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Four Exhibitions

ICP, New York

Edward Steichen - In High Fashion, The Conde' Nast Years, 1923-1937; Munkacsi's Lost Archive; This Is Not a Fashion Photograph; Weird Beauty: Fashion Photography Now

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Edward Steichen - In High Fashion, The Conde' Nast Years, 1923-1937

An exhibition of 175 works by Edward Steichen drawn largely from the Condé Nast archives, this is the first presentation to give serious consideration to the full range of Steichen's fashion images. Organized by the Musée de l'Elysée, Lausanne, and the Foundation for the Exhibition of Photography, Minneapolis, in conjunction with ICP, the exhibition will open at ICP after an extensive tour in Europe. Steichen’s approach to fashion photography was formative and over the course of his career he changed public perceptions of the American woman. An architect of American Modernism and a Pictorialist, Steichen exhibited his fashion images alongside his art photographs. Steichen’s crisp, detailed, high-key style revolutionized fashion photography, and his influence is felt in the field to this day—Richard Avedon, Robert Mapplethorpe, and Bruce Weber are among his stylistic successors.

Edward Steichen features the finest examples of his fashion and celebrity portraiture made for Vogue and Vanity Fair. Much of the exhibition is drawn from the Steichen Archive at Condé Nast, which contains more than two thousand original vintage prints. A select group of prints from the George Eastman House, International Museum of Photography and Film in Rochester will be shown only at ICP. Some of the images in the exhibition are well-known, iconic images in various histories of photography. Never before, however, have more than a modest selection of these prints been exhibited or published. The exhibition will be accompanied by a book devoted to images from Steichen's Condé Nast years.

Image: Edward Steichen
Model Marion Morehouse in a bouffant dress and actress Helen Lyons in a long sleeve dress by Kargère; masks by the illustrator W.T. Benda, 1926
Courtesy Condé Nast Archive, New York © Condé Nast Publications


Weird Beauty: Fashion Photography Now

This exhibition, organized by Carol Squiers and Vince Aletti, will present the most innovative fashion photography of the last few years, from photographers who draw on a range of influences, including art, sexuality, narrative, digital media, and youth culture. It will also consider the impact of graphic design on the way that fashion photography is presented. Along with original photographic prints, the exhibition will feature hundreds of tear sheets and magazine covers from both mainstream and independent publications, by a range of photographers including Steven Meisel, Cindy Sherman, Mario Sorrenti, Nick Knight, Steven Klein, Miles Aldridge, Paolo Roversi, and Sølve Sundsbø.


This Is Not a Fashion Photograph

This Is Not a Fashion Photograph, organized by guest curator Vince Aletti, is an exhibition drawn largely from the permanent collection of ICP that looks at the non-fashion sources of contemporary fashion photography. Because many young fashion photographers are more interested in authenticity than artifice, they are looking closely at work by Weegee, Lisette Model, André Kertész, and Danny Lyon. It may not have been the intention of these photographers to make fashion images, but their work touches on style as a means of personal expression. With photographs by Gordon Parks, Bruce Davidson, Walker Evans, Samuel Fosso, Doris Ulmann, Mark Cohen, Marc Riboud, Robert Mapplethorpe, Ben Shahn, and others.


Munkacsi's Lost Archive

Hungarian photographer Martin Munkacsi (1896–1963) created dynamic and elegant images of models and athletes in motion. His unique style—inspiring photographers from Henri Cartier-Bresson to Richard Avedon—grew out of the context of 1930s photojournalism and required a combination of split-second timing and radical cropping. For Munkacsi, process was the key. The recent rediscovery of his long-lost negative archive helps to clarify his working methods and uncover the secrets behind his most famous images. Drawn from the collection of over 4,000 glass negatives recently acquired by the International Center of Photography, this exhibition will include vintage and modern prints, as well as some original negatives, many still in their boxes with Munkacsi's handwritten annotations.


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