Richard Buckley

1 Steven Meisel Meisel’s monthly spreads in Italian Vogue continue to test the limits of current trends in fashion photography. His references are encyclopedic, and his pictures, therefore, aren’t always what they seem. In the May issue his black and white “Untitled,” showing a model in a barren, windblown landscape laid out as sixteen double-page spreads, makes an artistic nod to Jeff Wall’s A Sudden Gust of Wind (After Hokusai) and to the Japanese woodblock print that was its inspiration. “The Goodlife,” in the October issue, has the glossy look of popular ’50s photography, where everyone and everything appears prosperous and happy. A closer look at this camp romp reveals Meisel’s ironic take on Nan Goldin wannabes and the media’s obsession with “heroin chic.” His work acknowledges the illusion and artifice that are part and parcel of both fashion and photography and implicitly asks us

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