Brigitte Lacombe, Catherine Opie, and Tacita Dean on their new exhibition at New York’s International Center of Photography
BRIGITTE LACOMBE: I don’t think about the portrait at the end of it or the result. The portrait for me is more about that moment that is shared—that is the most important for me. I started very young. I dropped out of high school. I had no formal training. Not only that but I had no idea when I said I wanted to leave school to become a photographer at 17 years old... I had no idea that I would do this my entire life. In some ways, itmy life.
TACITA DEAN: Well, everything comes together for a different reason. With Julie and Luchita, it was because they shared a birthday. I know Julie very well. But I knew Luchita through her son, Matt [Mullican]. I got to know Luchita in L.A. and it suddenly occurred to me that she and Julie were going to collectively turn 150 years old. It was Christmas 2019. We’d had to move back to Berlin because of Brexit... That’s another story. But anyway, we arrived in L.A.
Does your approach change when the subject is known or famous, where their image alone carries a certain weight? Brigitte, I was looking at the photographs of Martin Scorsese you’ve taken on the sets of his movies and thinking about how much about Scorsese and his work as a filmmaker we understand through your eyes. How did that relationship begin?
CO: I shot Mary Kelly from behind because it’s a tease. There is a moment where these portraits of artists are playing around a bit with their ideas of identity. There’s the portrait Kara Walker that I shot that’s backlit and silhouetted. And Mary’s tease is that all of a sudden we could potentially see her with her hair down.
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