Sydney born 26 year old Miranda Kerr, 20 year old Catherine Mcneil from Brisbane and 22 year old Melburnian Abbey Lee Kershaw will feature in the 2010 version of the infamous Pirelli Calendar alongside some of the World’s most beautiful and currently sought after models.
The 2010 Calendar will represent a return to the Calendar’s origins and to exotic and suggestive images of the 60’s and 70’s, when young models at the beginning of their careers were photographed in a spontaneous and simple way with uncontaminated backgrounds of natural and wild beaches.
Terry Richardson, the rebellious and instinctive photographer and one of the first photographers that shot Barack Obama during the election campaign, is the artist who will sign the 2010 Pirelli Calendar.
Some of the images shown here include the list of models and their profiles, Terry Richardson’s profile and some photographs taken during the making of the 2010 Calendar by backstage photographer Costantino Ruspoli.
Terry Richardson Profile
Terry was born in New York in the sixties and grew up in Hollywood. His father was part of the trio of photographers, with Helmut Newton and Richard Avedon, who took the fashion world by storm in the ‘60s and ‘70s.
His photography is never banal; he adores nudity but doesn’t look for glossy glamour, but instead provocation, exasperated realism, explicit detail, without artistic retouching.
Richardson’s shows and ad campaigns have sometimes created a stir. There’s no limit and no self-censorship, because every shot recounts a story, an encounter, an exchange of experiences, in its entirety. His photos are the result of experimentation and creative impulse, whose meaning rises above the occasion and becomes an expression of real daily life, outrageous but also strongly ironic – so much so that the spectator is overwhelmed by the impulsive realism of the scene depicted.
Terry began taking pictures of daily life in the most audacious way, with self-portraits and shots of the motorcycle gangs and punk and heavy metal bands he grew up with. His was the kingdom of the explicit: casual locations, divas without makeup, top models and common people surprised out on the street or in a public bathroom. A zoo of human beings and their situations.
In order to sustain his project of conquering an immediate physical, and thus often shameless, art form, he refuses social conventions that characterize the dominant culture of the middle classes.
He has a creative approach to framing photographs: a great photographer, in his view, captures the moment. This is why Richardson photographs without equipment or assistants. “You can’t give soul to your photo with technique; I want my photos to be fresh and immediate,” he says. His technique is the absence of technique: the lens is his eye, his charisma, his skill in capturing moments of truth whatever they may be, his cuts and use of colour, his lights and settings; these are the essential points of his Photographic Art.
