Process book -- The Leading Grid by Jill Dick

PROJECT 3

THE LEADING GRID

Steven Meisel He was born in 1954. His fascination for beauty and models started at a young age. At that time Meisel would not play with toys, but would instead draw women all the time. He used to turn to magazines like Vogue and Harper’s Bazaar as sources of inspiration for his drawings. Meisel dreamt of women from the high society like Gloria Guinness and Babe Paley, who personified to his eyes the ideas of beauty and high society. Other icons were his mother and his sister. As he became obsessed with models such as Twiggy, Veruschka, and Jean Shrimpton, at 12 years old he asked some girlfriends to call model agencies and, by pretending to be secretaries of Richard Avedon, to get pictures of the models. To meet famous model Twiggy, the 12-year-old Meisel stood outside waiting for her at Melvin Sokolsky’s studio. He studied at the High School of Art and Design and Parsons The New School for Design where he attended different courses but, as affirmed in an interview with Ingrid Sischy for Vogue France, he finally majored in fashion illustration.

Steven Meisel Steven Meisel is fashion’s pre-eminent image-maker—prolific and innovative—visualizing the trends of every season. Along with his ability to cast the faces and characters that come to represent the look of today, Meisel has a prodigious talent for scripting story lines that reflect culture. Meisel not only depicts fashion, he defines it and gives it cultural resonance. His inspirations are varied, culled from design, architecture, art, cinema and literature. Meisel has also portrayed our leading actresses and entertainers, defining the relationships between celebrity and fashion in the process. He has also created some of fashion’s most memorable campaigns for Prada, Miu Miu, Loewe, Moschino, Coach, Valentino, Lanvin, Versace, Balenciaga, Calvin Klein, Christian Dior, Yves Saint Laurent, Marc Jacobs, Louis Vuitton, and Dolce & Gabbana. Steven Meisel continues to lead and influence our understanding of contemporary fashion.https://www.artandcommerce.com/artists/photographers/Steven-Meisel/bio

One of Meisel’s first jobs was to work for fashion designer Halston as an illustrator. He also taught illustration part-time at Parsons. Meisel never thought he could become a photographer. He admired photographers like Jerry Schatzberg, Irving Penn, Richard Avedon and Bert Stern. He felt that illustration was a thing of the past and found photography as a lasting medium. Later on, while working at Women’s Wear Daily as an illustrator, he went to Elite Model Management where Oscar Reyes a booker who liked his illustrations allowed him take pictures of some of their models. He would photograph them in his apartment in Gramercy Park or on the street: on weekdays he would work at Women’s Wear Daily and on weekends with the models. One of them was Phoebe Cates. Some of these models went to castings for Seventeen magazine to show their portfolios which held some of his photography and the people at Seventeen subsequently called Meisel and asked if he wanted to work with them. Meisel currently works for many different fashion magazines, most notably Interview and US and Italian Vogue. Meisel has contributed photos for the covers of several popular albums and singles, including two RIAA Diamond-certified albums, Madonna’s 1984 album “Like a Virgin” and Mariah Carey’s 1995 album Daydream. His work also can be seen on the cover of Madonna’s single “Bad Girl” (a nude), the limited picture disc for Madonna’s UK single release of “Fever” (a partial nude), and Mariah Carey’s single “Fantasy” (simply a different crop of the photo on the cover of the Daydream album).

One of the most successful fashion photographers in the industry, Steven Meisel achieved a commendation for his work in Italian and American Vogue and his photos of Madonna in Sex, her 1992 book. At a young age, his magnetism towards models and beauty started. He ignored playing with toys unlike most children, instead his interest lied in drawing women with inspiration from magazines like Harper’s Bazaar and Vogue. Women like Babe Paley and Gloria Guinness belonging to the high stratum of the society infused the ideas of high society and beauty in Meisel’s eyes. His fascination for models was so intense that when he was only twelve years old, he asked his girlfriends to call some model agencies and get models’ photos by pretending they were Richard Avedon’s secretaries. He also stood outside the studio of Melvin Sokolsky, in order to meet his favorite model Twiggy. He also liked Jean Shrimpton and Veruschka at that age. He joined the Parsons The New School for Design and the High School of Art and Design from where he did diversified courses. However, since he passed the interview for Vogue, France with Ingrid Sischy, Meisel’s major subject became fashion illustration. As his first job, he worked as an illustrator for Halston, a fashion designer. On a part time basis he was a teacher of illustration at Parsons. He developed an interest in photography and appreciated photographers like Bert Stem, Irving Penn, Jerry Schatzberg and Richard Avedon. He began considering illustration as an antique thing and realized that photography has a longer shelf life. However, he still continued working as an illustrator at Women’s Wear Daily and when his work was liked by Oscar Reyes, a booker, Steven Meisel was allowed to take photos of Elite Model Management’s models. So he photographed the models on weekends on streets or in his apartment. Some of these models were casted for Seventeen, a magazine that showed interest in Meisel’s photography that was visible to them through the models’ portfolios. The magazine consequently asked Meisel if he was interested to work for them. Apart from this, Meisel has contributed images for the popular album covers for many music artists, such as Daydream by Mariah Carey in 1995 and Fantasy as well by Carey, and Like a Virgin by Madonna in 1984 and Bad Girl as well. Among many other campaigns, Steven Meisel shot for Calvin Klein, Dolce & Gabbana, Versace, Louis Vuitton and Valentino. Since 2004, he has also photography for Prada. In 2008 and 2009, he shot photos of Madonna for Vanity Fair and for Louis Vuitton, respectively. He also did photography for Anna Sui for many campaigns. Steven Meisel is credited for promoting as well as discovering many models who already were or became successful, such as Naomi Campbell, Christy Turlington, Coco Rocha, Liya Kebede, Raquel Zimmerman, Doutzen Kroes, Karen Elson, Caroline Trentini, Lara Stone, Nadège du Bospertus and Iris Strubegger. He regularly featured them in Vogue particularly for campaigns by Prada. In 2008, in order to address the racism visible in fashion commercial campaigns, runways and magazines, Meisel did an issue of showing just black models in Vogue. He has enhanced the careers of all the people who worked on side with him in his projects for Vogue, like hairstylists Garren, Oribe Canales, Guido Palau, Orlando Pita; and makeup artists like Kevyn Aucoin, Pat McGarth, Laura Mercier and François Nars. Meisel does not have his own book dedicated to his photography, but teNueus collected some of his images in a book named Steven Meisel in 2003 which completely sold out. http://www.famousphotographers.net/steven-meisel

BLACK

VOGUE PATTERNS Taking inspiration from a dip into the past, Patternbank discovered this print and pattern rich feature for Vogue Italia in December 2007 by celebrated photographer Steven Meisel. Despite their vintage these amazing shots have a timeless artistic quality reminiscent of Gustav Klimt’s exuberant pattern use. Where Klimt’s detailed patterns are in direct contrast with his subject’s skin, in Meisel’s shots the model’s tattooed limbs appear chameleon like, blending with the the twisted landscape of printed fabrics.

strong

dynamic : positive in attitude and full of energy and new ideas

expressive controlled free fearful unusual unique impaction : having a major impact or effect powerful color pattern

vivid : producing powerful feelings or strong, clear images in the mind

eager

emotional : arousing or characterized by intense feeling

clean gentle mean grungy curious stern steady ugly outgoing

uncertain : not able to be relied on; not known or definite

balanced unbalanced motivated restless noisy impractical tranquil talented deep

dramatic : sudden and striking, exciting or impressive

sharp thoughtful testy assertive aggressive tasteful dangerous mindful vibrant meaningful statement bold interesting respectful timeless

QUOTES “I hate war. I wasn’t trying to glamorize it. I hate violence. I hate violence against women. I am trying to make a statement against it and yet everybody then says that I am for it?”

“It allowed people to not be so afraid of sex, or if anything to simply talk about it.”- Steven Meisel “He has enhanced the careers of all the people who worked on side with him in his projects for Vogue”

“fashion’s pre-eminent image-maker” “defining the relationships between celebrity and fashion in the process.”

“He was the first person,” Madonna once told Vogue, “to introduce me to the idea of reinvention.” “Interesting, he’s always shot me in a wholesome way, even when the shoot is crazy,”

WORD COMBINATIONS Emotional Uncertainty Strikingly Forceful Magnetic Aggression Impassioned Power Private Expression Mindful Development

KEY IMAGE

ARTICLE TITLES Stupid Fashion Asshole! Society is Cruel

DONâ&#x20AC;&#x2122;T DO THIS! STOP THIS! Emotional Uncertainty

Image-maker

RESEARCH

HISTORICAL PHOTOGRAPHERS

ROBERT FRANK Last May, Robert Frank, the world’s pre-eminent living photographer, returned to Zurich, the orderly Swiss banking city, cosseted by lake and mountain, where he grew up. When an artist who made his reputation by leaving returns home, mixed feelings are inevitable, and that was especially true for Frank, whose iconic American pictures are notable for their deep understanding of human complication. ‘‘I know this town, but I certainly feel like a stranger here,’’ he said.As he walked through the immaculate Zurich city center, with its many statues, gilded shop signs and fountains, Frank was ‘‘just amazed how well organized everything is, how perfect everything is.’’ The Swiss, he explained, do not throw coins into fountains, because ‘‘they have everything they need. They don’t believe in wishing wells. Only the poor have to hope.’’ Deciding he wanted to ride a streetcar, Frank surveyed the different lines. ‘‘I usually don’t get a ticket on the tram,’’ he explained. ‘‘This town is rich enough.’’ He said he never worried about being caught by inspectors, and he didn’t seem worried. He seemed the way he typically did — fully present and yet filled with personal mystery. ‘‘I don’t know where that one goes, so we’ll take it,’’ he said, and was soon bound for a working-class district of the city. Frank has always been a picture-maker unconcerned with his own appearance, and sitting quietly beside the streetcar window, he wore the usual faded work shirt, frayed pants and one too many mornings of stubble. A sturdy man who never uses socks, a winter hat or gloves, Frank is now 90, and in the cool Swiss air, he had on a new blue down coat. His melancholy eyes rarely betray anything, but as he gazed out at the city of his youth, there was the sense of a man wary, defended, skeptical, yet willing to be engaged. In his pocket he carried an Olympus camera.Frank had come to Switzerland to receive the Roswitha Haftmann Prize for lifetime achievement, Europe’s most lucrative fine-arts award, though he doesn’t need the money. His photographs command steep prices, and nothing about his current way of living is much different from his days as a young man, when, he says, ‘‘I decided if I swore off socks, I had more money for books.’’ Several years ago, Frank sold the paintings given to him in the 1940s by an impoverished friend, Sanyu, who became a renowned modern Chinese painter. Frank received millions of dollars, but wealth so discomfited him he used it to create a foundation and gave it away.

Acclaim was likewise anathema. By the 1960s, just as his work was gaining a following, Frank abruptly moved on from still photography to become an underground filmmaker. Ten years later, with all the glories of the art world calling to him, Frank fled New York, moving to a barren hillside far in the Canadian north. Over the years, when museums asked to exhibit his work, when universities like Yale sought to award him honorary degrees, he would think, Let someone else have it, and decline. ‘‘He never crossed over into celebrity,’’ says the photographer Nan Goldin. ‘‘He’s famous because he made a mark. He collected the world.’’ The tram entered a scruffy immigrant neighborhood not far from where Frank’s father, Hermann, had his business importing radios and record players, for which Hermann himself designed cabinets that Frank describes as ‘‘horrible.’’ Frank carried two rolls of film, but all the way out he only gazed out the window. He could have been anybody. Back in the 1950s, when Frank was making what amounted to private photographic studies in public places, one of his skills was remaining inconspicuous in casinos, restrooms and elevators. Here, near the end of the tram line, suddenly the camera appeared. There was a single click. Nothing beyond the window looked unusual. Then Frank pointed to a construction crane, its boom passing below a church steeple clock. ‘‘This is Zurich,’’ he explained. ‘‘The crane. The clock. The church. Functional.’’ It was the one picture of the day. Sixty years ago, at the height of his powers, Frank left New York in a secondhand Ford and began the epic yearlong road trip that would become ‘‘The Americans,’’ a photographic survey of the inner life of the country that Peter Schjeldahl, art critic at The New Yorker, considers ‘‘one of the basic American masterpieces of any medium.’’ Frank hoped to express the emotional rhythms of the United States, to portray underlying realities and misgivings — how it felt to be wealthy, to be poor, to be in love, to be alone, to be young or old, to be black or white, to live along a country road or to walk a crowded sidewalk, to be overworked or sleeping in parks, to be a swaggering Southern couple or to be young and gay in New York, to be politicking or at prayer.

GARY WINOGRAND New York’s photographic community was small enough in the 1970s that you could spot Garry Winogrand and Lee Friedlander patrolling opposite sides of Fifth Avenue on the same day. But it was Garry, with his big presence and personality, whom I saw more often.With two cameras slung around his neck and the pockets of his safari jacket stuffed with rolls of 35-millimeter film, he looked as if he’d been sent out by central casting. Not wanting to interrupt, I would watch from a distance as he worked the street instinctively, scanning for those split-second moments when happenstance, human nature and optics might collide and make for a good picture. Unlike the equally passionate but more traditional photographers of the period whose work brimmed with pathos, Mr. Winogrand was notoriously cool in his approach. Like Walt Whitman, he had a voracious hunger for experience. Shooting with a wide-angle lens to cram as much into every frame as possible, he scooped up decisive moments with startling frequency and surprising grace. Yet, as obsessed as he was with shooting, Mr. Winogrand showed little interest in how his work, a nonstop torrent of images, was edited. What any one viewer saw of it depended on who made the selection. I finally got to work with him — the garrulous guy I’d run into at “Mad Men”-like, cigarette- and liquor-fueled, photo-world Christmas parties — in 1975, when, as the assistant director at Light Gallery, I helped hang an unusual installation of his work. Harold Jones, who had started the gallery to emphasize how artists thought and worked, had me install 111 of Mr. Winogrand’s prints — unmatted, unframed, stacked atop one another and only a few inches apart — on the walls. DESCRIPTIONCourtesy of Eileen Adele Hale Garry Winogrand, circa 1967-68 They went up under glass, one after another and, most importantly, in no special order: straight out of the boxes into which Mr. Winogrand had haphazardly tossed them. If their random juxtaposition surprised the crowd that showed up for his Madison Avenue opening, an even bigger surprise was the fistfight that broke out that night — and the number of people it took to peel the Bronx-born Mr. Winogrand off the guy he kept swinging at, for reasons that were never explained. As Leo Rubinfien, who knew him well and curated the revisionist retrospective now on view at the San Francisco Museum of Modern Art, noted, Mr. Winogrand had no patience for the phony sympathies he thought connected too many photographers to their subjects. In the exhibition catalog, Mr. Rubinfien writes that the most successful pictures, in Mr. Winogrand’s mind, were the ones “that told you that the world was a jumble of fragments, that the truth was more complex than any account could be.”

Mr. Winogrand was so enthralled by photography that he kept saying yes to the medium, which left him little time or reason to go back and say no to one image over another. Years before his death, when James Enyeart, then director of the Center for Creative Photography in Tucson, invited him to come out and determine which of the photographic prints he’d deposited in the archive could be exhibited and which should be designated as study prints, Mr. Winogrand’s response was characteristically blunt: “You know the difference, don’t you? Now it is your job.” It was only after Mr. Winogrand died in 1984 and his archive was consolidated at the center in Arizona that the staggering scale of what he had created was revealed: more than 35,000 prints, 22,000 contact sheets (nearly 800,000 images) and 45,000 35-millimeter color transparencies. Equally startling, and more newsworthy at the time, were the 6,500 rolls of film that he had never bothered to process, proof or even look at. While more career-minded artists tend to strategize about where, when and how their work will be presented, it seems Mr. Winogrand was too busy to care. Even his prints — the early ones he made himself and the later ones he farmed out to others — were characterized by a flat and indifferent look. His photographs, taken without selfconsciousness or pretense, were nervous-looking and nervous-making. DESCRIPTIONGarry Winogrand/The Estate of Garry Winogrand, courtesy of the Fraenkel Gallery, San Francisco Nixon rally, 1960. People say Mr. Winogrand never shot pictures with a specific book or exhibition in mind. Before and after his death, and until this most recent exhibition, it was John Szarkowski, the influential director of the Museum of Modern Art’s photography department who died in 2007, and Tod Papageorge, a photographer and Mr. Winogrand’s close friend, who most consistently, and sometimes controversially, edited Mr. Winogrand’s work and defined his public face. But as Mr. Rubinfien emphasizes in an exhibition and publication that features large percentages of unseen material, Mr. Winogrand’s “retreat from editing is central to his story.” And that, in turn, makes you wonder why we haven’t seen some of the terrific early pictures or many of the late ones that Mr. Winogrand shot in California. Maybe he was cocky or confident enough not to need to print them. Maybe, as Mr. Rubinfien suggests, he was afraid of what he might see in them if he did. Maybe his bleaker last pictures simply aren’t as good as the repeatedly published ones. Or maybe that work has gone unseen because it complicates the neater story of Garry Winogrand that those with the most invested in shaping it — friends, curators, dealers and collectors — have set out to tell.Whatever the reason, this exhibition reaffirms Mr. Winogrand’s process and importance and brings us to an interesting moment in visual culture. Mr. Winogrand, we’re told, was preoccupied with taking pictures. But so, increasingly, are many of us, as we use our phones to photograph whatever we think is weird or noteworthy and then rush to post it online. So are those who compulsively photograph every meal they eat and everything they wear, or take a selfportrait every day. New devices like the tiny, clip-on Memoto camera, which automatically snaps a photograph every 30 seconds, make it easy to take more than a thousand shots a day. Apps under development for Google Glass will encourage us to take pictures not only more often, but in and, literally, with the blink of an eye. If Mr. Winogrand had his reasons to skip picture editing, so do we, given the easy access we have to vast digital storehouses — hard drives, flash drives, cellphones, memory cards and digital clouds — where pictures can pile up to be edited later. Or not. Perhaps Mr. Winogrand was prescient in ways no one imagined during his lifetime, but we can appreciate now that his “problem,” the lack of editing, has become a 21st century photographic fact of life.

DESIGNER RESEARCH

ESQUIRE MAGAZINE

During a decade of war, assassination, and racial fear, Esquire editor Harold T. P. Hayes and his talented staff brought a revolutionary barrage of literary and visual firepower to America’s newsstands. Gay Talese, Tom Wolfe, and other stars of the nascent New Journalism recapture Hayes’s rise and reign, which cracked the code of a changing culture. This is not only an American magazine, issues are being published in many countries around the world such as China, Russia and the United Kingdom. One thing Esquire Magazine is highly known for is publishing the Sexiest Woman Alive every year in November. The magazine use to provides hints to who the woman was through out the preceding months leading up to the Novemebr Issue. The was originally part of the “Woman We Love” issue that was released in November.

Esquire started in1933 as a press run of a hundred thousand copies. At that time the magazine costed fifty cents which eventually raised to 9.25 today. The reason behind Esquires popularity in the begiing was the “Pretty Girls” and “Vegas Girls.” It had large oversized pages which made the magazine unquie hawever that was eventually changed and shrank to the conventional 8.5/11. The magazine was sold by the original owners to Clay Felker in 1977, who reinvented the magazine as a fortnightly in 1978, under the title of Esquire Fortnightly. However, the fortnightly experiment proved to be a failure, and by the end of that year, the magazine lost US$5 million. Felker sold Esquire in 1979 to the 1330 Corporation, a Tennessee publisher, whose owners refocused the magazine into a monthly. During this time, New York Woman magazine was launched as something of a spinoff version of Esquire aimed at female audience. 13-30 split up in 1986, and Esquire was sold to Hearst at the end of the year, with New York Woman going its separate way to American Express Publishing.

David M. Granger was named editor-in-chief of the magazine in June 1997. Since his arrival, the magazine has received numerous awards, including multiple National Magazine Awards—the industry’s highest honor. Prior to becoming editor-in-chief at Esquire, Granger was the executive editor at GQ for nearly six years. Its award-winning staff writers include Tom Chiarella, Scott Raab, Mike Sager, Chris Jones, John H. Richardson, Cal Fussman, Lisa Taddeo, and Tom Junod. Famous photographers have also worked for the magazine, among which fashion photographer Gleb Derujinsky, and Richard Avedon.

HERB LUBALIN On March 17, 1918, Herbert F. Lubalin was born in New York, United States. At the age of seventeen, he was enrolled in a privately funded college located in the East Village, Cooper Union. An array of possibilities offered by the field of typography as a communicative implement fascinated him. Lubalin learned about the fundamentals of typography and was awestruck by the impact a typeface can have if traded with another and how it affects the whole text’s interpretation. Upon receiving his graduation degree in 1939, he had a rough time searching a suitable job. He was able to get a job at a display firm, though he got sacked after requesting a two dollar raise on his weekly salary. Soon after, Lubalin found work at Reiss Advertising and eventually he was landed a job at Sudler & Hennessey. At S & H he became a practitioner of a wide range of skills. In fact, it was he who attracted talent from multidiscipline, such as design, typography and photography, to the firm. While working there he made associates with George Lois, John Pistilli and Art Kane. He stayed with Sudler & Hennessey for two long decades before he decided to establish his own design firm, Herb Lubalin, Inc in 1964. With the foundation of his private studio he enjoyed the liberty of taking on a variety of art projects. He excelled in a number of projects including poster designing, magazine designing and packaging and identity solutions. Lubalin’s talent was best manifested when he designed Ralph Ginzburg’s succession of magazines; Eros, Fact and Avant Garde.

Ginzburg first launched Eros which was dedicated to beauty and emerging sense of sexuality in the burgeoning counterculture. It had a large format, similar to a regular book rather than a quarterly magazine, with no advertisement. Lubalin’s editorial design for the magazine is considered one of the brilliant of its kind. However, following an obscenity case filed by the US Postal Service against the magazine it immediately folded. In response to the treatment Eros received, Ginzburg and Lubalin launched a second magazine, Fact. The managing editor of Fact Warren Boroson defined it as having spiced up issues instead of sugar-coated pieces like in Reader’s Digest. Lubalin applied an elegant design to the magazine with minimalist palette, based on dynamic serifed typography and exquisite illustrations. Notwithstanding the fact that the magazine received great reviews, it followed the lead of its predecessor and folded. It was a consequence of their publication of an article on the Republican presidential candidate Barry Goldwater, titled “The Unconscious of a Conservative: A special Issue on the Mind of Barry Goldwater” . Goldwater sued the magazine repeatedly and put it out of business eventually.

JOHNATHAN HOEFLER Jonathan Hoefler (born August 22, 1970) is an American typeface designer. Hoefler founded The Hoefler Type Foundry in 1989, a type foundry in New York. In 1999 Hoefler began working with type designer Tobias Frere-Jones, and from 2005–2014 the company operated under the name Hoefler & Frere-Jones until their public split. Hoefler has designed original typefaces for Rolling Stone, Harper’s Bazaar, The New York Times Magazine, Sports Illustrated, and Esquire and several institutional clients, including the Solomon R. Guggenheim Museum and alternative band They Might Be Giants. Perhaps his best-known work is the Hoefler Text family of typefaces, designed for Apple Computer and now appearing as part of the Macintosh operating system] He also designed the current wordmark of The Church of Jesus Christ of LatterDay Saints. In 1995, Hoefler was named one of the forty most influential designers in America by I.D. magazine, and in 2002, the Association Typographique Internationale (ATypI) presented him with its most prestigious award, the Prix Charles Peignot for outstanding contributions to type design. Hoefler and Frere-Jones have been profiled in The New York Times, Time Magazine, and Esquire Magazine, and appearances on National Public Radio and CBS Sunday Morning. Johnathan Hoefler began to get recognized ind high school for his design, Ed Benguiat a renowned type-designer sawa submission of his to a design contest and called his school to offer him a posision in his letterform design class as the School of Visual Arts. Hoefler is largely self-taught; by the age of 19 he’d already worked with magazine art director Roger Black for about a year, before opening the Hoefler Type Foundry in 1989. He quickly received acclaim for his work, including Knockout and Hoefler Text, which is part of the operating system for Mac computers as well as the iPad. I.D. magazine named him one of the 40 most influential designers in America for his original typefaces designed for magazines such as Harper’s Bazaar and Rolling Stone, and for institutional clients such as the Guggenheim Museum.

TIBOR KALMAN When he returned to the United States in 1971, Mr. Kalman learned rudimentary graphic design by doing window displays for the Student Book Exchange at N.Y.U., which was owned by Leonard Riggio, who later bought Barnes & Noble and made Mr. Kalman its first creative director. He designed the bookstore’s first shopping bag, featuring an antique woodcut of a scribe, which is still used today. Knowing little about the nuances of typography, however, Mr. Kalman hired young design school graduates to execute his ideas while he retained creative control, a practice he continued throughout his career.

Tibor Kalman (July 6, 1949 – May 2, 1999) was an American graphic designer of Hungarian origin, well known for his work as editor-in-chief of Colors magazine. M&Co. - is a Scottish chain store selling women’s, men’s, and children’s clothes, as well as small homeware products. Tibor Kalman was born in Budapest in 1949 and immigrated with his family to Poughkeepsie, N.Y., in 1957 after the unsuccessful Hungarian uprising against the Communist regime. He spent a year at New York University, where he joined Students for a Democratic Society and traveled to Cuba to pick cotton with the Venceremos Brigade, which took middle-class Americans to help support the Communists.

Kalmen was an inovative designer who wasnt scared to push the bounries of being weird and unexpected. He ws considered the “bad boy” of design he was a harsh critic of the term “perfessional” design, he simply did not believe in it. He was a major influence on the younger generation,the generation that paid less respect for tradition design rules. Kalmen spent mush of his life building a business, M&Co “desing by the pound.” He also founded M&Co Labs which conceived and manufactured watches and clocks with quirky faces and rearranged numerals, it was the start of fashion that involved designer-made objects.

GAIL ANDERSON Gail Anderson (born 1962) is an American graphic designer, writer, and educator. From 2002 through 2010, she served as Creative Director of Design at SpotCo, a New York City advertising agency that creates artwork for Broadway and institutional theater. From 1987 to early 2002, she worked at Rolling Stone magazine, serving as designer, deputy art director, and finally, as the magazine’s senior art director. And early in her career, Gail was a designer at The Boston Globe Sunday Magazine and Vintage Books (Random House). Anderson’s work has received awards from major design organizations, including the Society of Publication Designers, the Type Directors Club, The American Institute of Graphic Arts, The Art Directors Club, Graphis, Communication Arts, and Print. In addition, it has also been included in the permanent collections of the Cooper Hewitt Design Museum, the Library of Congress, and the Milton Glaser Design Archives at the School of Visual Arts. Anderson has been featured in magazines that include Computer Arts (UK), designNET (Korea), kAk (Russia), STEP Inside Design, and Graphic Design USA. Gail Anderson is co-author, with Steven Heller, of the upcoming The Typographic Universe, as well as New Modernist Type, New Ornamental Type, New Vintage Type, Astounding Photoshop Effects, American Typeplay, The Savage Mirror, and Graphic Wit. She is a contributor to Imprint and Uppercase magazine. Anderson teaches in the School of Visual Arts MFA, undergraduate, and high school design programs, and has served on the advisory boards for Adobe Partners by Design and the Society of Publication Designers. She currently serves on the board for the Type Directors Club, and is a member of the Citizens’ Stamp Advisory Committee for the US Postal Service. Anderson is the recipient of the 2008 Lifetime Achievement Medal from the AIGA, the 2009 Richard Gangel art direction award from the Society of Illustrators, and has lectured about design (and her bottle cap collection) at organizations and conferences around the world.

NEVILLE BRODY Neville Brody (born 23 April 1957) is an English graphic designer, typographer and art director. Neville Brody is an alumnus of the London College of Communication and Hornsey College of Art, and is known for his work on The Face magazine (1981–1986), Arena magazine (1987–1990), as well as for designing record covers for artists such as Cabaret Voltaire, The Bongos, and Depeche Mode.

Neville Brody is perhaps the best known graphic designer of his generation. He studied graphic design at the London College of Printing and first made his way into the public eye through his record cover designs and his involvement in the British independent music scene in the early 1980s. As the Art Director of Fetish he began experimenting with the beginnings of a new visual language that consisted of a mixture of visual and architectural elements. Later he was able to put these ideas into practice and to set new precedents through the innovative styling of The Face magazine (1981-1986). It was his work on magazines that firmly established his reputation as one of the world’s leading graphic designers. In particular, his artistic contribution to The Face completely revolutionised the way in which designers and readers approach the medium. Though Brody rejected all commercialisation of his graphic style, his unique designs soon became much-imitated models for magazines, advertising and consumeroriented graphics of the eighties. Brody also won much public acclaim through his highly innovative ideas on incorporating and combining typefaces into design. Later on he took this a step further and began designing his own typefaces, thus opening the way for the advent of digital type design. His pioneering spirit in the area of typography manifests itself today in such projects as FUSE, a regularly published collection of experimental typefaces and posters which challenges the boundaries between typography and graphic design. While working for Arena (1987-1990) he embarked on a completely opposite course, using minimalist, nondecorative typography for a time before returning to his expressive visual style which he now began propagating with the aid of computers. In 1987 he founded The Studio in London, and his unusual computer-generated designs received a great deal of recognition, especially abroad. His work has been commissioned by such major organisations as Berlin’s Haus der Kulturen der Welt, Greenpeace, Japanese companies Men’s Bigi and Parco, the Dutch Postal Service, the German cable channel Premiere and Austria’s ORF TV channel.Today, Neville Brody’s work focuses largely on electronic communications design. At the same time, he continues to create his unique and striking digital typefaces. His contributions to the world of graphic design and digital typography are absolutely invaluable. Often referred to as a “star typographer”, Brody has designed a number of very well-known typfaces. Collapse description

David Carson (born September 8, 1955) is an American graphic designer, art director and surfer. He is best known for his innovative magazine design, and use of experimental typography. He was the art director for the magazine Ray Gun, in which he employed much of the typographic and layout style for which he is known. In particular, his widely imitated aesthetic defined the socalled “grunge typography” era.

In 2004, Carson became the freelance Creative Director of the Gibbes Museum of Art in Charleston. That year, he also designed the special “Exploration” edition of Surfing Magazine and directed a variety of TV commercials, including Lucent Technologies, Budweiser, American Airlines, Xerox, UMPQUA Bank and numerous others.

In 2011 Carson worked as worldwide creative director for Bose Corporation. He also served as Design Director for the 2011 Quiksilver Pro Surfing contest in Biarritz, France, and designed the branding for the 2012 Quiksilver Pro in New York City. He designed a set of three posters for the San Sebastián International Film Festival in Spain and the covers for Huck, Little White Lies, and Monster Children magazines. He has been featured in over 280 interviews worldwide. The international design magazine CASA called Carson, in a cover story in 2014 “The Most Famous Graphic Designer in the World”. Carson was invited to judge the European Design Awards in London (DD+A) in both 2010 and 2011, and was the keynote speaker of the Fuse branding conference in Chicago in 2014 and the international creativity festival in Dubai in 2015. Since 2010, he has lectured, held workshops and exhibitions across Europe, South America and the United States.

In 2015, Carson was commissioned to design the posters and publicity for the Harvard Graduate School of Design, for the 2015–2016 school year, including a set of over 30 poster designs for events and speaker series. In 1995, Carson left Ray Gun to found his own studio, David Carson Design, in New York City. He started to attract major clients from all over the United States. During the next three years (1995–1998), Carson was doing work for Pepsi Cola, Ray Ban (orbs project), Nike, Microsoft, Budweiser, Giorgio Armani, NBC, American Airlines and Levi Strauss Jeans, and later worked for a variety of new clients, including AT&T Corporation, British Airways, Kodak, Lycra, Packard Bell, Sony, Suzuki, Toyota, Warner Bros., CNN, Cuervo Gold, Johnson AIDS Foundation, MTV Global, Prince, Lotus Software, Fox TV, Nissan, quiksilver, Intel, Mercedes-Benz, MGM Studios and Nine Inch Nails.

He named and designed the first issue of the adventure lifestyle magazine Blue, in 1997. David designed the first issue and the first three covers. Carson’s cover design for the first issue was selected as one of the “top 40 magazine covers of all time” by the American Society of Magazine Editors. In 2000, Carson closed his New York City studio and followed his children to Charleston, South Carolina, where their mother had relocated them. Since then he has lived in San Diego, Seattle, Zurich, and Tortola . Currently he lives and works in NYC.

DAVID CARSON

ALEXEY BRODOVITCH Alexey Vyacheslavovich Brodovitch (1898 – April 15, 1971) was a Russian-born photographer, designer and instructor who is most famous for his art direction of fashion magazine Harper’s Bazaar from 1934 to 1958. Alexey Brodovitch is remembered today as the art director of Harper’s Bazaar for nearly a quarter of a century. But the volatile Russian emigré’s influence was much broader and more complex than his long tenure at a fashion magazine might suggest. He played a crucial role in introducing into the United States a radically simplified, “modern” graphic design style forged in Europe in the 1920s from an amalgam of vanguard movements in art and design. Through his teaching, he created a generation of designers sympathetic to his belief in the primacy of visual freshness and immediacy. Fascinated with photography, he made it the backbone of modern magazine design, and he fostered the development of an expressionistic, almost primal style of picture-taking that became the dominant style of photographic practice in the 1950s.

In addition, Brodovitch is virtually the model for the modern magazine art director. He did not simply arrange photographs, illustrations and type on the page; he took an active role in conceiving and commissioning all forms of graphic art, and he specialized in discovering and showcasing young and unknown talent. His first assistant in New York was a very young Irving Penn. Leslie Gill, Richard Avedon and Hiro are among the other photographers whose work Brodovitch nurtured during his long career. So great was his impact on the editorial image of Harper’s Bazaar that he achieved celebrity status; the film Funny Face, for example, which starred Fred Astaire as a photographer much like Avedon, named its art-director character “Dovitch.”

TYPE STUDY EMOTIONAL UNCERTAINTY emotional uncertainty Private Expression PRIVATE EXPRESSION PRIVATE EXPRESSION private expression FASION IS CRUEL fasion is cruel fashion is CRUEL F A S H I O N I S C R U E L f a s h i o n i s c r u fashion is cruel

1ST ROUND

OPENING SPREADS

Private Expression Photography by Steven Meisel

EMOTIONAL

uncertainty

Photography by Steven Meisel

Private Expression........................

Photography by Steven Meisel

Private Expressio Photography by Steven Meisel

Private Photography by Steven Meisel

Expression

CRUEL Fashion

Photography by Steven Meisel

F A S H I O N i s Photography by Steven Meisel

Aquaectatecumesvolorestrumfaciet,conem lautemolorsequirest,sundaesam,asincto beatadioetventur,solorautilisdolorenatem venessinctioccupienturautaudit,namiursicorio cullestetexeicillamquiaesconsequivolorreprat voluptaverciacuseosexplaborrum,nonemfugia abipsundellendisaliquam,quidoluptatidundit quedelibusvolutenesnihilexcepudaerciat ectiuratquam,voluptasconsentionsectur,sit laboribusaccumrerferitibus,untesequaeptis doluptionsequiasasimoluptaauteavenditab incorumqueprorsumharuptatur,aceritperepro maconemverspideilitassequeomnimfugitad quatommolorreprest,conporrorrumeiumlam nonparumfacidenimusdadelecabinremenihit ipitutvolorratemetquiquosincomnimusa cusdaeped etur? Quis as et,

Photography by Steven Meisel

F A S H I O N i s C R U E L

fashion is cruel Photography by Steven Meisel

FASHION is

CRUEL Photography by Steven Meisel

Emotional Uncertainty Photography by Steven Meisel

p r i v a t e

e x s p r e s s i o n Photography by Steven Meisel

Fashion is Cruel

Photography by Steven Meisel

Private

xspression

Photography by Steven Meisel “fashion’s pre-eminent image-maker”

Private

Expression

Photography by Steven Meisel Aquaectatecumesvolorestrumfaciet, conemlautemolorsequirest,sundaesam, asinctobeatadioetventur,solorautilis dolorenatemvenessinctioccupienturaut audit,namiursicoriocullestetexeicillam quiaesconsequivolorrepratvolupta verciacuseosexplaborrum,nonemfugia abipsundellendisaliquam,quidoluptati dunditquedelibusvolutenesnihilexcepudaerciatectiuratquam,voluptasconsent ionsectur, sit laboribus accum rerferi tibus,untesequaeptisdoluptionsequias asimoluptaauteavenditabincorumque prorsumharuptatur,aceritpereproma conemverspideilitassequeomnimfugitad quatommolorreprest,conporrorrumeium lamnonparumfacidenimusdadelecabin remenihitipitutvolorratemetquiquosin comnimusacusdaepedetur?Quisaset,

corroblaborehentisexexernatiamvolorem poruptasreroremestiisetexerfernatemipis denisrem.Namautasperumlabo.Odia esquovolorae.Sedquiaelanditomnime sequam,omnismoluteanisestlasenectorevoluptusrestoteceatur?Quiaprecatur sincientomnimuseniaventotatiore,conse perodolessinvendedolupturesequam abo. Ficabo. Is dolo consequo odi aut omnitatiusnetetdolorehendioptisidollore

CRUEL

FASHION is

Photography by Steven Meisel

Private Expression

Photography by Steven Meisel

E M O T I O N A L U N C E R T A I N T Y

Photography by Steven Meisel

Emotional Uncertainty

“fashion’s pre-eminent image-maker”

EMOTIONAL uncertainty

Photography by Steven Meisel

EMOTIONuncertainty AL Photography by Steven Meisel

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EMOTIONAL

u n c e r t a i n t y Photography by Steven Meisel

EMOTIONAL

u n c e r t a i n t y Photography by Steven Meisel Aquaectatecumesvolorestrumfaciet, conemlautemolorsequirest,sundaesam, asinctobeatadioetventur,solorautilis dolorenatemvenessinctioccupienturaut audit,namiursicoriocullestetexeicillam quiaesconsequivolorrepratvolupta verciacuseosexplaborrum,nonemfugia abipsundellendisaliquam,quidoluptati dunditquedelibusvolutenesnihilexcepudaerciatectiuratquam,voluptasconsent ionsectur, sit laboribus accum rerferi tibus,untesequaeptisdoluptionsequias asimoluptaauteavenditabincorumque prorsumharuptatur,aceritpereproma conemverspideilitassequeomnimfugitad quatommolorreprest,conporrorrumeium lamnonparumfacidenimusdadelecabin remenihitipitutvolorratemetquiquosin comnimusacusdaepedetur?Quisaset,

EMOTIONAL uncertainty Aquaectatecumesvolorestrumfaciet,conem lautemolorsequirest,sundaesam,asincto beatadioetventur,solorautilisdolorenatem venessinctioccupienturautaudit,namiursi coriocullestetexeicillamquiaesconsequi volorrepratvoluptaverciacuseosexplaborrum,nonemfugiaabipsundellendisaliquam, quidoluptatidunditquedelibusvolutenes nihilexcepudaerciatectiuratquam,voluptas consentionsectur,sitlaboribusaccumrerferi tibus,untesequaeptisdoluptionsequiasa simoluptaauteavenditabincorumquepror sumharuptatur,aceritperepromaconemverspideilitassequeomnimfugitadquatommolor represt,conporrorrumeiumlamnonparum facidenimusdadelecabinremenihitipitutvolorratemetquiquosincomnimusacusdaeped etur? Quis as et,

Photography by Steven Meisel

“fashion’s pre-eminent image-maker”

Fashion is Cruel Photography by Steven Meisel

Aquaectatecumesvolorestrumfaciet, conemlautemolorsequirest,sundaesam, asinctobeatadioetventur,solorautilis dolorenatemvenessinctioccupienturaut audit,namiursicoriocullestetexeicillam quiaesconsequivolorrepratvolupta verciacuseosexplaborrum,nonemfugia abipsundellendisaliquam,quidoluptati dunditquedelibusvolutenesnihilexcepudaerciatectiuratquam,voluptasconsent ionsectur, sit laboribus accum rerferi tibus,untesequaeptisdoluptionsequias asimoluptaauteavenditabincorumque prorsumharuptatur,aceritpereproma conemverspideilitassequeomnimfugitad quatommolorreprest,conporrorrumeium lamnonparumfacidenimusdadelecabin remenihitipitutvolorratemetquiquosin comnimusacusdaepedetur?Quisaset,

1ST ROUND

FEATURED PHOTOGRAPHER SPREADS

Photography by Steven Meisel

F A S H I O N Di coreiur? Quam faciunt, et ad quod etur, quunto quia simenis dolupiciunt, quisimo molor molupta tioriam faccusape nonsecatum et laborit laccull aborect orumetur, sinciet as nonsequ idignit perovid quaepudis duntias dent rem quasit elia quiamen imincti aborist verunt occum, cus Itature que lacestiae laborporro dolores quam, aditet ipsunt voletiorecorepere cone et la nonsent faceaquatur?Healiquae pediate storem. Am, omni undanis cimoluptatus dus ium dolupturrit utam repro quiam eum hil ipsundel incipsam dolora que dent.

Magnimus doluptaspera sintisin con explaborerum es ipsapie ndicilliqui temporrum quam nimus.Ta voluptasin etur? Tem quodiciatio. Itaere omnietu saectius es quas voluptis et que vit hitia dolorem eum si to optaquias ius idelici dignis cus et ut etur? Uptatiorrum et esti nihicit, odit ad moloris veliquos as voluptaquae occatur esseris ad magnatur recatesto berum et, odigenisto venim que sum, adis si sequi omnim aut litem ressunt doles sitatin rehendit esti doles as eum nimet fugit odi quam, ipicianis assed evendae nobit audaecae cuptium reic tecus ium nes essim expe net eium fugit archilis et ent porerferunt es am, ius dis ex et vendae volut es sani re veroOvidunt aut aut aut incid moluptas eosanditio volorem sincid mo omnihilibusa et quiatur? Quid ut apis iunt dolorias digent labo. Volectatquis dicillab ipsant ut ut harcitendite quasped que labo. Ovidunt porro quos poriberis et autem solor aut aut quissit, ellupta tquam, et moditatium, quibus audaecullaut autae. Ut maFugit volorepeles maio. Et exped que nonsed qui cusandaestia perunt, suntisciunti qui aut ulpa prae nesci doluptate sapidi sedipsum sundit repudiost essit quam fugia sam enducit quis rehenis cum nos

Aque lam dit ulliciur alisti alicia quae eumquia que velest quis aut apedi tem et dolorest delent veliande iur simi, vollignim ditaest iurepel inia dentota quaernamendi raturesti de landa sam que core natet et, inctiusae dunt offic te pel illorrum quist omnis magniendit qui quassum sinvendisqui officillaut ut offici aut omnihil exped que posapitis as volo te est que si occus, quaerspiciam et expero modita ium lacepudit pernam istionet voloreprovid qui corendenia cum qui sitaspiendit ant rerum imus atur, torem nusdam untiorem vent, od et aboria doluptatem. Otatatecatur re et, optat.Nonestiis verspic tusandi utature modigen daesendant illese nis audaes etur?Il mos aut volorum ariandae optati dunt dolute volorum, occus que ius dellani hilitatur modit officilibus rem la cum ressiti cusciis quaerita vel maio. Harion non eatis voloriberi blab incius maionsequi tessitius quos mos ex everis et faccus atque consequi volupta temodit atiur?Volupta voloris id ut offic tem. Ut ut quo temporitam quodia dolupit laboris aligent.

Dolorest, consedicid qui doloribust, cum et offictium, que repta perspellabo. Fuga. Ita endipsam, sum conem et aut acimeni voluptatur aut as eiusam, el eatectatur, eum fugit repudio ium quae explam aditionem sequatio. Namus a cum quunt.Ximusdam doluptata nobit odis quaspient erupictio. Omni dolo ea diori berchil iuntur, to de od que nos renias molupta tatiis ut volo es vent offictate imoloriae voluptate ium solore nonseca esenducime lias ma comnistiat optat.Torit unt antio tem que exero tendam ipisitam esci tenis non eum cullaccab il mil evendandus verum atis initaque prepro moditio to eatincimenis evernatibus volorep eribusant, vollanda si te nes des et odictae dollect atiant repeliq uiatioritat essum facerum laborib ernatio. Mil iuris qui res sin essit, ut dolorita con cus qui debis quatur am voluptatis ra nonsequame perrum doluptur?Illias excerem nescius eum descita everior aperfero dollatas recerro vitatat.Bus doluptur, sinciuntur, utectae verum ipsunt. 3

â&#x20AC;&#x153;STUPID FASHION ASSHOLESâ&#x20AC;? Equi coribus dolent, sitiatur aliationsed quati idisciis eium eturepereris sunt peliberoriam quaestrum rehent, test ium enisquam que sam, omnis as volupic to custore ctiberit mos sunt andaest, ilignihic te volut vento dolupta epudigentur auda volectaque nis derio officia conectem voloreh endit, qui sita porestiam resequo volo mos vit, quatiature netusam re, sus quia vid ut ressitas ipsant imi, am ex eum volest am, quibus imi, sequia vitia abo. Nequamu sapelesto et istion cone id etum ut aute non cus, te cum dolore eatus sit, non experem videlitam lantem enis alicips andicid maionse cestist et aliscidebis rem. Ibus doluptis

Labore el int alique corest, vidunt eossus.Iciis doluptur, ommodi omniet quis andit, is everere ne por aligenis est aut as que si berrum voluptaquia quo ipidus, sere, tem illest et doloribuscid ut aut qui odis et pos alicid et officillupta dunt veliquiatum as min ne velentio ipicten imaximus maximet aut quid quas molorem poreptatum qui volorehendit alique pedio. Utatem sunt.Harcitist, occusam eum cus simporporemo tore porerov itatur simus mil incta conse vent volesci isitat.Ratur, tem. Nam atquoditios escimai onsedic atquis nes nonserum am reptatemquam dolorion nulpa dolum kjkds fkiolksf josl jilla iand

Equi coribus dolent, sitiatur aliationsed quati idisciis eium eturepereris sunt peliberoriam quaestrum rehent, test ium enisquam que sam, omnis as volupic to custore ctiberit mos sunt andaest, ilignihic te volut vento dolupta epudigentur auda volectaque nis derio officia conectem voloreh endit, qui sita porestiam resequo volo mos vit, quatiature netusam re, sus quia vid ut ressitas ipsant imi, am ex eum volest am, quibus imi, sequia vitia abo. Nequamu sapelesto et istion cone id etum ut aute non cus, te cum dolore eatus sit, non experem videlitam lantem enis alicips andicid maionse cestist et aliscidebis rem. Ibus doluptis

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Git, se doluptus, si offictem sunt, coratem qui dus aceperum, seque velibea plaut volupta doluptatem unto et aut voluptat ut ipiditia por aut laut liquis sinciumet, con nus as aspisi untis rest, ut ex endaeri taturem porporu ptatur, quiaes mod unt quis enis eos rerit, ommolor atissedi beaquis dis eaquia volorposam aut magniam re core natatur accatem. Gia doluptatur, offictempore venectus. Officia sed ut earchic toritatet etur? Nesed ex eiuntur?It et alicabo. Et qui velenimolla volore, explati osandelit, sint reri coraest ruptatem id que non nonserrum quiatis maio. Aquati dolesectur sequi omnisi que nate con pa non nes eveles rent expelic totatestiat pariam repernatest doluptatist milloru mendest explis utat.Ossim hitatus earciant acipsaes elit ullique doluptas volorum illant ut quisi iume id ulpariatem hilla seque cullam volorem ilissi res ea illor acipsapedit ium sam, inus, invelitates aut opturiatem et volupta dolectus sitaquis as et ma am repel imperup-

Tem eos moloriosam et optaspe digente stiatur?Esentorum quia doluptaque vellaut alicia iusant, optatquam volorpore, quae ma simolor aut dunt veliciusam que magni apitios dolorepernam estem qui beritatur sendam lis et, offici reni ut volorpos aceribus et ratquibus, apis dusda nos etusdae voluptatur am siti non cus modit qui cor ant iundunt, si conesedis reptat et facerciis et ut volut mos sit quas autem sincto tem ilist qui dentorepe commolo rporporia sima plam eum faccum videbis autem liciusae est ipsam rerrora tquibus modit, sequistrum ut volor as re acerovit porat et et miliquo consent maio opta vellaccus reicia nonseque cum ut quam, od que exceat. Aped esecerio modigen dionectur raecaecum lam verspeliciur modipis ilibusandi officius et, officitatur, quisquia volum sequatio volut magnihit inihici te et eost ea sollacest, tem reptae exped moluptas sed mo es sim facipsum acidelestrum quae dolupti ut quam sae et eaque doloreicit faceribust eliquo tescita

EMOTIONAL Aquaectatecum es volorestrum faciet, conem lautemolor sequi rest, sundae sam, as incto beat a dio et ventur, solor aut ilis dolore natem venessincti occupientur aut audit, nam iur si corio cullestet ex eicillam quia es consequi volor reprat volupta vercia cus eos explaborrum, nonem fugia ab ipsunde llendis aliquam, qui doluptati dundit que delibus volute nes nihil excepud aerciat ectiur atquam, voluptas consent ionsectur, sit laboribus accum rerferi tibus, unt esequaeptis dolupti onsequias a simolupta aut ea vendit ab in corumque pror sum haruptatur, acerit perepro ma conem verspide ilit asseque omnim fugit ad quat ommolor represt, con porrorrum eium lam non parum facid enimusda delecab in rem enihit ipit ut volor ratem et qui quos in comnimus a cusdaeped etur? Quis as et,

Photography by Steven Meisel

rum inequam cones movilis etius confeco nicatilii publius, quidem nissimpos itus ressilis cae mantratque qui inve, quemus, sensuli quonondem.Itandamque tat, tantiquo inam inemurs pon rena recmei tum horavo, cum inti cur intesse vocaturei forio, con sus suam ternius confectures An ingulla biterfectum tam ercepec fur la verebut emoltus ad diu mo moverunume achuit ium tus, que ommorte rferferebus occiis consimil vid iaet re crio, supplia dius am involtus, consici bessult ortere firmihi, noc, nostium sultorus, sentenihilis con sum o esilisque cotiam los num quit quemqua moludemus orbis hus, nostatimmo cerem int? O tastum se duc re consist erorunu loctus, C. Maris cons vero intem proriamquam sus etiacte fac rentem inteme ceressenere, ceris, patum audam pris essimus, num nos Mareo in nostre terei privirmis sis. Palis. Sil vis. Se ingultus restilis sessus inatquodicta ciendac civisula cris nos pere facerevis consulabit. Ipse ciem nos haeli-

In nu vil verite non virit; nihil cultum tium tu quitasdam dituidi tebatus, nos bon Etratuam utelabenique publiam audeatis loc re nihi, consili, C. Consima nunteme issente, es nostiac iorsus, ublicon cludam iam Rommod se, Catquam es? Nam consum octorte consultus fac fur. Sen tra, vivivir la caperi forumuspesci sus inat, senatabus huctes ete, ut ares in satus. crum sent occhuce ssimil ut dem, mac movis.Til tia publi, nonstem. Etri, vivir hor lius, que ceris firi, di publi sulosterum ficerem usatiliquit? Abut vicibuli poptemussica consuam inpra num rebus Mare, etrarteris hos la ma, nesimus, ellaritia ve, quam perevig natio, us peridium nunte, cota iam nihil videsceret in demquamena, se, consu sil urnicis. Ipsenam sente acerendam abeffre viribus, sentro Caticae caedo, inatil consula mortisus omanum ius opulis hus ex num maio unitem horterf ecive, ellat. Upio vidium temeribu

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onin pre tius, occhici perordii tanteris.Eferric medeniu rnitus vivid firma, crit effre faciam pat vilictam re, fic vit vidius vium es forsuliu mac vis clutebu sseniam autelius oma, quiditus sent L. Nondente mus culto viribus, ut inpract orivitem tem imilia vit qua di iur li se incultil convessinam hum, con sta nortelium patiaedo, nihil cone ali in spertandam det faciverum es coenihilin vivivatimmo videmnon revid for unte ature ac re nostra vidi, notilicibus menterime tua veris, noca; Catiqui plius bonsum, nesse es elusquam orevit.Isse hilinul abultuam, fir in dio cres res neropulictum aucta sigit; iur iam es rem enatque audem o maciam con dem se conlosultude et porur inihil ute dernimoendem diusquitiam te adducom nensimu ssidien tilium sulocam ius, Ti. Ponsus? Patiamd icerita sdacchus, non Itam. Elicide rioculost verficum si fac tua de pre fur ad in Itamquem horta, cons aucio inarbi fatrum esterit, nostus crum, simis ius; nes me culos, qua oraecuperis steri ine aussussissa querem in dintis, uni suam porum trum ubliconsilis ceriaes simussum mo ac mantes sed re re aci prio, nos fur intum nost? que es con se, Ti. Dactus facibus consulocris atus dem, C. Bem pri iamplicae iam se iactuam potam fatum audacia caeteatquam inentine compes! Fintena turnium dem tratuus renatuam tes sedi furi, Catrum tampl. Nosti, uteres ercepertius, nondaci ssideorbis reo, vo, Cupicae quam iam in vivitan daccipiondem tis es sentis is, nonsi poere mo essigil icomnenam adhuces traesimultum fenditi libeffre conicaet gra viven vit apecrum octustantil hos, cote mus inunum nosterem a verid fuit pos cibulegerem publia tem confest ne faurs scioculicum opubli, quod dees crim abi faci iae te ca publina, uturs fatabemus prit vis aveheberum num nes, queresciemus intisuliu musquam horuder ionsulvidem es patorest? En

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EMOTIONAL

u n c e r t a i n t y Photography by Steven Meisel

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â&#x20AC;&#x153; FA S H I O N â&#x20AC;&#x2122; S P R E - E M I N E N T I M A G E - M A K E R â&#x20AC;?

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MAGAZINE RESEARCH

I think all the magazines I chose to include in my reasurch had a great use of the grid, the images were incorporated in a way that made the magazine easy and intresting to look at. I liked how some used the grid so literly, you could actually see the grid and I thought it made the design very impactful and eye catching. Another think that drawed me to the magazinse I picked was the way they used type. They didnt use it in ways that were expected, such as the spacing and the way it was oriented. I love bright colors however I liked the use of the simple classic colors.

REFINED

FEATURED PHOTOGRAPHER SPREADS

1ST ATTEMPT

Steven Meisel is fashion’s pre-eminent image-maker— prolific and innovative—visualizing the trends of every season. Along with his ability to cast the faces and characters that come to represent the look of today, Meisel has a prodigious talent for scripting story lines that reflect culture. Meisel not only depicts fashion, he defines it and gives it cultural resonance. His inspirations are varied, culled from design, architecture, art, cinema and literature. Meisel has also portrayed our leading actresses and entertainers, defining the relationships between celebrity and fashion in the process. He has also created some of fashion’s most memorable campaigns for Prada, Miu Miu, Loewe, Moschino, Coach, Valentino, Lanvin, Versace, Balenciaga, Calvin Klein, Christian Dior, Yves Saint Laurent, Marc Jacobs, Louis Vuitton, and Dolce & Gabbana. Steven Meisel continues to lead and influence our understanding of contemporary fashion.

EMOTIONAL

u n c e r t a i n t y Photography by Steven Meisel

“STUPID FASHION ASSHOLES”

“OBVIOUSLY, I FEEL FASHION IS TOTALLY RACISIT.”

He studied at the High School of Art and Design and Parsons The New School for Design where he attended different courses but, as affirmed in an interview with Ingrid Sischy for Vogue France, he finally majored in fashion illustration. Meisel has contributed photos for the covers of several popular albums and singles, including two RIAA Diamond-certified albums, Madonna’s 1984 album “Like a Virgin” and Mariah Carey’s 1995 album Daydream. His work also can be seen on the cover of Madonna’s single “Bad Girl” (a nude), the limited picture disc for Madonna’s UK single release of “Fever” (a partial nude), and Mariah Carey’s single “Fantasy” (simply a different crop of the photo on the cover of the Daydream album). Meisel currently works for many different fashion magazines, most notably Interview and US and Italian Vogue.

Among many other campaigns, Steven Meisel shot for Calvin Klein, Dolce & Gabbana, Versace, Louis Vuitton and Valentino. Since 2004, he has also photography for Prada. In 2008 and 2009, he shot photos of Madonna for Vanity Fair and for Louis Vuitton, respectively. He also did photography for Anna Sui for many campaigns. Steven Meisel is credited for promoting as well as discovering many models who already were or became successful, such as Naomi Campbell, Christy Turlington, Coco Rocha, Liya Kebede, Raquel Zimmerman, Doutzen Kroes, Karen Elson, Caroline Trentini, Lara Stone, Nadège du Bospertus and Iris Strubegger. He regularly featured them in Vogue particularly for campaigns by Prada. In 2008, in order to address the racism visible in fashion commercial campaigns, runways and magazines, Meisel did an issue of showing just black models in Vogue. He has enhanced the careers of all the people who worked on side with him in his projects for Vogue, like hairstylists Garren, Oribe Canales, Guido Palau, Orlando Pita; and makeup artists like Kevyn Aucoin, Pat McGarth, Laura Mercier and François Nars. Meisel does not have his own book dedicated to his photography, but teNueus collected some of his images in a book named Steven Meisel in 2003 which completely sold out.

“ FA S H I O N ’ S PRE-EMINENT IMAGE-MAKER”

2ND ATTEMPT

EMOTIONAL

u n c e r t a i n t y

“OBVIOUSLY, I FEEL FASHION IS TOTALLY RACIST.” He was born in 1954. His fascination for One of Meisel’s first jobs was to work for fashion beauty and models started at a young age. At designer Halston as an illustrator. He also taught that time Meisel would not play with toys, illustration part-time at Parsons. Meisel never but would instead draw women all the time. thought he could become a photographer. He He used to turn to magazines like Vogue and admired photographers like Jerry Schatzberg, Harper’s Bazaar as sources of inspiration for Irving Penn, Richard Avedon and Bert Stern. He his drawings. Meisel dreamt of women from felt that illustration was a thing of the past and the high society like Gloria Guinness and Babe found photography as a lasting medium. Later Paley, who personified to his eyes the ideas of on, while working at Women’s Wear Daily as beauty and high society. Other icons were his an illustrator, he went to Elite Model Managemother and his sister. ment where Oscar Reyes a booker who liked his illustrations allowed him take pictures of some of As he became obsessed with models such their models. He would photograph them in his as Twiggy, Veruschka, and Jean Shrimpton, apartment in Gramercy Park or on the street: on at 12 years old he asked some girlfriends to weekdays he would work at Women’s Wear Daily call model agencies and, by pretending to be and on weekends with the models. One of them secretaries of Richard Avedon, to get pictures was Phoebe Cates. Some of these models went of the models. To meet famous model Twiggy, to castings for Seventeen magazine to show their the 12-year-old Meisel stood outside waiting portfolios which held some of his photography for her at Melvin Sokolsky’s studio. and the people at Seventeen subsequently called Meisel and asked if he wanted to work with them. He studied at the High School of Art and Design and Parsons The New School for Design Meisel currently works for many different fashion where he attended different courses but, as magazines, most notably Interview and US and affirmed in an interview with Ingrid Sischy for Italian Vogue. Vogue France, he finally majored in fashion illustration. Meisel has contributed photos for the covers of several popular albums and singles, including two RIAA Diamond-certified albums, Madonna’s 1984 album “Like a Virgin” and Mariah Carey’s 1995 album Daydream. His work also can be seen on the cover of Madonna’s single “Bad Girl” (a nude), the limited picture disc for Madonna’s UK single release of “Fever” (a partial nude), and Mariah Carey’s single “Fantasy” (simply a different crop of the photo on the cover of the Daydream album).

“STUPID FASHION ASSHOLES” One of the most successful fashion photographers in the industry, Steven Meisel achieved a commendation for his work in Italian and American Vogue and his photos of Madonna in Sex, her 1992 book. At a young age, his magnetism towards models and beauty started. He ignored playing with toys unlike most children, instead his interest lied in drawing women with inspiration from magazines like Harper’s Bazaar and Vogue. Women like Babe Paley and Gloria Guinness belonging to the high stratum of the society infused the ideas of high society and beauty in Meisel’s eyes. His fascination for models was so intense that when he was only twelve years old, he asked his girlfriends to call some model agencies and get models’ photos by pretending they were Richard Avedon’s secretaries. He also stood outside the studio of Melvin Sokolsky, in order to meet his favorite model Twiggy. He also liked Jean Shrimpton and Veruschka at that age. He joined the Parsons The New School for Design and the High School of Art and Design from where he did diversified courses. However, since he passed the interview for Vogue, France with Ingrid Sischy, Meisel’s major subject became fashion illustration. As his first job, he worked as an illustrator for Halston, a fashion designer. On a part time basis he was a teacher of illustration at Parsons. He developed an interest in photography and appreciated photographers like Bert Stem, Irving Penn, Jerry Schatzberg and Richard Avedon. He began considering illustration as an antique thing and realized that photography has a longer shelf life. However, he still continued working as an illustrator at Women’s Wear Daily and when his work was liked by Oscar Reyes, a booker, Steven Meisel was allowed to take photos of Elite Model Management’s models. So he photographed the models on weekends on streets or in his apartment. Some of these models were casted for Seventeen, a magazine that showed interest in Meisel’s photography that was visible to them through the models’ portfolios. The magazine consequently asked Meisel if he was interested to work for them. Apart from this, Meisel has contributed images for the popular album covers for many music artists, such as Daydream by Mariah Carey in 1995 and Fantasy as well by Carey, and Like a Virgin by Madonna in 1984 and Bad Girl as well.

“ FA S H I O N ’ S PREP-EMINENT IMAGE-MAKER”

He has enhanced the careers of all the people who worked on side with him in his projects for Vogue, like hairstylists Garren, Oribe Canales, Guido Palau, Orlando Pita; and makeup artists like Kevyn Aucoin, Pat McGarth, Laura Mercier and François Nars. Meisel does not have his own book dedicated to his photography, but teNueus collected some of his images in a book named Steven Meisel in 2003 which completely sold out.

3RD ATTEMPT

EMOTIONAL

u n c e r t a i n t y

“OBVIOUSLY, I FEEL FASHION IS TOTALLY RACIST.” He was born in 1954. His fascination for beauty and models started at a young age. At that time Meisel would not play with toys, but would instead draw women all the time. He used to turn to magazines like Vogue and Harper’s Bazaar as sources of inspiration for his drawings. Meisel dreamt of women from the high society like Gloria Guinness and Babe Paley, who personified to his eyes the ideas of beauty and high society. Other icons were his mother and his sister. As he became obsessed with models such as Twiggy, Veruschka, and Jean Shrimpton, at 12 years old he asked some girlfriends to call model agencies and, by pretending to be secretaries of Richard Avedon, to get pictures of the models. To meet famous model Twiggy, the 12-year-old Meisel stood outside waiting for her at Melvin Sokolsky’s studio. He studied at the High School of Art and Design and Parsons The New School for Design where he attended different courses but, as affirmed in an interview with Ingrid Sischy for Vogue France, he finally majored in fashion illustration. Meisel has contributed photos for the covers of several popular albums and singles, including two RIAA Diamond-certified albums, Madonna’s 1984 album “Like a Virgin” and Mariah Carey’s 1995 album Daydream. His work also can be seen on the cover of Madonna’s single “Bad Girl” (a nude), the limited picture disc for Madonna’s UK single release of “Fever” (a partial nude), and Mariah Carey’s single “Fantasy” (simply a different crop of the photo on the cover of the Daydream album).

“STUPID FASHION ASSHOLES”

“ FA S H I O N ’ S PRE-EMINENT IMAGE-MAKER”

1ST ROUND

COVER DESIGNS

CRUEL

CRUEL.

CRUEL CRUEL CRUEL CRUEL CRUEL CRUEL

CRUEL

1ST ROUND

HISTORICAL PHOTOGRAPHER SPREADS

R O B E R T Photography by Robert Frank

An important and prominent figure in American film and photography, Robert Frank was born in 1924 in Switzerland to an upper class Jewish family. During World War II, Frank along with his family remained safe in his country. In order to rid himself from the affects of surrounding oppression and to escape from his family’s business oriented confinement. Before making his own photo book – 40 Fotos – in 1946, Frank trained himself under some graphic designers and photographers.

He made another book of photos that he collected

In 1955, with a key artistic persuasion from Walker

shooting in Peru and returned to America in 1950.

Evans, Frank was granted to travel within United States

In the same year, he met Edward Steichen and this

and take photos of all strata of society. This was possible

encounter gave him a great opportunity for his career.

with the support from John Simon Guggenheim

He participated in 51 American Photographs, a group

Memorial Foundation which was highly influenced by

show at the Museum of Modern Art. There he met his

Evans. Frank visited many cities including Houston

future wife with whom he has two children.

(Texas), Reno (Nevada), Chicago (Illinois), St. Petersburg (Florida), Dearborn and Detroit (Georgia),

Robert Frank developed a feeling that America is often

and New Orleans (Louisiana). His family accompanied

a lonely and bleak place. The society was moving at a

him for a part of the road trips and during this time he

fast pace and a lot of emphasis was given to money. At

shot 28,000 photos. He selected just 83 shots for The

first, he used to be optimistic about American culture

Americans. Although the book received much criticism

and society however as a few years passed, Frankâ&#x20AC;&#x2122;s

as pictures being blur and grainy, Frank is usually

perception changed. This perspective is also seen in his

identified with these photos and the work is considered

later photographs. At work place, he felt that editors

influential in American art and photography history.

interfered a lot with his work. Hence he moved to Paris with his family for some time. In 1953, he returned to New York and continued his work as a photojournalist on freelance basis for magazines like Fortune, Vogue andMcCallâ&#x20AC;&#x2122;s.

In 1961, Frank did his first solo show – Robert Frank:

He also made Candy Mountain, Keep Busy, Me and My

Photographer – at the Art Institute of Chicago. The same

Brother. In 1970, Frank returned to still photography.

exhibition was displayed in New York as well a year later.

He made his second photo book in 1972 – The Lines of My Hand. In 1974, his daughter died in a plane crash and

During the publishing of The Americans, Frank began

subsequently his son died as well from schizophrenia.

taking an interest in cinematography. He made Pull My

Following this, much of Frank’s work dealt with the impact

Daisy (1959), which starred Gregory Corso, Ginsbery

of losing both children.During the 1950’s, the tradition

and others. In 1960, he filmed Sin of Jesus and the shoot

and aesthetic of photography championed clean, well-

lasted for six months. His best known documentary film

exposed, and sharp photographs. Technical perfection was

is Cocksucker Blues (the Rolling Stones) filmed in 1972.

considered king. However in Frank’s “The Americans”, he

Due to the controversial value of this piece, it was only

was first harshly criticized by critics saying things like the

permitted by the court to show the film five times a year

prints were “Flawed by meaningless blur grain, muddy

and that too in the presence of Robert Frank. His photos

exposure, drunken horizons, and general sloppiness”.

appeared on the Rolling Stone’s cover album of Exile on main St.

“THE EYES SHOULD LEARN TO LISTEN BEFORE IT LOOKS”

Photography by Robert Frank

He made another book of photos that he collected shooting

This perspective is also seen in his later photographs. At

in Peru and returned to America in 1950. In the same year,

work place, he felt that editors interfered a lot with his work.

he met Edward Steichen and this encounter gave him a great

Hence he moved to Paris with his family for some time. In

opportunity for his career. He participated in 51 American

1953, he returned to New York and continued his work as a

Photographs, a group show at the Museum of Modern Art.

photojournalist on freelance basis for magazines like Fortune,

There he met his future wife with whom he has two children.

Vogue andMcCall’s. In 1955, with a key artistic persuasion from Walker Evans,

During the 1950’s, the tradition and aesthetic of photography

Frank was granted to travel within United States and take

championed clean, well-exposed, and sharp photographs.

photos of all strata of society. This was possible with the

Technical perfection was considered king. However in Frank’s

support from John Simon Guggenheim Memorial Foundation

“The Americans”, he was first harshly criticized by critics

which was highly influenced by Evans. Frank visited many

saying things like the prints were “Flawed by meaningless

cities including Houston (Texas), Reno (Nevada), Chicago

blur grain, muddy exposure, drunken horizons, and general

(Illinois), St. Petersburg (Florida), Dearborn and Detroit

sloppiness”.

(Georgia), and New Orleans (Louisiana). His family accompanied him for a part of the road trips and during this

Robert Frank developed a feeling that America is often a

time he shot 28,000 photos. He selected just 83 shots for The

lonely and bleak place. The society was moving at a fast pace

Americans. Although the book received much criticism as

and a lot of emphasis was given to money. At first, he used to

pictures being blur and grainy, Frank is usually identified

be optimistic about American culture and society however as

with these photos and the work is considered influential in

a few years passed, Frank’s perception changed.

American art and photography history.

Drive-in movie, Detroit 1955

In 1961, Frank did his first solo show – Robert Frank: Photographer – at the Art Institute of Chicago. The same exhibition was displayed in New York as well a year later. During the publishing of The Americans, Frank began taking an interest in cinematography. He made Pull My Daisy (1959), which starred Gregory Corso, Ginsbery and others. In 1960, he filmed Sin of Jesus and the shoot lasted for six months. His best known documentary film is Cocksucker Blues (the Rolling Stones) filmed in 1972. Due to the controversial value of this piece, it was only permitted by the court to show the film five times a year and that too in the presence of Robert Frank. His photos appeared on the Rolling Stone’s cover album of Exile on main St. He also made Candy Mountain, Keep Busy, Me and My Brother. In 1970, Frank returned to still photography. He made his second photo book in 1972 – The Lines of My Hand. In 1974, his daughter died in a plane crash and subsequently his son died as well from schizophrenia. Following this, much of Frank’s work dealt with the impact of losing both children.

R O B E R T An important and prominent figure in American film and photography, Robert Frank was born in 1924 in Switzerland to an upper class Jewish family. During World War II, Frank along with his family remained safe in his country. In order to rid himself from the affects of surrounding oppression and to escape from his family’s business oriented confinement. Before making his own photo book – 40 Fotos – in 1946, Frank trained himself under some graphic designers and photographers.

F R A N K Photography by Robert Frank

Robert Frank developed a feeling that America is often a lonely and bleak place. The society was moving at a fast pace and a lot of emphasis was given to money. At first, he used to be optimistic about American culture and society however as a few years passed, Frank’s perception changed. This perspective is also seen in his later photographs. At work place, he felt that editors interfered a lot with his work. Hence he moved to Paris with his family for some time. In 1953, he returned to New York and continued his work as a photojournalist on freelance basis for magazines like Fortune, Vogue andMcCall’s. During the 1950’s, the tradition and aesthetic of photography championed clean, well-exposed, and sharp photographs. Technical perfection was considered king. However in Frank’s “The Americans”, he was first harshly criticized by critics saying things like the prints were “Flawed by meaningless blur grain, muddy exposure, drunken horizons, and general sloppiness”. In 1955, with a key artistic persuasion from Walker Evans, Frank was granted to travel within United States and take photos of all strata of society. This was possible with the support from John Simon Guggenheim Memorial Foundation which was highly influenced by Evans. Frank visited many cities including Houston (Texas), Reno (Nevada), Chicago (Illinois), St. Petersburg (Florida), Dearborn and Detroit (Georgia), and New Orleans (Louisiana). His family accompanied him for a part of the road trips and during this time he shot 28,000 photos. He selected just 83 shots for The Americans. Although the book received much criticism as pictures being blur and grainy, Frank is usually identified with these photos and the work is considered influential in American art and photography history.

“THE EYES SHOULD LEARN TO LISTEN BEFORE IT LOOKS”

REFINED

HISTORICAL PHOTOGRAPHER SPREADS

F R A N K Photography by Robert Frank

Gotthard Schuh: Miner, Winterslag, Belgium, 1937

“THE EYES SHOULD LEARN TO LISTEN

He also made Candy Mountain, Keep Busy, Me and My Brother. In 1970, Frank returned to still photography. He made his second photo book in 1972 – The Lines of My Hand. In 1974, his daughter died in a plane crash and subsequently his son died as well from schizophrenia. Following this, much of Frank’s work dealt with the impact of losing both children. During the 1950’s, the tradition and aesthetic of photography championed clean, well-exposed, and sharp

BEFORE IT LOOKS”

photographs. Technical perfection was considered king. However in Frank’s “The Americans”, he was first harshly criticized by critics saying things like the prints were “Flawed by meaningless blur grain, muddy exposure, drunken horizons, and general sloppiness”.

Gotthard Schuh: Miner, Winterslag, Belgium, 1937

R O B E R T Photography by Robert Frank

He made another book of photos that he collected

In 1955, with a key artistic persuasion from Walker

shooting in Peru and returned to America in 1950.

Evans, Frank was granted to travel within United States

In the same year, he met Edward Steichen and this

and take photos of all strata of society. This was possible

encounter gave him a great opportunity for his career.

with the support from John Simon Guggenheim

He participated in 51 American Photographs, a group

Memorial Foundation which was highly influenced by

show at the Museum of Modern Art. There he met his

Evans. Frank visited many cities including Houston

future wife with whom he has two children.

(Texas), Reno (Nevada), Chicago (Illinois), St. Petersburg (Florida), Dearborn and Detroit (Georgia),

Robert Frank developed a feeling that America is often

and New Orleans (Louisiana). His family accompanied

a lonely and bleak place. The society was moving at a

him for a part of the road trips and during this time he

fast pace and a lot of emphasis was given to money. At

shot 28,000 photos. He selected just 83 shots for The

first, he used to be optimistic about American culture

Americans. Although the book received much criticism

and society however as a few years passed, Frankâ&#x20AC;&#x2122;s

as pictures being blur and grainy, Frank is usually

perception changed. This perspective is also seen in his

identified with these photos and the work is considered

later photographs. At work place, he felt that editors

influential in American art and photography history.

In 1961, Frank did his first solo show – Robert Frank:

He also made Candy Mountain, Keep Busy, Me and My

Photographer – at the Art Institute of Chicago. The same

Brother. In 1970, Frank returned to still photography.

exhibition was displayed in New York as well a year later.

He made his second photo book in 1972 – The Lines of My Hand. In 1974, his daughter died in a plane crash and

During the publishing of The Americans, Frank began

subsequently his son died as well from schizophrenia.

taking an interest in cinematography. He made Pull My

Following this, much of Frank’s work dealt with the impact

Daisy (1959), which starred Gregory Corso, Ginsbery

of losing both children.During the 1950’s, the tradition

and others. In 1960, he filmed Sin of Jesus and the shoot

and aesthetic of photography championed clean, well-

lasted for six months. His best known documentary film

exposed, and sharp photographs. Technical perfection was

is Cocksucker Blues (the Rolling Stones) filmed in 1972.

considered king. However in Frank’s “The Americans”, he

Due to the controversial value of this piece, it was only

was first harshly criticized by critics saying things like the

permitted by the court to show the film five times a year

prints were “Flawed by meaningless blur grain, muddy

and that too in the presence of Robert Frank. His photos

exposure, drunken horizons, and general sloppiness”.

appeared on the Rolling Stone’s cover album of Exile on main St. Gotthard Schuh: Miner, Winterslag, Belgium, 1937

ON PHOTOGRAPHY

SUSAN SONTAG

An excerpt Plato’s Cave

Susan Sontage

To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge – and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

Photographsfurnishevidence.

Somethingwehearabout,butdoubt,seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

ON PHOTOGRAPHY

While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography’s “message,” its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

ON PHOTOGRAPHY An excerpt Plato’s Cave Susan Sontage

Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of

the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images.To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard's Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King's Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard's gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood.To photograph is to appropriate the thing photographed. It means putting oneself into a certain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker's film, Si j'avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books.

Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photo-

TO PHOTOGRAPH IS TO APPROPRIATE THE THING PHOTOGRAPHED.

graphs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience. The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography’s “message,” its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art.

To photograph is to appropriate the think photographed.

ON PHOTOGRAPHY Humankind lingers unregenerately in Plato’s cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads -- as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard’s Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King’s Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard’s gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a cer tain relation to the world that feels like knowledge -- and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience.

An excerpt Plato’s Cave Susan Sontags

The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film -- the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity -- and ubiquity -- of the photographic record is photography’s “message,” its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption -- the toy of the clever, the wealthy, and the obsessed -- seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines

For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality -- photographs are fragile objects, easily torn or mislaid -- and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph -- any photograph -- seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

FINAL MAGAZINE

CRUEL Spring 2017 Volume 3

F R A N K Photography by Robert Frank

In 1955, with a key artistic persuasion from Walker Evans, Frank was granted to travel within United States and take photos of all strata of society. This was possible with the support from John Simon Guggenheim Memorial Foundation which was highly influenced by Evans. Frank visited many cities including Houston (Texas), Reno (Nevada), Chicago (Illinois), St. Petersburg (Florida), Dearborn and Detroit (Georgia), and New Orleans (Louisiana). His family accompanied him for a part of the road trips and during this time he shot 28,000 photos. He selected just 83 shots for The Americans. Although the book received much criticism as pictures being blur and grainy, Frank is usually identified with these photos and the work is considered influential in American art and photography history. In 1961, Frank did his first solo show – Robert Frank: Photographer – at the Art Institute of Chicago. The same exhibition was displayed in New York as well a year later.

During the publishing of The Americans, Frank began taking an interest in cinematography. He made Pull My Daisy (1959), which starred Gregory Corso, Ginsbery and others. In 1960, he filmed Sin of Jesus and the shoot lasted for six months. His best known documentary film is Cocksucker Blues (the Rolling Stones) filmed in 1972. Due to the controversial value of this piece, it was only permitted by the court to show the film five times a year and that too in the presence of Robert Frank. His photos appeared on the Rolling Stone’s cover album of Exile on main St.

CRUEL Spring 2017 Volume 3

He made another book of photos that he collected shooting in Peru and returned to America in 1950. In the same year, he met Edward Steichen and this encounter gave him a great opportunity for his career. He participated in 51 American Photographs, a group show at the Museum of Modern Art. There he met his future wife with whom he has two children. Robert Frank developed a feeling that America is often a lonely and bleak place. The society was moving at a fast pace and a lot of emphasis was given to money. At first, he used to be optimistic about American culture and society however as a few years passed, Frank’s perception changed. This perspective is also seen in his later photographs. At work place, he felt that editors interfered a lot with his work. Hence he moved to Paris with his family for some time. In 1953, he returned to New York and continued his work as a photojournalist on freelance basis for magazines like Fortune, Vogue and McCall’s.

“THE EYES SHOULD LEARN TO LISTEN BEFORE IT LOOKS”

Since his move to Nova Scotia, Canada, Frank has divided his time between his home there in a former fisherman’s shack on the coast, and his Bleecker Street loft in New York. He has acquired a reputation for being a recluse (particularly since the death of Andrea), declining most interviews and public appearances. He has continued to accept eclectic assignments, however, such as photographing the 1984 Democratic National Convention, and directing music videos for artists such as New Order (“Run”), and Patti Smith (“Summer Cannibals”). Frank continues to produce both films and still images, has helped organize several retrospectives of his art, and his work has been represented by Pace/MacGill Gallery in New York since 1984. In 1994, the National Gallery of Art in Washington, D.C. presented the most comprehensive retrospective of Frank’s work to date, entitled Moving Out.

Gotthard Schuh: Miner, Winterslag, Belgium, 1937

S T E V E N Photography by Steven Meisel Steven Meisel is fashion’s pre-eminent image-maker— prolific and innovative—visualizing the trends of every season. Along with his ability to cast the faces and characters that come to represent the look of today, Meisel has a prodigious talent for scripting story lines that reflect culture. Meisel not only depicts fashion, he defines it and gives it cultural resonance. His inspirations are varied, culled from design, architecture, art, cinema and literature. Meisel has also portrayed our leading actresses and entertainers, defining the relationships between celebrity and fashion in the process. He has also created some of fashion’s most memorable campaigns for Prada, Miu Miu, Loewe, Moschino, Coach, Valentino, Lanvin, Versace, Balenciaga, Calvin Klein, Christian Dior, Yves Saint Laurent, Marc Jacobs, Louis Vuitton, and Dolce & Gabbana. Steven Meisel continues to lead and influence our understanding of contemporary fashion.

M E I S E L 9

CRUEL Spring 2017 Volume 3

He was born in 1954. His fascination for beauty and models started at a young age. At that time Meisel would not play with toys, but would instead draw women all the time. He used to turn to magazines like Vogue and Harper’s Bazaar as sources of inspiration for his drawings. Meisel dreamt of women from the high society like Gloria Guinness and Babe Paley, who personified to his eyes the ideas of beauty and high society. Other icons were his mother and his sister. As he became obsessed with models such as Twiggy, Veruschka, and Jean Shrimpton, at 12 years old he asked some girlfriends to call model agencies and, by pretending to be secretaries of Richard Avedon, to get pictures of the models. To meet famous model Twiggy, the 12-year-old Meisel stood outside waiting for her at Melvin Sokolsky’s studio. He studied at the High School of Art and Design and Parsons The New School for Design where he attended different courses but, as affirmed in an interview with Ingrid Sischy for Vogue France, he finally majored in fashion illustration. Meisel has contributed photos for the covers of several popular albums and singles, including two RIAA Diamond-certified albums, Madonna’s 1984 album “Like a Virgin” and Mariah Carey’s 1995 album Daydream. His work also can be seen on the cover of Madonna’s single “Bad Girl” (a nude), the limited picture disc for Madonna’s UK single release of “Fever” (a partial nude), and Mariah Carey’s single “Fantasy” (simply a different crop of the photo on the cover of the Daydream album). Editorially, Meisel’s fierce defense of his aesthetics’ independence has led to him creating some of fashion’s best and most controversial fashion stories, including shooting the entirety of Italian Vogue’s 2008 all black issue. He told 032c “My favourites are the ones that allow me to say something: the black issue; the poking fun at celebrities one; the paparazzi thing; the mental institution one; the ones that I have a minute to think about; all the ones that are the most controversial in fact. But it’s not because they are controversial that I like them, but because they say a little more than just a beautiful woman in a beautiful dress. I love that too, but to try and say something is also my goal.”

Eva Mendes Foot Fetish,Vogue Italia 2008 by Steven Meisel

After graduating, one of Meisel’s first jobs was to work for a fashion designer Halston as an illustrator. As a part-time gig, Steven also taught illustration at Parsons. Interestingly, up to that point, the young author never thought he will become an actual photographer, seeing himself more as a fan than a practitioner. In other words, Steven wanted to stick to what he knew and loved – illustrating. However, after considering that photos are a much more lasting medium then drawings and that the Big Apple scene was fueled by cameras, Meisel had a change of heart. He went to Elite Model Management where a man named Oscar Reyes allowed him to take pictures of some of their models. Steven would sometimes photograph them in his apartment in Gramercy Park and other times on the streets, depending on the desired effects. One of the earliest models Meisel took images of was Phoebe Cates. After seeing his pictures in numerous portfolios of the models he worked with, Meisel’s name was suddenly on everyone’s lips and the aspiring photographer was offered a position at the Seventeen.

Eva Mendes Foot Fetish,Vogue Italia 2008 by Steven Meisel

Since the time he got himself involved with photos, Meisel’s career has been going nowhere but up. He soon got himself involved with some incredibly famous clientele as Steven started contributing photos for covers of several popular magazines and music albums. He is the man behind the covers of two RIAA Diamond-certified albums, Madonna’s 1984 album Like a Virgin and Mariah Carey’s 1995 album Daydream. Working with Madonna has been a recurring activity as Meisel is one of her most trusted photographers. Besides many of her albums, his images were gathered in a notorious table top book titled Sex which featured numerous provocative stills of Madonna and the happenings from her wild lifestyle. As was said earlier, Steven shot campaigns for Versace, Valentino, Dolce & Gabbana, Louis Vuitton, Balenciaga and Calvin Klein. However, his most successful fashion campaign is often connected to Prada as Meisel does their images each season to this day. Speaking of maintaining impressive clients, Steven still works with Madonna the two created many fascinating images during the early 2000s. It should also be noted that Steven’s close friend is Anna Sui for whom he also shot several campaigns, even though Sui rarely uses advertising to promote her line of clothing.

CRUEL Spring 2017 Volume 3

Steven Meisel is credited for promoting as well as discovering many models who already were or became successful, such as Naomi Campbell, Christy Turlington, Coco Rocha, Liya Kebede, Raquel Zimmerman, Doutzen Kroes, Karen Elson, Caroline Trentini, Lara Stone, Nadège du Bospertus and Iris Strubegger. He regularly featured them in Vogue particularly for campaigns by Prada. In 2008, in order to address the racism visible in fashion commercial campaigns, runways and magazines, Meisel did an issue of showing just black models in Vogue. He has enhanced the careers of all the people who worked on side with him in his projects for Vogue, like hairstylists Garren, Oribe Canales, Guido Palau, Orlando Pita; and makeup artists like Kevyn Aucoin, Pat McGarth, Laura Mercier and François Nars. Nowadays, Steven is regarded as one of the most powerful photographers in the fashion industry. Surprisingly, Meisel is notorious for rarely giving interviews or being photographed – a feature which definitely helped with his reputation as it managed to shroud it in mystery and intrigue. A constant visionary, Steven has been credited with discovering some of the biggest fashion models the world has ever seen. Even if we withhold the names mentioned in the opening paragraph, Meisel can still be credited with establishing the careers of Guinevere Van Seenus, Karen Elson, Meghan Collison, Amber Valletta, Kristen McMenamy, Stella Tennant, Raquel Zimmerman, Sasha Pivovarova, Iris Strubegger, Lara Stone, Coco Rocha, Natalia Vodianova, Vanessa Axente and Elise Crombez. Most of these were propelled to fame via Steven’s photos made for Vogue and a few fashion campaigns. It should be noted that Meisel’s influence and interest seem to also extend past models as he has often been the pivotal figure of different operations and innovations within the world of fashion. However, his style of photo making seems to remain the same for all those years – his imagery, although often controversial, does have a way of juxtaposing fashion with politics and social culture. Steven is also one of the very few outstanding photographers that do not have a published book solely dedicated to his photographic work.

DEFINING THE RELATIONSHIP BETWEEN CELEBRITY AND FASHION IN THE PROCESS.

CRUEL Spring 2017 Volume 3

ON PHOTOGRAPHY

TO PHOTOGRAPH IS TO APPROPRIATE THE THING PHOTOGRAPHED.

Humankind lingers unregenerately in Plato’s cave, still reveling, its age-old habit, in mere images of the truth. But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. Finally, the most grandiose result of the photographic enterprise is to give us the sense that we can hold the whole world in our heads – as an anthology of images. To collect photographs is to collect the world. Movies and television programs light up walls, flicker, and go out; but with still photographs the image is also an object, lightweight, cheap to produce, easy to carry about, accumulate, store. In Godard’s Les Carabiniers (1963), two sluggish lumpen-peasants are lured into joining the King’s Army by the promise that they will be able to loot, rape, kill, or do whatever else they please to the enemy, and get rich. But the suitcase of booty that Michel-Ange and Ulysse triumphantly bring home, years later, to their wives turns out to contain only picture postcards, hundreds of them, of Monuments, Department Stores, Mammals, Wonders of Nature, Methods of Transport, Works of Art, and other classified treasures from around the globe. Godard’s gag vividly parodies the equivocal magic of the photographic image., Photographs are perhaps the most mysterious of all the objects that make up, and thicken, the environment we recognize as modern. Photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood. To photograph is to appropriate the thing photographed. It means putting oneself into a cer tain relation to the world that feels like knowledge – and, therefore, like power. A now notorious first fall into alienation, habituating people to abstract the world into printed words, is supposed to have engendered that surplus of Faustian energy and psychic damage needed to build modern, inorganic societies. But print seems a less treacherous form of leaching out the world, of turning it into a mental object, than photographic images, which now provide most of the knowledge people have about the look of the past and the reach of the present. What is written about a person or an event is frankly an interpretation, as are handmade visual statements, like paintings and drawings. Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire. While a painting or a prose description can never be other than a narrowly selective interpretation, a photograph can be treated as a narrowly selective transparency. But despite the presumption of veracity that gives all photographs authority, interest, seductiveness, the work that photographers do is no generic exception to the usually shady commerce between art and truth. Even when photographers are most concerned with mirroring reality, they are still haunted by tacit imperatives of taste and conscience.

AN EXCERPT FROM PLATOS CAVE Susan Sontag

The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film – the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects. Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity – and ubiquity – of the photographic record is photography’s “message,” its aggression. Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots). There is an aggression implicit in every use of the camera. This is as evident in the 1840s and 1850s, photography’s glorious first two decades, as in all the succeeding decades, during which technology made possible an ever increasing spread of that mentality which looks at the world as a set of potential photographs. Even for such early masters as David Octavius Hill and Julia Margaret Cameron who used the camera as a means of getting painterly images, the point of taking photographs was a vast departure from the aims of painters. From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images. That age when taking photographs required a cumbersome and expensive contraption – the toy of the clever, the wealthy, and the obsessed – seems remote indeed from the era of sleek pocket cameras that invite anyone to take pictures. The first cameras, made in France and England in the early 1840s, had only inventors and buffs to operate them. Since there were then no professional photographers, there could not be amateurs either, and taking photographs had no clear social use; it was a gratuitous, that is, an artistic activity, though with few pretensions to being an art. It was only with its industrialization that photography came into its own as art. As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinforced the self-consciousness of photography-as-art. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides.

Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them. For many decades the book has been the most influential way of arranging (and usually miniaturizing) photographs, thereby guaranteeing them longevity, if not immortality – photographs are fragile objects, easily torn or mislaid – and a wider public. The photograph in a book is, obviously, the image of an image. But since it is, to begin with, a printed, smooth object, a photograph loses much less of its essential quality when reproduced in a book than a painting does. Still, the book is not a wholly satisfactory scheme for putting groups of photographs into general circulation. The sequence in which the photographs are to be looked at is proposed by the order of pages, but nothing holds readers to the recommended order or indicates the amount of time to be spent on each photograph. Chris Marker’s film, Si j’avais quatre dromadaires (1966), a brilliantly orchestrated meditation on photographs of all sorts and themes, suggests a subtler and more rigorous way of packaging (and enlarging) still photographs. Both the order and the exact time for looking at each photograph are imposed; and there is a gain in visual legibility and emotional impact. But photographs transcribed in a film cease to be collectable objects, as they still are when served up in books. Photographs furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a photograph of it. In one version of its utility, the camera record incriminates. Starting with their use by the Paris police in the murderous roundup of Communards in June 1871, photographs became a useful tool of modern states in the surveillance and control of their increasingly mobile populations. In another version of its utility, the camera record justifies. A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture. Whatever the limitations (through amateurism) or pretensions (through artistry) of the individual photographer, a photograph – any photograph – seems to have a more innocent, and therefore more accurate, relation to visible reality than do other mimetic objects. Virtuosi of the noble image like Alfred Stieglitz and Paul Strand, composing mighty, unforgettable photographs decade after decade, still want, first of all, to show something “out there,” just like the Polaroid owner for whom photographs are a handy, fast form of note-taking, or the shutterbug with a Brownie who takes snapshots as souvenirs of daily life.

Cruel, Volume 3 was designed by Jillian Dick for Typographic Systems, 2017. All of the images and text were sourced from publications and the interent and are only being used for design education purposes. Fonts: Kabel and Minion Pro. Printed at Jayhawk Ink, Lawrence KS.

Stella Tennant by Steven Meisel for W Magazine