If there is a classic Richard Avedon portrait, it's not the one near the end of his latest photo book, The Sixties. The picture wasn't even shot in the '60s but in 1971, when its subject—and the movement—were already past their ironic prime. And it's not in black and white, the usual choice for a photographer whose signature is the stark contrast of people posed against a white backdrop—a setup, Avedon has said, that permits his subjects "to become symbolic of themselves." This time the shooter doesn't determine what the symbol should be, and Avedon's famous passion for control gives way to an almost caressing empathy. Why the anomaly? Maybe it's because of who this person was in life... More >>>