Photographe mondial, envié, copié, qui a inspiré Antonioni dans Blow-Up, David Bailey a décontracté un monde de la mode empesé en imposant son style direct.
Cet album reviendra sur les 60 ans de carrière d'une icône qui a fait exploser tous les carcans.
In January 1962, still in his early twenties, David Bailey fulfilled a dream that dated back to his years in Singapore, serving in the Royal Air Force. Heading to the USA, home of the jazz musicians that had inspired him and the source of his original ambition to be a trumpet-player, Bailey was on his first foreign trip for Vogue, together with his model and girlfriend, Jean Shrimpton. The impact of the early Bailey/Shrimpton collaborations set new standards that helped put Britain back on the world map of popular culture. And the attack on the generational chasm Bailey spearheaded is underlined by the warning he was given that, as a representative ofVogue, he was not to wear his leather jacket in the St Regis Hotel. (Of course he ignored the advice).
Le photographe anglais David Bailey est surtout connu pour ses photos de stars ou encore ses séries de mode, mais beaucoup moins pour ses instantanés de la vie quotidienne rassemblés ici.
130 photographs of Damien Hirst taken by David Bailey during a single shoot lasting eight minutes. Each pose is spontaneous and determined not by Bailey but by Hirst, who mocks the camera with his tongue poked out, mouth open wide and hands pulling at his cheeks.
Entre deux séances de photos de mode, David Bailey aime voyager. Cette fois-ci, il s'arrête à Cuba : " Ma vision de La Havane est juste un regard superficiel, juste une impression... ce qui m'intéresse c'est la situation géographique de ce pays, l'un des plus pauvres, en face du plus riche, les Etats-Unis. Ces deux pays aux idéologies extrêmes : le petit avec le communisme qui ne marche pas, et le grand avec sa démocratie paranoïaque qui ne fonctionne qu'avec le dollar ". Entre portraits et reportage, entre clichés et humour, une nouvelle vision de cette ville qui reste à l'écart du temps et des remous de la mondialisation.
If David Bailey was the quintessential London photographer during the Swinging Sixties, the photographs he produced in the 1970s reflect a radical reorientation. As can be seen in this superb and comprehensive selection, his subject matter became truly international.
This is Havana as an icon of one of the most distinct and revealing cultural divides left in a world hurtling towards homogeneity, Havana as seen by a master at the height of his craft. Bound in an embossed leather cover.
"The idea for a book on the East End formed sometime in the 1980s. The London Docks had already closed down or were starting to. I chose to shoot mainly in the districts of Silvertown and Canning Town. I have over the years spent many weekends shooting whatever took my fancy. The other two times I had bursts of photographic energy in the East End were in the 1960s and from about 2004 to 2010. These were my three key periods to draw pictures from, instead of just trolling through the last fifty years of archives. In the late 1940s and early 1950s I heard a quote on the radio, 'Go west, young man.' At the time I didn't give it much thought. Later I assumed it was from America and that it went back to the middle of the nineteenth century, when America's west coast was opening up to great wealth and opportunities. The cockneys should have listened, but they didn't. They went east like their ancestors before them. The ones that moved east out of 'Old Nichol' went to Whitechapel, then on to Stepney and Bow, then to what is now called Newham and later to Barking, Dagenham and onto Essex. My mother was from Bow, my father it seems was from Hackney, my grandfather from Bethnal Green. Before him they all were from Whitechapel as far as records show." David Bailey