The neutral white robe and towel lend him the quality of a Bedouin nomad cast in the high contrast lighting of a renaissance portrait, thus separating Jagger from his familiar flamboyant stage persona and casting him in a new light. The rocker stares directly at the camera with a haggard expression, reflecting the exhaustion that comes with performing and partying every night. Taken immediately after one of the last performances, the black and white photo depicts Jagger standing in an elevator wearing a white robe and turbaned towel on his head. Untitled (Mick Jagger, Buffalo, NY) captures one of these moments and has become an emblematic image from the historic tour. Determined to follow in the footsteps of her idol, Robert Frank, who travelled with and filmed the band on tour in 1972, Leibovitz eagerly spent the year traveling across the country capturing the band during very candid and typically unseen moments. Leibovitz remembers being "out there with the White House press squad, and after his helicopter took off, and the carpet rolled up, This wasn't a photograph that others were taking, but I continued to take pictures." This ability to convey a powerful moment that isn't immediately obvious to others sets Leibovitz's photographic style apart.Īfter having worked at Rolling Stone magazine for five years and building her reputation as a skillful rock and roll photographer, Leibovitz was asked by Mick Jagger to be the tour photographer for The Rolling Stones' 1975 tour. It is both mundane and theatrical - the guards could be stagehands or porters, but the presence of the carpet and the White House setting evokes the pageantry of the State. The grounds are vacant, the Washington monument is visible at left, and the three men are packing up the last vestiges of ceremony, the carpet where Nixon would appear as president for the last time. She attributed this to her ability to capture moments either before or after "the moment." In this image, it was the moment after the helicopter carrying Nixon had taken off. Leibovitz had an uncanny ability to instill seemingly mundane moments with subtle meaning. Here Leibovitz brilliantly highlights that the relevance of a work of art is not in what it reveals about the subject, but in what it shows about the cultural moment in which it was created. The expressive photos captured an extraordinary, and highly-documented event in American history in a novel way. The magazine intended to publish the image alongside Thompson's piece but when he failed to submit, the editor published Leibovitz's images alone. Three stooped guards in the foreground of the image roll up the carpet, fighting against the wind from the whirling blades as Nixon's helicopter hovers behind them. Thompson, Leibovitz captured the moment when, after resigning as president, Nixon left the White House for the last time. Working on assignment for Rolling Stone with the legendary journalist Hunter S. The blending of fine art and popular contexts lends her work a unique cultural cachet.ġ974 Untitled (Guards rolling up carpet after Nixon) Leibovitz has shown in international museum exhibitions, and received numerous photographic awards, yet most of her work is accessible and was originally published in commercial venues.Leibovitz has a distinctive ability to capture the essence of a moment, to perceive details otherwise neglected that communicate an alternative vision of a scene, event, or person.Inserting herself in the scene and amongst the subjects she photographed resulted in close personal connections, sometimes at the risk of her own health and safety. Leibovitz was an active participant in the creative communities she documented.Iconic figures spanning celebrity, creative, and intellectual circles have sought to work with Leibovitz in admiration of her interpretive perspective. Annie Leibovitz's is best known for her portraiture and her unique ability to exaggerate and enhance the characteristics of her subjects.
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