安妮·萊柏維茲大館講座 Artist Talk: Annie Leibovitz at Tai Kwun

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Tai Kwun大館

Tai Kwun Laundry Steps

大館洗衣場石階

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安妮·萊柏維茲:「早年歲月」作品,檔案項目一號 Annie Leibovitz: Work from 'The Early Years', Archive Project No.1

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時值安妮·萊柏維茲個展「『早年歲月』作品,檔案項目一號」於豪瑟沃斯香港畫廊揭幕,大館特別呈獻安妮·萊柏維茲講座,聚焦藝術家創作,並探索其摄影作为艺术媒介的演變進程。講座將於11月19日舉行,並由大館藝術主管Tobias Berger主持其後的現場問答環節。

展覽「安妮·萊柏維茲:『早年歲月』作品,檔案項目一號」於11月22日起對公眾開放,是亞洲首場全面呈現這位著名美國藝術家早年作品的展覽。展覽由萊柏維茲親自策劃並挑選出在她人生與職業生涯中最為重要的作品——這一系列圖像及主題體現了藝術家的內心對話、熱情與洞見。

安妮·萊柏維茲1949年出生於康涅狄格州。 1968年夏天,正就讀於舊金山藝術學院的她買下了她的第一台相機。她早期的作品不時出現海灣地區的風景,以及她於舊金山和洛杉磯兩地之間高速公路上拍攝的照片。她將專業從繪畫轉向攝影,1970年,仍是一名學生的萊柏維茲用一些攝影作品向剛成立三年的《滾石》雜誌投稿,這開啟了她的攝影記者生涯,這是一位年輕攝影師與一個以反映美國時代精神而聞名的雜誌之間共生關係的開始。1973 年,萊柏維茲成為《滾石》雜誌的首席攝影師,1983年,萊柏維茲加入復刊的《名利場》。在《名利場》和此後的《Vogue》,她創作了大量的作品,包括演員、導演、作家、音樂家、運動員、政商人物以及時尚人物的肖像。萊柏維茲的肖像作品反映了她在藝術家生涯早期建立的一種標誌性技巧,她有意並始終如一地因應拍攝對象調整風格。她選擇於拍攝對象的家中或對他們有意義的地方進行拍攝,在那裡,他們的朋友、愛人、孩子,以及其他具有個人色彩的事物亦可能出現於作品中。

安妮·萊柏維茲的多產及其攝影的創造性方法本身使她在二十世紀的美國肖像攝影的傳統軌跡中佔據了一席之地。她獨特的攝影語言將媒介的演變作為一種藝術創作的力量,並不斷推進。萊柏維茲的獨到遠見,包括將肖像攝影與新聞攝影相結合,捕捉整個美國與海內外歷史文化的檢驗標準,這使她與其崇拜的藝術家,如安迪·華荷及理查德·阿維頓等並駕齊驅,二者在各自媒介上都是創新人物。在羅伯特·弗蘭克與亨利·卡蒂埃-布列鬆的影響之下,她扭轉了攝影界的潮流。萊柏維茲把弗蘭克高度個人和情感化的攝影報導與卡蒂埃-布列鬆的超現實主義,甚至和雕塑藝術攝影相結合,發展出自己個人化的新聞風格。藝術家龐大且傑出的作品包含了我們這個時代最著名的肖像攝影,她豐富多樣的作品展示了其非凡的能力——將肖像攝影的方式與深刻的人道主義和狡黠機智相融合。

On the occasion of her exhibition at Hauser & Wirth Hong Kong, 'Annie Leibovitz. Work from The Early Years, Archive Project No. 1', Tai Kwun will host a talk by Annie Leibovitz that explores her oeuvre and photography's evolution as a force for art making. The event on 19 November will be followed by a Q&A hosted by Mr. Tobias Berger, Director of Tai Kwun.

'Annie Leibovitz. Work from The Early Years, Archive Project No. 1', open to the public on 22 November, is the first comprehensive exhibition in Asia devoted to the early work of this renowned American artist. Curated by Leibovitz, the artist personally selected what she believes to be the most significant images taken during an especially formative period in her career – an array of images and subjects that reveal her internal dialogue, motivations, and insights.

Annie Leibovitz was born in 1949 in Connecticut. She bought her first camera in the summer of 1968, when she was a student at the San Francisco Art Institute, and her early works are punctuated by images of the Bay Area landscape and photographs shot during drives the artist often took on the highways between San Francisco and Los Angeles. Leibovitz switched majors from painting to photography, and while still a student, in 1970, she approached Rolling Stone magazine – just three years after its inception – with a few of her pictures, thus beginning her career as a photojournalist and embarking on what would develop into a symbiotic relationship between the young artist and a magazine famous for reflecting the American zeitgeist. Leibovitz became Rolling Stone’s chief photographer in 1973, and she joined the staff of the revived Vanity Fair in 1983. At Vanity Fair, and later at Vogue, she developed a large body of work – portraits of actors, directors, writers, musicians, athletes, and political and business figures, as well as fashion photographs. Leibovitz’s portraiture reflects a signature technique she developed early in her career, as she consciously and consistently fit style to subject through collaborating with her subjects, photographing them in their homes or in a location that meant something to them, where friends, lovers, children, and other personal markers might appear.

Annie Leibovitz’s prolific output and her inventive approach to photography itself position her distinctly within the traditions and trajectory of American portraiture during the twentieth century. Her unique photographic language dovetailed with – and advanced – the medium’s evolution as a force for art making. The singularity of her vision, which included combining portraiture with photojournalism that captured historical and cultural touchstones throughout the United States and abroad, places her within a lineage of some of her personal heroes – artists like Andy Warhol and Richard Avedon, both innovators of their mediums. Influences such as Robert Frank and Henri Cartier-Bresson inspired Leibovitz to turn the tide on photography’s reception. Combining Frank’s highly personal and emotional style of photographic reportage with Cartier-Bresson’s Surrealist and even sculptural art photography, Leibovitz embraced her own inclination toward personal journalism. The artist’s large and distinguished body of work encompasses some of the most well-known portraits of our time. Her immense and varied output reveals a singular ability to merge the tactics of portraiture with profound humanism and sly wit.

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Tai Kwun大館

Tai Kwun Laundry Steps

大館洗衣場石階

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Hong Kong

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