130 photographs of Damien Hirst taken by David Bailey during a single shoot lasting eight minutes. Each pose is spontaneous and determined not by Bailey but by Hirst, who mocks the camera with his tongue poked out, mouth open wide and hands pulling at his cheeks.
In January 1962, still in his early twenties, David Bailey fulfilled a dream that dated back to his years in Singapore, serving in the Royal Air Force. Heading to the USA, home of the jazz musicians that had inspired him and the source of his original ambition to be a trumpet-player, Bailey was on his first foreign trip for Vogue, together with his model and girlfriend, Jean Shrimpton. The impact of the early Bailey/Shrimpton collaborations set new standards that helped put Britain back on the world map of popular culture. And the attack on the generational chasm Bailey spearheaded is underlined by the warning he was given that, as a representative ofVogue, he was not to wear his leather jacket in the St Regis Hotel. (Of course he ignored the advice).
Le photographe anglais David Bailey est surtout connu pour ses photos de stars ou encore ses séries de mode, mais beaucoup moins pour ses instantanés de la vie quotidienne rassemblés ici.
This is Havana as an icon of one of the most distinct and revealing cultural divides left in a world hurtling towards homogeneity, Havana as seen by a master at the height of his craft. Bound in an embossed leather cover.
"The idea for a book on the East End formed sometime in the 1980s. The London Docks had already closed down or were starting to. I chose to shoot mainly in the districts of Silvertown and Canning Town. I have over the years spent many weekends shooting whatever took my fancy. The other two times I had bursts of photographic energy in the East End were in the 1960s and from about 2004 to 2010. These were my three key periods to draw pictures from, instead of just trolling through the last fifty years of archives. In the late 1940s and early 1950s I heard a quote on the radio, 'Go west, young man.' At the time I didn't give it much thought. Later I assumed it was from America and that it went back to the middle of the nineteenth century, when America's west coast was opening up to great wealth and opportunities. The cockneys should have listened, but they didn't. They went east like their ancestors before them. The ones that moved east out of 'Old Nichol' went to Whitechapel, then on to Stepney and Bow, then to what is now called Newham and later to Barking, Dagenham and onto Essex. My mother was from Bow, my father it seems was from Hackney, my grandfather from Bethnal Green. Before him they all were from Whitechapel as far as records show." David Bailey
En deux volumes aux reliures toilées, l'un rose indien et l'autre vert anis, le photographe David Bailey nous livre son portrait de l'Inde, très personnel, à mille lieues des clichés touristiques ou de la vision du National Geographic.
Entre deux séances de photos de mode, David Bailey aime voyager. Cette fois-ci, il s'arrête à Cuba : " Ma vision de La Havane est juste un regard superficiel, juste une impression... ce qui m'intéresse c'est la situation géographique de ce pays, l'un des plus pauvres, en face du plus riche, les Etats-Unis. Ces deux pays aux idéologies extrêmes : le petit avec le communisme qui ne marche pas, et le grand avec sa démocratie paranoïaque qui ne fonctionne qu'avec le dollar ". Entre portraits et reportage, entre clichés et humour, une nouvelle vision de cette ville qui reste à l'écart du temps et des remous de la mondialisation.
De 1962 à 2008 l'oeil de David Bailey a photographié des personnalités du monde de l'art aussi variées que Jean-Luc Godard, Yves Saint Laurent ou Francis Bacon.
David Bailey's loving homage to his wife, in Polaroids taken over nearly 40 years.
For the past 38 years, David Bailey (born 1938) has photographed his wife Catherine using Polaroid film. Developing organically over the decades, a book grew with no specific purpose in mind. The result is this visual poem, a witness to their working collaborations and personal adventures. In Bailey's words: "The years went by with great ease and charm. I have been lucky to have such a willing and beautiful subject in my wife and partner in this adventure we have shared together. It came about not by making a plan. All my good ideas seem to happen by accident. My books start with a vague idea, then grow into something I never knew ... the average Polaroid takes a few minutes to develop. This book has taken nearly 40 years."
1980s Polaroids of small-town Australia: a rare take on the country's landscape and people from David Bailey.
David Bailey's (born 1938) love letter to Australia, Bailey's Matilda is no rosy portrait of "the lucky country," but a gritty yet affectionate vision of rural and small-town Australia in the early 1980s: black-and-white images of a dead cockatoo, kangaroo and sheep, of painted advertising for Queensland's beloved XXXX beer, of a gravestone and dead tree trunks against a lead sky. His human subjects are the Indigenous people of Australia, not the descendants of its white colonists. Bailey embraces all the flaws and accidents of his prints--their blurrings, smudges and stains--and enhances them with his own scribbles and crops, creating painterly results. In his own words it's all about chance: "This book should have been washed up in a bottle on the sea shore."
Bailey on home turf in London's East End: a democratic vision of its people, places and buildings.
Born and bred in London's East End, David Bailey (born 1938) has returned to visit and photograph his home turf again and again over the decades: "I've watched it slowly fade with time, from a city being bombed in the Blitz to a smoking ember of what it once was." Road to Barking is Bailey's latest portrait of the East End, specifically the diverse borough of Barking and Dagenham, described by the leader of its council, Darren Rodwell, as "the last bastion of working-class London where traditional Cockney mingles with over 120 languages from around the world." From buskers, flower sellers and butchers to snow-dusted stone angels in a cemetery and abandoned boats on the edge of the Thames, from yawning passengers on the Tube to police officers and punks and all in between, Bailey's vision is loving and democratic.
