{"id":399553,"date":"2022-09-13T16:30:00","date_gmt":"2022-09-13T20:30:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=399553"},"modified":"2022-09-13T17:30:26","modified_gmt":"2022-09-13T21:30:26","slug":"william-klein","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/william-klein\/","title":{"rendered":"Photographer to Know: William Klein"},"content":{"rendered":"\n
\"William

Marc Jacobs and Klein, Paris<\/em>, 2005, by William Klein<\/a>. \u00a9 William Klein, Courtesy Howard Greenberg Gallery<\/figcaption><\/figure>\n\n\n\n

It\u2019s hard to think of a modern image maker as prolific and innovative as William Klein<\/a>, whose remarkable and varied career spanned seven-plus decades. The American photographer<\/a>, who died on Saturday<\/a> at age 96, continually channeled the zeitgeist through his oeuvre, imbuing his images with startling honesty and empathy, as well as his own particular brand of abstraction. The portraits<\/a>, scenes and scenarios resemble windows into a world where reality has begun to warp, sometimes dreamily, other times more emphatically, so that snapshot moments are strangely portentous or full of possibility.<\/p>\n\n\n\n

Klein was best known for his early fashion shots and arresting street photography, capturing, with candor and humanity, life in cities around the world, including Rome, Moscow, Tokyo and Paris. His gritty and grainy images of 1950s New York are widely considered his most powerful, documenting the underbelly of a growing metropolis, with his focus set on the energy and multidimensional nature of postwar culture. In his 1955 image Selwyn Theatre, 42nd Street, New York<\/a><\/em>, for example, he contrasted the gleaming silhouette of a car with the faded-out forms of a group of young men about town, creating strong graphic patterns that suggest a sense of abandon and opportunity. <\/p>\n\n\n

\n
\"Selwyn<\/a>
Selwyn Theatre, 42nd Street, New York<\/em>, 1955<\/a>, offered by Peter Fetterman Gallery<\/a><\/figcaption><\/figure><\/div>\n\n\n

Klein\u2019s aesthetic, however, is not easy to summarize, since he demonstrated an eager embrace of experimentation through the decades. Early street shots are often out of focus and taken at unexpected angles, while his 1960s fashion shots and celebrity portraits for Vogue<\/em>\u2019s American, French and British editions are sleek and subtly surrealist, pioneering a new style that put the spotlight on the beauty of the composition rather than the allure of the clothes, as seen in Smoke and Veil<\/a><\/em> (1956) and his 1961 portrait of Anouk Aim\u00e9e<\/a> for Paris Vogue<\/em>. <\/p>\n\n\n\n

In addition to photography, Klein explored painting, filmmaking, graphic design and publishing, adopting a polymathic attitude to the arts. His ability to excel in multiple disciplines was often overlooked, according to British curator and author David Campany<\/a>, who knew the artist for almost two decades. \u201cKlein is often celebrated for a single body of work, be it film or fashion photography or street shots,” Campany says. “But this narrows the understanding of his talent, which was completely unfettered. Klein never hid. He was always present in the situation and at the heart of the matter.\u201d<\/p>\n\n\n

\n
\"Anouk<\/a>
Anouk Aim\u00e9e, Paris (Vogue)<\/em>, 1961<\/a>, offered by Staley-Wise Gallery<\/a><\/figcaption><\/figure><\/div>\n\n\n

The retrospective \u201cWilliam Klein: YES; Photographs, Paintings, Films, 1948\u20132013<\/a>,\u201d curated by Campany at New York\u2019s International Center of Photography (ICP), seeks to correct these restricted perspectives with more than 300 works that celebrate Klein\u2019s artistic vision in all its guises. The point is driven home by the word yes<\/em> in the title, encapsulating the artist\u2019s expansive approach to creative expression.<\/p>\n\n\n\n

Klein began his career as a painter under the tutelage of French abstractionist Fernand L\u00e9ger<\/a>, having moved to Paris in 1948. The experience opened his mind to the possibilities of manipulated form, specifically the illusionary effects achieved through the playful arrangement of light and shadow. <\/p>\n\n\n\n

A commission from 1952 was instrumental in his side step into photography. Having created a painted room divider for an architect, Klein took photographs of the rotating piece. His delight in the fragmented shapes created by the movement prompted him to make thousands of abstract photograms by applying shifting geometrical forms on photographic paper during long exposures.<\/p>\n\n\n\n

\"Untitled
Untitled (Blurred White Squares on Black and Orange Gel Sheet)<\/em>, ca. 1952. \u00a9 William Klein, Courtesy Howard Greenberg Gallery<\/figcaption><\/figure>\n\n\n\n

These compositions, some of which are in the ICP show (on view through September 15), illustrate Klein\u2019s flair for a graphic order as well as his talent for making carefully calculated moments appear ethereal and incidental. <\/p>\n\n\n\n

Indeed, the unorthodox mixture of disorder and imperfection, along with beauty and energy, remained a constant in his work, as evidenced by such unconventionally arresting images as Candy Store, Amsterdam Avenue, New York<\/em> (1955), Independence Day Parade, Dakar<\/em> (1963) and Black Venus West Indian Day Parade, Brooklyn, New York<\/em> (2013).<\/em> \u201cHow you can continue to be that sharp over such a long period totally baffles me,” remarks Campany. “There was a certain kind of restlessness to him that never faded.\u201d <\/p>\n\n\n\n

Among Klein\u2019s most famous celluloid achievements is his 1964 documentary Cassius the Great<\/em>, dedicated to a young Muhammad Ali in the run up to his fight with Sonny Liston. “The film was shown throughout Africa, celebrating not just the chutzpah of a superstar sportsman but the birth of an icon who stood for a new kind of Black consciousness,\u201d says Campany.<\/p>\n\n\n\n

\n
\"Independence<\/figure>\n\n\n\n
\"Black<\/figure>\n
Left: Independence Day Parade, Dakar<\/em>, 1963. Right: Black Venus West Indian Day Parade, Brooklyn, New York<\/em>, 2013. Both photos \u00a9 William Klein, Courtesy Howard Greenberg Gallery<\/figcaption><\/figure>\n\n\n\n

In fact, many of Klein\u2019s photographs and films have a strong sociopolitical dimension<\/a>, although they were not intended as acts of propaganda. Instead, they raised awareness about conditions of flux, antagonism, hope and change, especially among African American and minority communities as they navigated times of change. This is exemplified by vibrant shots like Easter Sunday, Harlem High Hat, New York<\/em> and Moves and Pepsi, Harlem<\/em>, both featured in the self-designed and self-published seminal tome New York: 1954.55<\/em>. <\/p>\n\n\n\n

In 1969, Klein released his film The Pan-African Festival of Algiers<\/em>, chronicling the event when leaders of African nations united in their denunciation of imperialism and colonialism<\/a>. Thanks to this film, Klein was introduced to Black Panther activist Eldridge Cleaver, who was exiled in Algiers. The encounter inspired the artist to make a documentary about the charismatic and controversial revolutionary and donate 50 percent of the proceeds to the Black Panthers.<\/p>\n\n\n\n

\"William<\/a>
Klein created this self-portrait<\/a> riffing on a photo edit of a contact sheet in 1993. \u00a9 William Klein, Courtesy Howard Greenberg Gallery<\/figcaption><\/figure>\n\n\n\n

\u201cKlein was always at his creative best when in unfamiliar territory and slightly out of his depth\u201d says Campany. \u201cHe was a total problem solver, so he always figured out the perfect visual language to convey the environment he found himself in, whether the message was rooted in art, politics or culture. Although he spent many years in Paris, he was a Jewish guy from New York who always wanted to know about people, their lives and their connections.\u201d<\/p>\n\n\n\n

The curator notes that the retrospective, the largest of its kind ever to be dedicated to the artist in the United States, held particular significance for Klein. \u201cHis grandparents were Jewish-Hungarian \u00e9migr\u00e9s who settled in the Lower East Side and actually had a business on Delancey Street, very close to ICP,\u201d he explains. <\/p>\n\n\n\n

\u201cThe 40,000-square-foot location is the perfect place to accommodate the huge scope of his work and the size of his prints, with many walls showing five or six images at once,” Campany continues. “And there are no \u2018relics\u2019 in vitrines. The pages of seminal books like New York<\/em> are shown via projections, because Klein\u2019s work needs to live and breathe. The joy for me is that I can actually see people\u2019s shoulders lift when they enter the exhibition. There are so many \u2018wow\u2019 moments.\u201d<\/p>\n\n\n\t

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Editor’s note: The article was updated on September 13, 2022, to reflect William Klein’s passing.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s hard to think of a modern image maker as prolific and innovative as William Klein, whose remarkable and varied career spanned seven-plus decades. The American photographer, who died on Saturday at age 96, continually channeled the zeitgeist through his oeuvre, imbuing his images with startling honesty and empathy, as well as his own particular […]<\/p>\n","protected":false},"author":283,"featured_media":400060,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"2022-08-25T21:56:34Z","apple_news_api_id":"944ea1bb-9836-4b2d-bd31-d63e92416cb4","apple_news_api_modified_at":"2022-09-13T21:30:31Z","apple_news_api_revision":"AAAAAAAAAAAAAAAAAAAACg==","apple_news_api_share_url":"https:\/\/apple.news\/AlE6hu5g2Sy29MdY-kkFstA","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[260,15522063],"tags":[972,15567312,15569769,15569770,15000373,15569642,10353253,104,14409563,1512,15569641],"dibs-categories":[15565858,15565870,15565869,15565868,15565872],"dibs-designs":[],"dibs-styles":[],"dibs-creators":[15569768],"dibs-sellers":[],"class_list":["post-399553","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fine-art","category-fashion","tag-1960s","tag-alexandra-zagalsky","tag-anouk-aimee","tag-david-campany","tag-fashion-photography","tag-international-center-of-photography","tag-photographer","tag-photography","tag-staley-wise-gallery","tag-vogue","tag-william-klein","dibs-categories-dibs-a","dibs-categories-dibs-a_pho_bla","dibs-categories-dibs-a_pho_col","dibs-categories-dibs-a_pho","dibs-categories-dibs-a_pho_por","dibs-creators-dibs-william-klein-1928-american"],"acf":{"post_format":"article","subtitle":"The noted lensman brought a bold sense of irony to fashion photography in the 1950s and '60s, transforming the industry. But his work in street photography, documentary filmmaking and abstract art is just as striking.","contributors":{"hide_byline":false,"columnist":[{"ID":361856,"post_author":"456","post_date":"2021-12-14 22:36:15","post_date_gmt":"2021-12-15 03:36:15","post_content":"\n

Alexandra Zagalsky is a London-based journalist specializing in luxury topics, art and travel content. She began her journalistic career in Paris, where she worked on a cultural guide for English-speaking expats. Her first big break was an interview with Lionel Poil\u00e2ne, the late, venerable baker from Paris\u2019s Saint-Germain-des-Pr\u00e9s district who popularized the two-kilogram sourdough loaf and once made a bread chandelier for Salvador Dal\u00ed<\/a>.

Zagalsky moved back to London in her early 20s and has since worked with a number of august publications, including the Week<\/em>, the Telegraph<\/em>, the Times<\/em> and a variety of art and design outlets, such as Introspective<\/em><\/a> and V&A<\/em>, Sotheby\u2019s<\/em> and Christie\u2019s<\/em> magazines. She studied fine art and the history of art at Goldsmiths, University of London, and continues to explore the contemporary art scene, including the world of NFTs.

She has written extensively on the subject of vintage watches<\/a> and describes the Cartier<\/a> Crash as her favorite timepiece. \u201cIt\u2019s a great emblem of the Swinging Sixties and an adaptation of the house\u2019s classic Baignoire<\/a> Allong\u00e9e wristwatch, its sinuous Daliesque style apparently inspired by a model brought into the London Cartier workshop that had been distorted in a car crash,\u201d she says. \u201cI love it for all sorts of reasons, not least because it\u2019s so unconventional and daring, as all great design objects often are.\u201d

Find out more about Zagalsky\u2019s work on Linkedin<\/a>.<\/p>\n","post_title":"Alexandra Zagalsky","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"alexandra-zagalsky","to_ping":"","pinged":"","post_modified":"2025-11-27 03:14:00","post_modified_gmt":"2025-11-27 08:14:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.1stdibs.com\/blogs\/the-study\/contributors\/alexandra-zagalsky\/","menu_order":0,"post_type":"contributors","post_mime_type":"","comment_count":"0","filter":"raw"}],"photographer":"","custom_byline":false},"show_date":true,"interstitial_banners":[{"acf_fc_layout":"collection","interstitial_banner_shortcode":"william-klein","interstitial_banner_background_image":401406,"interstitial_banner_heading":"Discover More William Klein Photography on 1stDibs","interstitial_banner_subheading":"","interstitial_banner_button_text":"View All","interstitial_banner_button_url":"https:\/\/www.1stdibs.com\/creators\/william-klein-1928-american\/"}],"show_related_items_footer_popup":false,"slideshows":false},"dibs_designs_tags":null,"dibs_sellers_tags":null,"dibs_creators_tags":["dibs-william-klein-1928-american"],"dibs_styles_tags":null,"dibs_categories_tags":["dibs-a","dibs-a_pho_bla","dibs-a_pho_col","dibs-a_pho","dibs-a_pho_por"],"featured_image_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/18-Klein_Auto-Portrait-640x450.jpg","post_title":"Photographer to Know: William Klein","fimg_url":{"thumbnail":{"source_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/18-Klein_Auto-Portrait-120x92.jpg","width":120,"height":92},"medium":{"source_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/18-Klein_Auto-Portrait-456x350.jpg","width":456,"height":350},"full":{"source_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/18-Klein_Auto-Portrait.jpg","width":2000,"height":1535}},"jetpack_featured_media_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/18-Klein_Auto-Portrait.jpg","apple_news_notices":[],"yoast_head":"\nPhotographer to Know: William Klein | The Study<\/title>\n<meta name=\"description\" content=\"The noted lensman brought a bold sense of irony to fashion photography in the 1950s and '60s, transforming the industry. But his work in street photography, documentary filmmaking and abstract art is just as striking.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.1stdibs.com\/blogs\/the-study\/william-klein\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Photographer to Know: William Klein\" \/>\n<meta property=\"og:description\" content=\"The noted lensman brought a bold sense of irony to fashion photography in the 1950s and '60s, transforming the industry. 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