Four decades after Richard Avedon’s landmark ‘In the American West’ series first shocked and moved audiences, a curated selection of these poignant portraits is on display again in London, reframed by his granddaughter to highlight the enduring stories of America’s forgotten workforce.
In 1979, fashion photographer Richard Avedon embarked on an unprecedented journey across the American West, trading celebrity studios for country fairs and rodeos to capture the faces of miners, drifters, and laborers. Over five years and more than a thousand sittings, he created 126 stark portraits that laid bare the grit and dignity of regions he had never visited before. The series, completed in 1985, challenged romanticized visions of the West and sparked intense debate about representation and exploitation in documentary photography.
Now, forty years later, a new exhibition titled ‘Facing West’ at the Gagosian gallery in London brings these images back into the spotlight. Curated by Avedon’s 26-year-old granddaughter, Caroline Avedon, the show marks her first solo project and aims to make the series accessible to a younger, Gen Z audience. By shifting focus from well-known images like ‘bee man’ Ronald Fischer to lesser-seen portraits of teenagers and young adults, she seeks to foster human connections across generational and geographical divides.
Caroline Avedon, an archivist at The Avedon Foundation since 2021, explained that she wanted to emphasize the youth in her grandfather’s work, such as fourteen-year-old wife Teresa Waldron or motel maid Tracey Featherston. She believes these subjects can bridge gaps for contemporary viewers, stating, ‘Human connection is found no matter what.’ Her personal attachment is evident; she regularly searches online for the sitters, finding that many have passed away due to the dangerous nature of their work, but takes comfort in discovering that some, like B.J. Van Fleet, are still alive.
The exhibition revisits a body of work that was initially controversial, with critics arguing that Avedon’s use of a plain white background stripped subjects of context and objectified them for elite consumption. However, supporters, including photographer Constance Jaeggi, contend that the portraits served as vital documentary photography, platforming marginalized voices rarely seen in art. Jaeggi noted, ‘I look at those portraits and I think that not much has changed,’ highlighting the ongoing relevance of the economic and political themes.
Indeed, the series was created during a tumultuous period in American history, beginning under President Jimmy Carter and continuing through Ronald Reagan’s presidency, as poverty worsened in the West. Caroline Avedon echoed this sentiment at the preview, calling the show ‘incredibly important’ and pointing out that little progress has been made in how the U.S. treats its industrial workforce. ‘We overlook the people behind the scenes that are keeping America going,’ she said, underscoring the persistent sidelining of working-class communities.
Personal stories enrich the exhibition, such as Avedon’s efforts to track down subjects like Freida Kleinsasser, a Hutterite woman photographed in 1983, whose grandmother’s obituary revealed she wore the same polka dot scarf. She has also connected with descendants of rancher Richard Wheatcroft, whose diptych in the show shows him over two years. For Caroline, these discoveries are a way to connect with her grandfather’s legacy and humanize the faces on the walls.
As ‘Facing West’ opens in London, it not only celebrates Avedon’s artistic vision but also invites reflection on social and economic disparities that endure today. The exhibition serves as a timely reminder of the power of photography to document and dignify, urging viewers to see beyond stereotypes and acknowledge the contributions of often-overlooked Americans. With its blend of historical significance and contemporary curation, the show promises to inspire new conversations about art, identity, and equity.
