism in your Surreal Fashion series is crucial for the development of meaning and inspiration generated by these photographs?
people, or perhaps engage with it but have become
What I do know is that when I
disillusioned and discontent-
create these images, I have a
ed with the extent to which it
particular feeling and inten-
is perceived as a worthwhile
tion. Some of them were
endeavor.
created quite a few years ago,
affairs he has been involved
However, like Breton, I think
and now, though they’ve sold
in; he is unimpressed by his
it is possible to argue that the
wealth or his poverty, in this
incorporation of surrealism
respect he is still a newborn
in your work combats such
has not refused to try his luck (or what he calls his luck!). At this point he feels extremely modest: he knows what women he has had, what silly
334
to any intellectual or mor-
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well over the years, they’re becoming even more appreciated the longer it goes on.
A room with a view
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Away with the canaries
MISS ANIELA So, when people buy my work
How do you approach
looks like it isn’t quite real.
now, often I don’t know what
balancing the creative and
For every picture that I’ve
they’re seeing in the pictures.
the technical, of seamless-
made, there’s probably about
When it comes to how people
ly maintaining a dreamlike
a thousand images where it
appreciate it, there could be
atmosphere?
looks absolutely crap—it just
any number of things go-
ing on as to why they have
chosen it. I feel like it’s taken some time for it to be really appreciated, and I’m really
interested to know how the
appreciation of surrealism is
shifting over time with what’s
going on in the art world and the world at any one time to
perhaps make people appreciate it more.
looks like a model standing
To be honest, it is really quite hard to create these images. I mean, I know that people
probably expect that because when people compliment
my work, they often express this idea that it must not be easy to make—otherwise
people would be making it
all the time. But sometimes just on a personal level I have to remind myself how
338
in a room being told to pose. This is a very frustrating thing because even when she poses very well and the lighting is gorgeous and everything is great, it still doesn’t necessarily make a beautiful art piece because then it still has to transcend reality, it still could just look like a really lovely, well-photographed fashion model in a beautiful location. I have tons of images in my
When discussing creative
hard it is to actually create
work, particularly a piece
one of these images where
related to surrealism,
there is that balance. When
some may assert that the
I look back at these images, I
entire process is uncon-
remember how hard it is to
scious or automatic. Yet,
go through that process of
when I look at your work it
all the shoots that I’ve done.
For example, I shot this really
is all clearly well-planned
This is a struggle I’ve always
beautiful image of a model
and meticulously edited.
gone through—trying not to
in a 15th century church in
To return to Breton, this in
overdo it with Photoshop. But
London a few years ago. I’ve
many ways reminds me of
even before the edit, even
looked at this image so many
his assertion that “dreams
in the actual shooting when
times; I’ve opened it up and
give every evidence of be-
I’m lighting it and directing a
wondered what to do with
ing continuous and show
model, etc., and then even
it. And it’s just not an art
signs of organization,”
before that: choosing the
piece—it’s just a photograph.
which adds a layer of nu-
location, the outfit; is this
A really beautiful photograph,
ance to one’s understand-
constant, constant struggle
but it’s not an art piece: it
ing of the unconscious.
to try and get something that
needs something, and it’s
F A D DY Mag
archive of where everything technical has been achieved, but it just doesn’t do anything, it doesn’t go any further.
Castaway
339
MISS ANIELA really frustrating when I don’t
also shot “The Governess”
shooting that picture, I strug-
know what. So, obviously all
and “Castaway” on the same
gled so much—with just a girl
the pictures that you see are
day, and “Pokerface” was the
standing in the room—to get
the ones that have made
last one I edited because I
something that was right. Just
it through that final hurdle
thought that there wasn’t
hours and hours of shoot-
to come to life, to be an art
enough to make a picture,
ing literally almost the same
piece rather than just a pho-
but it ended up becoming my
thing. All the ingredients were
tograph. And there are a lot
favorite.
there—a beautiful room, one
of pictures that don’t make it to the beautiful photograph
stage. They’re just kind of like pieces of photographs. So, the point when I feel really excited about a picture is
usually when I’m editing it
even though some pictures come out of the camera a
lot more finished than other ones. For example, in “Pokerface” where a woman is sitting on a couch with a house of cards behind her. It’s one of my favorites—actually a bestseller—and it comes to mind whenever I think about a picture that didn’t require a lot of Photoshop. But even “Pokerface” needed to be put together carefully in Photoshop because it is still a bit of a composite—stitched to get the width of the picture, and work on color temperature — but the cards are really there behind her. Funnily enough, when we did that shoot, we 340
F A D DY Mag
of the most beautiful beds
With “Swan Lake,” there was also a point when it just
clicked and became an art piece. So, not matter what picture I’m working on—
whether or not it’s highly
processed—there has to be that moment when it becomes more than just a photo and I never know when that moment is going to come. It’s always a moment of alchemy when it just feels like it’s gone beyond just being a photograph, and I never know when that moment is going to come. It’s frustrating, but it’s also rewarding when it comes and is something that
I’ve ever shot, a great model whom I’d already shot with before—but it was just so hard, and I don’t know why. It’s kind of like the endless chase I’ve had to try and make something that looks like it’s not quite real, like it’s in a kind of dreamworld. And people have asked me this question as well, “How do you make those kinds of images?”. But I never know what answer to give them because I don’t know myself—you just have to keep shooting and persevering. You also have to be the judge of when it reaches that point, you know?
I will never quite understand, how to get that moment—no
Yeah, it’s always hard to
matter how dutiful or or-
know when something
ganized I try to be. There’s
has reached a point where
one picture called “State of
you’re satisfied with it
Grace,” and it’s a girl standing
and it becomes a realized
in a stately home with great
version of your vision. I
big CGI wings. When I was
am not a proper photogra-
Elegant Elegy
341
Enter the golden Dragon
MISS ANIELA pher, but I am a poet and
So, would you say that
to putting the sea in there.
painter; so, I understand
you arrive at a photoshoot
So, we knew the ingredients
what you’re saying about
with an idea of what you
but not exactly how the final
finding that innate bal-
want to create but not
piece would look.
ance without necessarily
how you would like to
knowing how you are able
compose it?
to do so or if you ever will.
Yeah, most of the time—for
When you are in a photo-
those images. It’s kind of
shoot, do you have any
different from how I want to
idea of how it will turn
work now, though, because
out? For example, the im-
nowadays I shoot a different
age “State of Grace” that
body of work. So, since it kind
you composed with the
of applies to a different body
eventually winged woman,
of work, I much prefer now
did you know at the time
to know at least 90% of what
of the photoshoot that you
I’m doing. But I don’t know
It has a high impact. I think
wanted there to be large
if that would apply well to
it would impact any pho-
wings in the picture?
Surreal Fashion all the time if
tographer shooting in any
I were shooting some more
location. But I’ve realized
fashion now, because I think
that it impacts us even more,
that the great thing about the
because when I look at other
series is that there is that bit
photographers and see how
of freedom. Like when I was
they work in a space with
doing “Swan Lake,” I kind of
fashion models, they tend to
had an idea for that shoot in
put more focus on the model
which she would be wearing
and get closer to him or
a powder blue dress and in
her, letting the backdrop fall
that room. It had to be really
off more because it’s more
planned because it was shot
about the fashion and outfit,
for CreativeLive, but I still
generally speaking, whereas
didn’t know exactly what
we tend to incorporate the
aspect of surrealism would be
location a lot more. We are
used in the end. I was trying
inspired by it and invite it into
different things like setting
the composition. We show
the chandeliers on fire in
a lot more of it because we
photoshop, but then it came
generally go quite wide with
In that case, yes. That one did have a very specific plan, but only because we got to that stage years later when we were trying to make intentional fantasy images. But sometimes planning it can kill it. The one with the playing cards on the bed was all planned, but loosely. I’m not someone who can work to a rigid plan constantly. I work to a plan occasionally, but a lot of the time I’ve got to be set free just to explore something and let it lose a little bit. 344
F A D DY Mag
How much would you say that the location of a photoshoot dictates the composition or influences ideas you may have had prior to arriving once you are working with physical space?
Gilt
345
MISS ANIELA the camera, just not wide
I think the one that I just men-
a different series, Birth Un-
enough to lose the model;
tioned, Aynhoe Park, where
disturbed. That time we shot
that’s one of the biggest
“White Witch Awakening” was
a recreation of the Queen
conflicts that I have—trying
shot is definitely one of my
giving birth, and that was in
to include as much of the
favorites because it’s palatial
another one of the rooms.
location as possible without
and also very quirky, with a
Not as palatial, but perfectly
losing the model and vice
great mixture of taxidermy
appropriate for that historical
versa. That’s really one of the
and funny props on them. Al-
scene. So, that location I love
main things I wrestle with. So,
though, funnily enough, on a
because you can just go back
yes, the location is a big one,
side note about that location,
to do something in all the
and it’s a good thing because
it’s kind of hard to shoot in it
rooms, try to find a narrative
it gives me something to work
at the same time as well. The
through all of the rooms.
with. For example, in “Pok-
room we shot it in was prob-
erface” we knew we wanted
ably the best room to shoot
to include the big bed and
in because of the light and we
had to stretch the composi-
managed to get loads of ani-
tion in order to ensure the
mals from around the house
bed was in it. In “White Witch
into the composition. So, if
Awakening,” the one with the
we went back there to shoot
zebra in it, we have gone to
something else, I almost don’t
great pains to get all of those
know what I’d shoot because
animals into the frame. It was
I feel as though we kind of got
shot for an ad campaign, that
it all in one frame. But gen-
particular picture, but regard-
erally speaking, I’d love to go
less it’s still exactly what we
back there because I just love
would have done—include all
these locations anyway and
those animals, show off the
could always find something
location at the same time as
to shoot there.
the model.
346
We’ve been to so many beautiful locations over the years; some of them are harder to shoot in than it seems. You know, you walk in and love the location, but as soon as you turn your camera on, it suddenly becomes quite challenging to actually make it look good in one frame. This is important because I love to get everything in one frame in order to make one art piece that will sell as a single piece. Obviously, I can get more than one, but I need each
Belvoir Castle is the one
one to be substantial in itself,
Are there any photoshoot
where we shot “Pokerface,”
whereas if you were shooting
locations in particular that
“The Governess,” and “Cast-
a fashion story in those loca-
you have found particular-
away” with the big tall bed.
tions, it’s okay to take a piece
ly inspiring or would like
That’s a lovely, stately home
of one corner and do a shot
to return to?
castle as well. We’ve actually
here, do a shot there. But
shot in there another time for
what we’re after is one epic
F A D DY Mag
Gold Leaf
347
MISS ANIELA scene to make one piece that
just had to put a rug down for
them standing there around
stands alone, and sometimes
it and whatnot. We wanted to
a bed. But generally speaking,
that involves stitching the
do more pictures like that—of
beds are quite difficult be-
composition together without
a horse, a camel—and maybe
cause once you have a model
losing the model. So, it’s al-
we will one day, but we have
laying down, she just ends
ways challenging—even when
found ourselves struggling to
up with really big feet sticking
you’re in a beautiful location.
get permission to do this in a
into the camera, you know?
location that we deem worthy
So, it doesn’t really work—you
enough to shoot in.
kind of have to get them sit-
Do you ever have any
ting up in the main pose you
problems with being
And Belvoir Castle, the one
palatial, historical lo-
where we shot “The Gov-
cations? How does that
erness” in that big pink
A lot of locations are people’s
process work?
dress, she’s standing on
private homes—they want ex-
this 500-year-old carpet. So,
tra money, so they hire it out.
we had to be really careful
We find these things on Ver-
and have supervision. We
bo, Home and Away, and stuff
also couldn’t move all of the
like that. For example, “Away
furniture out of the shot like
With The Canaries” is one that
we wanted to. Ideally, we like
we shot in a home we hired
to move furniture out of the
for a week in New York for
way. That’s quite an import-
one of our events. It’s always
ant thing because a lot of the
interesting going into loca-
pictures really do need there
tions and meeting a home-
to be space for the model to
owner who’s relaxed but
stand in. Like in “Swan Lake,”
also—obviously since they
the one with the blue dress,
have a nice house—has high
that room is normally full
standards. So, you just have
of chairs and it just doesn’t
to be careful that you are very
work—you just have to get rid
respectful of the property and
of all those chairs. And even
try to prevent any accidents
beds can be difficult to shoot
from happening.
Usually, it’s just about money to get into most of these locations. Although, even with money there can still be limitations. There have been locations that have just been too precious, and we haven’t been able to get into them. However, generally speaking we’ve managed to shoot in places that aren’t super precious about things, though some have been more precious than others. For example, Aynhoe Park—the one with the zebra—they’re quite laid back. You know, not many places would allow you to let a zebra in like that. They were quite relaxed about it—we 348
want them to do on the bed.
granted access to these
F A D DY Mag
with, as well. With “Pokerface,” obviously we have the model sitting on the bed. “Gilt” is another one with the three of
Of the photos included in the Faddy Magazine
Girl of prey
349
MISS ANIELA spread, is there one that
I’d also say “White Witch
done that, I think it would
was particularly difficult
Awakening” because it had
have been a complete disas-
to shoot or edit when
the added obligation of
ter. But added onto that, even
compared to the others? I
having to please the people
when you have everything in
imagine that perhaps “She
commissioning it. But even
place, you are trying to get
Shoal” was particularly
by our own standards it was
the bloody lighting right. We
challenging?
a difficult scene to shoot be-
had the flash going, but on
cause it was all on camera—
that particular picture there’s
there was no Photoshop. The
no flash because the light
fact is that was probably just
came through the windows
the best way to shoot it, to
at exactly the right time to
get it all on camera because
make it look nice and natural-
obviously the only two moving
ly lit. You can see the light on
parts are the model and the
the floor, how the sun came
zebra—which was actually
through the windows. So,
quite hard just to get those
that’s a big one for me when
exactly how they should be,
I’m shooting. You know, I can
or even just to get the outside
get everything right, but then
composition as it is. I’m just
the lighting has got to be right
thinking back to how difficult
on that shot as well. All of the
it was: having to keep every-
stars have to align. To this
one out of the way, constantly
day, that’s a big challenge.
“She Shoal,” yes! It was one of the ones taken later in
our career, in 2018. Because it’s very deep in the sea, we
needed an expert underwater photographer and an expert deep-sea diver. So, in a way it made it harder, having to direct someone else to do it, rather than being able to get in there and do it ourselves. Then, we had to direct a CGI artist to do the post-work, which again is really hard because you basically just go back and forth, back and forth over email for a long time trying to get the image right. You almost feel a little bit horrible because you’re constantly whipping someone else to do the work, rather than being able to do it yourself—if I can just work on something myself, then I can just torture myself with it!
350
F A D DY Mag
being like, Okay, move the parrot there, the fox there, having a man behind the polar bear holding the fishing wire attached to the zebra so that the zebra doesn’t attack the woman. And the model! God knows what we would have done if she was scared of the zebra. But thankful-
That’s fascinating. How do you find your models for these photoshoots? What are your relationships with them like? I imagine it must be quite intense due to the circumstances you have outlined thus far.
ly she wasn’t scared of it; she managed to hold her
MA: Looking through the
pose exactly like that for ten
pictures, you’ll see quite a few
minutes. If she couldn’t have
different models. Kim, who’s
Migration Season
351
352
F A D DY Mag
Legerdemain
353
MISS ANIELA in “Elegant Elegy,” “Gold Leaf,”
game, as well. There are
poses in the image. All three
“Gilt,” and a couple of others,
some models who just aren’t
of those poses are quite
I like her because she doesn’t
very passionate about it.
moody, but they’re still really
have the typical beauty model
Then, there are models who
engaging poses and really
look. She’s got this kind
really try hard, who give you
quite enigmatic poses. That
of quirkier look. Generally
something constantly—and
involves more performance
speaking, I don’t think that I
that’s just priceless, really. So,
than one might think. So,
prefer the generally luscious
once you get a model who
that’s one reason we really
more standard beauty mod-
you know is as passionate
love her as a model. She
els.
about the shot as you are,
really gives those understated
Through the years we have
then you want to shoot with
poses that are kind of moody
them again and again.
and haunting, sometimes also
found models using our own
known as “The Broken Model
means with things like Model Mayhem, because we gen-
erally like to get hold of the model directly, rather than
through agencies. Agencies demand a lot of money and don’t give complete rights to the images. It’s very important for us to have control of the image rights. So, we have sometimes got models from agencies, but it’s much rarer than getting them directly. And sometimes I might try to hunt one down directly on Instagram, or somewhere like that. For example, the model in “White Witch” is a one-off model called Mimi who just had the right look for the campaign that we were doing.
It’s also worth noting that a
lot of our pictures do call for quite a static, somber directorial mood from the model.
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F A D DY Mag
like half hanging to one side, or whatever; she does that really well.
But even when there’s not a lot of movement in the image,
Have you found that the
that doesn’t mean that we
COVID-19 pandemic has
don’t need a lot of energy
significantly affected your
from the model—just not
artistic output and/or pro-
kinetic energy, visually. This is
cess because you are un-
often because they’re posing,
able to work with models
standing and they’re going to
in a traditional sense or
have some kind of surreal-
travel to desirable photo-
ism scaffolded around them
shoot locations?
afterwards. So, a lot of it is quite deadpan and static and almost like they are becoming a shape in the final image. But it does still require them to be in the moment, to just look like they’re engaging with the
We also like models to be
Pose,” where they are kind of
camera. For example, in “Gilt” there’s Kim and she has three
Well, to be honest, even before it all happened, we were only doing one or two shoots a year because we have kind of wound down. Not permanently—it’s just because we’ve got two kids. This one
Pokerface
355
MISS ANIELA [sitting on her lap] last year
of any kind right now unless
choosing the model, costume,
was still young, and we were
it was very local to where we
and location; the planning of
supposed to be travelling to
live with a very low-key crew.
hair and makeup; bringing it
quite a few places—includ-
I think it’s just the inability to
all together; and posing and
ing New Zealand—but didn’t
meet up with other people
lighting the model—through
because it was so far with her
that I find the most insulting,
to the editing, always trying to
so small.
really. I don’t know—you just
constantly make something
kind of think of it as a human
look less like a photograph
right, to meet with people.
and more like a painting.
I do worry about friends of
What I was saying earlier
mine who live alone and really
about trying to transcend
feel for them right now.
the reality of the photo is
A lot of the work we’re doing now is work with all the stuff
we’ve already shot—market-
ing and selling all of the stuff
essentially trying to make it
we’ve already shot through
Speaking of photoshop,
like it was quite good timing,
though I have focused
because we can just sit back
on the more surrealistic
and relax a little bit and just
aspects of your work thus
push the selling of all the
far, your photographs
stuff we’ve already gone out
also incorporate many
and spent years shooting.
elements that are inspired
We have invested quite a
by Dutch masters, Renais-
bit of money and time in
sance paintings, and the
those images over the years,
Rococo period. Naturally,
so I’m kind of glad that this
this makes me think about
didn’t happen in 2014 when
the intersections of mate-
we travelled to quite a few
riality and spirituality, of
But even a modern situation
places.
the commercial and the
can look painterly as well. I’ve
feminine. To what extent
discovered this in some of my
are these dynamics con-
images that I’ve shot in other
sciously at play as you
bodies of work that aren’t
compose a photograph?
necessarily taken with classi-
I’ve got a big backlog of images from through the years, including a lot of stuff from much edit the same way I
I think it’s always present,
always have. But it would be
right from the earliest plan-
difficult to coordinate a shoot
ning of an image—when
F A D DY Mag
I often don’t quite know how I’ve made something look like a painting necessarily because it’s a combination not only of how you’ve shot and edited it, but also of the model, location, and costume which contribute to making it look like it’s not quite taken today, not modern.
cal looking clothing or what
China in 2018. So, I can pretty
356
look more like a painting, but
the years. So, we kind of feel
have you. I think that a lot of it boils down to lighting and often—but not all the time— it comes down to having a
Portrait with pigeon & poultry
MISS ANIELA more tungsten look in an
other art forms you could
that I do wish I could paint
image, a more orangey look.
have chosen as a means of
so that I wouldn’t have to
So, I think it’s no accident that
expression, like painting?
get physical people to pose
in the other body of work
I’m doing, Birth Undisturbed, every single picture is pretty much shot using tungsten
gels. Going back to Surreal Fashion, that’s something
we’ve done as well—we’ve of-
ten shot with tungsten gels to make it look kind of orangey. This is across all of my work. I love to make things look a bit more orange than they
should! Not always, though.
“Pokerface” is quite blue, but it’s probably one of the only ones that go the other way.
and do it. It would definitely
I think the immediacy, first
and foremost. I could just say that I can’t paint, but I half
loathe to say that because I
think that if you really want to do something, you can do it.
But could I really train myself to paint something that has
as much detail as a photo? I
don’t know. I think my paint-
ings would not be very good! When I first got into photography, I was taking self-por-
traits. I remember that one of
take less styling time and be cheaper! But even if I could train myself to paint, I don’t know if I would have the patience to do that training process, you know? And I also don’t know if I’d ever reach any level of competence. I think that a lot of photographers feel the same: they can’t paint, they can’t draw, so they direct physical elements to create the vision they want to create.
the very first images I created was this self-portrait of two of
That makes a lot of
Sometimes I look at other
me, and it was very painterly.
sense—sometimes I feel
photographer’s work and I
I even amplified the painterly
that way about words,
wonder how they make it look
effect for it in photoshop. I
though I’m theoretically
painterly and I want to know
think from that day is when
directing the symbols and
their secrets when half of the
I realized that something
non-physical elements
time I don’t even know what
can look really remarkably
rather than the symbol-
my secrets are. It’s one of
un-photo like. So, yeah, I just
ized and physical ele-
those kinds of mysteries.
think that I stumbled into
ments.
photography and got hooked I have been rather curi-
on the immediacy of it.
ous about your painterly
358
An element you have explored quite a bit in your
approach to photography.
But there is this endless
work is the feminine, not only
What drew you to the
frustration as well with trying
in the Surreal Fashion series,
medium of photography
to make a photo look painter-
but also in the phenomenal
when there are so many
ly, and there are some times
Birth Undisturbed series, your
F A D DY Mag
State of grace
359
MISS ANIELA innovative self-portraiture,
I turned my lens on other
series I do might even go a
and—as an Adjunct Lecturer
models, and the obvious cur-
step further and take the grip
at a predominately male insti-
rency became fashion models
completely off femininity and
tution, one of my personal fa-
because they’re mostly this
female experience, becoming
vorites—your Twelve Women
kind of feminine currency of
more about the experience of
in Academia portraits. What
the fashion world and getting
people in general—children,
draws you to further explore
men into Surreal Fashion just
in particular. It’s almost like
the multiplicity of the femi-
didn’t ever happen. So, we
a growing up: the self-por-
nine and feminine represen-
just shot with women all of
traiture is the girl; Surreal
tation, often defying sociopo-
time. It was kind of a done
Fashion is the woman; Birth
litical expectations of where a
thing, for them to be the
Undisturbed is about not only
woman should or should not
most obvious kind of com-
about attractive women, but
be, of what should or not be
modity for that. And then the
the real birthing women; and
seen? Why do you believe it is
Birth Undisturbed series is a
the next thing I’m interested
important to do so?
combination of wanting to do
in is children. So, it’s a very
something different with the
obvious trajectory, you know,
whole idea of the feminine
going from girl, to woman, to
and trying to make it about
mother, to child, and then to
the power of the female body
other topics that will include
and the birthing act.
men more. So, yeah, I defi-
I think it’s just at the root of everything as a woman myself and being into Feminism as a topic in my teens, though
nitely think that there’s been
I don’t think that I’ll always
360
a focus on the feminine and
create work that’s just about
Interestingly, I’m about to do
femininity. I already feel like
a post on Instagram about
my work is moving out. So,
how last year I created two
I feel like the feminine has
images that are more about
been a very necessary and
men and male participation
obvious path, almost like just
in the birth act. I mean it’s still
going down your garden path
obviously all about women;
from the house out into the
the birth series is always all
Is there any advice you
world. You know, it’s been the
about women, really. But
wish someone would have
root of everything I create.
I’ve become more and more
given you as you em-
When I started self-portraits,
interested in the male role
barked on this trajectory?
it was obviously because I
in those birth scenes that I
was a woman myself, creat-
create, in the male participa-
ing images of myself. Then
tion of helping the woman.
Surreal Fashion was when
So, I kind of feel like the next
F A D DY Mag
the female experience the past fourteen years, but for me it’s a gateway to all of the other topics that I might take on.
This is an interesting question because I believe there are
She Shoal
361
MISS ANIELA a lot of things that I could
energy and creativity and
attention to the individual
think of, but then you have
consequent frustration. So, I
pictures I was making and
to ask yourself if these are
feel like maybe in my early ca-
the quality of each picture. I
things that you have just
reer, I did perhaps misspend
would spend more time on
learnt through the passage
my energy by sending it in
that one picture because I
of time—an all-in-good-time
directions that were wrong
knew the value and worth
kind of thing. But I have spent
for what I wanted to do. For
that one picture could lead to,
a lot of time when I’ve felt
example, I think for a time my
and I wanted the print buyers
frustrated in my career, when
dream was to be in certain
of those works to get the very
I’ve been doing so much work
art magazines, but I wasn’t
best quality that they could
and seeming to only achieve
actually directing the ener-
get. So, I did slow down and
a fraction of the recognition
gy to get into them—I was
spend more time planning
that other photographers
going the other way by doing
the scene and, in some cases,
receive and sometimes it
workshops and tutorials and
have more elaborate ingredi-
seems like those other pho-
how-to books. So, obviously if
ents—like using CGI artists or
tographers have only done a
you’re ambition is to be in the
investing in costume artists
fraction of the work that I’ve
British Journal of Photography
and more elaborate locations,
done to achieve ten times
magazine or to win awards
etc.
the amount of acclaim or
and competitions, then
however you want to define
you have to actually march
success. Now obviously, there
towards that goal: sometimes
is a point sometimes when
it involves holding work back;
perceptions can be mis-
sometimes it involves getting
leading. But it does beg the
somebody to represent your
really important point that
work rather than always being
it’s important to direct and
the one to release your work
aim your work in a strategic
independently; and some-
way. So, it’s easy to just make
times it might be releasing it
loads of work and spend a lot
independently, but just doing
of time and energy on a lot
it in a particular way or with a
of work. But no matter how
particular series and angle.
talented you are, if you don’t put that work into the right circles and target it in the right way, then there could be a lot of wasted expended 362
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Another thing I’ve found is that one of the greatest moments of my career has been getting onboard with Saatchi because suddenly they became a name that backed my name as an artist. So, it wasn’t just me alone flogging my stuff. It was a reputable entity representing me and people having trust in them as a provider of my art, who believed it was a legit
As my Surreal Fashion series
coalition between Miss Aniela
progressed, I started to slow
and Saatchi. I went from just
down a bit and pay more
being an artist on the internet
Monica Bellucci, Paris 2017
Storm Door
363
MISS ANIELA to being someone who was
it’s a little or a lot. So, when
would just get put off doing
backed by an esteemed and
you’re going through image
anything. I would just be like,
reputable art company. That
selection, always go with the
Oh get away, just let me get
became a point of discus-
one you really feel with your
on with it.
sion as well because people
gut—the one that transports
could then find out about me
you, the one that excites
through articles on Saatchi
you. Sometimes that defies
and also see my work on
a logical interpretation of
Saatchi and contact me for
what a good picture might be.
other projects, so it became
It’s good for it to be a really
an important milestone.
technically competent image, but it’s important to go for
On my shoot events through the years, I’ve noticed other
the one that really moves and transports you.
photographers can shoot a
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People sometimes say, Oh, I wish someone had told me this, but as long as you haven’t been hurt or too damaged by that mistake, then the mistakes are best made so that you can learn from them. I think that the best artists—the true artists—really don’t care what anyone
lot of good stuff, but when
Generally, I think a lot of the
thinks or what someone tells
it comes down to the image
good things you should and
them to do. And this is why I
selection, they fall down.
need to learn yourself. I’m
gave up doing workshops and
Some of my most popular
getting into gardening at the
tutorials and things, because
images have been those
moment, planting vegetables,
people wanted to know
that I have had a particularly
and I feel that I need to make
what to do all the time, they
instinctive feeling towards
mistakes. I just need to make
wanted me to tell them how
when I’ve gone through the
them. For example, when
and what to do. But they just
image selection process and
I planted seeds in too rich
need to go and run after it.
sometimes it defies logic—
composting today, or when I
You can’t just wait for peo-
there might be shot that I
put seeds out in the cold con-
ple to instruct you, because
think is really impactful, but
servatory, or even just when I
you don’t want to create
there’s actually one that I’ve
started to do some digging in
something that’s the result
come across in the image
the rain the other day when
of instruction—you want to
selection process that really
it’s totally the wrong time to
create something that’s wild
transports me. I always go for
dig. All these things I prefer to
and unbridled.
the one that makes me feel
learn myself, because if I had
transported and build upon
someone over my shoulder
that image to do whatever
saying, Don’t do this! Don’t
edits I’ve got to do, whether
do that! Do this! Do that!, I
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