meeting richard avedon

I have to admit that even as an avid photographer, I’d never really heard of the name Richard Avedon. Ironic isn’t it? Well, it so happens that the San Francisco Museum of Art has an exhibit of his work – Richard Avedon: Photographs 1946-2004 and I convinced myself that I had to go and check it out.

As soon as I got to the museum, I saw some samples of his work and, like a hammer hitting my head, I suddenly realized that I knew who he was all along. I’d seen Avedon’s photographs numerous times before and the one that stood out the most in my mind was his famous image of Nastassja Kinski and the Serpent (1981). It was an amazing exhibit to behold. Avedon is famous for his fashion photography and portraits because he masterfully and expertly transcends the raw human emotions of his subjects on film. His work is simply thought-provoking.

There were a couple of pieces that completely took me by surprise.

The first was a portrait of Marilyn Monroe. Unlike many of his portraits, this image of Marilyn was quite different. For one, she wasn’t looking directly at the camera. This image of Marilyn wasn’t the typical Monroe image we picture in our minds. This image of Marilyn makes me think of Marilyn’s vulnerability most often unseen by the public. I’m sure Avedon had numerous other frames he could have used but I’m fascinated by his choice of frames. Here is no Marilyn Monroe; the glamorous movie star we all know is not present in this frame. What Avedon did was bring to light the woman behind the public facade.

Avedon is usually known for high contrast images against a stark white background. This portrait isn’t like that. There’s a subtle vignette not found in any other of his work. Marilyn’s image is soft and the focus is maintained in her eyes and falls off at the nose and upper chest, bringing attention to her expression and features. The second part of the exhibit that tugged at me were a series of portraits of his father, Jacob Israel Avedon. These portraits remind me of a post I did not too long ago of a son taking photos of his father. Within a span of ten years, Avedon captured portraits of his father as his health deteriorated until we see Jacob dressed in a hospital gown with his head hung low. One can only fill in the blanks as to what happens next. Avedon shows us how he confronts mortality… a poignant, tug-at-your-heart moment with which we can all relate.

I left the exhibit with a fresh understanding of why Avedon has become the contemporary icon that he is. I’m amazed at how simple his images are yet how powerfully they come across.

Avedon might be gone but his vision still lives on. I’m thinking of going back again and maybe this time, take more time to fully immerse myself in his images. Through his portraits, I felt that he allowed me a peek into his life. Avedon didn’t capture these images. He created them.

“Richard Avedon: Photographs 1946-2004″ runs until November 29, 2009 at the San Francisco Museum of Modern Art.

Entry is $15 to the MOMA. Photography is allowed although I would suggest bringing a circular polarizer to minimize the reflections.