la france d’ avedon - bibliothèque nationale de france · «la france d’avedon» (avedon’s...

exposition Franccedilois-Mitterrand Paris 13e

18 octobre 2016 26 feacutevrier 2017 bnffr

AVEDON VIEUX MONDE NEW LOOK

LA FRANCE

Drsquo

dans le cadre de

avec le concours de

avec le soutien de

Reacuteservations FNAC 0892 684 694 (0 34 euro TTCmn) wwwfnaccom

Audrey Hepburn with Balloons Funny Face 1957 Funny Face copy Paramount Pictures All rights reserved BnFdeacuteleacutegation agrave la Communication - impression Stipa

PRESS KIT

Summary

Press release and practical information 3

Iconography 5

Forward 8

Exhibition path 9

Layout 12

Artist Biography 13

The Terra Foundation for American Art patron of the exhibition 14

The Louis Roederer Foundation patron of the exhibition 15

RATP invites 16

Franccedilois-Mitterrand PRESS RELEASE 18 October 2016 I 26 February 2017

La France drsquoAvedon Vieux monde New Look (Avedonrsquos France Old World New Look)

Audrey Hepburn actress on the set of Funny Face Paris 1956

Catherine Deneuve actress Los Angeles September 22 1968

Franccedilois Truffaut and Jean-Pierre Leacuteaud film director and actor Paris June 20 1971

Photographs by Richard Avedon copy The Richard Avedon Foundation

For the first time anywhere the BnF explores the unique relationship that photographer Richard Avedon built up with France Famous right from the outset for his fashion photographs Avedon developed an outstanding lifersquos work which was influenced in no small part by his many French encounters The exhibition brings together some 200 pieces chosen for the story they have to tell that of the deep affection for France by one of the greatest American photographers of the 20th century

Avedon never stopped infusing his photography with inspiration and fresh styles borrowed from and geared towards other forms including written text books magazines film and dance This constant reinvention is particularly noticeable in the work that he developed in connection with France From the 1940s when he came to photograph the fashion collections in Paris for the magazine Harperrsquos Bazaar to his 1968 trip to work on the publication of a monograph of Jacques Henri Lartigue right through to his collaboration with Nicole Wisniak for the magazine Egoiumlste from 1985 every foray Ave-don made into French culture prompted him to cast his work in a new light and to continue honing a hybrid approach to photography laquoLa France drsquoAvedonraquo (Avedonrsquos France) is laid out in four exhibition stages each one attesting to the wealth of his œuvre It is told through an array of celebrity portraits taken by the photographer himself concentrating on a film a book and a magazine

The portraits Jean Cocteau Coco Chanel Catherine Deneuve Jeanne Moreau Yannick Noah Isabelle Adjani Yves Montand Simone Signorethellip An eye-catching cast of stars and icons of culture shows the immense appeal that French culture held for Avedon and highlights his remarkable achievements in portraiture - spanning almost fifty years

A film Funny Face In 1956 Richard Avedon was hired as visual consultant for the film Funny Face directed by Stanley Donen Shot partly in France the film is loosely based on Avedonrsquos career as a fashion photographer in Paris Photographs that Avedon took for the film during the famous fashion sitting have been ex-tracted and enlarged for the first time immersing visitors in an idealised version of 1950s Paris Also on display to visitors are a Vistavision movie camera as was used on Funny Face and the same type of photo booth in which Avedon had Audrey Hepburn her husband Mel Ferrer and Truman Capote pose ndash evidence that more than technical skill the eye is what really matters in photography

3

A book Diary of a Century Richard Avedonrsquos close ties with France can also be seen in his contributions to the book on Jacques Henri Lartigue In 1968 Avedon travelled to Paris to edit the publication of Diary of a Century a mono-graph of Lartiguersquos photographs which would bring worldwide renown to the latter In the skilful way he designed the layout and by revealing the best of Lartiguersquos images Avedon managed to showcase the photographerrsquos work in relation to 20th century as a whole - well beyond the Belle Eacutepoque (that European golden age at the turn of the century before World War I) for which Lartigue had primarily been known until then

A magazine Egoiumlste Richard Avedon spent many years working with the French magazine Egoiumlste which gave pride of place to the arts literature performance theatre and dance through a mix of reports advertisement portraits and fashion photographs which graced its pages With Egoiumlste Avedon gave full expression to a style of photography inspired by other art forms The exhibition outlining Avedonrsquos France thus follows the twists and turns of the photographerrsquos extraordinary career through French culture from an idealised version of Paris in Funny Face the story rewinds to a fresh take on the Belle Eacutepoque in Diary of a Century before fast-forwarding to 1991 in Egoiumlste with the Volpi Ball in Venice - a collection of photographs illustrating the decline of the Proustian laquoold worldraquo

Exposition


18 October 2016 I 26 February 2017

BnF I Franccedilois-Mitterrand library Quai Franccedilois Mauriac Paris 13th arrondissement FRANCE

Tuesdays to Saturdays 10am-7pm Sundays 1pm-7pm Closed on Mondays and public holidays Admission euro9 concession euro7 Bookings through FNAC on +33(0)892 684 694 (euro034 after taxmin from France) and wwwfnaccom

Curators Robert M Rubin Marianne Le Galliard

Exhibition design David Adjaye

Publication Exhibition Catalogue available in French and English Published by Editions de la BnF

Contacts presse Claudine Hermabessiegravere Head of the Media Partnerships and Press Department claudinehermabessierebnffr - +33 (0)1 53 79 41 18 - +33 (0)6 82 56 66 17 Isabelle Coilly Press Officer isabellecoillybnffr - +33 (0)1 53 79 40 11

Exhibition with the support of

4

Avedonrsquos France Old World New Look Iconography available for the purposes of the exhibitionrsquos promotion

Iconography of the Richard Avedon Foundation

The 6 pictures below are available only as part of the promotion of the exhibition laquo La France drsquoAvedon Vieux monde new lookraquo at the BnF October 18 2016 to February 26 2017 Images may not be cropped or manipulated in any way Images must maintain their original black border if included in the file No text may appear over any part of the photographs (including the white background) The publication of these images is not allowed on social networks Appropriate caption credit and copyright must be published with each image Photograph(s) by Richard Avedon copy The Richard Avedon Foundation

Audrey Hepburn actrice sur le plateau de Funny Face Paris 1956 Photographie Richard Avedon copy The Richard Avedon Foundation

Audrey Hepburn Mel Ferrer et Buster Keaton dans laquo Paris Pursuit raquo pour Harperrsquos Bazaar Paris 9 aoucirct 1959 Photographie Richard Avedon copy The Richard Avedon Foundation

Yves Montand et Simone Signoret acteurs New York 23 octobre 1959 Photographie Richard Avedon copy The Richard Avedon Foundation

Catherine Deneuve actrice Los Angeles 22 septembre 1968 Photographie Richard Avedon copy The Richard Avedon Foundation

5

Franccedilois Truffaut et Jean-Pierre Leacuteaud reacutealisateur et acteur Paris 20 juin 1971 Photographie Richard Avedon copy The Richard Avedon Foundation

Jeanne Moreau actrice Paris 26 juillet 1962 Photographie Richard Avedon copy The Richard Avedon Foundation

6

Iconography Harperrsquos Bazaar

The 3 pictures below are available only as part of the promotion of the exhibition Images may not be cropped or manipulated in any way Appropriate caption credit and copyright must be published with each image laquo Photograph by Richard Avedon copy The Richard Avedon Foundation Credit Previously published by Harperrsquos Bazaar magazine Reprinted with permission of Hearst Communications Inc raquo

Harperrsquos Bazaar mars 1959 Marc Chagall Francis Poulenc Franccedilois Mauriac Photograph by Richard Avedon copy The Richard Avedon Foundation Credit Previously published by Harperrsquos Bazaar magazine Reprinted with permission of Hearst Communications Inc

Harperrsquos Bazaar mars 1960 pp 176-7 Simone Signoret et Yves Montand Photograph by Richard Avedon copy The Richard Avedon Foundation Credit Previously published by Harperrsquos Bazaar magazine Reprinted with permission of Hearst Communications Inc

Harperrsquos Bazaar septembre 1960 pp 194-5 Franccedilois Truffaut Alain Robbe-Grillet Alain Resnais Claude Chabrol Photograph by Richard Avedon copy The Richard Avedon Foundation Credit Previously published by Harperrsquos Bazaar magazine Reprinted with permission of Hearst Communications Inc

Iconography from Jacques Henri Lartigue Donation

The 2 pictures below are available only as part of the promotion of the exhibition Images may not be cropped or manipulated in any way Appropriate caption credit and copyright must be published with each image laquo La France drsquoAvedon Vieux monde New Look raquo du 18 octobre 2016 au 26 feacutevrier 2017 Bibliothegraveque nationale de France As well as the captions and credits below

laquo Travail de Dick Avedon pour mon livre Diary of a Century raquo consignes drsquoAvedon pour le retoucheur page drsquoalbum 0046R49 album 1949 Photographie JH Lartigue copy Ministegravere de la Culture - France AAJHL

Richard Avedon New York novembre 1966 Photographie JH Lartigue copy Ministegravere de la Culture - France AAJHL

7

Forward

Avedonrsquos France mdash rather than Avedon and France mdash was chosen for the title of this exhibition be-cause Avedonrsquos France is a country with its own special geography It was not exactly invented but rather reinvented out of the postwar ruins of its interwar avant-gardes packaged for middlebrow America by magazines like Harperrsquos Bazaar Vogue and The New Yorker The Christian Dior show of 1947 mdashimmediately dubbed ldquothe New Lookrdquo mdash was Ground Zero Marcel Proust and la belle eacutepoque would be thrown into the mix and remixed Hence ldquoOld World New Lookrdquo

French culture underpins virtually all of Avedonrsquos art Even before he actually set foot on French soil his formative years were spent learning from and then working for Alexey Brodovitch the art director of Harperrsquos Bazaar who had lived and worked in Paris between the wars Twice a year be-ginning in 1947 Avedon would accompany Carmel Snow the magazinersquos editor-in-chief to Paris Paris editor Marie Louise Bousquet took Avedon under her wing and into her Thursday salon

France is where he returned in the late sixties to rebuild his vision through a collaboration with Jacques Henri Lartigue after the critical failure of Nothing Personal (1964) his second photobook And France is where he returned to collaborate with Nicole Wisniak for her magazine Egoiumlste in the eighties after his lucrative but artistically suffocating stint at Vogue

Following Avedonrsquos own French itinerary ldquoOld World New Lookrdquo is a photography exhibition about a movie ndash Funny Facemdash a book ndash Diary of a Century ndash and a magazine ndash Egoiumlste Each of these three sections of the exhibition emphasizes a different aspect of the hybridity of Avedonrsquos photographic practices

In its multimedia presentations its emphasis on artistic process and experimentationrdquoOld World New Lookrdquo looking through the lens of his successive engagements with France strengthens Ave-donrsquos position as one of the main figures of late twentieth century visual culture and one of the progenitors of the visual culture of the early twenty first

laquo This is precisely how and where photography begins in Paris in this daylight with an 8x10 in such a studio - a miniature version of the gritty romantic places that Nadar had worked in and Daguerre before him I wanted to use that frame and history as a reference for pictures that were newraquo Richard Avedon

8

Exhibition path

copy The Richard Avedon Foundation


COUP DE FOUDRE laquo I lit each restaurant each street as if I were lighting a movie raquo Richard Avedon

Funny Face

Before Avedon ever set foot in Paris the City of Light had been mdash to paraphrase the model Dorian Leigh mdash a beautiful picture in his head For twenty years Avedonrsquos photographs in Harperrsquos Bazaar would be instru-mental in refashioning a new imagined Paris out of the remains of the old city Stanley Donenrsquos Funny Face was a tour drsquohorizon of Avedonrsquos technical innovations in pursuit of this ldquoNew Lookrdquo The film based loo-sely on Avedonrsquos career also added to his burgeoning reputation as ldquothe most famous photographer in the worldrdquo

In Funny Face the look of fashion photography and its tricks of the trade are injected into the widescreen Hollywood musical Focusing in

detail on the conception of the film ldquoOld World New Lookrdquo extracts what is Avedon from it and presents his contribution in both still (the famous Audrey Hepburn ldquofreeze framesrdquo) and moving image (the opening credit sequence) formats Finally we have sourced an absolutely original Mutoscope photobooth for the show like the one Avedon used to make his famous photobooth portraits The tiny jewel of a portrait of Hepburn Mel Ferrer and Truman Capote which also features in this section is a delicate counterpoint to the extravagant large format reproductions from the movie

Made in France Paris Pursuit

The first part of the exhibition focusing on Avedonrsquos relationship with cinema is supplemented by two small rooms The exhibition area called Made in France ndash the title of a book published in 2001 on Avedonrsquos fashion studio photographs in the Fifties ndash focuses on the links between fashion photography and Harperrsquos Bazaar At the center of the room are engraverrsquos prints annotated by Avedon Providing a real immersion in Harperrsquos Bazaarrsquos universe this section reveals the extent to which the French culture promoted by his lsquoteachersrsquo Carmel Snow and Alexey Brodovitch was important to Avedon

The section called Paris Pursuit is dedicated to the relationship between fashion and cinema While Avedon did not venture further into Hollywood after Funny Face cinematic themes continued to per-vade his work The cover of Harperrsquos Bazaar in September 1959 cre-dits Avedon as the director of ldquoParis Pursuit a Love Farcerdquo ndash a kind of cineacute-roman with Audrey Hepburn Mel Ferrer and Buster Keaton in Paris

This fashion sequence published in the magazine and the photographs on the set of Funny Face close the first part of the exhibition focusing on the beginning of Avedonrsquos career from 1946 to 1959

9


FRENCH PORTRAITS laquo It is the faces of others which teach me what mine is like raquo Richard Avedon

At the core of the exhibition famous and large-format portraits are presented next to less known images Coco Chanel Jean Cocteau Picasso Jean Genet Reneacute Clair Bernard Buffet Catherine Deneuve Isabelle Adjani Anouk Aimeacutee and Jeanne Moreau are among the many personalities whose portraits illustrate Avedonrsquos interest in and attachment to French culture

Some of these portraits are part of Avedonrsquos first monograph Observations (1959) with texts by the writer Truman Capote

At the center of this exhibition area several vitrines present an array of process materials numerous contact prints preliminary prints fashion images ads and book dummies such as the one for Observations with the original handwritten notes by Truman Capote The visitor will also discover 1947 lsquoNew Lookrsquo images - Countess Maxime de la Falaise for instance ndash followed by contact prints taken twenty years later with her daughter Loulou drawings for sets and costumes by Christian Beacuterard for the play La Folle de Chaillot and for the photo album of the

Countess of Castiglione which now in the Museacutee drsquoOrsay was in Richard Avedonrsquos private collection The large-format cover of Egoiumlste showing Sister Emmanuelle establishes a continuity between the portraits of French personalities taken by Avedon between 1950 and 1970 and the ones made later for Egoiumlste These portraits from the eighties bear witness to the importance of the successive encounters with France that marked the photographerrsquos career

LARTIGUE DIARY OF A CENTURY

laquoLartigue had to wait until his first exhibition and the publication in America of Diary of a Century a book I edited for him to achieve real recognition in France Maybe it takes a foreigner to discover someone elsersquos national treasure raquo Richard Avedon

laquo Richard Avedon The one I have admired for so many years as the greatest photographer in the world Bea Feitler the editor-in-chief of Bazaar which for three or four dozens of years has been stroking my enthusiasm Both come to Paris for me To choose my photographs To see them all with them with their new eyes their eyes which see so wellraquo Journal of Jacques Henri Lartigue handwritten entry dated May 1968

Richard Avedon and Jacques Henri Lartigue met for the first time in November 1966 in Avedonrsquos studio in New York Immediately Avedon found himself under the lights for Lartigue and leaped into a pose that was just like the poses Lartiguersquos first subjects took at the beginning of the centu-ry In May 1968 during the process of creating Diary Avedon and Bea Feitler worked in Lartiguersquos Paris apartment while riots erupted in the streets below

In the making of Diary of a Century we see how Avedon approached a photobook ldquoOld World New Lookrdquo makes an important contribution to ongoing Lartigue scholarship by identifying the crucial and little understood role Avedon played in producing and editing the book and exploring what it meant for both his and Lartiguersquos careers

Avedon as a lsquoproducerrsquo is connected to the international acknowledgment of Lartigue in 1970 as the book presents for the first time ever Lartiguersquos photographic work over the entire century and not simply the work of a photographic naiumlf a merely nostalgic souvenir of la belle eacutepoque The double pages of the book deconstructed and pinned up directly on the exhibition wall show how Richard Avedon applied Brodovitchrsquos principles to his work on Lartigue the importance of the visual

10

Photographie JH Lartigue copy Ministegravere de la Culture - France AAJHL

narrative constructed with pauses and shifts in pacing blocks of text and elements of surprise A projection of the French photographerrsquos album pages sheds light on the book as a work in progress before the final editorial project The two copies of the book which Avedon and Lartigue respectively signed by to each other are pres-ented together for the first time Avedonrsquos involvement in Diary of a century shows us the capital importance he placed on bookmaking in the construction of his oeuvre and his role as the ldquoprodu-cerrdquo of Lartigue in giving a new look to the proustian old world

EGOIumlSTE laquo Egoiumlste is the only magazine in the world to give me completely free expression raquo Richard Avedon

In 1985 Avedon began working for Egoiumlste where his work would be fearlessly experimental He appeared in nine issues of the magazine between 1985 and 2004 portraying some of Francersquos (and Europersquos) most provocative figures mdash such as Franccedilois Pinault ldquoDanny the Redrdquo Cohn-Bendit and John Galliano mdash along with such surprising subjects as Abbeacute Pierre Sister Emmanuelle and the winemaking team at Chacircteau Lafite

Finally in his work for Egoiumlste we see Avedon blazing new trails across the intersecting lands-capes of editorial and fine art photography as he photographs a changing Europe the Volpi Ball Checkpoint Charlie the Parisian banlieue of Drancy

Before entering the exhibition room dedicated to Egoiumlste visitors are welcome by the images of the Volpi Ball a series Avedon realized in 1991 in Venice of a tired European aristocracy This is the ldquolast gasprdquo of the Old Europe of Avedonrsquos beloved Proust and Lartigue In the same room two films allow us to understand the artistrsquos creative process a film shot by the photographer Hiro during the exhibition installation at the Smithsonian Institute (Washington) in 1962 showing Avedon pin-ning up his prints directly on the walls then footage from an unproduced film by the renowned cineacutema-veacuteriteacute filmmaker D A Pennebaker during a presentation of Avedon photographs at the advertising agency McCann Erickson (New York) in 1964

The Egoiumlste gallery of French portraits (Marguerite Duras Geacuterard Depardieu Yannick Noah Franccediloise Sagan Sylvie Guillem Isabelle Adjanihellip) illustrates the major importance of dance lite-rature and performance in Avedonrsquos work

The exhibition closes with the presentation of Katersquos Story a remarkable photo-roman of a deadly meacutenage agrave trois which in its use of plus-size models is also a prescient exploration of the stereo-types of female beauty that Avedon was so adept at unpacking and remixing

11

Layout

copy Adjaye Associates

The exhibitionrsquos layout was made by the English architect David Adjaye who realized the Whitechapel Idea Store in London (2006) and the National Museum of African History and Culture in Washington DC He also worked on the layout of exhibitions about Chris Ofili Olafur Eliasson (2005 Venice Biennale) and Richard Prince at the BnF in 2011

COUP DE FOUDRE The first exhibition room dedicated to the film Funny Face is a rotunda made of curved picture rails suspended nearly five metres high The two small rooms Made in France and Paris Pursuit are also round and tall These three spaces are connected together through narrow and lower passages

FRENCH PORTRAITS This square-shaped room is made of straight picture rails suspended at 480 m The area allows visitors to have the necessary distance to admire the large-format photographs

LARTIGUE Diary of a century This is a triangular space with picture rails suspended at 480 m and a canopy sloping ceiling

EGOIumlSTE The first room - the same shape as the Lartigue room ndash is dedicated to the photographs of the Volpi Ball The second one with the portraits published in Egoiumlste is similar to the area dedicated to the French portraits but cosier with a vellum rounded ceiling

12

Artist Biography

Richard Avedon was born in 1923 in New York He is considered one of the major American pho-tographers of the second half of the 20th century Famous from the beginning of his career for his fashion photographs he went on to develop over more than half a century an outstanding body of work anchored in portraiture but ranging far beyond it

Richard Avedon was 10 years old when he was given his first camera a Rolleiflex After a short period at Columbia University he began his career in 1942 joining the merchant navy as a photo-grapher In 1944 he was discovered by Alexey Brodovitch who taught him at the New School for Social Research in New York then quickly in 1946 he started working for the famous magazine Harperrsquos Bazaar In a few years he would become the magazinersquos leading photographer mentored by the editor Carmel Snow and Brodovitch its artistic director Breaking with the studio tradition he poses his models outside in motion in city streets Spontaneity movement and vitality are the hallmarks of his fashion images During his collaboration with Harperrsquos Bazaar he made portraits of celebrities which he would gather in his first monograph Observations in 1959 with a text by Truman Capote A second photobook Nothing Personal followed in 1964 this time with text by James Baldwin

In 1966 Avedon left Harperrsquos Bazaar and worked at Vogue magazine until 1990 While continuing his portraiture and commercial work he became increasingly involved in Vietnam-era politics producing several works on the war and an ambitious series lsquoThe Familyrsquo for Rolling Stone in 1976 consisting of sixty nine portraits of American public figures In 1979 he launched his ambitious project on the American West which led in 1985 after six years of work to the publication of In the American West

In 1992 Avedon became the first photographer of The New Yorker at the same time he continued to work for the French magazine Egoiumlste with whom he had started to collaborate in the mid-Ei-ghties

Richard Avedon died in 2004 At the time He was working on a project entitled lsquoOn Democracyrsquo around the presidential elections This project was presented at the Rencontres drsquoArles in 2008

13

14

The Louis Roederer Foundation patron of the exhibition

laquo Turning an exhibition dedicated to Richard Avedon into a reality was a dream come true for the Louis Roederer Foundation with its close ties to the world of Champagne Everything about this project sparkles the people (such as the irresistible and irreplaceable Audrey Hepburn) beauty not a hieratic form of beauty but a reinvented beauty so close that we can almost touch it fashion but a smooth flowing endearing form of fashion far-removed from those stick-thin models loo-king down at us from the catwalk and throughout it all there is the sharp eye of Avedon whose Epicureanism brings his technical expertise to life

This exhibition depicting a glorious yet bygone France which will run at the BnF for five months pays tribute to the most ldquofertilerdquo of friendships that of Richard Avedon for an incredible aesthete - Nicole Wisniak Director of Egoiumlste magazine We share this deep admiration for Wisniak It is also a tribute to Bruno Racine who sought to retrace in Tolbiac the incredible journey of the tireless promoter of Lartigue We would also like to express our delight that the laquoVieux Monde New Lookraquo exhibition is curated by Robert M Rubin a dear friend and a very cultivated patron as well as by Marianne Le Galliard who was awarded the Louis Roederer research grant for her outstanding work on the Harperrsquos Bazaar photography archives raquo

Michel Janneau General Secretary of the Louis Roederer Foundation

About Louis Roederer Founded in 1776 in Reims Louis Roederer is an independent family-run champagne house ma-naged by Freacutedeacuteric Rouzaud In addition to producing Louis Roederer and Cristal champagnes Louis Roederer also owns Deutz champagne Chacircteau Pichon Longueville Comtesse de Lalande (Grand cru classeacute de Pauillac) Chacircteau Haut-Beauseacutejour and Chacircteau de Pez (Saint-Estegravephe) and Maison Descaves in Bordeaux Domaines Ott in Provence Delas Fregraveres in the Rhone valley Roederer Estate Scharffenberger and the Anderson estate in California and Porto Ramos Pinto in Portugal httpwwwlouis-roederercom Louis Roederer a Major Patron of Culture and Arts created the ldquoLouis Roederer Foundationrdquo for Contemporary Art in 2011 in order to provide structure and sustainability to the patronage policy that the House has implemented since 2003 working together with prestigious cultural institu-tions and both confirmed and emerging artists httpwwwlouis-roederercomfrfoundation

PRESS CONTACT Lrsquoart en plus - 0033 (0)1 45 53 62 74 Olivia de Smedt - odesmedtlartenpluscom Virginie Burnet - vburnetlartenpluscom

15

The RATP is proud to be associated with the BnF retrospecve ldquoAvedonrsquos France Old world new

look It is dedicated to Richard Avedon iconic arst of the second half of the tweneth century who

maintained close es with France Through its camera we not only rediscover the Post War Paris but

also the greatest icons of cinema fashion and dance expressing in original manner

Eager to offer to its passengers access to this profuse work the RATP launches from the 18th of

October on its subway network a specific exhibion entled ldquoThe RATP invites Richard Avedonrdquo

Made up of 44 photographs including 27 exclusive this show is based on three topics Cinema

portraits Dance and movement Avedon in Paris Oversized prints will be displayed in an exceponal

scenography in the following staons

- Bir-Hakeim g

- Gare de Lyon p

- Hocirctel de Ville a

- Jauregraves f

- La Chapelle b

- Luxembourg b - Madeleine p

- Nanterre Universiteacute a - Pyramides p

- Saint Denis Porte de Paris o

- Saint Michel e

Robert M Rubin curator of the BnF exhibion highlights that ldquoRichard Avedon would have liked

the idea of a parallel exhibion in the subway He always tried to add a theatrical touch in his

installaons giganc enlargement funny collages surprising juxtaposions and just as it is doing here

unexpected exhibion locaonsrdquo

Because it is a local art accessible and popular allowing to reinforce the dialogue between

passengers photography is at the heart of the RATPrsquos cultural policy From 2013 the RATP has been

associated with large Parisian exhibions as part of the events ldquoRATP invitesrdquo in order to enrich

commuters lsquoexperience on its network From new talents to renowned arsts the displayed

photographs are o en complementary to the current exhibion Moreover to opens a window over

the world inving both to escape and contemplate

Contacts +33 1 58 78 37 37 wwwratpfr ndash servicedepresseratpfr wwwtwittercomGroupeRATP wwwfacebookcomRATPofficiel

16

PRESS KIT

Summary

Press release and practical information 3

Iconography 5

Forward 8

Exhibition path 9

Layout 12

Artist Biography 13

The Terra Foundation for American Art patron of the exhibition 14

The Louis Roederer Foundation patron of the exhibition 15

RATP invites 16











3



Exposition










4








5



6










7

Forward







8

Exhibition path




Funny Face








9













10









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16











3



Exposition










4








5



6










7

Forward







8

Exhibition path




Funny Face








9













10









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16



Exposition










4








5



6










7

Forward







8

Exhibition path




Funny Face








9













10









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16








5



6










7

Forward







8

Exhibition path




Funny Face








9













10









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16



6










7

Forward







8

Exhibition path




Funny Face








9













10









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16










7

Forward







8

Exhibition path




Funny Face








9













10









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16

Forward







8

Exhibition path




Funny Face








9













10









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16

Exhibition path




Funny Face








9













10









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16













10









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16









11

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16

Layout







12

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16

Artist Biography






13

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16

14







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16







15










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16










- Bir-Hakeim g

- Gare de Lyon p


- Jauregraves f

- La Chapelle b




- Saint Michel e












16

la france d’ avedon - bibliothèque nationale de france · «la france d’avedon» (avedon’s...

Documents