Showing posts with label hollywood photography. Show all posts
Showing posts with label hollywood photography. Show all posts

Thursday, January 1, 2015

PHOTO LA 2015




Winter has set in to Santa Fe, and we are looking forward to heading west and exhibiting again at this year's edition of photo la, January 15 - 19, 2015. Monroe Gallery of Photography will be in Booth #203, just to the right of the main entrance to the fair.

To mark the forthcoming 50th anniversary of the Selma March, the gallery will showcase a very special selection of photographs from the 1965 March, alongside other iconic images from the civil rights era. We will be also exhibiting a wide variety of important photojournalism; including Stephen Wilkes iconic photograph of the aftermath of Hurricane Sandy. Aditionally, we will show several of Wilkes acclaimed Day To Night collection; alongside many other classic photographs.

Be sure to attend the Photojournalism and Its Role in the Fine Art World panel discussion Sunday, Jan. 19, 11:30 - 1.



About photo la: The international photographic art exposition photo la returns for its 24th year at The REEF, located in the historic LA Mart building in downtown Los Angeles, January 15 - 18, 2015. Downtown LA has become an international destination for art patrons and enthusiasts. In addition to photo la and the LA Art Show, downtown LA will also welcome the highly anticipated opening of the new Broad Museum in 2015, along with the ongoing arrival of new cutting-edge and blue-chip galleries, such as Hauser Wirth & Schimmel. Inspired by downtown's growing vitality and creative energy, photo la relocated to The REEF for its 2014 edition, attracting an unprecedented attendance of 16,000 guests.

The 2015 edition of photo la will expand its uniquely diverse and far-reaching showcase of photographic art, ranging from 19th Century works to contemporary and innovative photography-based art. Alongside galleries, dealers, museums, and nonprofit organizations, photo la will also expand its acclaimed programming to include more lectures, roundtable discussions, special installations, and docent tours with distinguished members of the photographic/arts community. This year, photo la is pleased to honor Catherine Opie, and the fair's exclusive VIP opening gala will celebrate her lifelong contributions to the arts. Additionally, all proceeds from the opening gala will go towards photo la's 2015 beneficiary “ The United Way of Greater Los Angeles and The Painted Brain.

Buy Tickets

Concurrent events

Classic Photographs Los Angeles

The LA Art Show

Related: "I’m also glad Monroe Gallery of Photography (Booth #203) is returning this year."




Tuesday, February 11, 2014

SID AVERY IS COOL






Hollywood’s Private Eye
"Though he captured many of golden-age Hollywood’s greatest stars as the public had never seen them before—Marlon Brando taking out the trash, Elizabeth Taylor sunbathing, Anthony Perkins waxing his car—photographer Sid Avery slipped into oblivion, dying in 2002 without the renown he might have expected. Michael Callahan recalls Avery’s quiet mastery, his guileless charm, and his poignant final shot: a portrait of a new generation of movie talents" Full article here.










 
 
 
 

 






 
 
 
 
 
 
 
 
 
 
 

Friday, August 16, 2013

Magnificent Obsession: Robert De Niro on the Set of Raging Bull, Photos by Brian Hamill



Brian Hamill: De Niro, as LaMotta, screams aggressively, accusing his brother of sleeping
 with his wife.



Via Time LightBox

"If Robert De Niro never acted in any other movies besides those he’s made with his frequent director and collaborator, Martin Scorsese, he’d still be a film legend. Mean Streets, Taxi Driver, Raging Bull, The King of Comedy, Goodfellas — the list goes on and on. Add to those his performances in movies as diverse as The Deer Hunter, The Godfather: Part II, Midnight Run, Cop Land and Silver Linings Playbook, and the scope of the man’s accomplishments comes into formidable focus.

Here, on the occasion of De Niro’s 70th birthday — he was born Aug. 17, 1943, in New York City — TIME presents a fittingly iconic portfolio of pictures by photographer Brian Hamill, made on the set of Raging Bull in 1979. De Niro’s riveting and at-times harrowing portrayal of world middleweight boxing champ Jake LaMotta won him a Best Actor Oscar, and raised the bar for onscreen Method performances when the actor famously gained 60 pounds to play a bloated LaMotta late in life."

--Full post with slideshow here.

Wednesday, April 10, 2013

Steve Schapiro: Then And Now at Kunsthalle Rostock




Muhammad Ali, Monopoly, Louisville, Kentucky from the book Steve Schapiro: Then and Now © 2012 Steve Schapiro

Via Le Journal de la Photographie


Steve Schapiro is the photographer behind countless now-classic portraits of rock stars, film stars and politicians from the 1960s and 70s. He is also an accomplished documentary photographer who recorded many of the greatest political and social upheavals of our times. While working as a 'special photographer' for the film studios, he designed several iconic film posters, most notably for Midnight Cowboy, Taxi Driver and The Godfather III. His extraordinary access has been the hallmark of an illustrious career.

Slideshow here

A retrospective of Schapiro's work opens at the Kunsthalle Rostock, Museum of Modern Art in Germany is on view until May 5, 2013. The show, which is curated by Dr. Ulrick Ptak, presents 160 photographs, many of them recently published for the first time in Schapiro's critically acclaimed retrospective Steve Schapiro: Then and Now (Hatje Cantz). The exhibition and companion book look back at Schapiro's diverse half-century career spanning 1961 to 2011. They portray the celebrities and politicians who shaped a generation, as well as new and unseen documentary work focusing on the marginalized and unidentified people on the street.

Then and Now includes whimsical portraits of the stars: Robert De Niro in full Taxi Driver combat costume, posed in front of his cab with a Mohican and an improbably chirpy smile; Jack Nicholson, nose bandaged, tongue out at the camera on the set of Chinatown; and Marlon Brando, grinning with theatrical devilishness while being made up for The Godfather.

Also gathered are portraits that include artists René Magritte, Nico, and Andy Warhol; film directors Robert Altman, Woody Allen, Francis Ford Coppola, and Martin Scorcese; film stars Drew Barrymore, Mia Farrow, Jodie Foster, Dustin Hoffman, Sophia Loren, Paul Newman and Robert Redford; and musicians David Bowie, Ray Charles, Simon and Garfunkel, Diana Ross, Ringo Starr, Frank Sinatra, Barbara Streisand, and Ike and Tina Turner.

When Schapiro started shooting in the sixties, it was the golden age of photojournalism. Schapiro's extensive work in this genre include his depiction of migrant workers in Arkansas, drug addicts in East Harlem, freedom bus riders, the Selma March to Montgomery, Alabama with Martin Luther King, Jr., and presidential campaigns, most notably that of Robert F. Kennedy. Among his most striking works is a triptych that presents photographs Schapiro took in Memphis in 1968 the day after the assassination of Martin Luther King, Jr. while on assignment for Life. Schapiro was the only photographer to capture the ominous handprint of King's assassin on the wall above the bathtub in the boarding house bathroom from where the fatal shot was fired.

The thread that connects all of Schapiro's photographs is his humanistic approach to his work. Whether shooting a celebrity or an anonymous person he is searching for that iconic moment. In his essay in the book, curator and author Matthias Harder writes that Schapiro's work reflects "the spirit of the times. It is not only his famous individual photos and groups of works from his engagement with Hollywood that ensure him a firm place in the history of photography of the twentieth and twenty first centuries, but also the diversity of his subjects and the sovereign, continuing mastery of them over such a long period of time."

Born and raised in New York City, Steve Schapiro started taking photographs at age ten while at summer camp. He attended Amherst College and graduated from Bard College, and studied photography with the legendary W. Eugene Smith. As a budding photographer, he got an early break: an assignment from Life magazine. He has never stopped working since. His work has been published in prestigious magazines and on numerous covers around the world, including Life, Look, Vanity Fair, Paris Match, People, and Rolling Stone. Schapiro's photographs were included in the Metropolitan Museum of Art's 1968 exhibition Harlem On My Mind. His work can be found in the collections of the Smithsonian, The High Museum of Art, and the National Portrait Gallery. Schapiro's recent solo shows were in Los Angeles, Amsterdam, London and Paris. The Fotografiska Museum in Stockholm, Sweden presented a retrospective of his work in the spring of 2012. An exhibition of his work entitled Schapiro: Living America opened at the Center for Photography Lumiere Brothers, Moscow in the fall of 2012, and included 180 images.


Exhibition
Steve Schapiro: Then And Now
From March 24th to May 5th, 2013
Kunsthalle Rostock
Hamburger Strasse 40
D-18069 Rostock
Germany
Telephone: 0049 381 7000

Book
Steve Schapiro: Then And Now
ISBN: 97837757344264
Hbk, 9.75 x 12.25 inches
240 pages; 174 photographs
(128 black & white; 46 color)
$70 US

Sunday, February 24, 2013

LA Times: Steve Schapiro's photos in 'Then and Now' offer a mix of emotions


Hollywood Pix
Marlon Brando in a makeup session for "The Godfather" in New York, 1971      
©Steve Schapiro

 The photographer's book features candid Hollywood portraits alongside everyday images.

Via The Los Angeles Times
By Liesl Bradner
February 24, 2013
 
When photographer Steve Schapiro first arrived on the Lower East Side set of "The Godfather" in 1971, there were rumors floating around that Marlon Brando was not well. Moving closer to the action, he noticed an old man in an overcoat and hat talking to an assistant director with this gravelly, sick voice. The rumors must be true, he thought.

"Suddenly," Schapiro recalled, "Brando turns to the crowd with this enormous electricity shooting out of his eyes and in his best 'On the Waterfront' accent said, 'I think there's someone with a camera out there.'" That stunning transformation was just one of many Oscar-worthy moments Schapiro has witnessed in his 50-year career working on the sets of such groundbreaking films as "Taxi Driver," "Midnight Cowboy" and "Chinatown."

In "Steve Schapiro: Then and Now" (Hatje Cantz) the 78-year-old pairs candid photos and portraits of Hollywood celebrities alongside artists, musicians, civil rights activists and everyday people taken from the 1960s through 2011.

"I see a lot of celebrity books that don't excite me because they're just portraits," said Schapiro on a call from his Chicago studio. "We wanted to bring pictures together that work against each other or with each other by interjecting things which weren't necessarily film-related." For example, Jane Fonda clad in aerobics attire at the height of her fitness craze juxtaposed next to sumo wrestlers in Chicago in 2010 or Dustin Hoffman in a midair jump placed next to Roman Polanski in a flying-nun pose from 1968.

Of the nearly 150 photos, only 12 pictures have been published before, quite extraordinary for a photographer who has worked on more than 200 films and created 100 movie posters. The list of famous faces he's photographed reads like a history of the Academy Awards: Francis Ford Coppola, Jodie Foster, Sophia Loren, Martin Scorsese and nominee Robert De Niro, up for his third golden statuette at Sunday's ceremony.

Whether it's a candid between-scenes shot or an intimate picture in the comfort of home, Schapiro's aim is to capture the spirit and sense of his subject. "I try to be a fly on the wall as much as possible," he said. "For me emotion is the strongest quality in a picture."

One of the more interesting discoveries he made was an unearthed negative of a young Muhammad Ali (then known as Cassius Clay) meeting his future wife Lonnie for the first time in 1963. On assignment for Sports Illustrated, the black-and-white image Schapiro shot reveals a shy, ponytailed 6-year-old girl, just one of a gaggle of neighborhood kids hanging out on the stoop with Ali outside his parent's house in Kentucky.

Growing up in Brooklyn, Schapiro was influenced by Henri Cartier-Bresson and studied under W. Eugene Smith. He began as a photojournalist during the turbulent '60s. After photo-centric publications such as Life and Look folded in the early '70s he turned to film, working as a special photographer, an industry term for a contractor hired for publicity and marketing. His photograph of Mia Farrow from "The Great Gatsby" was on the first cover of People magazine

Wednesday, January 30, 2013

To Do Friday: Sid Avery Exhibit

 Marlon Brando, At Home With Bongos, 1955
One of Sid's iconic shots c. mptv


Via The Santa Fe Reporter

Oh, Snap!
New photographic exhibit is as smooth as fine Corinthian leather
Enrique Limón

Popular culture can thank the late Sid Avery for some of the most candid and intimate shots of Golden Age Hollywood celebrities.

His were slice-of-life photographs that revealed a different side to the icons of the day: real, non-posed images of Dean Martin hamming it up inside a hotel room; Rock Hudson taking a phone call wearing nothing but a bath towel; Marlon Brando playing an impromptu bongos set; Elizabeth Taylor basking in the Marfa, Texas sun on the set of Giant.

“He had an innate ability to get people to relax and be themselves in front of the camera,” Avery’s son Ron tells SFR. “He was also a naturally intuitive, bright guy—not necessarily school smart, but street smart, I think, is what you would call it.”

Based in Los Angeles, Ron continues his father’s legacy at the helm of the Motion Picture and Television Photographic Archive, which handles his dad’s and other celebrated photographers’ bodies of work. He’s also personally overseeing Monroe Gallery’s upcoming The Art of the Hollywood Snapshot exhibit, concurrent with the publication of an eponymous book.

Legendary as he was, Avery doesn’t think his father would fare too well in today’s tabloid-driven, crotch-shot-hungry insta-market.

“He wouldn’t print or let a picture be published if the celebrity had an unflattering look on their face, or [if] it just wasn’t showing them in a good light,” Avery says. “I don’t think he ever really pissed anybody off, either. Today, people are published picking their nose or doing whatever in public…or not even in public.”

Sid’s approach was such, his son recalls, that he managed to win over even the toughest subjects like Humphrey Bogart, who at first was apprehensive, and eventually invited the photog on sailing excursions.

Avery also developed an affinity with other giants of the time, such as Ernest Borgnine and Audrey Hepburn. He was one of the select few outside Frank Sinatra’s circle, his son points out, allowed to refer to the crooner simply by his first name.

“You’ve just got a feeling that, ‘Wow, this is what it really would have been like to just sit in these people’s houses, or ride with them in the car or be with them,’” Avery says of his progenitor’s style.

The imagemaker—who at one point served in the Army Pictorial Service during WWII—would later delve into the world of advertising and directing, and was the man responsible for the notorious Ricardo Montalbán Chrysler Cordoba campaign.

Along with a slew of memorable pictures, the show also includes “fresh and different” never-before-seen outtakes and contact sheets, Ron adds, allowing attendees to take in the full grasp of Avery’s career.

“I think this is a real good compilation of where Dad started, where he wound up and everything in between,” Ron says. “Because we pretty much cover him from before the war until [his passing in] 2001.”


5-7 pm Friday, Feb. 1. Free.
Monroe Gallery of Photography

112 Don Gaspar Ave., 992-0800


Friday, December 14, 2012

Photojournalist Steve Schapiro's Contrasting Life




Steve Schapiro: Martin Luther King Marching for Voting Rights with John Lewis, Reverend Jesse Douglas, James Forman and Ralph Abernathy, Selma, 1965


Via CNN

December 12, 2012

Photographer Steve Schapiro's five decade career of classic photos displayed in new book, ‘Then and Now’

During his five-decade career, photographer Steve Schapiro likes to say he has photographed everything from presidents to poodles. Schapiro has captured the special moments of rock stars, film stars and politicians of the 60's and '70's as well as photos of migrant workers and the Selma March with Martin Luther King. In his new photobook "Then and Now" Schapiro compiles some of his best and most iconic images. The book contains more than 170 photos – some of which have never been published before. He joins “Stating Point” this morning to discuss some of his most iconic photos and his new book.
Schapiro says it has always interested him, “to capture all the different elements that make up our country.” He tells the story behind him capturing an iconic photo of Actor Marlon Brando when he was hired to photograph “The Godfather.” Schapiro says, “Brando let me photograph his makeup session… and in the middle of it he just gave me this wonderful look which luckily I caught.” Reminiscing on a picture he took of Actor Dustin Hoffman leaping in a narrow hallway he says, “[Dustin] is a delight. He is a delight on and off camera. He just has such spirit and you know such wonderful feeling and humor all the time…This was just a moment after they had been feeling and it just was a spontaneous event.”

Schapiro admits that he always wanted to be a “Life Magazine” photographer and “one of the things that interested [him] was the migrant worker situation in America.” He talks about his very first story where he spent four weeks documenting the lives of the migrant workers through his photos and an essay and reflects on one particular photo of a cabin wall where a child once wrote “I love anybody who loves me".

Thursday, December 15, 2011

Steve Schapiro: Before the Tragedy

Med_wagner-wood-jpg
Natalie Wood and Robert Wagner on their yacht, 10/8/7
 © Steve Schapiro, Courtesy Everett Collection

Via La Lettre de la Photographie.  La Lettre shares and informs daily on the events in the world of photography.


Intimate images "taken by the photographer Steve Schapiro. Natalie Wood and Robert Wagner had invited him to spend the day on their boat, The Splendour, off Catalina Island in front of Los Angeles. Steve Schapiro recalls a loving couple that had married, divorced, and remarried. Not long after, tragedy struck."  Full post here.

Saturday, August 6, 2011

LUCILLE BALL AT 100


Lucille Ball as 6 different characters
Irving Haberman: Lucille Ball as six differnt characters, Promo for CBS' "I Love Lucy"



August 6, 2011

Via Entertainment Weekly:

Lucille Ball would’ve turned 100 today, almost sixty years after I Love Lucy started cracking up TV viewers and never stopped. There isn’t much new to be said about Ball’s legacy: How she defined the modern sitcom, how she paved the way for every female comedy legend — from Mary Tyler Moore to Roseanne to Tina Fey — who came after her, how her show’s popularity has outlasted all its 1950s rivals (Gunsmoke, The Honeymooners) and is still a daytime TV staple around the world.

Instead, let’s let Lucy do the talking:  click here for film clips via Entertainment Weekly


Sid Avery: Lucille Ball on the set of "I Love Lucy", 1953



Loomis Dean - Comedienne Lucille Ball Clowns During TV Episode of "I Love Lucy"
Loomis Dean: Dressed for an episode of I Love Lucy, Lucille Ball is spraying seltzer and about to place the pie in an unsuspecting face, 1952




Wednesday, July 27, 2011

Reviews: "A great collector discerns quality before anyone else notices it"


Monroe, Brando Ooze Hollywood Glamour in London Exhibition: Martin Gayford

Via Bloomberg


A great collector discerns quality before anyone else notices it.


John Kobal (1940-1991) was in Los Angeles in the 1960s at a time when the Hollywood studios were clearing out their libraries of still photographs. Kobal often was invited to take his pick, according to his friend the critic John Russell Taylor. At other times, he was tipped off when the images were being dumped so he would follow and fill his car.

Some of those gleanings can be seen in “Glamour of the Gods: Photographs From the John Kobal Foundation” at the National Portrait Gallery (through Oct. 23) in London. Here are glittering divas and handsome movie heroes from Gloria Swanson to Marilyn Monroe. By Monroe’s era, Kobal’s enthusiasm was running out. He was a star-struck romantic, and in his view the “gods” and “titans” of Hollywood belonged to the ‘20s and the ‘30s.


 "Elizabeth Taylor"
 "Elizabeth Taylor" (1948) by Clarence Sinclair Bull. The photograph is on display in "Glamour of the Gods" at the National Portrait Gallery in London until Oct 24. Source: National Portrait Gallery via Bloomberg


Those publicity shots he rescued are partly performance art. Joan Crawford told Kobal, “I photographed better than I looked so it was easy for me… I let myself go before the camera.” The result, in an MGM still from 1933 by Clarence Sinclair Bull, was a blend of regal beauty and emotional intimacy.

Crawford and the others were doing what they did best, acting to camera. The studio photographers were deploying, often brilliantly, all the arts of traditional portraiture: lighting, composition, costume and flattery. The latter took the form of extensive retouching.

Worry Lines

There’s a telling comparison between shots of Crawford by George Hurrell in 1930, before and after this treatment. Au naturel, she has worry lines and freckles -- still beautiful, yet vulnerably human. No goddess. This brings out a truth: The histories of painting and photography have always been closely intertwined (all the more so today thanks to Photoshop). These photographs are altered by hand-painting; conversely, of course, painters often use photography as a tool.




 "Dancing Lady"
Clark Gable and Joan Crawford "Dancing Lady" (1933) by George Hurrell. The photograph is on display in "Glamour of the Gods" at the National Portrait Gallery in London until Oct 24. Source: National Portrait Gallery via Bloomberg



“Eyewitness: Hungarian Photography in the 20th Century,” an outstanding exhibition at the Royal Academy (until Oct. 2), demonstrates the same point in a different way. Robert Capa, one of the major photographers included, once remarked, “It’s not enough to have talent, you also have to be Hungarian.” That was a backhanded way of emphasizing how many masters of the camera emerged from Hungary betweeen 1920 and 1940.



  "Satiric Dancer"
"Satiric Dancer" (1926) by Andre Kertesz. The photograph is on show in "Eyewitness: Hungarian Photography in the Twentieth Century" at the Royal Academy in London until Oct. 2. Source: Royal Academy via Bloomberg


Just why that Central European nation was so photographically fertile is hard to say. What the major figures -- Laszlo Moholy-Nagy, Brassai, Martin Munkacsi and Andre Kertesz -- had in common was modernism. They use the same tight geometrical structure and pared-down forms as a painter such as Mondrian, whose studio apartment was the subject of a marvelous photograph by Kertesz.

Line and Energy

Moholy-Nagy actually was an abstract artist as well as a photographer. Munkacsi’s “Four Boys at Lake Tanganyika” (1930) has the fluent line and bounding energy of a Matisse, found in the real world and recorded in a split second (this image inspired Cartier-Bresson’s whole career). A few years later, Munkacsi went to the U.S. and began the modern tradition of fashion photography, an artificial art if ever there was one.



"Four Boys at Lake Tanganyika"


Four Boys at Lake Tanganyika" by Martin Munkacsi. The photograph is on show in "Eyewitness: Hungarian Photography in the Twentieth Century" at the Royal Academy in London until Oct. 2. Source: Royal Academy via Bloomberg


If the actual scene didn’t quite have the correct arrangement of lines and surfaces, these photographers might adjust it. Kertesz moved Mondrian’s vase to create the right curve, while Capa may have staged his celebrated and endlessly controversial “Death of a Loyalist Militiaman” (1936).

That possibility only bothers those who confuse photography and truth. Like the still of Crawford sans freckles, Capa’s image of a falling Spanish Republican isn’t raw reality. It’s art.

“Glamour of the Gods: Photographs From the John Kobal Foundation” is at the National Portrait Gallery, London, through Oct. 23. Information: http://www.npg.org.uk.

“Eyewitness: Hungarian Photography in the 20th Century” is at the Royal Academy until Oct. 2, see http://www.royalacademy.org.uk. For more on the foundation: http://www.johnkobal.org/.

(Martin Gayford is chief art critic for Muse, the arts and leisure section of Bloomberg News. The opinions expressed are his own.)

To contact the writer on the story: Martin Gayford in London at martin.gayford@googlemail.com or http://twitter.com/#!/martingayford.

To contact the editor responsible for this story: Mark Beech at mbeech@bloomberg.net.

Wednesday, April 13, 2011

Steve Schapiro: Memories


Via La Lettre de la Photographie

Steve Schapiro, the photographer of The Godfather and Taxi Driver, is in Paris for his exhibition at the A. Galerie. Christophe Lunn and Paul Barrois met with him for La Lettre in order to evoke some of his memories on the set of these epic movies.

The Whisper, The Godfather

"The Whisper"

Click here for interview.

http://www.a-galerie.fr/

Related: Steve Schapiro exhibition review in Summer 2010 issue of ARTnews.

Monday, April 11, 2011

Preview: Richard C. Miller, Monroe Gallery, Santa Fe

Via BWGallerist : Black and White Fine Art Photography
April 11, 2011


Preview: Richard C. Miller, Monroe Gallery, Santa Fe


Richard C. Miller: ”James Dean at Juke Box during the filming of ‘Giant’”




One of the best galleries to find a combination of Black and White masterworks and photographs with a human focus is The Monroe Gallery in Santa Fe, New Mexico.

Currently they are featuring the work of Richard C. Miller :

From 1955 to 1962, Miller was on retainer at Globe Photos, covering the entertainment industry and more than seventy films. After this stint he returned to freelance and became friends with celebrities such as James Dean. Never one for self-promotion, Miller rarely exhibited his work; the work, he figured, should speak for itself. In the spring of 2009, Richard C. Miller’s photographic career was given long overdue recognition with an exhibition at the Getty Museum.

Feb 11 through April 24, 2011

For more information: Monroe Gallery of Photography

Sunday, April 3, 2011

PEOPLE MAGAZINE ELIZABETH TAYLOR SPECIAL ISSUE CORRECTION!




The special issue of People magazine dedicated to Elizabeth Taylor had a wealth of great photographs of the iconic star, including this classic by Richard C. Miller:


James Dean and Elizabeth Taylor take a break from filming
James Dean and Elizabeth Taylor take a weekend break in Houston from filming "Giant", 1955

Unfortunately, as many of our friends have pointed out, much of the caption information in the special issue was wrong. Eagle-eyed readers noted that People was off on a few details -  it was not Dallas, it was Houston. It was not the set, since the set of Giant was in Marfa. It was at a friend's home in Houston.

This photograph is included in the current exhibition "Richard C. Miller: 1912 - 2010" through April 24. Come see it!