“Romantic”, Terry Richardson, Vogue Paris, 2007
“Mockery/Outrageous”, Steven Meisel, Vogue Italia, 2009
Guy Bourdin for Charles Jourdan
In the post-nostalgic times of the late 20th century, Deborah Turbeville emerged as a photographer focused on the reluctance between self-images. Instead of choosing archetypal and glossy models, like Newton and Bourdin, Turbeville chose models based on their divergence from the intended depicted character/form. In the divide between the model chosen and the message intended, Turbeville allows the viewer to discover the tense reality of acting/pretending in order to adhere to an expected self-image. Turbeville is aware of the hard-to-categorize tendencies of her images, for she claims, “I am not a fashion photographer, I am not a photo-journalist, I am not a portraitist” (pg 526). By separating herself, yet simultaneously drawing from the aforementioned genres, Turbeville allows her images to break up and redefine the structure of representation.
Deborah Turbeville, Bath Series, 1970's
“Extreme Beauty in Vogue” was a photography exhibit last year in Milan. It is currently now available as a book, published by SKIRA. The photo collection consists of various works by Richard Avedon, Helmut Newton, and most prolifically, Irving Penn. The photographs in the curation depict hyper-stylized and hyper-realized images of the body in relation to unusual cosmetic materials (i.e. tarantulas, diced fruit, etc.). The collection of images is also incredibly detailed-specific, showcasing the technical abilities and masteries of modern mediums and brilliant minds.
Irving Penn, 2002