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Richard Avedon

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Alyssa D

on 10 October 2013

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Transcript of Richard Avedon

Richard Avedon
Upon leaving the merchant marines in 1944, Avedon attended the New School for Social Research to study photography
Within one year Avedon was hired to work for Harper's Bazaar thanks to Alexey Brodovitch
Served as a staff photographer for Harper's Bazaar for 20 years (1945-1965)
Left Harper's Bazaar in 1965 to work as a photographer for Vogue from 1966-1990
How IT All Started & Career
Inspiration
Samples of Work
During the late 1940s & early 1950s. Richard created elegant black-and-white photographs show causing the latest fashions in real-life settings such as Paris's picturesque cafes, cabarets and streetcars.
His B&W portraits were remarkable for capturing the essential humanity and vulnerability
Published a book of photographs called observations
Avedon's photographs of his terminally ill father were featured at the Museum of Modern Art
Richard Avedon made fashion and photography history when he staged a photoshoot @ a circus
Significance
Richard Avedon pushed the boundaries of fashion photography with surreal, provocative and often controversial pictures in which nudity, violence and death featured prominently.
One of the greatest photographers of 20th century
expanded the genre of photo

Biography
Born in New York, New York on May 15, 1923
Both his parents worked with fashion
Owned a Kodak Box Brownie camera by age 12
Enrolled at Columbia University to study philosophy and poetry, but dropped out after one year to serve in the US Merchant Marines during WW2 for 2 years
Main duty was taking identification portraits of sailors
In 1944, Avedon attended the New School for Social Research in New York City to study photography under Alexey Brodovitch, the acclaimed art director of Harper's Bazaar.
Overview
Biography and background
How it all started & Career
Inspiration
Samples of Work
Significance
Bibliography
BY: Alyssa Dews & Amber Duschl
HOw it All Started & Career Cont.
In addition to his fashion photography, he was also well known for his portraiture. His black-and-white portraits were remarkable for capturing the essential humanity and vulnerability.
Richard did projects of his own too while working for Vogue and Harper's Bazaar

"A photographic portrait is a picture of someone who knows he's being photographed and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks."

Avedon also became the first staff photographer in the history of The New Yorker.
As a young boy, Avedon took great interest in fashion. He especially enjoyed taking photos of clothes in his fathers store.
He later described one childhood moment in particular as helping to kindle his engrossment in fashion photography

"One evening my father and I were walking down 5th Ave. looking at the store windows," He remembered. "In front of the Plaza Hotel, i saw a bald man with a camera posing a very beautiful woman against a tree. He lifted his head, adjusted her dress a little bit and took some photographs. Later, i saw the picture in Harper's Bazaar. I didn't understand why he had taken her against that tree until i got to Paris a few years later."
Avedon demanded that his models convey emotion and movement
Dovima With Elephants
Bee Keeper
Avedon was such a predominant cultural force that he inspired the classic 1957 film Funny Face, in which Fred Astaire's character is based on Avedon's life.
In addition to his work for Vogue, Avedon was also a driving force behind photography's emergence as a legitimate art form during the 1960s, '70s and '80s.
Bibliography!
Richard Avedon." 2013. The Biography Channel website. Oct 07 2013, 08:03 http://www.biography.com/people/richard-avedon-9193034.
Craven, Jo. "Richard Avedon Biography." N.p., 11 May 2011. Web. 28 Sept. 2013. <http://www.vogue.co.uk/spy/biographies/richard-avedon-biography>.
Richard Avedon: About the Photographer." PBS. N.p., 11 Sept. 2005. Web. 1 Oct. 2013. <http://www.pbs.org/wnet/americanmasters/episodes/richard-avedon/about-the-photographer/467/>.
"Sometimes I think all my pictures are just pictures of me. My concern is… the human predicament; only what I consider the human predicament may simply be my own.”
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