Seminal photos of Nirvana, David Bowie, Patti Smith and more feature in a new exhibition by Château La Coste – here, the photographer walks us through the highlights
Anton Corbijn rarely gets star-struck, these days. Since setting out as a teenage photographer in the Netherlands of the early 70s, his career has brought him intimate access to everyone from David Bowie and Courtney Love, to Rick Owens, Virgil Abloh, and Ai Weiwei – many of whom are captured in his iconic black-and-white portraits. In the early days, he “definitely used to be in awe” of his subjects (mostly the local bands he photographed onstage), he tells Dazed. “Now, I view the people I photograph very differently in that sense. It feels much more like a collaboration, and we’re on equal terms.”
Corbijn also doesn’t consider himself a “celebrity photographer”, although so many of his portraits depict A-listers at the forefront of their creative fields, and help establish them in the pop culture pantheon. “To be honest I love to meet and photograph people whose work I like,” he adds, “whether they are well-known or not.”
Over the last several decades, this impulse has taken the Dutch photographer and filmmaker across the globe. In 1980, he shot David Bowie for the first time in America, as the musician and actor performed in The Elephant Man. In the 90s, he shot Nirvana for “two days straight” in and around Seattle. After Kurt Cobain’s death, he would also shoot Courtney Love in Hollywood. In 2012, he flew to Beijing to photograph Ai Weiwei in his compound, shortly before a phone call summoned the dissident artist to a police station.
“Most people I work with are strong and interesting characters,” he says, recalling some particularly striking encounters: Anselm Kiefer, Captain Beefheart, Marlene Dumas, and Miles Davis. Each actor, artist, or musician also requires a different approach, as Corbijn tries to portray the person behind the stardom – the individual “soul” behind what we, the audience, see onstage or on the canvas.
This summer, Château La Coste brings together some of Corbijn’s most iconic images of artists and musicians in the largest exhibition of his work in France to date, aptly titled Anton Corbijn: Artists & More Artists. Staged in Jean-Michel Wilmotte’s Old Store Winehouse, the show features black and white portraits curated by Corbijn himself, including shots of artists including Damien Hirst, Lynette Yiadom-Boakye, Lucien Freud, and Ai Weiwei, and musicians such as Prince, Bowie, Nirvana, Patti Smith and Nick Cave, drawing from three different photo series, Inwards & Onwards, #5, and Star Trak.
Below, the photographer walks us through some of the highlights in his own words.
Anton Corbijn: Artists & More Artists will run at Old Store Winehouse until August 13.
Nirvana, Seattle (1993)
“Nirvana had asked me to do a shoot, as did Details magazine, so I ended up shooting with the band for two days straight in and around Seattle. They were lovely and playful, I really enjoyed my time with them. Then Courtney showed Kurt some videos I did for Echo and the Bunnymen, and next thing I know I am making a video with Nirvana for ‘Heart Shaped Box’. Kurt was just full of ideas and a delight to work with. He asked me after that video to do another one for ‘Penny Royal Tea’, but I thought I could not top the first one so I declined as I didn’t want to disappoint him. He then said if you don’t do it I will never do another video. And that was it. They never did and I so wish I had taken up that offer in hindsight.”
Courtney Love, Orlando (1995)
“[This was] the first time I photographed Courtney. I never did when Kurt was still alive, although I saw them a few times as their hotel room in LA was right opposite mine when we did the video. Sometimes I am just too polite for this job I think. Anyway, she asked me to shoot with her and Hole, her band. We ended up in Florida during their tour and kind of at the end of our day, with that beautiful fading light, we shot some images of her alone in the ocean. Full moon and swirling water, appearing like a Venus de Milo.”
David Bowie, London (1993)
“This was the last time I photographed David I believe, not that you know that at the time of course. I really like this shoot, and I also loved the first time I photographed him, when he was playing the Elephant Man in 1980. He was always great looking, intelligent and charming, and had a great sense of humour. He was the ideal person in front of the camera. This particular photo was done in the rain, or perhaps it was light snow, but whatever it was it made the end result more interesting.”
Patti Smith, New York (1999)
“I love the body language in this photograph. I had met Patti before but never properly photographed her. I had asked her to be part of a project I was doing called ‘33 Still Lives’, which were fake-paparazzi shots. It is a long story but I had put the wrong film in the camera and this photo was nothing [like] what I was after so it never became part of that series, but I love it just as it is. She is very active as a photographer too and there is another photo I took of her in Paris with her Polaroid camera that is the only photo of mine I have hanging in my studio.”
Lynette Yiadom-Boakye, London (2017)
“I just love working with painters. It is like a serious hobby, as I don’t do [it] to earn money but purely out of curiosity to meet the minds behind the work. It started with Don van Vliet, AKA Captain Beefheart and with German painter Imi Knoebel in the 80s. Then I did a project together with Marlene Dumas and I got hooked ever since. This shoot with Lynette was in her small studio somewhere in Hackney if I recall correctly, and was instigated by American Vogue. I really love her work. She would not allow me to shoot works that were not finished yet but as I always love brush strokes, this worked well for me.”
Jeff Koons, New York (2011)
“I guess the photo is kind of tongue in cheek. He was known for images of himself naked with Cicciolina so for him to appear to hide his face is quite funny. The work in front of his face is a work by him and is very heavy to lift, it is nothing like a balloon, more like a lead balloon. Literally.”