Life in Photographs

Jimi, Central Park, New York, 1967

 
 

Jim Morrison, Robby Krieger and Ray Manzarek, New York City, 1967

 
 

Brian Jones and Mick Jagger, New York, 1966

 
 

Paul and Michael, Sussex, 1981

 
 

Paul, Stella and James, Scotland, 1982

 
 

My Love, London, 1978

 
 

Self-portrait, Bathroom, London, date unknown

 
 

John Lennon In Colour, London, 1969

 
 

Johnny and Kate, London, 1995

 
 

Allen Ginsberg, Sussex, 1995

 
 

Intimate, personal, and without pretense is probably the best way to describe Linda McCartney’s style of photography. Having been a photographic enthusiast for years before that fateful Beatles album launch in 1967, she used her talent to capture images others could only dream of. An all-access pass to the world of rock ‘n’ roll over three decades allowed her to shoot the likes of Jim Morrison onstage, Allen Ginsberg over a drink and conversation, pre-Thriller Michael Jackson on a farm and Johnny Depp with Kate Moss hanging out on a porch in the midst of young love.

The Intervention of the Gods

Kate Moss wearing “Ginsberg is God” jumper by Bella Freud

 
 

“Rémonin. —… Il disparaîtra au moment
nécessaire; les dieux interviendront.
Mme. de Rumières. — Comme dans les
tragédies antiques?”
Acte ii, sc i.
“Mme. de Rumières. — Qu’y a-t-il?
Rémonin. — Les dieux sont arrivés.”
Acte v, sc x.

A. Dumas fils : L’Etrangère

 
 

Now this, then that, may happen, and in such wise;
and later — two years hence, as I surmise —
the actions may be these, and these the ways.
We will not meditate on far-off days.
We for the best will strive. And always more
defective, more perplexing than before,
shall all things fare; until, as in a mist,
we stray bewildered. Then we shall desist.
For in that helpless hour the gods attend.
They always come, the gods. They will descend
from their machines, and straightway liberate
some and as suddenly exterminate
others; and having reformed us, they will go. —
And afterward, one will act so; and so
another; and in time the rest will do
as they needs must. And we shall start anew.

Constantine P. Cavafy

Cavafy’s Desires and Regrets

In The Adventures of Constantin Cavafy Duane Michals images loosely illustrate Cavafy’s poetry, while investigating themes of lost time, love discovered and remembered, and the sublime realm of the surreal.

 
 

 “Please meet me in the circle of

this conceit. These little fables of my imaginary

theatrics repeat the

mantras of Cavafy’s desires and

regrets, so old today now gone

away. My great friend Joel Grey

will play disguised in glasses,

black suit and tie, Constantine

Cavafy as the dreamer who banishes

God, and as the lover of the glorious

promise of youth,

Who can tell my truth from my lies?

Not I”

Duane Michals

Reading Cavafy

The Adventures of Constantine Cavafy. Photo by Duane Michals

 
 

To Peter Orlovsky

 

When we parted in Tangier

We said ten years or perhaps a few months.

Whatever fate and railroads bring, whatever cities or deserts –

Now I’m in the holy land, alone

reading Cavafy – it’s half past twelve

My letters haven’t reached you, yet you’re somewhere here, Petra or Syria

Perhaps have entered the Gate to this land and are looking for me in Jerusalem –

I wrote to all your addresses and to your mother –

Tonight I am reading books and remembering our old nights together naked –

I hope fate brings us together, a letter answered, held in the red hand –

or crossing some modern streetcorner, look joyfully in each others’ eyes.

Allen Ginsberg

From The Journals, Early Fifties, Early Sixties (November 1961)