Charles Roland Rourke, claims to be a telemarketer. He was sitting on a bench, drunk, talking to an old lady. He is from Massachusetts and got his black eye on a fight the previous day. He didn’t know anything about Les Misérables on his T-shirt.
A tribute to Richard Avedon’s In The American West. In the summer of 1989, I started a series of portraits of people living in Hollywood. I set up the shoot in the shade, at my house. Then I wandered on Vine Street or Hollywood Blvd., looking for interesting faces. I asked people to come to my house for the sitting. Many refused, some agreed. The photographs shown here are the first ones in the series. They are mostly portraits of drifters and homeless people. I intended to incorporate a few photographs of celebrities, but I got busy on other topics and did not complete the series. There was a reason to mix bums with actors, winos with celebrities. During a sitting, the very limitations of photography and the discipline imposed by the view camera both tend to deprive the subject of his social varnish. The photographic process reveals connections between portraits that go far beyond money and fame, showing unexpected similarities between people at each end of the social ladder.
In Hollywood - Charles Rourke
- 単価米ドル単価数量有効期限送信元
- 単価米ドル単価数量最低価格差有効期限送信元
In Hollywood - Charles Rourke
- 単価米ドル単価数量有効期限送信元
- 単価米ドル単価数量最低価格差有効期限送信元
Charles Roland Rourke, claims to be a telemarketer. He was sitting on a bench, drunk, talking to an old lady. He is from Massachusetts and got his black eye on a fight the previous day. He didn’t know anything about Les Misérables on his T-shirt.
A tribute to Richard Avedon’s In The American West. In the summer of 1989, I started a series of portraits of people living in Hollywood. I set up the shoot in the shade, at my house. Then I wandered on Vine Street or Hollywood Blvd., looking for interesting faces. I asked people to come to my house for the sitting. Many refused, some agreed. The photographs shown here are the first ones in the series. They are mostly portraits of drifters and homeless people. I intended to incorporate a few photographs of celebrities, but I got busy on other topics and did not complete the series. There was a reason to mix bums with actors, winos with celebrities. During a sitting, the very limitations of photography and the discipline imposed by the view camera both tend to deprive the subject of his social varnish. The photographic process reveals connections between portraits that go far beyond money and fame, showing unexpected similarities between people at each end of the social ladder.