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When I was in the show business — the first half of my life if I live to be 100 – at one point or another I had a couple of “I’d fuck that” 8 x 10 head shots.
One of these was by Timothy Greenfield-Sanders, and it has an odd detail in it.
American Photo magazine was going to run an article that profiled me because of my activities as the chairman of Photographers + Friends United Against AIDS. They called and asked for a photograph, anything. I was not about to send them a snapshot so I called TGS, the “go to” portrait guy of that moment, to see if we could work out something.
I explained the situation and offered to bring along Marvin Heiferman, curator and writer and fellow board member. He was in the story too and I thought he might add credibility to my request. TGS suggested our coming in to his studio for the last few frames of an already scheduled shoot.
He shot a half dozen portraits, and I looked fabulous in all of them, like Donny Osmond but hot. Marvin less so. We finally settled on one.
And then I appropriated the half of it with me as my new show business picture always with an inexplicable detail on the lower right, Marvin’s shoulder. But I look great and that hair!
Some others.
There is a Bruce Cratsley, with his frightening experiment with my good side hidden and my bad side in the light. It took me years to look at this again. Initially I thought I looked like “Mr. Potato Head” but now am struck by how it is a very vulnerable version of me. .
There is a Victor Shrager, a platinum study of hair.
David Graham, with the happiest photograph of me ever, goofing and hanging out with him in front of a Richard Serra.
I strong armed Martin Schoeller into making a vaguely forensic but I think great portrait (2015?). It is a lot of information. There I am at home with my pictures by Elizabeth Avedon (2011?), and there is also an insightful portrait by Ethan Hill (2015).
©2021
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