Guy Bourdin was born in Paris in 1928 and received his first photographic training whilst performing military service in Senegal in 1948?9. His photographs were first shown in Paris in 1952, the catalogue for which exhibition included an introduction by Man Ray, and he began working for French Vogue in 1954. Inspired by Man Ray's brand of Surrealism, Bourdin rejected the descriptive roles of photography in favour of an exploration of the medium's capacity for the divergent. Along with certain American photographers, ...
Guy Bourdin was born in Paris in 1928 and received his first photographic training whilst performing military service in Senegal in 1948?9. His photographs were first shown in Paris in 1952, the catalogue for which exhibition included an introduction by Man Ray, and he began working for French Vogue in 1954. Inspired by Man Ray's brand of Surrealism, Bourdin rejected the descriptive roles of photography in favour of an exploration of the medium's capacity for the divergent. Along with certain American photographers, notably Edward Weston, Bourdin recognized a concern with formal perfection and extremely high finish that became his own objective, one perfectly adapted to the deceptive sophistication of fashion imagery, the landscape in which he developed his ideas for over thirty years. At French Vogue , Bourdin demanded and was allowed unique editorial control and amazingly he extended this to his principal client in advertising, the shoe company Charles Jourdan, who first commissioned him in the 1960s. Bourdin's approach to campaigns reflected a distinct change for advertising in this period. Bourdin rejected the 'product shot' in favour of atmospheric, often surreal tableaux and suggestions of narrative. Bourdin was not alone in demystifying the object, but he was the most radical in his approach. The impact of the imagery of Guy Bourdin on both commercial and fine art photography continues to resonate today, Bourdin made radical changes both in the style and the meaning of commercial imagery. His fashion shoots are mysterious, hypnotic, surreal, exposing the true and unnerving nature of desire. He shows that, within the context of fashion, it is rarely the product that compels us. It is the image ? carefully staged narrative of sexual fantasy, the quest for the unattainable, the suggestion of danger ? that stimulates consumer desire.
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Very good. Traduzione di C. Prosperi. London, 2006; ril., pp. 124, ill. b/n e col., tavv. b/n e col., cm 21x24. Guy Bourdin (1928-1991) Ci ha lasciato alcune tra le pių intriganti e seducenti fotografie del Novecento. Collaboratore di Vogue Paris dal 1955 al 1987, nel corso degli anni '70 e '80 con le sue immagini ha riempito le pagine delle riviste di moda con campagne pubblicitarie innovative realizzate per marchi prestigiosi quali Charles Jourdān, Bloomingdale's e Dior. I suoi scatti patinati e al tempo stesso surreali, torbide fantasie che mescolano sensualitā, consumismo e desiderio, hanno rivoluzionato un genere, presentando la moda non come soggetto delle immagini ma come loro lussuoso accessorio. Questa agile monografia costituisce l'introduzione ideale per chi voglia accostarsi all'opera di un artista la cui ereditā č a tutt'oggi evidente nei lavori di fotografi del calibro di Stephen Meisel o Helmut Newton.
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