Product Description:
"In Their Youth: Early Portraits" comprises over 200 of the California-based photographer's previously unpublished portraits from the last three decades, featuring famous actors shot when they were still unknown young men, from teen years into their early twenties. "I decided to do a project that expressed my infatuation with male beauty," Gorman explains, "especially in terms of youth... the portraits don't have lots of backgrounds, they're straightforward. It's really about the person, not the elements. It boils down to the graphics of the individual more than the graphics of the setting." Gorman's intimate celebrity portraits hinge on the sense of his subjects' vulnerability. Here, famous young men are juxtaposed with photographs of promising unknowns: one of the first shots of Tom Cruise, for instance, shares a spread with some anonymous ephebe that Andy Warhol met at Studio 54.Greg Gorman discovered his calling after taking a borrowed camera to a Jimi Hendrix concert in 1968. In 1990, after producing images for over 20 years, he published his first book, "Greg Gorman Volume One, " which reveals his skills as a portraitist. Gorman has created innumerable unforgettable images (for instance, a 2000 portrait of Jeff Koons shows the artist perched on a filthy toilet, flanked by two leather-clad ladies). His work has been featured in ad campaigns and has been featured on the covers of a number of magazines, including "Esquire, GQ, Interview, Vogue, Rolling Stone" and "Vanity Fair."
Review:
“In Their Youth” brings together about 200 black and white photos of young men, mainly actors (many of whom now occupy leading positions in the Hollywood star system) that Gorman photographed at the outset of their careers, but also fine unknowns. The string of well known faces runs from the 70’s to 2009, opening with an intense series devoted to Leonardo Di Caprio. Then among others we recognise Ben Affleck, Johnny Depp, Matt Damon, Jude Law, Orlando Bloom, Mickey Rourke, Matt Dillon and Rupert Everett (whose portrait appears on the cover). Most of the shots are close-ups of faces but there are also frames in which study of the glance and facial expression are accompanied by research into figure and body language, underscored by diptych images and a neutral background. The book includes a conversation between Gorman and his friend filmmaker Audrey Wells plus a critical essay by Peter Weiermair.
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