Guy Bourdin: Image Maker

27 November 2014 – 15 March 2015
Daily 10.00-18.00 (Last admission 17.15)
Until 21.00 Thursdays (Last admission 20.15)
Until 20.00 (last entry 19.15) on Friday 27 February and until 19.00 (last entry 18.15) on Saturday 28 February
Embankment Galleries, South Wing
£9.00, £7.00 concessions



BOOK TICKETS NOW

Advance tickets can be purchased online up to 23.59 the day before visit.

Tickets are available on the door on the day.

Please note that between 26 February - 1 March 2015 entrance to Guy Bourdin: Image Maker will be via the Great Arch Entrance to Somerset House on Victoria Embankent only.

The UK’s largest ever exhibition of the influential and enigmatic fashion photographer Guy Bourdin, featuring over 100 works and previously unseen material from the photographer’s estate, from 1955 to 1987.  This major show charts Bourdin’s distinguished 40-year career from Man Ray’s protégé to photography revolutionary in his own right and explore his pursuit of perfection. The exhibited works exemplify the craftsmanship behind his images, from production to publication, and their enduring quality as a consequence.

Guy Bourdin’s editorial and advertising imagery represent a highpoint in late twentieth century fashion photography. His work took the basic function of the fashion photograph -to sell clothing, beauty and accessories- and made it into something rich and strange. Bourdin did this without resorting to exoticism; instead, he established the idea that the product is secondary to the image. From his professional debut for Paris Vogue in the 1950s, Bourdin developed a distinctive style of visual storytelling which continues to serve as a source of inspiration to contemporary fashion photographers from Tim Walker to Nick Knight.

Curated by Alistair O’Neill with Shelly Verthime, the exhibition includes over 100 colour exhibition prints of Bourdin’s most significant works, as well as early and late works in black and white that serve to challenge Bourdin’s reputation as a colour photographer. This is complimented by a range of other photographic materials: unique Polaroid test shots, double-page spread layouts, contact sheets and transparencies marked for composition that explore Bourdin’s craftsmanship as an image maker and the processes involved in producing startling and provocative imagery in a pre-digital age. It also highlights Bourdin as a pioneer of fashion film, showcasing a range of Super-8 films he made at the same time as his on-location photo shoots.

The exhibition also features a selection of paintings, working drawings, sketches and notebooks, not seen in the UK before, which inform his approach as an compositional image-maker and meticulous draughtsman.  A highlight is the ‘Walking Legs’ series - a campaign commissioned by Charles Jourdan in 1979 exhibited in its entirety for the first time with a yet unseen accompanying fashion film.
 

Guy Bourdin: Spotlight on Style Tours
13.30 Wednesdays and Fridays from 28 November 2014

Join a member of the gallery team for a spotlight tour of the Guy Bourdin: Image Maker exhibition. Each tour delves into these iconic, groundbreaking images and stories behind the style. Tours are free with an admission ticket, and last approximately 20 minutes. Limited spaces are available on a sign-up basis in the exhibition 30 minutes before the tour.

 

Supported by


 
MORE:
The Fashion Research Network presents: Surfaces and Boundaries - The Legacy of Guy Bourdin
Friday 13 March, 14.00 - 17.30
Screening Room, £20.00 / £15.00 concessions

Photographer Guy Bourdin's influence and influences are examined in a series of talks and panel discussions throughout the day curated by the Fashion Research Network, and introduced by curator Alistair O' Neill.
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Guy Bourdin: Britain by Cadillac

This book, exclusively available from Somerset House, charts Guy Bourdin’s seminal road trip of Britain in 1979 to take photographs for a Charles Jourdan advertising campaign. Bourdin dispensed with the use of a model and employed instead a pair of mannequin legs, cut off just below the knee. She is only a hint of a woman, and yet in each situation in which Bourdin placed her she becomes a complete character within a story, told around many iconic British landmarks.

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