Richard Avedon’s large-scale, multi-panel group portraits have arrived at the Metropolitan Museum. Each piece is 10 feet high; the largest is 35 feet long. The work overwhelms, as it was intended to.
’s large-scale, multi-panel group portraits—“Allen Ginsberg’s Family,” “The Chicago Seven,” “The Mission Council,” and “Andy Warhol and members of The Factory”—at the gallery’s massive space on Twenty-first Street, in Chelsea, in the spring of 2012. The installation, designed by the Ghanaian British architect, drew almost as much comment as the works themselves.
At the time the murals were made and first shown, in the late sixties and early seventies, their size was more remarked upon than their contents. This was long before Andreas Gursky, Thomas Ruff, and. No other photographers were working at such a large scale. But Avedon was coming off a period when he felt that his portrait work had come to a standstill, and he was determined to make a breakthrough.
The most successful, most memorable, and the most difficult piece to pull off was “Andy Warhol and members of The Factory.” It is dated October 30, 1969, but was begun months earlier, on August 14th, in a session that served as both a test run for Avedon and a tryout for his subjects. Over the following months, he refined his cast of characters and orchestrated their relationships across the bright, featureless white space that had become his signature.
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