Page 38 - Studio International - September 1974

Henry Miller - writer 24 September 1968

Renata Adler - writer 31 July 1969

understanding of his father. He discovered, as he Gradually, in the huge close-ups which become unadorned and straightforward, literally, but
had in all his other sitters, the central passion, progressively lighter, and in which the yet arrive at a truth few can equal. The
the obsession of his father's life, which was intonations become more and more subtle, we photographic portrait in Avedon's hands (and in
business. He proposed that they go into business are forced to confront the gaze. In the final the hands of perhaps half a dozen other
together and the elder Avedon, already ill, portrait, the highlights are like the lights on fine photographers) becomes an art form.
moved with alacrity to enter the biggest business porcelain; the values are thinned to the highest `What is a face really?' asked Picasso. 'Its own
of all, at least in Florida — real estate speculation. degree and the eyes, even with their urgent look, photo? Its make-up? Or is it a face as painted by
The story of Havana Heights, one of the many are filled with a thousand benign reflections. such and such a painter? That which is in front?
illusory dream schemes in that never-never land, The one who scans this face for clues will find Inside? Behind? And the rest? Doesn't everyone
is sad and hilarious, but not absolutely essential not so much the particular Jacob Israel Avedon, look at himself in his own particular way?
to the exhibition, for what is essential is in the as the personality of the artist portraying him. Deformations simply do not exist.' And
photographs : the face of a man with an Avedon, artist, floods the final few portraits Cartier-Bresson wrote: 'It is true too that a
obsession. with searing light, and pries out a truth that we certain identity is manifest in all portraits taken
Avedon's study of this face, as it alters from recognize as his : all of life, for him, is composed by one photographer. The photographer is
shrewd, suspicious and disapproving response, around the eyes, and it is in and through the searching for identity of his sitter and also trying
to the enjoyment of the contest with the eyes that whatever meaning the human visage to fulfil an expression of himself.' Finally, in
camera-son, is more intense than the narrative can reflect can be extracted. the mature portraitist, whether painter or
of death which is its inevitable accompanying There isn't a town in America that doesn't photographer, the expression of himself is
theme. He carries out the study with the same have its own portrait photographer. It's a manifest in style. Avedon's style is
sharp visual choices of tonalities and perennial and essential business. The portrait unmistakable, derives not from the alchemy of
composition that occurred with the stranger photographer in business is, as Avedon asserts, the darkroom — the grain and weight of the
Stravinsky. We find the characteristic white a cosmetician. A liar. The true portraitist must paper, or the work of the enlarger — or the
background, the void of which he says : 'There's express himself through a confrontation. The technology of the machine which is his
nothing to help these people — there's nothing to old Avedon allegiance to the unassuming mug implement, but from the nature of the questions
help us.' We see the father first as remote. shot re-emerges in these late portraits which are he poses about existence.q

92