In other images, the model’s skin is barely covered – by an overcoat, bathing suit, or underwear. The images depict women and men in their twenties and thirties who are often unclothed, some extensively tattooed. The photographs feature the likes of Mick Jagger and Bono, Liz Taylor and Naomi Campbell – many of the same VIPs that Newton portrayed in his work. We encounter spontaneous, surprising, and very private images of Pigozzi’s friends, united around the pool. Helmut and June Newton, among other A-listers, came here several times to unwind or frolic in glamour. Pool Party by Jean Pigozzi is presented in June’s Room, featuring small-format, snapshot-like images taken around Pigozzi’s swimming pool in Cap d’Antibes, near Villa Dorane, which was built for his father Henri in 1953 by Ettore Sottsass. This aspect applies to all of his work in its timeless elegance – and the same can be said of Mario Testino. Newton’s photographs thus document and comment on the shifting role of women in Western society at the time. Newton famously and subtly combined nudity and fashion – and to this day invariably turns those of us who view his work into voyeurs. These complement Newton’s well-known work. Helmut Newton is represented by original prints in various formats, selected from the foundation’s archive, they have for the most part not been previously shown. This presentation form is unique to both Testino’s work as well as the exhibition history of the Helmut Newton Foundation, filling the rooms with bodies and emotions to create an imposing human landscape. The work analyses the boundaries between fashion, eroticism, anatomy and art, as well as a metaphorical undressing of Mario Testino that delves deeper into his archive and his working practice. 50 larger-than-life images are affixed directly to the walls in three of the foundation’s exhibition halls, reaching into the corners of the room and up to the ceiling. It was conceived exclusively for the Helmut Newton Foundation. Soon after their creation, the monumental pictures were shown in various museums with his Big Nudes and the subsequent life-sized images from his Naked and Dressed series, Newton had opened up a new dimension of the photographic human image.Mario Testino’s Undressed is a site-specific installation comprising fashion and nude photos. Since its first publication in 1981, the book has been reprinted thousands of times, by several publishing houses and in multiple languages. For Helmut Newton, fashion often seems to be an excuse to realize something different and very individual.Īt the latest with his third publication Big Nudes, Helmut Newton had secured his seat atop the Mount Olympus of photography. His second publication Sleepless Nights also features mannequins that are mostly in amorous combination with a person. Here for the first time are also three smaller series, which would later be counted among Newton’s iconic images: half-naked, female models in orthopedic body braces or wearing leather saddles by Hermès, as well as the so-called “dummies”. Previously published in various magazines, these were also all about women, their bodies and their clothes fashion shots that are simultaneously portraits, or which could double as crime scene documentation photos. Just as perfectly arranged were the black and white and color photographs in Newton’s 1978 book Sleepless Nights. Inevitably, Newton makes us observers into voyeurs. Furthermore, Newton’s photographs both reflect and comment on the transformation of the role of women in western society at the time. While such unusual pictures both astonished and provoked the scene, above all, they revolutionized fashion photography. In White Women, Newton used nudity within the visual world of fashion. The book received the “Kodak Photobook Award” shortly thereafter and has enjoyed numerous reprints ever since. His first photography book, White Women, was published when Newton was already 56 years old, in 1976.
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