In 1979, photographer Richard Avedon set off on an adventure across America. He packed his vintage Deardorff camera and traveled through states like Texas, Montana, and California. He aimed to capture the essence of these regions through the faces of everyday people, far from his usual glamorous subjects like Marilyn Monroe and Audrey Hepburn. Avedon stopped at country fairs, rodeos, and even slaughterhouses, pulling over whenever he encountered an interesting face.
Avedon’s project took five years and resulted in over a thousand portraits. His series, “In the American West,” showcases miners, truckers, and factory workers. It opened at the Amon Carter Museum of American Art in Fort Worth, Texas, in 1985. Photographer Constance Jaeggi remarked on the impact of Avedon’s work, especially for those from outside the U.S. who often held a romanticized view of the American landscape. The photos, she said, starkly contrasted with that vision.
Now, decades later, a selection of Avedon’s pieces returns to the spotlight at the Gagosian gallery in London. Curated by his granddaughter, Caroline, this exhibit aims to make Avedon’s groundbreaking work resonate with young audiences today. At just 26, Caroline hopes to bridge the gap between the past and present, connecting younger viewers with the subjects he captured.
While many portraits from the series feature familiar faces, Caroline emphasizes youth. She believes images of young individuals like Teresa Waldron, a fourteen-year-old bride, can resonate broadly. “Human connection is found no matter what,” she expressed.
Initially, some criticized Avedon’s style, noting that the stark white backgrounds might isolate subjects, making them appear less human. Critics questioned if this approach stripped the portraits of essential context. However, supporters argue that Avedon’s work was groundbreaking for showcasing a cross-section of society not typically represented.
The economic and social issues highlighted in Avedon’s work remain relevant today. When Avedon began his project, Jimmy Carter was in the Oval Office. Just a year later, Ronald Reagan assumed the presidency, and despite changing administrations, working-class communities often felt overlooked. Caroline pointed out that the show is significant, as it brings attention to those who keep America running but often go unnoticed.
One compelling image features B.J. Van Fleet, a young boy confidently holding a shotgun. Caroline feels a special connection to the subjects of her grandfather’s work. She has taken steps to track down some of them, sharing her delight in reconnecting with their stories. For instance, she found that Fleet is still alive, and she has communicated with descendants of others Avedon photographed.
Overall, Avedon’s legacy is not just in the stunning images but also in the stories of the individuals he captured. As Caroline continues her grandfather’s mission of connection, she reminds us that behind each photo lies a unique narrative that deserves attention.
For more on the ongoing impact of Avedon’s work, check out The New Yorker for their insights on contemporary photography.
