Boston Common - Niche Media - A side of Boston that's anything but common.
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HOTTEST TICKET "Mario Testino's photographs are not photographs of clothes—they're photographs of people wearing clothes. ized. Mario's are just full of movement, of gesture, and of provocation. Testino was a reluctant photographer. Has the lack of formal train- ing freed him? You can feel in his work the delight he takes in creating his images, pushing the envelope in creating extraordinary situations, extraordinary juxtapo- sitions. And then in things like his royal portraits, which are very different in mood, you feel his sense of privilege and respect in being in the presence of some of the most celebrated and important people in the world. What do you see when you look at his photographs of the late Princess Diana? She is one of the great, mysterious goddesses of our time, isn't she? He's managed to capture very well the beauty, the magnetism, something of the sexuality. But there's also a vulnerability. Testino took the official engagement photos for Prince William and Kate Middleton. For someone who's so interested in fashion, he's frequently asking his subjects to remove their clothes. That's right. His photographs are not photographs of clothes—they're photographs of people wearing clothes, and the way clothes can add beauty, drama, glamour, and sexiness to your life. So it's not really about the clothes, but more what they do for you as an individual, which I find rather fascinating. As far as the nudity goes, I can only say less INSIGHT "Mario Testino: In Your Face" is on view at the Museum of Fine Arts, October 21 to February 3, 2013. Malcolm Rogers at the Museum of Fine Arts. "Mario Testino: British Royal Portraits" is on view October 21 to June 16, 2013. Center on the West Coast. So yes, maybe a little bit of controversy, but I wouldn't be doing this if I didn't believe in Mario's ability to create images, to stimulate the imagination, to create style—to do so many things that make him a great professional and artist. I think he'll stand the test of time. How do you look back at the controversy now that the photographs are so mainstream? Museums are here to lead and change taste—to make people think differ- ently about things they take for granted and to see the beauty, the craftsmanship, the imagination. That's what we're doing today in many ways. I think it's great to do it with one of today's leading commercial photographers and say to people, "Take notice: This is worth looking at more closely. It will fill your life with excitement and joy." What has elevated fashion photography to art? It's fascinating to compare Mario's and Herb's work. For instance, Herb was someone who worked predominantly in black and white. I refer to him as a master of black and white. Mario is absolutely a master of color and vibrancy. Herb's images, many of them, are quite static and ideal- Kate Moss photographed by Testino in London, 2006. is more when it comes to clothes. Y ou have said Testino uses sex as "a stick of dynamite." Can you elaborate? How can one elaborate on a stick of dynamite? Clearly sex is one of the colors in his paint box—one of the brightest colors. And he uses it very, very cleverly, very daringly, but never going over the edge, I think. Where do you see Testino among today's working photographers? I put him in the front rank. He's one of the greatest. BC " BOSTONCOMMON-MAGAZINE.COM 65