Annie Leibovitz She served as a visionary of the ordinary, a priestess of the human face. I mean, he’s always stealing the invisible, whether it’s used in fashion photography, in celebrity photos, or… … Anonymous street paper. It is always there in her pictures, even though she is never there, and that is the artist. She is indeed as famous as her famous photos. Its models form Selected tribe For several decades. There, he hugs John Lennon Yoko Ono Hours before the tragedy occurred. there, Demi Moore Pregnant, serving as a pagan goddess on the cover “Vanity Gallery”. And then, Queen Elizabeth II thinks to herself in the echoing darkness of an ancient palace, Whoopi Goldberg She emerges from a bathtub full of milk like a comedic goddess, Keith Haring’s body painted like her best painting, and all the actresses, writers, dancers, boxers and politicians who magically come together in her work.
If Leibovitz took a picture of you, they gave you a prize. It does not subject people to a position but to recognition. Even when they appear in disguise. Especially when they’re dressed up. Leibovitz miraculously manages to put the intimate portrait and the baroque spectacle on equal footing. We have, forever, that Disney series in which… Hollywood stars They assumed the characters of the story, or the lavish reports of Vogue, where fashion became a novel, the novel a dream, and the dream an image capable of surviving. It fulfills the ancient wisdom: to give every day the dignity of the unknown. So the kitchen could be a stage, the barn could be a palace, and the public figure could be a well-lit, wounded animal.
We sometimes shorten Leibovitz as a celebrity photographer, but she’s a troll in the strict sense of the word, because she looks weird in front of people. Even unknown to the protagonist. Much has been said about Annie’s style, a complex of baroque theatricality and extreme naturalism Cinematic brilliance And almost merciless honesty. But little has been said about the fact that he popularized the model of the portrait, the portrait that embodies dignity and rift, crown and weariness, beauty and doubt.
His style is a complex of baroque theatricality and extreme naturalism, of cinematic magic and almost merciless honesty.
His photographs are thefts, yes, but they are invisible thefts, which is like saying the unspeakable, often. Now she has a huge exhibition in the institution Marta Ortega Perez. He will be there until May. His work speaks to other greats, without regressing into imitation. I could be a daughter Pennsylvania In meticulous austerity, granddaughter Avedon In the psychology of lightning, sister Newton In the play, though, Annie prefers the moral rather than the erotic play. He shares with them all the secret, inexplicable mission of capturing what exists, but no one sees, that moment in eternity in which a famous person, a powerful person, a legend gets lost or neglects himself.
In contemporary portraiture there are, on the one hand, those who wait for the model to reveal itself, and on the other, Annie Leibovitz, who realizes that the model is never revealed without choreography, without light that strips it away, without scenography that forces it to be told. His pictures are an opera with one voice. Every photo is a confession. The culprit galleries in La Coruña are full of talent.
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