The Face Magazine: Culture Shift celebrates The Face’s most iconic portraits from 1980–2004. It explores the magazine’s role in the evolution of style photography and its international and enduring impact on visual culture.
The Face Magazine: Culture Shift includes portraits of iconic sitters including Kate Moss, Annie Lennox, Kurt Cobain, Iggy Pop, Snoop Dogg, David Bowie, Ewan McGregor, Madness, The Sex Pistols, and Kylie Minogue. It features the voices of some of the key contributors to the magazine and celebrates the ongoing legacy of the magazine’s imagery in British art, design and culture. It showcases striking portrait photographs from the likes of Miles Aldridge, Elaine Constantine, Corinne Day, David LaChapelle and Juergen Teller, alongside selected covers from the print magazine.
Stanisław Wyspiański is widely regarded as Poland’s greatest artist and as the founder of modern Polish drama.
Stanisław Wyspiański (1869–1907), is widely regarded as Poland’s greatest artist whose work is just beginning to be appreciated outside of Central Europe. Best known as the founder of modern Polish drama, he was also an artist and applied arts designer. During his short career he made a number of striking portraits in pastel of his family and and contemporary Cracovians which collectively provide a fascinating insight into the cultural life of a nation under partition and striving for independence.
This illustrated publication showcases 70 of Wyspiański’s portraits. Full of colour and vitality, his works draw on indigenous folk traditions, but are executed in a progressive expressive style influenced by the years Wyspiański spent in Paris, and epitomise the ideals and aspirations of the Young Poland movement with which he is closely associated.
The portraits in this book have been personally selected by David Bailey from the wide range of subjects and groups that he has captured over the last five decades: actors, writers, musicians, politicians, filmmakers, models, artists and people encountered on his travels to Australia, India, Sudan and Papua New Guinea; many of them famous, some unknown, all of them engaging and memorable. Bailey’s Stardust is accompanied by a major exhibition at the National Portrait Gallery, London, in Spring 2014, which will then tour to international venues. The book, like the exhibition, is structured thematically, with iconic images presented alongside many lesser-known and previously unseen portraits. Initially engaged as an assistant to John French in 1959, Bailey was contracted by British Vogue the following year. He has since worked for the French, Italian and American editions of the magazine, created album sleeves for musicians such as the Rolling Stones, directed television commercials and made documentary films, including in-depth studies of Cecil Beaton, Luchino Visconti and Andy Warhol. Bailey’s photographs helped to define the cultural and social scene of the 1960s, and immortalizing figures from the worlds of fashion, music, film and art elevated Bailey to the status of celebrity himself. Michelangelo Antonioni’s cult film Blow-Up (1966), about a London fashion photographer, was inspired by Bailey, whose life was also dramatized recently in the film We’ll Take Manhattan (2012).
From first to last, Picasso's prime subject was the human figure and portraiture remained a favourite genre. His earliest portraits were done from life and reveal a precocious ability to catch likeness and suggest character and state of mind. B y 1900 Picasso was producing portraits of astonishing variety and thereafter they reflected the full range of his innovative styles - symbolist, cubist, neoclassica l, surrealist, expressionist.
But however extreme his departur e from representational conventions, Picasso never wholly abandoned drawing from the sitter or ceased producing portraits of classic beauty and naturalism. For all his radical originality, Picasso remained in constant dialogue with the art of the past and his portraits often alluded to canonical masterpieces, chosen for their appropriateness to the looks and personality of his subject. Treating favourite Old Masters as indecorously as his intimate friends, he enjoyed caricaturing them and indulging in fant asies about their sex lives that mirrored his own obsession with the interaction of eroticism and creativity.
His late suites of free ` variations ' after Velazquez's Las Meninas and Rembrandt's The Prodigal Son , both of which involve self - portraiture, allow ed him to ruminate on the complex psychological relationship of artist and sitter, and continu ities between past and present. When Picasso depicted people in his intimate circle, the nature of his bond with them inevitably influenced his interpretation. T he focus of this book is not, however, Picasso's life story but his creative process, and, although following a broadly chronological path, its chapters are structured thematically.
Issues addressed in depth include Picasso's exploitation of familiar pose s and formats, his sources of inspiration and identification with favourite Old Masters, the role of caricature in his expressive conception of portraiture, the relationship between observation, memory and fantasy, critical differences between his portray al of men and women, and the motivation behind his defiance of decorum and the extreme transformation of his sitter's appearance.
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