*Or as one of my sisters put it, “OMG where are you getting these absolute rides”, but I don’t know how to say that in French.
If I haven’t shot your author/contributor/profile photo, I’m sorry but you’re just not living your best life. Be more like Audrey.
Video artist Clare Langan is a national treasure, and I was very glad to get an opportunity to photograph her in Paris last year. I’d already seen her piece that’s currently in the Moving Woman show at La Galerie Danysz, but I went to see it again on Saturday. It’s so beautiful.
You can see other portraits of artists in this recently updated gallery.
“A portrait is not a likeness. The moment an emotion or fact is transformed into a photograph it is no longer a fact but an opinion. There is no such thing as inaccuracy in a photograph. All photographs are accurate. None of them is the truth. ” Richard Avedon
“Though the session didn’t last longer than twenty minutes, I will forever remember the feeling of standing barefoot in that light-filled room while Avedon apologetically tilted his head toward the lens I kept ignoring, as if the camera were a socially inept friend that the two of us needed to make concessions for”. Myla Goldberg on being photographed by Richard Avedon.
I had a quick dive into the archives when I was back in Dublin, and came across this portrait I made of my father to accompany an interview in Cara magazine about one of his books. It’s one of my favourite pictures of him, along with this one:
You can see other portraits of friends and family in this gallery.
Alen MacWeeney was my mother’s first boyfriend, but the relationship didn’t last after he moved to New York to become Richard Avedon’s assistant. He went on to have a stellar career as a photographer there, often coming back to Ireland to shoot a long-term project on the travelling community. I bought one of his prints of two traveller kids with the proceeds from the first script I ever sold, and it’s up in pride of place on the living room wall.
RIOT is a truly amazing show, filled with hope, love and revolution. I’ve seen it twice, and if I was in Ireland this week I’d go and see it again. The show has been on a sell-out world tour and is back to do a short run as part of the Dublin Dance Festival - get a ticket while you still can (available here).
When I first met the wonderful Helen Sloan, she told me that all photographers are creeps. I was a bit taken aback, but she’s right - photographers want to see without being seen, to capture things that wouldn’t necessarily happen if people were aware that we’re there, quietly shooting away. Just as when this sleeping man caught my eye at Le 104 the other day, though I was quickly outcreeped by his girlfriend Agathe, who snuck in for a close-up. She’s also a photographer, of course.
Pascal and Irma Delamaire were friends of my mothers for many years, although I only met them for the first time shortly after I moved to Paris in 2017. Pascal and I quickly discovered that we’d much in common, including that earlier in life we’d both been puppeteers. My fledgling puppetry career was over before I left my teens, but he’d gone on to perform for many years, ending up on the best pitch in Paris – performing classical puppetry from inside a booth directly opposite Notre Dame. When he looked up during the show, all he could see beyond the puppets in his hands was the two bell towers of Notre Dame, and it gave him a great sense of connection with all the other puppeteers who’d performed in the same spot, with the exact same view, for hundreds and hundreds of years. I love that.