Oregon daily emerald. (Eugene, Or.) 1920-2012, October 28, 1983, Section B, Page 8, Image 22

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In electronics 686-4331
1
Vision
Continued from Page 7B
the subject intellectually and emo
tionally — that is, to put it into
context.
Much of the power of these
strangely accurate and marvelous
ly designed photographs of John
Belushi, Bob Dylan, Blondie, the
Rolling Stones, Laurie Anderson,
Carly and Jimmy, comes from
Leibovitz's straightforward jour
nalistic sense. In the book's pro
logue, Leibovitz remarks that
unlike most portrait
photographers who moved up
from a fashion background, she
has been one of this generation’s
few portrait photographers with a
journalistic background.
This is not to suggest that
Leibovitz has simply captured
what Cartier-Bresson referred to
as the "moment in time." Her pic
tures are artfully conceived and
k most are posed studio shots. Still,
I these pop heroes have sur
1 rendered themselves uncannily in
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trom oi ner camera.
Each encounter appears to
reach for the essence of the per
son, but each leaves room for a
glimpse of cock-eyed humor,
revealing the egotistical flaws that
dispose the hero in each of us.
The Divine Miss M wallows naked
in a bed of fresh red roses. Revlon
icon Lauren Hutton lies covered in
a mud bath, beautiful face half
exposed. |ohn Lennon scales his
long, freckled body up Yoko, who
lies almost unconscious, Jjair
spread like a great black hair
This book, perhaps not ur _<?
Leibovitz, moves in like weather
from the north, taking us off
guard at each page. It's a
technically beautiful, impeccably
executed comic book review of
the past decade, with poignant
moments that may transcend the
fashionable timeliness of many of
these photos.
In his inimitable way, y
Wolfe describes Leibovitz's ''kncu:
eye..”;.. ». j
in these pages we see glamour
succ umbing to that great passion
oi the Sixties, nostalgic de la
boue, nostalgia for the mud.
Quite aside from the way they
changed music itself, Elvis Presley
and the Beatles removed the tux
edos, foxtrots and Mid-Atlant^ ac
cents trom show business^
they acted Low Rent, and they
made it glamourous for stars to
look like raw vital proles.
Certainly it's easy to be seduced
by four-color slicks of stars like
Meryl Streep and Sylvester
Stallone, who can retire before
they reach thirty-five. But what
Leibovitz does so eloquently,
Wolfe reminds us, is transcend
the "celebrity photo." In doing so,
she gives us a "stiff whiff of the
whole gorgeously nutty era of
Gold Funk."
dom. They talked Down
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r
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