182 183

186 187

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Avedon with art director Henry Wolf, in Paris, 1960.

“IF AVEDON WANTED TO CHARM YOU, YOU DIDN’T HAVE A CHANCE,” REMEMBERS CHINA MACHADO.

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135

SHRIMPTON’S “EARTH GIRL” WAS JUST ONE OF THE YOUNG HEROES FLINGING ASIDE THE OLD ORDER.

IN A WINK

Jean Shrimpton, cover, April 1965.

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“FASHION PHOTOGRAPHY IS SUCH A DELIGHT,” AVEDON DECLARED. “IT’S SUCH A VACATION FROM LIFE.”

EIFFEL TRIFLE

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BE-GLOVED

Diana Vreeland, editor in chief of Vogue, with

Avedon, 1964, Paris.

“MY BRILLIANT CRAZY AUNT, ” AVEDON CALLED HARPER’S BAZAAR FASHION EDITOR DIANA VREELAND.

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FASHION PHOTOGRAPHY WAS YIELDING TO SOMETHING STARTLINGLY NEW: THE AUTEUR.

MOON MAN

Paul McCartney, London, January 26, 1965.S

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“WHAT I TRY TO EXPRESS OF MYSELF IN MY PORTRAITS IS VERY OFTEN VIOLENT,” AVEDON SAID.

TEXT APP EAL

James Baldwin, Harlem, New York, January 1, 1945.

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ON THE LINE

Nothing Personal, above,

Below,

AVEDON FOUND HIMSELF CAST AS AN “OUTRAGE EXPLOITER” FOR NOTHING PERSONAL.

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THE NOW OF AVEDONAs the 60s dawned, Richard Avedon was in crisis, wrestling with his role as America’s

national portraitist. Then he turned his eye to the future–the youthquake, Pop art, the moon landing, racial integration, even reality TV–and poured that

prophetic vision into one indelible issue of Harper’s Bazaar

BY DAVID MICHAELISN

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SWING SET

Richard Avedon with Twiggy, Paris studio, April 26, 1967.