Larry Fink

Larry Fink on Improvisation and Composition

Foreword by Graydon Carter Excerpts from the Allentown Morning Call, and e-mail responses to the exhibition at Lehigh University.

Photographs

Forbidden Pictures

In the late 50s after an unsuccessful stint in college, Larry Fink dropped out and began an odyssey of hitchhiking through America. Striking out that great Beat mecca, New York City, Fink settled down on Minetta Lane with a chap who fancied himself a poet. Larry was quick to hit McDougal Street where he met Turk, Mary, Bobbie, Motha, Ambrose, Randy and Mike Stanley, and not to mention Hugh Romney (aka Wavy Gravy) and LeRoi Jones and so many more - they soon left New York to cross America for Mexico - in search of the freedoms of the road.

The Beats

Ash Carter

Luc Sante

Vanity Fair's Oscar parties have become a legend of their own over the last decade. A summit of the greatest Hollywood stars, they are the ultimate melting pot of beauty, fame, glamour, and wealth. For ten years American photographer Larry Fink, famous for a keen, uniquely sensual documentary eye, has been the official interpretive Vanity Fair photographer of these events. His view of superstars and their entourages is in sharp contrast to everything we know and expect of official Hollywood. His look is clear and honestly searing; his flash light is married to the instant in devilishly expressive ways. His photographs capture the atmosphere of these meetings reminiscent of evenings at a royal court. With his sensual and intuitive eye, Larry Fink shows the celebrities of the glamorous movie world anxiously at leisure.

Hollywood Parties 2000-2009 : Photographs

The Vanities

Amy Arbus

An "after image" is an impression of a vivid image retained by the eye after the stimulus has ceased. For her fifth book of portraits, Amy Arbus has borrowed ideas from iconic modernist paintings by artists including Picasso, Cezanne, Munch, Schiele, and Modigliani, and transferred their visceral energy and psychological intensity to live staged scenes to be photographed. In order to replicate the powerful effects of the original paintings, she painted costumes, props, and the models themselves. What has materialised is a series of hybrid images that challenges the thin line between painting and art photography. Chiaroscuro lighting and lush colours produce dark trompe l'oeil portraits in which the live models appear to be trying to escape the confines of the two-dimensional world that holds them captive.

Larry Fink

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