In episode 87 UNP founder and curator Grant Scott is in his shed reflecting on working with Richard Avedon, getting books signed by him, remembering stories about Avedon told to him by photographer Jean Loup Sieff and long-time Avedon assistant Gideon Lewin takes on the UNP Photo Proust Questionnaire in which he speaks about fellow Avedon assistant and photographer Hiro. 

In this week’s episode Grant speaks of an Avedon fashion shoot with photographer Jean Loup Sieff as a model with iconic sixties model Jean Shrimpton for Vogue Italia, March 1967. These are the images that appeared in the magazine.

Grant also speaks of his time working with Avedon and the packaged print he was sent. Here is the label from that packaging.
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Gideon Lewin was born in Jerusalem, Israel and graduated from the Art Center College of Design, in Los Angeles, majoring in advertising and photography. He was the studio manager and ‘right-hand man’ to legendary photographer Richard Avedon for 16 years during which time he collaborated with Avedon on many projects, including exhibitions, books, whilst traveling with him extensively for editorial assignments. Lewin also continued to create his own work during this period and established his own independent studio in 1980 collaborating with American and European designers on advertising, promotions and books, including Bill Blass, Avon, Revlon, Clairol, and Saks Fifth Avenue. Lewin has photographed and produced two books and his editorial work has been published in Harpers Bazaar, Vogue and Elle, and many other magazines. He has photographed personalities including Clint Eastwood, Lauren Bacall, Ariel Sharon, Rupert Murdoch, Donna Karen, and of course Richard Avedon. A retrospective exhibition of his work was held at the museum of Photography in Mougins, France, and his work has been featured in solo exhibitions in the US and Europe. Gideon Lewin, the Avedon Years, 1964-1980, was published in 2019.

Gideon Lewin, the Avedon Years, 1964-1980 www.penguinrandomhouse.com/books/610904/avedon-by-gideon-lewin/

The Proust Questionnaire’s origins lie not with the legendary French novelist, but with a popular parlour game known as the ‘Confession Album’. These albums were passed out among friends, who would sign their names and complete them with poetry and prose, or answers to questions contained within. In the case of the Proust Questionnaire, the questions were devised by a friend of Proust’s, Antoinette Faure, the daughter of the future French President Félix Faure. Just fourteen at the time, Proust was only too happy to fill out his friend’s questions. Although he answered in French, the album was eventually translated and published for English-speaking audiences. But it was the original handwritten questionnaire that led to its eventual popularity. Faure’s son, the psychologist André Berge, discovered the original in his mother’s effects in 1924, two years after Proust’s death. Not only did Proust’s answers become a sensation, but so did the questionnaire itself.

Yasuhiro Wakabayashi, known as Hiro, was born in Shanghai in 1930 to Japanese parents. Hiro’s family returned to Japan from China at the end of the Second World War and In 1954, he travelled to America, and briefly enrolled in the School of Modern Photography in New York. He was dissatisfied with the school, and apprenticed himself to the studio of Lester Bookbinder and Reuben Samberg. At the end of 1956, he began working for Richard Avedon and at the same time, met Alexey Brodovitch, the art director at Harper’s Bazaar, and worked as his assistant for a time, at Brodovitch’s Design Laboratory at the New SchoolBy the end of 1957, Hiro was no longer Avedon’s assistant, and had launched his own career. Within only a few years, Hiro became a fashion photographer in his own right. He contributed as a staff photographer to Harper’s Bazaar from 1956 to 1975, and was named Photographer of the Year by the American Society of Media Photographers in 1969. Surreal and unique, Hiro’s photographs are noted for their elegance and clean appearance.

If you have enjoyed this podcast why not check out our A Photographic Life Podcast Plus. Created as a learning resource that places the power of learning into the hands of the learner. To suggest where you can go, what you can read, who you can discover and what you can question to further your own knowledge, experience and enjoyment of photography. It will be inspiring, informative and enjoyable! You can find out here: www.patreon.com/aphotographiclifepodcast

You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast

Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019.

His documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s.

© Grant Scott 2019


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6 responses to “PODCAST: A Photographic Life, Episode 87: Richard Avedon ‘Christmas Special’ Plus Gideon Lewin and the UNP Photo Proust Questionaire”

  1. Oh well, my own fault. Thanks for the information and, also, through the probable absence of saved regional issues, the quite unintentional confirmation – were it ever needed – of the unimportance of life on the peripheries, the outer edges of British society! It’s how we lived (much of the driving force behind those crazed SNP warriors), and it turned out to be even more a clear line of demarcation when I came to live here: a fellow Scot that I met, head of a tour operation, asked me if I’d come out here to retire. I answered no, why do you ask? He then told me that living a 45 mins drive from Palma meant I was isolated. I didn’t believe him. He was right. Forty-four hears later on, it’s entirely academic, one way or the other.

    Thanks again, Grant.

    1. When I lived in Soller no one believed that I went to Palma to get a haircut. Narrow minds create narrow perspectives.

  2. Hi Grant,

    I was referring to the fact that Vogue kept copies of all its back issues somewhere at the old Vogue House.

    My question was whether it might be possible to trace a few back issues of the “Scottish” editions, circa the early-to-mid 1970s. I understand that each month saw five regional issues published – with the advertising pages designed to suit the requirements of the different regions.

    It could be that Vogue only saved copies of the main London area editions, in which case, my chances of getting photocopies of my advertorials in the relevant Scottish editions would be round about zero.

    I still have my old job book, so I could find the dates of the issues concerned, if there was any reasonable hope of good luck.

    Thanks – Rob

    1. I see. I personally looked at them all when they were in the Vogue House basement and I art directed Tatler through the 90s. I can’t remember any regional issues. They are all now stored in Stockwell but no longer easy to access sadly.

  3. Interested to hear that Vogue has (had?) copies of everything published.

    I did several advertorial trips for Vogue, some combined with the IWS, back in the 70s. I hadn’t realised at the time that Vogue had, I think, five regional issues; based in Scotland, my region’s pix were obviously not going to be the ones seen in London and, consequently, didn’t feel very much worth all the additional transportational costs I was already facing with the move to Spain. Regrets, by definition, come later.

    Do you think there’s a chance that even rough copies of those pages might somehow be available?

    1. I’m not sure I understand your question or your comment that Vogue has had everything published. Happy to help if I understood

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