With texts by Vince Aletti, Anna Tellgren, and Felix Hoffmann, this book brings into the spotlight the ways in which Turbeville redefined fashion photography, moving away from the sexual provocation and stereotypes assigned by male photographers to an idea of femininity on her terms. It inhabits a liminal zone between art and commerce.īuilt upon extensive research in the Deborah Turbeville archive, the work shown spans commercial and personal projects, with many images published for the first time. Her work is located far from single, glossy images. In contrast to her contemporaries in fashion photography, she was deliberately playful with her images: xeroxing, cutting, scraping, and pinning prints together, writing in the margins and creating narrative sequences. This new publication focuses on the area of Turbeville's practicewhere her genius as an artist can be found: photocollage. Her images are evocative, difficult to date at first glance, and seem dreamlike to our twenty-first-century eyes, a very different representation of feminine beauty from the highly sexualized works of her male contemporaries. Her unique visual signature has been recognizable since her emergence as a major talent in the 1970s. American photographer Deborah Turbeville defies classification.
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