When Richard Avedon made his first photographs, fashion photography is dominated by an aesthetic stiff, strict, rigid, motionless in presenting models of housing Suppers agreed. As it is said at one point of the exhibition, Richard Avedon opposes everything formalism a series of "no", which will soon become the foundation of his aesthetic. No need for decorum, not the frozen smiles, in conventional poses, yes basically naked, yes to the portrait, yes to the truth of what passes between subject and photographer. Exposure of the tennis court offers its visitors a wonderful opportunity to explore one by one the pillars of this aesthetic universe, the foundation of all contemporary photographic imagery, which is also indicative of an era of its aspirations and its stars. 
The peach organizers is simple: Richard Avedon will release the codes of fashion photography in Paris in the years after the war: more movement, more life, the models are smiling, the draped float brief scenes Parisian life exposed in the minimalist decor where every sidewalk is a stage, each troquet a ballroom. It is not surprising to find cartel cartel after the name of Christian Dior, another deliverer of fashion after years of deprivation. Avedon likes to associate the world of haute couture with the less glamorous games of the circus, back-room bar tabac, where ladies of the world slum it in the company of neighborhood bullies. This association between evening dresses and elephant hats and jugglers, the height of chic, and freak universe was born an imaginary new, powerful, at once joyful and mysterious, which found echoes in today's new luxury communication. 
"In the American West " Avedon permanently install the pantheon of contemporary artists. Recognized upon its publication as a masterpiece, the series presents the faces of people in the western U.S. suffered a very severe recession in the early 1980s: homeless, bums, miners, workers in fields operating oil, waitresses, ignored the great American dream. Most vibrant portraits of humanity than the other, leaving each a bittersweet feeling itself staggering. On white background detached from their social affiliation, which has yet sometimes cruelly marked their clothes, their faces, their hands, the homeless have the air of movie stars, supermodels and waitresses. Time for a picture, in this face-to-face with an individual hypnotic, undecorated, photography will be redistributed to some of them maps of the social destiny. And sometimes not. 
Throughout this journey of nearly 300 photographs, tracing the entire career of this great artist, visitors can appreciate the density and consistency of work. Not a star in the world of show biz, literature or art of the second half of last century not missing, tenants of the fantastic factory of Andy Warhol to Björk, Marguerite Duras Giaccometti, to Marilyn Monroe, The Beatles, Stravinsky ( Perhaps one of the most beautiful in the show). It is a wonderful opportunity for a profound moment of humanity. Striking. It is hoped that those interested or are becoming interested in photography should rush, or they will surely regret it. Richard Avedon, Photographs 1946-2004, July 1 to September 27, 2008, the Jeu de Paume (Concorde) Paris.
See also here, a nice interview
Homage to Munkacsi. Carmen. Coat by Cardin. Place François-Premier. Paris. August 1957. © Richard Avedon
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Clarence Lippard - Drifter
Insterstate 80, Sparks, Nevada 08/29/83
Igor Stravinsky, NYC, 11/69. Richard Avedon, courtesy Avedon Foundation, The New York Times
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