Had my second eldest nephew not been passing through LA, I might have missed the Herb Ritts: LA Style exhibit at the Getty Center. Until yesterday, I had barely been aware of the gay photographer’s work in fashion, familiar with his images largely from the postcards and coffee table books I saw at gay bookstores, including primarily his images of nude men.
And save for a handful, few impressed me. His photographs of the male body (at least the ones I had seen) tended to focus on the muscle. The men themselves lacked sensuality, seemed instead cold, intimidating, unapproachable, lacking tenderness, devoid of emotion.
Yesterday, I was blown away by his work, mostly his images of clothed female celebrities, but was also impressed by a handful of his male nudes, the vulnerable Stefano and the intense, Pete and Yuri, the first photograph showing a man appearing vulnerable, longing for human touch, the second, depicting two dancers positioned almost as if in a circle, the one supporting the other, perhaps providing the touch, the support, for which Stefano longed.
The most eye-catching of his images (to me at least) were those of unnamed dancers or models, their rounded and otherwise curved dresses almost flowing out of their still, almost linear forms. In Corp et Ames 2, a dancer seems fixed in time as her dress arcs in an almost-perfect semi-circle. Versace Veiled Dress showed a black cape of some sort emerging as wings from the form of a woman, her body silhouetted by her black form-fitting catsuit. And that contrasted against a white, desert landscape.
When I saw the street light banners advertising the show, I hadn’t thought about seeing it, but now that I’ve seen the show once, I very much want to see it again. Many of the images are simple breath-taking.
If you’re in LA, I encourage you to take the time to see this show.
You lost me at the word “fashion” (or maybe “gay photographer”). Oh well; it’s a matter of personal preference, I guess.
Ritts is Fantabulous
The late Kevin Gilbert referenced Herb Ritts in his song “Certifiable # 1 Smash“. The song pretty much says it all. Gilrbert was a brilliant if tortured musician / songwriter. That he skirted with, but never broke through to the Bigs make him even more despondent and angry at the record industry.
You may not know his name, but you probably know some of his music. He co-wrote a number of Madonna hits, and was the guy who brought Sheryl Crow into the group that was calling themselves “The Tuesday Night Music Club”, which was already a band before she joined. Crow was his girlfriend and he brought her in. Most of the songs on that album had been written by Gilbert and the other bandmates (including David Baerwald from the 80’s David and David). Needless to say, when Crow went on Letterman and claimed the album and songs were hers, and that “Leaving Las Vegas” was autobiographical, um, the rest of the band didn’t take it too well, and that was pretty much the end of Gilberts and Crows relationship. That only fueled Gilbert’s mistrust of the industry. His last solo album “Shaming of the True”, which featured “Certified” was a reflection of his bitterness at never getting the recognition he though, and maybe did, deserve..
“Tony in White” and “Mark Findlay” – YUM!!
I also noticed that Richard Gere of all people intro’d the exhibit. What, the gerbil wasn’t available?
Sorry, couldn’t resist. 😉
Regards,
Peter H.
Dude! He’s SO over gerbils! That’s SOOO 90’s…. Ladies… Watch out for you poodles!!!! 🙂
He directed a few videos such as Madonna’s “Cherish” He’s also has done photography for musicians such as Depeche Mode’s Violator, The Creatures Boomerang, etc al. He’s a talented man who breaks out of the gay cliche.
Need to get up to the Getty to see this. Btw, The Getty does the best photography shows anywhere. Even better than the new Annenberg Center for Photography in Century City.