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          <td colspan="2" bgcolor="#990033"><font color="#FFFFFF" size="1"><b><font color="#FFCC33">Feature:</font> 
            Helmut Newton 05/01</b></font><b><font size="1"> </font></b><font color="#000000"><b></b></font><font color="#000000"><b></b></font></td>
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            <p><font size="1">Writing in The Independent, J G Ballard called him 
              the greatest figurative artist working today. "I seriously believe," 
              the novelist also told American Vogue, "that since the death of 
              Francis Bacon, one of the greatest visual artists alive today is 
              Helmut Newton." </font></p>
            <p><font size="1">Newton himself would no doubt view the comparison 
              between himself and Bacon with some suspicion. The photographer 
              has consistently refused to accept that his work is art. "In my 
              vocabulary, `art' is a dirty word," he has said. But a major exhibition 
              at the Barbican celebrating Newton's 80th birthday will elevate 
              the photographer to his rightful place at the forefront of modern 
              photography. </font></p>
            <p><font size="1">Because, love Helmut Newton or love to hate him, 
              it is impossible to deny the impact he has made, on fashion photography 
              in particular. During his career, Newton has created a whole world 
              around the humble garment. It is a world peopled by untouchable, 
              Amazonian women who live, sleep and breathe in immaculate make-up, 
              heavy jewellery and vicious stiletto heels. They are proud of their 
              European, bourgeois status and confident enough to cross the gender 
              divide effortlessly. </font></p>
            <p><font size="1">It is also a world where a sense of intrigue, darkness 
              and even crime is often present. In Newton's pictures, a woman dismembers 
              a roast chicken, a bloodied kitchen knife by her side, her grease-smeared 
              hands weighed down by huge sapphire rings and bracelets heavy with 
              diamonds the size of boiled sweets. His women wear rhinestone-encrusted 
              black evening dresses - studded leather collars optional - and that's 
              just to the beach. Silk stockings, corsetry and generously proffered 
              naked flesh are all part of the Newton aesthetic. So are mirrors, 
              zips and head-masks. </font></p>
            <p><font size="1">Small wonder, then, that when he first started making 
              waves, his aesthetic was branded "porno chic". To radical feminists, 
              Newton is the Antichrist. This is the man who photographed a woman 
              on all fours with a saddle on her back, and another sitting in her 
              underwear on an unmade bed, with a gun in her mouth. Ballard, who 
              has also incurred the wrath of feminists in the past, springs to 
              his defence: "It's just unfortunate that he has fallen foul of extreme 
              feminists or political correctness. Accusations of voyeurism and 
              so forth have distracted people from realizing just how important 
              an artist he is." </font></p>
            <p><font size="1">Newton's vision is fuelled by sex, status, power 
              and, above all, voyeurism - there are often extras in his pictures 
              who gaze at the women centre-stage. Those are, of course, also the 
              things that make fashion tick. Small wonder, then, that much of 
              the photographer's most successful imagery has become far more famous 
              than the garments he has chosen to photograph. </font></p>
            <p><font size="1">Take Yves Saint Laurent's Le Smoking. When, in 1966, 
              Saint Laurent sent out a model in a man's suit, with the aim of 
              freeing women from the trappings of feminine, frilly dresses, he 
              caused an almighty scandal. But it was Newton's interpretation of 
              it, lit by street- lamps in a Parisian back-alley, that people remember.</font></p>
            <p><font size="1"> Newton's influence is everywhere. Mario Testino's 
              breakthrough advertising campaign for Gucci in 1996 - featuring 
              lovely young things lying about with glazed expressions, in psychedelic 
              clothing, their slender white limbs intertwined - owed more than 
              a little to Newton. The photographer shot an editorial cutely entitled 
              "What to Stay In In" for Queen magazine as long ago as 1965, which 
              is remarkably similar in spirit. </font></p>
            <p><font size="1">Newton was photographing dodgy underwear, flock 
              wallpaper and even underarm hair for Nova in the 1970s, some 20 
              years before Corinne Day photographed a young Kate Moss in her underwear 
              at her none-too-glamorous flat, and Juergen Teller shot Annie Morton 
              as a full-frontal nude on a Dralon sofa, making "real life" photography 
              famous. And infamous. In the Sixties and Seventies, Newton's decadent 
              vision may have been labelled "porno chic", but today the rest of 
              the world has finally caught up with him and it's just plain chic. 
              </font></p>
            <p><font size="1">There is barely a stylist, photographer or designer 
              working in fashion today who can fail to acknowledge Newton as an 
              influence - from the brainless shoots of glossy, scantily clad B- 
              list celebrities in men's magazines such as Loaded and FHM, which 
              probably make Newton himself wince in pain, to the inspired work 
              of Katie Grand, editor of Pop magazine and fashion director of The 
              Face. </font></p>
            <p><font size="1">"Helmut Newton is the best photographer ever," says 
              Grand, never a woman to hedge her bets. "Because I work in fashion 
              and am surrounded by those who are informed by his work, it's hard 
              for me to tell whether people in general are offended by him anymore, 
              but I doubt it. I mean, everyone's been so educated by those images."</font></p>
            <p><font size="1"> The designer Alexander McQueen says that he, too, 
              owes more than a little to the great man's work. "Newton photographed 
              one of the dresses from my Dante collection in 1996," he says. The 
              collection was shown in a Gothic church in Spitalfields, east London, 
              and offered an early glimpse of the sophistication that has made 
              McQueen such a huge name in the fashion world. "He picked a black 
              lace dress, worn in the show by Stella Tenant,"McQueen recalls. 
              "It went right up over her face, covering it, like a hangman's hood. 
              Newton said he liked the contrast between the fragility of the lace 
              and the brutality of the act of enshrouding a woman's face with 
              it."</font></p>
            <p><font size="1"> It is not insignificant that, while most people 
              choose to shoot McQueen's more obviously commercial garments - a 
              wicked trouser suit, say, or an embroidered sheath dress -Newton 
              selected one of the more challenging pieces. It was also an outfit 
              that was far more true to McQueen's macabre sensibility. Newton's 
              choice of McQueen as the designer to introduce him at the Barbican 
              is clearly an inspired one. It is testimony to the photographer's 
              genius that, despite their difference in age -Newton is 80, McQueen 
              only 32 - they have a lot in common. </font></p>
            <p><font size="1">Both are preoccupied with the fine line between 
              beauty and cruelty, fragility and brutality; both see gender as 
              something fluid, to be experimented with. Most important, here are 
              two people who push against the boundaries of what is and isn't 
              acceptable, as if their very existence depended on it. In this, 
              they are the ultimate agents provocateurs, daring their audience 
              to rise to the challenge they present in their work, to engage in 
              a darker and more complex side of humanity. </font></p>
            <p><font size="1">Helmut Newton was born to middle-class Jewish parents 
              in Weimar Berlin in 1920, and the decadent spirit of that place 
              at that time is imprinted on his work. He bought his first camera 
              when he was 12, shooting his first film in the Berlin Metro. By 
              his mid-teens, he was photographing his girlfriends in his mother's 
              clothes, until, aged 16, he learnt to use a camera professionally, 
              as apprentice to Else Simon, a society photographer who worked under 
              the alias of Yva. She died later in Auschwitz.</font></p>
            <p><font size="1">Newton and his parents fled Berlin in 1938. His 
              mother and father went to South America; Helmut headed for Singapore, 
              where he took a job as press photographer for the Singapore Straits 
              Times. In 1940, he moved to Australia, where he met his future wife, 
              June, in 1947. He married her a year later, and the two remain inseparable 
              to this day. She is also a photographer; she famously photographed 
              her husband in stilettos and collaborates with him, curating exhibitions 
              and art-directing books of his work. </font></p>
            <p><font size="1">In 1956, Newton left Melbourne, where he had set 
              up his studio and was working for the newly launched Australian 
              Vogue, and moved to London, where he had been given a contract with 
              the more established and prestigious British edition of the magazine. 
              He soon became bored of shooting still lifes of accessories for 
              the magazine's prosaic "Shop Hound" section and finally quit the 
              title when required to turn his attention to "Mrs Exeter", featuring, 
              as he put it, "outfits for the more mature woman, with a blue-haired 
              lady modelling the fashion". </font></p>
            <p><font size="1">By the early Sixties, Newton was in Paris and beginning 
              to shoot his most influential work, this time for French Vogue. 
              In the 20 years that followed, he produced his most accomplished 
              portfolio. By the Eighties, Helmut Newton had tired of fashion and 
              set to photographing nudes. Big Nudes, a series of huge portraits 
              of glossy, larger-than-life women wearing nothing but stilettos, 
              and shot against a white backdrop, was one of the more remarkable 
              projects of that time. He also turned his hand to portraiture, photographing, 
              among others, Claus Von Bulow and Salvador Dali for Vanity Fair, 
              until, in 1998, he finally turned his cold and uncompromising eye 
              toward himself.</font></p>
            <p><font size="1">Us and Them was a joint show and book featuring 
              his own work and that of his wife; it was filled with intimate snapshots 
              of themselves nude and even sick in hospital beds. On the eve of 
              the exhibition, Newton said: "I find it almost too intimate. We 
              show too much of our life. Maybe it's better that the people don't 
              know too much about you. It's more controlled." In the end, perhaps 
              the most remarkable thing about Newton is that, despite his now 
              being accepted and, for the most part, revered by the establishment, 
              he continues to provoke. </font></p>
            <p><font size="1">In 1994, Bulgari, the jewellery designers, threatened 
              to withdraw its advertising from French Vogue when it published 
              a shoot featuring a model dismembering a chicken while wearing its 
              exclusive, fine jewellery. Bulgari changed its mind not long afterward, 
              safe in the knowledge that, thanks to the photographer, its designs 
              were enjoying something of a renaissance at fashion's cutting edge. 
              </font></p>
            <p><font size="1">Accusations of misogyny are still constantly made 
              against Newton's work. In a world where images of prepubescent girls, 
              and women as limp and vulnerable, proliferate, that seems surprising. 
              We have survived the girlish waif of the Sixties, the superwaif 
              of the Nineties andAeven heroin chic but, despite that, Newton can 
              still always be relied on to whip up a storm. He claims to love 
              women; he says that the women he portrays are strong, never victims.</font></p>
            <p><font size="1">"I think it's because Helmut Newton has dealt with 
              issues long before anyone else had the nerve to," McQueen says; 
              "issues that people don't really want to address -such as sexuality." 
              And does that make him politically incorrect? "I don't think he 
              is," says the designer, adding: "Well, maybe he is in suburbia, 
              you know, with the Margots and Gerrys of this world." </font><font size="1"> 
              </font></p>
            <p><font size="1"><i>Helmut Newton: Work</i> at Barbican Gallery<br>
              </font><font size="1">Open 10 May � 8 July 2020 <br>
              <br>
              An opportunity to see both classic Helmut Newton images and works 
              never seen before. Through his uncompromising photographs Newton 
              allows us a tantalising glimpse into the world of extreme sophistication 
              and flaunted wealth. This exhibition is a chance to gain insight 
              to one of the most controversial and challenging image-makers to 
              have influenced our perception of beauty, fame and glamour. </font></p>
            <p><font size="1">Pictured above:<br>
              <i>Fat Hand with Dollars</i>, Monte Carlo, 1986<br>
              The Best of Helmut Newton, available at amazon.co.uk priced &pound;21.84 
              </font></p>
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