Editorial Photoessays The Helmut Newton Foundation Presents: Pigozzi and the Paparazzi
| The Helmut Newton Foundation Presents: Pigozzi and the Paparazzi |
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| Frontpage - Art News | ||||
| Written by Anastasia Mavromatis | ||||
 Paparazzi photography took an immense beating in the wake of Princess Diana's death in 1997. While no photographers were ever convicted, the subject of on-the-move photography, in pursuit of a photographic exclusive has been the subject of ongoing debate. Some celebrities, following Princess Diana's death, haven't been kind in their description of contemporary paparazzi: Russell Crowe has compared paparazzi to parasites, Elton John has called them 'rude, vile pigs,' and model Giselle Bundchen described them as 'nightmare people.' The most recent portmanteau, stalkerazzi, is gaining popularity. There is a direct relation between contemporary media profile popularity and the paparazzi, and what is "out of sight," can be "out of mind". Hence, Princess Diana's supreme status amongst celebrity snappers translated to additional global attention toward her charitable causes. Society is continually beguiled by the 'who's who'. The word paparazzi is derived from paparazzo, introduced in Federico Fellini's 1960 film La Dolce Vita. In the film, Walter Santesso plays the character of news photographer Paparazzo, a character modeled on Tazio Seccharioli who became Fellini's set photographer. Although contemporary paparazzi photography relies less on quality and more on controversy, classic paparazzi photography of the Sixties and Seventies was less invasive and loud. As a form of photojournalism, paparazzi photography can be considered war photography's distant cousin. In both, photographers are at risk of physical injury. Few can forget Sean Penn and his frustration during his marriage to Madonna. Marlon Brando inflicted a well-aimed punch at photographer Ron Gallela, dislodging a few teeth and prompting Gallela to don a football helmet at future public events attended by Marlon Brando. Paparazzi photography was baptized in fire from the beginning, in the 1930's with Erich Salomon's forbidden photographs. Self taught, and a lawyer by way of formal qualifications, Salomon broke all rules. His status enabled him access to political events. He was the first to capture photographs within a courtroom. Since the Sixties, Seccharioli and his colleagues waited with cameras in hand for prominent subjects on Rome's Via Veneto. During the same period, Edwin Quinn and Daniel Angeli were active in the South of France, using long lenses on the Cote d'Azur. Prior to the Sixties and Seventies, celebrities were closed off from the everyday world and this seclusion added to their mythic status. The exhibition at the HNF displays snapshots and portraits of celebrities, depicting the gradual dismantlement of the celebrity mythic aura via images of celebrities going about their daily lives. The viewer will encounter celebrity stalwarts such as Alain Delon, Prince Charles, Mick Jagger, Woody Allen, Sophia Loren, Grace Kelly, Brigitte Bardot and Gina Lollobrigida at parties, on the street, at the beach and other informal venues. Paparazzi photography can be further divided into celebrity and portraiture. A photographer's relationship with his or her subject can provide more opportunities. Jean Pigozzi cultivated his friendships with celebrities, which saw him produce candid portraits of personalities such as Carla Bruni. There is a relation between the subject matter and the HNF. Helmut Newton enjoyed the work of both Salomon and Weegee, both of whom could certainly be considered forerunners of the paparazzi, and appreciated the tenacious and enterprising approach the paparazzi brought to the task at hand. In his autobiography Newton wrote that after he saw Federico Fellini's film La Dolce Vita starring Anita Ekberg, he became interested in the phenomenon of the paparazzi. In 1970 he travelled to Rome to work with "real" paparazzi. As part of a commission for the fashion magazine Linea Italiana, Newton hired a few of them to pose with his models. In Newton's unconventional approach the photographers were asked to treat the model as if she were a famous person. An interesting aspect of Newton's work is the combination of multiple real elements, such as the model, the fashion and the paparazzi, on the one hand, with the staging of the photograph on the other. In the 1980's and 1990's he aimed his camera at the paparazzi again—and they too aimed theirs at him—whilst he worked with his models on the Croisette, at the Cannes Film Festival. Helmut Newton aptly said (of his role as a portrait photographer), "My job as a portrait photographer is to seduce, amuse and entertain." Paparazzi photography will continue to ignite debate, aid public profiles and provide a candid glimpse into a world that seems far removed from the grunt of everyday life.    Pigozzi and the Paparazzi will open at The Helmut Newton Foundation Museum on 19 June 2008, and will continue through to 16 November 2008. Images: Helmut Newton © Helmut Newton Estate. Used with permission. Add your comment
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