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Collection

An image of Laetitia by Bettina Rheims

Bettina Rheims

(France 18 Dec 1952 – )

Title
Laetitia, from the series Modern Lovers
Year
1990
Media category
Photograph
Materials used
gelatin silver photograph
Edition
7/15 [edition of 18, 15 of which are printed on 60 x 50cm paper.]
Dimensions

54.5 x 44.2 cm image; 60.1 x 50.1 cm sheet

Signature & date
Signed and dated lower verso, ink “BR ... Mars 1990 ... Bettina Rheims”.
Credit
Gift of Edron Pty Ltd - 1996 through the auspices of Alistair McAlpine
Accession number
924.1996.32
Copyright
© Bettina Rheims, Modern Lovers series
Location
Not on display
Further information

‘Searching plays a significant role in photography. That is exactly what is suppressed in advertising and fashion photography.’ Bettina Rheims 1998 1

Like many fashion photographers, Bettina Rheims has pursued projects which explore her personal notions of individual beauty, rather than that dictated by magazines and advertising agencies. In her series ‘Modern lovers’, Rheims subverts fashionable ideals of beauty by portraying the androgyny of young men and women. Her subjects stand awkwardly before the camera against a plain studio backdrop, sometimes looking into the camera, sometimes turning away. Their ambivalence in being photographed is matched by the ambiguity they present to the viewer: these rather feminine men and masculine women confound gender distinctions, but at the same time confirm the homoerotic tendencies prevalent in much fashion photography from the 1990s. It comes as no surprise to see a young Kate Moss, who shot to fame in Calvin Klein’s homoerotic advertising campaign in 1992, among the modern lovers.

Rheims began work as a portrait photographer in 1978 and has since worked as a fashion and celebrity photographer and photojournalist. The subjects of her first exhibition in 1981 were striptease artists and circus performers – the ‘demi-monde’ to fashion and modelling’s ‘haute-monde’. Similarly, Rheims approached most of her subjects for ‘Modern lovers’ ‘on the street, in bars, everywhere’.2 None were older than 20 and all were forming their identity, coming to terms with their bodies, their sexuality and their look. Rheims, who had been a model herself before turning to photography, compares her subjects to butterflies and angels – elusive creatures in the process of metamorphosis and transcendence.

1. Rheims B 1998, 'Bettina Rheims: modern lovers', Art Gallery of New South Wales, Sydney np
2. ibid

© Art Gallery of New South Wales Photography Collection Handbook, 2007

Bibliography (7)

Judy Annear, Discipline and Beauty - women, fashion, photography, Sydney, 1997.

Judy Annear, Look, 'Discipline & Beauty Women, Fashion and Photography', pg. 14-16, Heidelberg, Jul 1997, 16.

Art Gallery of New South Wales, Bettina Rheims: Modern Lovers, Sydney, 1998, illus..

Paul Hayes (Editor), Capital Q Weekly, 'Angels undressed', pg. 1, Darlinghurst, 11 Dec 1998, 1 (illus.). This appears in the xtra section of the newspaper.

Gina Kehayoff (Editor), Bettina Rheims Modern Lovers, Heidelberg, 1990, 15 (illus.).

Nicola Teffer, Photography: Art Gallery of New South Wales Collection, 'Fashion and celebrity', pg.169-187, Sydney, 2007, 174 (illus.), 186 (illus.).

Judith White, Look, 'Unexpected Angels', pg. 11, Heidelberg, Dec 1998-Jan 1999, 11.

Exhibition history (3)

Discipline and Beauty, Art Gallery of New South Wales, Sydney, 28 Jun 1997–17 Aug 1997

Bettina Rheims: Modern Lovers, Art Gallery of New South Wales, Sydney, 14 Dec 1998–21 Feb 1999

The fashion of Helmut Newton and Bettina Rheims, Art Gallery of New South Wales, Sydney, 09 Feb 2013–17 May 2013