an exhibition at the Brooklyn Museum,October 20, 2006–January 21, 2007.
Random House, 472 pp., $75.00
Ours is an age of memoir—inevitably, faux memoir: the highly selective and enhanced employment of 'real' persons, events, and settings in the creation of a text; or, in the case of Annie Leibovitz's massive A Photographer's Life, 1990–2005, a text with photographs arranged to suggest an elegiac narrative of loss, rebirth, and spiritual transcendence. After the death of her longtime companion Susan Sontag in December 2004—depicted here in harrowing, painfully graphic images some observers may find offensive—Leibovitz set herself the task of compiling photographs for a memorial book which gradually evolved into a larger memoir of the previous fifteen years of the photographer's life: 'Going through my pictures to put this book together was like being on an archeaological dig,' she says in her introduction.
Review, 2298 words
To read the full text of this piece, please choose one of the following options:
|
If you are already a subscriber to the Review's electronic edition, please sign in: |
To subscribe to the electronic edition, please press the button below. |
To purchase access to this article for $3, please press the button below. |