TABLE OF CONTENTS

THE NEW LOOK:

Mark Borthwick, Days Off, 1995, Cibachrome, dimensions variable.

FROM THE CLUB KID to the rich kid, athleisure to the luxury watch, fashion photography has always had a voracious eye. It’s this rapaciousness that might describe all photographic images today—that sea of indiscriminate data, of branding-as-content. But the art world has never quite known what to do with fashion photography. Even though the age-old categories of “art” and “commercial” image production may seem obsolete, the distinctions are still surprisingly rigid. Photography may be post-Pictures and post-Internet, but it can’t seem to get over its neurotic relationship to advertising, with surprisingly few artists traversing those domains—and those who do often keeping the bodies of work distinctly separate, or even secret.

And yet it’s fashion photography that has served as a testing ground for the visual itself—for new means of postproduction, for the massive dissemination of imagery, for the picture as social media. Fashion photography might represent the most radical surrender of conventional authorial control to endless teams of people, to a vast multiplicity of pages, screens, streams of content. Here, Artforum highlights the work of those who have gone furthest to investigate and inhabit this world of extremity. “Photography is bound to time in precisely the same way as fashion,” Siegfried Kracauer once wrote; today, that peculiar speed and scale show us the future of the image.

VIVIANE SASSEN
SHEA SPENCER
PHILIP-LORCA DICORCIA
MARK BORTHWICK
MICHELE ABELES
OLU ODUKOYA
COLLIER SCHORR
HEJI SHIN
DAVID SIMS
RYAN MCGINLEY
ROE ETHRIDGE
PETRA COLLINS
LAURIE SIMMONS
JOSEPHINE PRYDE
PETER LINDBERGH