In The American West, one of Richard Avedon's most iconic photography books, turns 40. The work was the milestone that in a way burst the bubble in which the rest of the world lived, that idealization of the American West especially fostered by Westerns and series like Dallas.
The publication took place in 1985 by the Abrams publishing house and had been out of print for over a decade. It is now, with the arrival of the 40th anniversary, that the same publisher has reissued it. At the same time, until October 12, the Henri Cartier-Bresson Foundation in Paris is hosting an exhibition dedicated exclusively to this work, whose photographs had never been exhibited in their entirety in Europe (although they had been in the United States). It also includes previous material such as polaroids from the preparation and letters from the author with his subjects: miners, carnival workers, and vagabonds, among others.
"The most famous photographer of his generation, at his peak, wanted to return to his roots because he needed to tell something."
"In the 80s, he had already had an exhibition at the Museum of Modern Art in New York, had published several books, and photographed the top models. He was working with the best artists of his generation: Francis Baker, Jean Renoir, great writers, painters, filmmakers...," explains Chéroux. "So the most famous photographer of his generation became the most humble because among the different occupations of photographers, probably the lowest is that of the itinerant who takes portraits and travels from one city to another. If I had Avedon in front of me now, I would ask him what he discovered about photography and about himself by returning to his roots."
Regarding his motivations, "it was said at the time that he wanted to renew his practice, do something different because he was bored with fashion and advertising. I believe it was not that, but that he often felt the need to do a project on his own, something personal that really told a story," continues the curator.
The reality is that at that time, Avedon had already had other advocacy projects: among others, one with James Baldwin in the 60s for the rights of the African American population and another around the Vietnam War. That is why Chéroux argues that in the 80s, Avedon simply needed to do something related to what was happening at that time in his country. "And it is, from my point of view, the best thing he did in his career," he affirms.
In the words of the curator, Avedon's work "is both very simple and very elaborate. He served in the Army as a photographer, responsible for taking identification portraits of soldiers, photographing people very simply looking at the camera against a neutral background with natural light. He was always fascinated by this very simple way of photographing people, the identification portraits, like in a photo booth," he says. And so he continued with In The American West.
In 2022, the FotoNostrum gallery in Barcelona presented the first exhibition in Spain dedicated to Avedon. The curator, fashion designer, and photography collector Joanna Mastroianni says, "Avedon was a unique photographer, a pioneer. He was very curious, kept up with current events and culture, and was an avid reader. He created very bold and memorable images."
Specifically about his portraits, Mastroianni assures that "once you saw them, you didn't forget them, whether you liked them or not. The same happened with his fashion photography, where he created something very innovative at that time: he brought movement, energy, and emotion. It was different from anything we had seen before. You could feel the models jumping off the pages," she says.
For Mastroianni, Avedon was one of those who knew that to achieve something simple, paradoxically, you have to work hard. "Already in his time, artists like Picasso or Leonardo da Vinci spoke about the difficulty of doing simple things. Avedon, on his part, mastered the power or force of a simple ID-like photograph."
"It is interesting to see the comparison between how the country wanted to be portrayed in series like 'Dallas' or 'Dynasty' and Avedon's photos."
The book, which was commissioned by the Amon Carter Museum of Texas, emerged after five years photographing various people in the western part of the country. A total of 103 black and white portraits - on a white background, to not distract - taken while conversing with his models, over 1,000 people. Thus, between 1979 and 1984, he traveled to almost 200 towns, resulting in a now historic book that, despite not being very well received at the time, is now celebrated.
"It is quite difficult nowadays, when you talk to the younger generation of photographers and the topic of portraits comes up, for Richard Avedon not to be mentioned in the conversation," says Chéroux. Also, Mastroianni acknowledges that Avedon has influenced many colleagues, also in fashion. He started a trend that everyone would want to follow later in photography. More than a technical advancement, he developed a way of working and conveying: his portraits are studied today as the Guernica is studied in painting because they opened a new way of looking.
"It was not just a photographer who went to a place, took a quick photo, and left. It was about talking to people, trying to honor them through a great portrait," explains the curator. "Those who come to the exhibition sometimes tell me, 'I feel like I've met the person in the photo by looking into their eyes.' I have probably never received so many emails of praise from photographers who tell me they have been deeply moved by what they have seen. I think this is one of the reasons for the success of the photos: that you encounter real people."
"His work is about creating emotion, creating encounters, ways of meeting people. That is very difficult, it is not something that is achieved with good technique, but during the session, talking to the person, reacting to their way of being. It is in the way of talking to people, the way of interacting with them. And that is where his talent lies, that is his art. It is not about the framing, nor the light. It is not about the film or the camera he uses, but about the human relationship," continues Chéroux.
The portraits lock our gaze and test us. With a staging that accentuates every wrinkle and gesture, they leave us breathless: before us are not the myth of the West, but men and women with a dim gaze who lay bare the defeat of deep America.
"They said he exploited them, but Avedon developed a strong relationship with his models and paid everyone a salary."
Today, that image of the American dream has burst for some like a bubble that until then seemed to only grow. And, from the Foundation's point of view, the time to reissue the book was now, not only because of the anniversary. "In its time, this was a contemporary project, now it is a historical project, but there was an intermediate period where it was in a kind of gray area, and it was not the time to bring it back. Now this series belongs to the history of photography," says Chéroux.
The book contains numerous iconic images, such as the girl on the cover, with her denim overalls, so American. And, of course, what is arguably the most iconic, quoted, and reappropriated image by Avedon, that of beekeeper Ronald Fischer, which he took in 1981 in the city of Davis, California, with his naked torso covered in bees.
Chéroux, however, points out that it is important to mention that this photo is the exception to the rule: it is the only one that has a complete staging, a production. "He placed an ad in a magazine for beekeepers, American Beekeeper Journal, asking for someone to pose for him. He was looking for someone accustomed to working with bees and received about 50 polaroids from interested people. He finally chose Fisher, who, as he had alopecia and was very pale, Avedon thought the bees would look great on him," he explains.
"His work is a document about the United States, not fiction, but he was so sure he would be attacked by critics who would say that what he was showing was not the real America, that he used the bee man as a sort of alibi," notes Chéroux on how Avedon played with this idea.
This way of working and this playful personality is also recognized by Mastroianni: "What caught my attention about him were the fascinating details hidden behind the scenes of his projects, before we saw the iconic final images. And it was wonderful to see the more fun side of Avedon, how playful he was. I think it's something very few people got to see."
Today, with the American dream somewhat shattered, the reissue of In The American West arrives as a reminder that the power of photography lies not only in beautifying but in revealing. As Mastroianni said: Avedon's images are unforgettable, whether you like them or not. Therein lies his secret: in making each portrait not just a face, but an uncomfortable mirror. Four decades later, we still look at them. And they continue to question us.