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Steven Klein 76 PT is notoriously
reticent about being interviewed – and about discussing his past, his age, his interests. “I like what’s obscure,” he often says.
Klein also doesn’t
much like talking about why he shoots fashion photos in a dark style distinctly his own, turning gaunt models into steely robotic mannequins and convincing luminaries like Lady Gaga, Brad Pitt and Madonna to become provocative players in his often subversive tableaux.
So much the better that just before the recent Moscow opening of Time Capsule, his latest video installation, he
granted The New York Times a semi-revealing
interview – suitably titled Steven Klein, Hiding Behind a Camera. Screened on 9x16-foot panels arranged in a circle above
spectators’ heads, Time Capsule
was shown at Garage Centre for Contemporary Culture in Moscow after making its New York debut in September. The focus? Actress and model Amber Valletta, shown during the process of aging radically – from 20 to 110.
This is the type of edgy, enigmatic imagery that has “cinched [Klein’s] reputation as an A-list photographer of A-list
celebrities, and one of fashion’s most cunning provocateurs,” as the Times put it. It’s also what makes his work stand out in the art world. Klein “tends to push further
than any of his contemporaries,” notes Vince Aletti, who curated a 2009 show at the International Center
of Photography called Weird
Beauty: Fashion PhotographyNow and considers Klein among a handful of world-class American fashion
The artist himself says that since he was a child he has always felt most comfortable behind a camera, viewing his subjects with a heightened mix of curiosity and anxiety. “I like them
and I fear them,” he told the Times. “But at the same time I desire them.”
Despite his personal charm and seeming openness, Klein is likely to remain as enigmatic as his models, who often “look impenetrable, even
otherworldly – an effect he heightens by oiling their skin; adding masks,
assorted straps, clamps and even preposterously fake scarlet lips; then
shooting them in settings as immaculate, and alienating, as a surgical clinic.”
The glazed quality he creates – both through how he shoots his imagery and how he manipulates it digitally – is something of a commentary, Klein concedes. “I like to show subjects inside a sealed
veneer,” he says. “There’s a sense that you can’t get in.”
Steven Klein, Hiding Behind a Camera (New York Times)