What little remained in his holdings was discarded in the years leading up to his death in 2004. Although little remains in the archive, Avedon still considered his advertising work to be a significant aspect of his practice, stating in 1965 that, “I think that my creative work in advertising is the hardest, most honest work that I do. There are no illusions. . . . [The ads] are records of the world we live in and it’s possible that the record of my ads over the past twenty years could be a more valuable social document than a record of what I think are my finest fashion photographs.”

     Understanding this critically underappreciated chapter of Avedon’s career offers new and exciting perspectives on the photographer’s oeuvre. Over the past two years, The Richard Avedon Foundation has recovered hundreds of ads with the aid of Avedon’s meticulously kept datebooks and newly available online databases of mid-century magazines. This research has culminated in the recently published Avedon Advertising, the most extensive survey of the photographer’s commercial work to date. As new photos are identified, a more complex picture of Avedon’s ad work is just beginning to emerge, particularly with regard to the 1950s — arguably the most prolific era of his commercial practice.

     Insight into this body of work is preserved within an unexpected cultural artifact: a musical comedy revue titled The Fabulous Fifties, which aired on CBS on January 31, 1960. Sponsored by General Electric, the star-studded TV special recapped the social, political, and technological changes of the 1950s. Avedon directed a segment for the special, titled The Creature, that parodied several of the decade’s most memorable print ads — many of which were shot by the photographer himself. The sketch was created by Avedon and his frequent collaborator, supermodel Suzy Parker, along with comedian and director Mike Nichols.

     Parker stars as the Creature, a shapeshifting saleswoman manufactured by the ad industry to sell cosmetics, clothing, and other goods to female consumers. From virginal bride to femme fatale, Parker occupies a range of female stereotypes, finding humor in the failings of each role she inhabits. As a formal device, the use of parody in The Creature operates on multiple levels to critique mass-mediated femininity and provides unique insight into how Avedon navigated the world of advertising.

 

A version of this paper was presented at "Commercial Pictures and the Arts and Technics of Visual Persuasion," Hagley Museum and Library, November 8, 2019.