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Duy, who was always considered to be the most
intellectual photographer, worked relentlessly
or over twenty years, and covered every genre.
During the 60s and 70s he caught the mood and
ever-changing cast o rock stars, actors, models,
writers and politicians o the day in a way that
was visually memorable. His archive includes
many iconic images, rom the pre-punk lightening
slash o Aladdin Sane, to the surreal, award winning
advertising campaigns or Benson and Hedges. Hewas the only photographer who was asked to shoo
the Pirelli calendar twice, but by 1979 he had had
enough. A moment o madness led to an instant
decision to quit, and to the burning o bundles o
negatives in the back garden at his studio. Duy
claimed to have said everything he wanted to say
with photography.
Fortunately or us, not all o his negatives were
burnt that day. Ater months o searching, manyhave now been painstakingly rescued rom vaults
and studios around the world and now gathered
together provide a visual record o the genius that
was Duy.
Sidney Poitier, London Lie 1965
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ary Monster 1980
I got the Pirelli calendar because there were two guys that I knew at art school as
students, Alan Fletcher and Derek Forbes who set up this terric design studio with this
smart arse bright American called Bob Gill. They were working or Pirelli in 1960 doing
brochures, and Ads, and they did the rst calendar. Originally it was just or the grease
monkeys to keep in their locker not just tits and bum in the crudest sense, a bit o class.
Then the Managers wanted a copy on their wall and the boys selling cars on the ront lot
wanted one, so it moved dramatically into something that became a piece o Art.
A photographer called Robert Freeman did the rst one, then Terry, and then I did one.
I think in those days you would get a 100 -150 or the week to do it, and you would have
to get everything including ights rom that. The girls would get about 10 guineas a
day, and had to do their own make up and hair. But the whole thing shited enormously,
as technology started to change. A guy called Derek Forsyth, who had been a Pirelli
employee, took charge, got his mouth into gear and was advising everyone on everything,
typography, and layouts. He asked Jeanloup Sie, who loved photographing women with
no clothes on, to do one, but he came over, spoke to Derek and I think he ound him a
bit o a pretentious prat, so he knocked it on the head. At that point one o they guys in
the studio said, Why dont we get Allen Jones? Well Allen Jones had a reputation as
a sexual artist, who I thought was really under-rated, a really very important pre-punk
artist. Anyway he agreed he would be interested i the money was right, and i he could
sort o, do it with photography. I think he was a bit worried that he would degrade Art by
doing a Pirelli calendar. The idea was, he would do a drawing, saying how he wanted to
express himsel, and the execution would be done through photography.
So I got a phone call out o the blue in 1973, because someone knew that technically
I could translate his drawings into photography, and then he
On Pirelli and Bowie
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chael Caine, 1964 John L
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avid Bowie, Aladdin Sane 1973 Sammy Davis Jr. and M
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sula Andress, 1967Debora
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www.accdistribution.com
USA Sales Ofce:
ACC Distribution6 West 18th StreetSuite 4BNew York, NY 10011
Tel Oice: 212 645 1111
Tel Orders: 800 252 5231Email: sales@antiquecc.com
USA Distributor:
National Book Network (NBN)ACC Distribution15200 NBN WayBlue Ridge SummitPA 17214
Tel: 800 462 6420 / 717 794 3800Fax: 800 338 4550Email: customercare@nbnbooks.com
DuySize: 300 x 240mm
ISBN: 978 185149 657 0
Hardback $85.00Duy (Limited Edition)
Size: 300 x 240mmISBN: 978 185149 658 7
Hardback, Boxed, plus Print $400.00
Limited edition. Only 200 numbered copies. Contains a raK3 Fuki Baryte 310gms Giclee Colour Print, rom the Davi
Bowie Aladdin Sane contact sheet. Hand-stamped with
the type and edition number with Duy Archive stamp an
estate embossed. Certicate o authenticity, signed by Chr
Duy and Brian Duys wie, is also enclosed.
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