1993 Vanities, Centre national de la photographie;Ho ˆ tel
Salomon de Rothschild, Paris, France
1993 Regards d’artistes sur la femme;Ho ˆ tel de la Monnaie,
Paris, France
Selected Works
Croix-Valinor, 1976
Jenny Kapitan—Pension Dorian, Berlin, 1977
In My Studio, Paris, 1978
The Princess of Polignac, Paris, 1979
They Are Coming, 1981
Charlotte Rampling, Paris, 1984
Daryl Hannah, Los Angeles, 1984
Michael Caine, 1985
Cyberwomen 2, 2000
Further Reading
Bachardy, Don.Stars in My Eyes. Madison: University of
Wisconsin Press, 2000.
Ballard, J.G. ‘‘The Lucid Dreamer.’’Bookforum(1999).
Blonsky, Marshall. ‘‘The Courtier’s Contempt: Helmut
Newton’s not soBeau Monde.’’InAmerican Mytholo-
gies. New York: Oxford University Press, 1992.
Harrison, Martin.Appearances: Fashion Photography Since
1945. New York: Rizzoli International Publishers, 1991.
Newton, Helmut.White Woman. Preface by Philippe Gar-
ner. New York: Congreve; London: Quartet Books;
Munich: Schirmer/Mosel; Paris: Filipacchi, 1976.
———.Big Nudes. Preface by Bernard Lamarche-Vadel.
Paris: Editions du Regard, 1981.
———.White Women. Japan: Kodansha, 1983.
———.Helmut Newton—Portraits.Paris:Muse ́e d’Art Mod-
erne de la Ville de Paris, 1984.
———.World Without Men. Text by Helmut Newton and
Xavier Moreau. New York: Farrar, Strauss, Giroux,
1984.
———. Big Nudes. Munich: Schirmer/Mosel, 1987–1990.
———.Helmut Newton—Portraits. London: National Por-
trait Gallery; and Munich: Schirmer/Mosel, 1988.
———.Helmut Newton—Sleepless Nights. Munich: Schir-
mer/Mosel, 1991.
———.Pages from the Glossies. Milan: Scalo, 1998.
———.Autobiography. New York: Nan A. Talese, 2003.
———.Sumo. Los Angeles: Taschen, 2000.
Newton, Helmut, and Alice Springs.Us and Them. Milan:
Scala, 1999.NICHOLAS NIXON
American
Nicholas Nixon achieved national attention in the
early stages of his career, when his subjects were
primarily industrial landscapes and aerial city scenes.
Having established his approach to the American
landscape, Nixon applied the same methodology to
human subjects, which have comprised the vast
majority of his career. Working in series, Nixon
seeks to document human relationships, experience,
and identity as physical, nearly-quantifiable forces,
things ruled by time and transformation, perpetually
in process, and evidenced in abundant display on the
surfaces of human faces and bodies. What is distinc-
tive and unusual about Nixon’s work with people is
the interplay of the personal and the impersonal: his
interest in cataloguing the human experience via
classical, historically clinical photographic pro-
cedures favored by Edward Weston and Walker
Evans. Nixon shoots exclusively with black-and-
white film and large-format view cameras, ranging
in size from 810-inch to a 1417-inch camera
built especially for him. For Nixon, the challenge has
been to marry traditional technology with instanta-
neous imagery, to render the careful rigor of the view
camera responsive to the energy and nuance of
human character and interaction. He writes
‘‘Maybe part of my artistic ambition is to keep the
lively part of snapshots and get rid of the dull, studied
part of portraits, but maintain the best juice of both.
And mix the two together (Nixon 1991).’’
Born in Detroit in 1947, Nixon’s early professional
life was structured around his interest in public ser-
vice. After receiving his bachelor’s degree in English
Literature from the University of Michigan in 1969,
Nixon volunteered with the VISTA (Volunteers In
Service to America) program in St. Louis (1969–
1970) and soon thereafter became a high school tea-
cher in Minneapolis (1970–1971) before enrolling in
an M.F.A. program at the University of New Mex-
ico. In 1974, he received his master’s degree in photo-
graphy and accepted a teaching position at the
Massachusetts College of Art in Boston. He began
photographing large cityscapes of the Boston areaNEWTON, HELMUT