Posts Tagged ‘CWC’

Fashion | Supermodel Portraits

Friday, July 4th, 2014

© Dominique Issermann, Kate Moss, Paris, 2004





Supermodels – Then and Now
CWC Gallery
Berlin | Germany
Until 6th September





On the Storm modelling agency’s website, British model Kate Moss’s simple description, height: 5ft 8in / 173cm, bust: 34B, waist: 26 in / 66.04 cm, hips: 35.5in / 90.17 cm, shoes: UK 6.5 / EUR 39.5, hair: blonde light, length: mid-length, eyes: hazel, belies the fact that this week a David Bailey portrait of the supermodel sold for £80,000 at a charity auction in London. Although, aged 16, she had begun modelling for The Face four years before, Moss was barely known when the cult of the supermodel was established in 1990, when Linda Evangelista infamously told US Vogue, ‘We have this expression, Christy (Turlington) and I, ‘We don’t wake up for less than $10,000 a day.’ When Evangelista later quipped to People magazine ‘We don’t vogue, we are Vogue,’ it was pretty much the truth.





© Albert Watson, Christy Turlington, Egypt

© Bruno Bisang, Claudia Schiffer, Paris, 1997





One of the most accomplished models of all time, Evangelista remains the most featured model on the covers of Italian Vogue, was the muse of photographer Steven Meisel and of fashion designers Gianni Versace and Karl Lagerfeld. Strange then that among the generous selection of 24 press images available for Supermodels – Then and Now at Berlin’s CWC Gallery, there is not a single picture of her, an oversight which explains her absence here. Evangelista, however – who, as well as her work with Meisel, has been photographed by Richard Avedon, Gilles Bensimon, Gian Paolo Barbieri, Patrick Demarchelier, Arthur Elgort, Nick Knight, Sante D’Orazio, Norman Parkinson, Irving Penn, Herb Ritts, Paolo Roversi, Francesco Scavullo, Bruce Weber, and Ellen von Unwerth, to name but a few, many of whose images appear in this exhibition – is certainly present in the show itself.





© Brian Duffy, Jean Shrimpton





In the 1980s and early 1990s, Canadian Evangelista, together with Brit Naomi Campbell and American Christy Turlington comprised a triumvirate that was dubbed The Trinity. The trio, augumented by another American Cindy Crawford, with German model Tatjana Patitz, were photographed together by Peter Lindbergh for the cover of the January 1990 issue of British Vogue, and thereafter became known as The Supermodels. There had been big name models before, of course, pictures of whom contribute to the story behind the exhibition – Jean Shrimpton, Penelope Tree, Veruschka, Marie Helvin, Jerry Hall – but while their names may have added a certain cachet to the designers’ clothes they were photographed in, often by great photographers, only Hall crossed over successfully into runway modelling.  Nor did they – aside from perhaps, some years later, Twiggy, and again Hall, both via acting – become world famous personalities in their own right. The names of The Supermodels became as big as those of the biggest movie stars and they were just as big a target for the paparazzi and the gossip columns. Other would-be supermodels followed hot on the heels of the originals, but only Elle Macpherson and Claudia Schiffer achieved a similar level of fame and success.





© Albert Watson, Naomi Campbell, Palm Springs, 1989

© Herb Ritts, Laetitia Casta 2 (for Pirelli Calendar), Malibu, 1998





Paradoxically, Kate Moss, if anything an anti-supermodel at the start of her career, rose metiorically, reaching undreamed of heights in supermodeldom. Gracing 17 W covers, she was named as the magazine’s muse in 2003. She has been the model of choice for more than 30 covers (and counting) of British Vogue, and has modelled major advertising campaigns for almost every high end fashion house in the world. During the past 25 years she has been photographed by every great fashion photographer worth his salt. She has designed clothes for high street brand Topshop – her 2014 collection for the brand, inspired by her own wardrobe will be sold in 40 countries – and handbags for Longchamp, has fragrances named after her, and been the subject of sculpture by Marc Quinn. A model for the mutability of the supermodel, through portraits and nudes by Patrick Demarchelier, Dominique Issermann, Paolo Roversi, Ellen von Unwerth, and Albert Watson, Moss is given a special focus in the CWC exhibition.

Photographs courtesy the photographers and CWC Gallery



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Photography | Hollywood & Berlin in Detail

Friday, February 17th, 2012

Hollywood in Style: a homage to the icons of film
Camera Work, Berlin, Germany. Until 4th March, 2012
Robert Polidori
CWC Gallery, Berlin, Germany. Until 21st April, 2012

Based in the well-to-do Charlottenburg area of Berlin – one of the most galleried cities in the world – Camera Work is regarded as one of the world’s top 10 photography galleries. Named after the legendary, quarterly photographic journal published in New York by Alfred Stieglitz from 1903 to 1917, the gallery opened its doors in 1997 and has a well-earned reputation for presenting the work of many photography greats: Man Ray, Irving Penn, Peter Lindbergh, Peter Beard, Richard Avedon, Diane Arbus and Helmut Newton, but also for exhibiting young, up-and-coming artists.

The Kennedys archive, part of Camera Work’s permanent collection is a wide-ranging compilation of photographic work, official documents, private documents, and memorabilia of the Kennedy family. First put on show at the Camera Work building in 2004, it now has its own premises where, on the occasion of The 62nd Berlin International Film Biennale, Camera Work is exhibiting Hollywood in Style – much of the content also belonging to the gallery’s collection –  a photographic homage to the icons of film. Archive images by Edward Steichen and Horst P Horst that testify to the glamour of the screen legends of Hollywood’s Golden Age: Marlene Dietrich, Gary Cooper and Grace Kelly striking characteristicly elegant poses, are juxtaposed against more ballsy shots of 1950s bad boys James Dean and Marlon Brando. A sexy Sophia Lauren exemplifies the free spirit of 1960s movies; Jack Nicholson, the characterful 70s and 80s, while the distinctly sensual, provocative and style conscious stars of today: Angeline Jolie, Scarlett Johansson, Christian Bale and Johnny Depp, are captured by contemporary photographers: Nadev Kander, Annie Leibovitz and Anton Corbijn.

Emerging from the same stable, a second gallery CWC – Camera Work Contemporary, housed in a former Jewish girls’ school – opened last week in Berlin’s Mitte district, home to the city’s major internationally famous art galleries and will, alongside contemporary photography, exhibit large-scale retrospectives in painting and sculpture, as well as conceptual group exhibitions. As its debut, CWC presents Polidori, a major showing of the work – including some seen here for the first time – of the substantial oeuvre of the Canadian-born photographer, Robert Polidori, born in 1951, who lives in New York and Paris and has achieved international success via substantial photo stories in magazines such as The New Yorker, Architectural Digest, Geo and Vanity Fair. His work has been shown by numerous galleries and is also featured in the collections of several museums including the Metropolitan Museum of Art in New York, the Musée d’Art Contemporain de Montréal and the Martin-Gropius-Bau in Berlin. Famous for the extremely high level of detail in his photographs – literally nothing is left unsharp – the selected images, which on the surface appear as straightforward architectural and urban scenes – Gallery of the Battles, Chateau de Versailles, 1985 – Unit 4 Control Room, Chernobyl, 2001 – View of Central Park from the East, New York City, 2004 – possess the unnerving quality of drawing the viewer ever further in to examine and question each detail in turn and to puzzle endlessly over their relationship to one another and to the whole.

Images from top
Jeremy Irons with Monicle, London, 1990
© Michel Comte

Michel Anguir by Jacques D’Agar, 1675. Salle la Surintendance de Colbert,
Salles du XVII, Aile du Nord – RDC, Chateau de Versailles, 1984
© Robert Polidori

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