Guy bourdin photography biography examples
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The small, single-folded-sheet catalogue has an introduction by Man Ray and lists 45 exhibits.
First published feature on his photographs: Michel Garance, ‘Guy Bourdin un jeune photographe’, Photo France, 3rd year, No. 15, Paris, pp. Nowadays his work has been exhibited in the most prestigious museums, such as The Victoria & Albert Museum, The Jeu de Paume, The National Art Museum of China, The Tokyo Metropolitan Museum of Photography and The Moscow House of Photography.
Guy Bourdin was an image maker, a perfectionist. A fan of Alfred Hitchcock's 'Macguffin' technique - an inanimate object catalyzing the plot - the photographer constructed 'crime scenes', getting rid of all usual standards of beauty and morals while his images demanded cerebral responses. He was among the 1st to create images with narratives, telling stories and shows that the image is more important than the product which is displayed.
Guy Bourdin
Guy Bourdin (1928-1991) was born in Paris.
A painter his entire life and a self-taught photographer, he was working for magazines, such as Vogue as well as for brands such as Chanel, Ungaro and Charles Jourdan.
Publication in Photo Monde, No 34, Paris, June, pp. Given total creative freedom and with uncompromising artistic ethic, Guy Bourdin captured the imagination of a whole generation at the late 1970s, recognised as the highest note in his career.
Guy Bourdin was an image maker, a perfectionist. 146.
1956
First publication of his photographs in American Vogue, New York, July 1956, pp.
He created impeccable sets, or when not shooting in his studio rue des Ecouffes in le Marais, in undistinguished bedrooms, on the beach, in nature, or in urban landscapes. Layout and design become powerful metaphors for the photographic medium, engaging the eye and with it, the mind. With the eye of a painter, Guy Bourdin created images that contained fascinating stories, compositions, both in B&W and in colors.
Famed for his suggestive narratives and surreal aesthetics, he radically broke conventions of commercial photography with a relentless perfectionism and sharp humor. Bourdin knew, said O’Neill, “that people read fashion mags in a detached way – flick, flick, flick – and he was really interested in stopping them from turning the pages”.
The pictures were troubling – but they shifted product
Though actual shoes are often the last thing you see in Bourdin’s photographs for Charles Jourdan, the company credits those advertisements for a turnaround in its fortune, according to O’Neill.
80-85 (female artist portraits).
Participates in group exhibition: ‘C.S.
Publication of joint feature with photographer friend Fouli Elia: Francine du Plessix, ‘Neuf femmes peintres qui peignent comme des hommes’, Nouveau Femina, Paris, February, pp. When such photographers as David Bailey, in the 1960s, produced fantasy images of the girl-next-door, Guy Bourdin captured the atmosphere of the 1970s with sharp humor, erotism and outrageous femininity.
Famed for his suggestive narratives and surreal aesthetics, he radically broke conventions of commercial photography with a relentless perfectionism and sharp humor.
Guy Bourdin used the format of the double spread magazine page in the most inventive way.
Exhibition of his drawings: Les Amis des Arts, 26 Cours Mirabeau, Aix-en-Provence.
Participates with his drawings of cats in group exhibition: Galerie de Seine, 24 rue de Seine, Paris VI.
Exhibition of his paintings: Galerie Charpentier, 76 rue du Faubourg Saint Honoré, Paris VIII.
Rejected image from first Vogue shoot (‘Sophie’ in front of gutted rabbits) published: Norman Hall and Basil Burton, Photography Year Book 1956, Photography Magazine, London, 1955, p.