A landmark photography series by Richard Avedon, "In the American West," is once again captivating audiences, this time in London. The exhibition at the Gagosian gallery features a curated selection of portraits, offering a fresh perspective on the American workforce Avedon documented four decades ago.
Originally debuted in 1985, the series captured the faces of miners, drifters, and factory workers, challenging romanticized notions of the American West. Now, Avedon's granddaughter, Caroline Avedon, has taken on the role of curator, aiming to connect a new generation with these powerful images.
Key Takeaways
- Richard Avedon's "In the American West" series is on display at the Gagosian gallery in London.
- The exhibition is curated by Avedon's granddaughter, Caroline Avedon, her first solo project.
- The new curation emphasizes portraits of young people, making the series more accessible to younger audiences.
- The photographs highlight the enduring relevance of economic and political themes in the American working class.
Revisiting the American West Through A New Lens
Richard Avedon, a renowned fashion and celebrity photographer, embarked on a five-year journey across 18 American states starting in 1979. His mission was to capture the essence of regions he had never explored, focusing on the people who shaped these landscapes.
Avedon's dedication led to over one thousand sittings, resulting in 126 stark, unvarnished portraits. These images depicted individuals from the working class, including meat packers, prisoners, and dryland farmers. The original exhibition premiered at the Amon Carter Museum of American Art in Fort Worth, Texas.
Caroline Avedon, who has served as an archivist at The Avedon Foundation since 2021, curated the current London show. At 26 years old, she brings a contemporary sensibility to her grandfather's iconic work. Her goal is to make the series resonate with her own generation, Gen Z.
Exhibition Fact
- Richard Avedon spent five years completing the "In the American West" series.
- He photographed over one thousand subjects across 18 states.
- The series features 126 final portraits.
A Focus on Youth and Connection
Instead of merely presenting the most famous portraits, Caroline Avedon chose to highlight images of children, teenagers, and young adults. This deliberate shift aims to create a stronger emotional connection for younger viewers.
She hopes that portraits like that of Teresa Waldron, a fourteen-year-old wife, or Tracey Featherston, a young motel maid, will transcend professional and geographical barriers for a new audience. The curator believes that universal human connection can be found regardless of background.
"I wanted to give younger people an opportunity to possibly connect with the subjects," Caroline Avedon stated, emphasizing her approach to the exhibition.
Her curation includes images such as Freida Kleinsasser, a young Hutterite woman photographed in 1983. This particular portrait, with its striking composition, could easily be mistaken for a modern editorial fashion shoot. The choice of these images underscores the timeless quality of Avedon's work.
Enduring Relevance and Historical Context
When "In the American West" first debuted, it faced criticism. Some argued that Avedon's use of a stark white background stripped his subjects of their context, turning them into objects for consumption by an elite art audience. A 1987 essay in the Journal of the Southern Regional Council questioned whether anyone would not appear dispossessed when photographed against such a backdrop.
However, many supporters viewed the work as important documentary photography, giving a platform to a segment of society rarely seen in mainstream art. Photographer Constance Jaeggi, whose own 2025 series "Escaramuza" explored similar regions, noted the powerful impact of Avedon's original images.
"Those images were so powerful," Jaeggi commented. "Especially coming from Switzerland and having a more romanticized vision of the American West… Those photos were such a contrast with that."
Historical Context
Richard Avedon began his project during Jimmy Carter's presidency. By the time it was nearing completion, Ronald Reagan had taken office. Despite the political shifts, the economic struggles of the lower working class in the American West remained largely unchanged and often overlooked in national discussions.
The economic and political undertones of the portraits remain highly relevant today. The exhibition serves as a reminder of the industrial workforce that continues to be essential yet often overlooked in the United States.
Connecting with the Subjects
Caroline Avedon feels a deep personal connection to the people her grandfather photographed. She refers to nine-year-old B.J. Van Fleet, pictured holding a shotgun, as "one of her children," despite him being nearly 50 today. This attachment drives her efforts to trace the lives of Avedon's subjects.
Her attempts to find these individuals online have yielded mixed results. Many worked in dangerous professions, and some have passed away. However, she was pleased to discover that B.J. Van Fleet is alive and well. She has also communicated with descendants of Richard Wheatcroft, a young rancher Avedon photographed multiple times, with two portraits appearing as a diptych in the exhibition.
Recently, Caroline Avedon searched for Freida Kleinsasser. While she could not find Kleinsasser herself, she located an obituary for Kleinsasser's grandmother, who was wearing the same polka dot scarf seen in Freida's portrait. This small detail offered a poignant link to the past.
"By finding these people, I feel like I can connect to my grandfather when he was meeting them," Caroline Avedon shared. "I think it’s also cool to be able to walk through the show knowing, ‘Oh that guy is doing this, and this woman’s doing that.’"
The exhibition underscores that the struggles and resilience of America's working class, as captured by Avedon, continue to resonate, making the series as vital today as it was four decades ago.