{"id":4662,"date":"2026-11-12T11:21:15","date_gmt":"2026-11-12T11:21:15","guid":{"rendered":"https:\/\/thelb.al\/?p=4662"},"modified":"2026-11-12T11:32:24","modified_gmt":"2026-11-12T11:32:24","slug":"ne-kerkim-te-njeriut-pas-imazhit-trashegimia-e-richard-avedon-nje-prej-fotografeve-me-te-rendesishem-te-te-gjitha-koherave","status":"publish","type":"post","link":"https:\/\/thelb.al\/?p=4662","title":{"rendered":"N\u00eb k\u00ebrkim t\u00eb njeriut pas imazhit, trash\u00ebgimia e Richard Avedon"},"content":{"rendered":"

Nga Marilyn Monroe te njer\u00ebzit e zakonsh\u00ebm t\u00eb Amerik\u00ebs, Avedon k\u00ebrkoi gjithmon\u00eb at\u00eb q\u00eb fshihet pas pamjes. Dokumentari i ri i Ron Howard n\u00eb Netflix e rikthen n\u00eb v\u00ebmendje nj\u00eb karrier\u00eb gjasht\u00ebdekad\u00ebshe q\u00eb ndryshoi fotografin\u00eb e mod\u00ebs dhe t\u00eb portretit.<\/em><\/p>\n

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N\u00eb nj\u00eb prej portreteve m\u00eb t\u00eb njohura t\u00eb Marilyn Monroe, aktorja nuk ka buz\u00ebqeshjen, sharmin apo energjin\u00eb q\u00eb publiku e kishte m\u00ebsuar ta shihte. \u00cbsht\u00eb e ulur n\u00eb nj\u00eb cep t\u00eb studios s\u00eb Richard Avedon n\u00eb New York, e lodhur, e zhytur n\u00eb mendime, pothuajse e shk\u00ebputur nga personazhi q\u00eb kishte nd\u00ebrtuar para kamerave. \u00cbsht\u00eb nj\u00eb Marilyn tjet\u00ebr.<\/p>\n

Fotografia u realizua n\u00eb vitin 1957, pas disa or\u00ebsh gjat\u00eb t\u00eb cilave Monroe kishte k\u00ebnduar, k\u00ebrcyer dhe pozuar. Avedon kujtonte se asokohe, kur gjith\u00e7ka mbaroi, ajo u ul n\u00eb nj\u00eb cep, si f\u00ebmij\u00eb dhe sikur gjith\u00eb ajo energji t\u00eb ishte shuar papritur e pik\u00ebrisht at\u00ebher\u00eb, kur ajo nuk p\u00ebrpiqej m\u00eb t\u00eb ishte Marilyn Monroe, fotografi\u00a0 shkrepi \u00e7astin.<\/p>\n

\"\"<\/p>\n

Ky ishte Richadr Avedon. P\u00ebr t\u00eb, fotografia nuk ishte m\u00ebnyr\u00eb p\u00ebr t\u00eb dokumentuar bukurin\u00eb, veshjen apo fam\u00ebn. Ishte p\u00ebrpjekje p\u00ebr t\u00eb kuptuar njeriun q\u00eb q\u00ebndronte p\u00ebrball\u00eb objektivit, pas fasad\u00ebs. Sot jeta dhe vepra e tij rikthehen p\u00ebrmes dokumentarit ‘Avedon’<\/em>, me regji t\u00eb Ron Howard, q\u00eb pati premier\u00ebn n\u00eb Festivalin e Filmit n\u00eb Kan\u00eb dhe ka arritur n\u00eb Netflix m\u00eb 11 n\u00ebntor. Me fotografi t\u00eb papublikuara, pamje arkivore dhe d\u00ebshmi t\u00eb njer\u00ebzve q\u00eb punuan me t\u00eb, filmi hap nj\u00eb dritare te krijimtaria dhe te bota personale e fotografit.<\/p>\n

Nj\u00ebqind mij\u00eb fytyra<\/h3>\n

Avedon lindi n\u00eb New York n\u00eb vitin 1923 dhe karrier\u00ebn nuk e nisi mes studiove luksoze. Gjat\u00eb Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore iu bashkua Merchant Marine dhe u caktua n\u00eb nj\u00ebsin\u00eb fotografike, ku realizoi mbi 100 mij\u00eb fotografi p\u00ebr dokumentet e identifikimit. Nj\u00ebqind mij\u00eb fytyra, nj\u00ebra pas tjetr\u00ebs. Ishte shkolla e par\u00eb ku m\u00ebsoi se \u00e7do fytyr\u00eb ka historin\u00eb e vet.<\/p>\n

Pas luft\u00ebs, n\u00eb mosh\u00ebn 22-vje\u00e7are, filloi t\u00eb punonte p\u00ebr Harper\u2019s Bazaar<\/em>, n\u00ebn drejtimin artistik t\u00eb Alexey Brodovitch, q\u00eb e shtynte vazhdimisht t\u00eb eksperimentonte. N\u00eb nj\u00eb koh\u00eb kur fotografia e mod\u00ebs mb\u00ebshtetej te pozat dhe kompozimet statike, Avedon i nxori modelet nga studioja, n\u00eb rrug\u00ebt e Parisit, n\u00eb kafene, klube nate, cirqe. I nxiti t\u00eb l\u00ebviznin, t\u00eb k\u00ebrcenin, t\u00eb vraponin, t\u00eb qeshnin. Fotografia e mod\u00ebs filloi t\u00eb tregonte histori, jo vet\u00ebm veshje.<\/p>\n

Dovima with Elephants<\/em> (1955) \u00ebsht\u00eb shembulli m\u00eb i qart\u00eb. N\u00eb Cirque d\u2019Hiver t\u00eb Parisit, modelja pozon mes elefant\u00ebve me nj\u00eb fustan mbr\u00ebmjeje Christian Dior. Eleganc\u00eb e brisht\u00eb p\u00ebrball\u00eb p\u00ebrmasave t\u00eb egra, subjekti \u00ebsht\u00eb i vendosur n\u00eb nj\u00eb kontrast t\u00eb papritur me nj\u00eb kompozim q\u00eb ende nuk ka humbur pesh\u00ebn.\u00a0 Tipike e Avedon! N\u00eb vitin 1966 ai kaloi n\u00eb Vogue<\/em>, ku punoi me Diana Vreeland dhe fotografoi fytyrat q\u00eb do t\u00eb p\u00ebrcaktonin estetik\u00ebn e dekadave pasuese: Twiggy, Penelope Tree, Lauren Hutton, Veruschka, Brooke Shields.<\/p>\n

\"\"<\/p>\n

Fotografi i mir\u00eb nuk udh\u00ebhiqet nga sip\u00ebrfaqja, aft\u00ebsia e tij \u00ebsht\u00eb t\u00eb lexoj\u00eb p\u00ebrmes saj at\u00eb q\u00eb ka brenda subjektit: shprehin\u00eb, frym\u00ebn, shpirtin, bot\u00ebn, ngjarjen, p\u00ebrjetimin, \u00e7astin. Ky zanat lidhet edhe me njer\u00ebzoren, me aft\u00ebsin\u00eb p\u00ebr t\u00eb lexuar p\u00ebrmes objektivit nj\u00eb realitet subjektiv, por q\u00eb l\u00eb gjurm\u00eb dhe t\u00eb b\u00ebn t\u00eb reflektosh shum\u00eb koh\u00eb pasi nj\u00eb imazh \u00ebsht\u00eb shkrepur. Krijimi i lir\u00eb, pa rregulla, me instikt dhe talent, por me profesionaliz\u00ebm dhe p\u00ebrvoj\u00eb. Sepse asgj\u00eb nuk realizohet, nuk krijohet e nuk evidentohet pa pun\u00eb dhe eksperimentim, si\u00e7 b\u00ebri Avedon gjat\u00eb gjith\u00eb karrier\u00ebs s\u00eb tij.<\/p>\n

Sfondi i bardh\u00eb<\/h3>\n

N\u00eb studion e Richard nuk kishte ku t\u00eb fshiheshe. As rrug\u00eb, as perde, as drit\u00eb q\u00eb t\u00eb b\u00ebnte pun\u00ebn e fjal\u00ebs s\u00eb mir\u00eb. Vet\u00ebm nj\u00eb sip\u00ebrfaqe e bardh\u00eb dhe, p\u00ebrball\u00eb saj, dikush q\u00eb duhej t\u00eb q\u00ebndronte. E nj\u00ebjta sip\u00ebrfaqe u shtrua p\u00ebrpara Marilyn Monroe-s dhe p\u00ebrpara minator\u00ebve t\u00eb Per\u00ebndimit Amerikan, dhe kjo e b\u00ebn zgjedhjen m\u00eb shum\u00eb se estetike: \u00ebsht\u00eb nj\u00eb lloj gjykimi. Kur heq kontekstin, heq edhe alibin\u00eb. Nuk ka m\u00eb profesion, kostum apo fam\u00eb q\u00eb ta shpjegoj\u00eb personin. Mbetet vet\u00ebm ajo q\u00eb ai b\u00ebn kur e di se po shikohet. Fotografia lind pik\u00ebrisht aty, n\u00eb p\u00ebrpjekjen e vog\u00ebl p\u00ebr ta mbajtur fasad\u00ebn ose p\u00ebr ta l\u00ebshuar.<\/p>\n

Por thjesht\u00ebsia vizuale nuk e b\u00ebnte procesin t\u00eb ftoht\u00eb. Avedon besonte se fotografia e mir\u00eb lind nga marr\u00ebdh\u00ebnia mes fotografit dhe personit p\u00ebrball\u00eb tij, ndaj p\u00ebrdorte bised\u00ebn, humorin, muzik\u00ebn dhe loj\u00ebn p\u00ebr t\u00eb krijuar nj\u00eb atmosfer\u00eb ku subjekti t\u00eb ndihej i lir\u00eb. Lauren Hutton dhe Penelope Tree kan\u00eb kujtuar se puna me t\u00eb i ndihmonte t\u00eb hiqnin rezervat dhe t\u00eb shfaqnin nj\u00eb an\u00eb m\u00eb spontane t\u00eb vetes. Nuk ishin trupa q\u00eb prezantonin veshjet, por bashk\u00ebpun\u00ebtore.<\/p>\n

\"\"<\/p>\n

Edhe vet\u00eb Avedon e dinte se ajo q\u00eb dilte nga ky p\u00ebrballje nuk ishte dokument i past\u00ebr. Nj\u00eb prej th\u00ebnieve t\u00eb tij mbetet m\u00eb e sinqerta q\u00eb \u00ebsht\u00eb th\u00ebn\u00eb ndonj\u00ebher\u00eb p\u00ebr portretin: ‘T\u00eb gjitha fotografit\u00eb jan\u00eb t\u00eb sakta. Asnj\u00ebra prej tyre nuk \u00ebsht\u00eb e v\u00ebrteta.’<\/em><\/p>\n

P\u00ebrtej mod\u00ebs<\/h3>\n

Emri i tij lidhet ngusht\u00eb me mod\u00ebn dhe me portretet e njer\u00ebzve t\u00eb famsh\u00ebm: Audrey Hepburn, Andy Warhol, Bob Dylan, Charlie Chaplin, The Beatles. Por ai ishte po aq i interesuar p\u00ebr njer\u00ebzit q\u00eb nuk kishin em\u00ebr p\u00ebr publikun.<\/p>\n

\"\"
89110004, Wed Oct 31, 2007, 12:52:20 PM, 8C, 4986×5934, (329+1235), 100%, Various_16x20, 1\/50 s, R36.0, G24.4, B33.3<\/figcaption><\/figure>\n

N\u00eb vitin 1964, bashk\u00eb me shkrimtarin James Baldwin, mikun e tij q\u00eb nga shkolla e mesme, botoi Nothing Personal<\/em>, ku fotografit\u00eb dhe eset\u00eb trajtonin kontradiktat e shoq\u00ebris\u00eb amerikane, racizmin, pabarazin\u00eb dhe tensionet politike t\u00eb koh\u00ebs. Mes viteve 1979 dhe 1984 realizoi In the American West<\/em>: pes\u00eb vera udh\u00ebtimi n\u00ebp\u00ebr per\u00ebndimin amerikan, duke fotografuar minator\u00eb, pun\u00ebtor\u00eb, kamarier\u00eb. T\u00eb nj\u00ebjtin sfond t\u00eb bardh\u00eb q\u00eb p\u00ebrdorte p\u00ebr yjet e Hollywood-it e shtriu p\u00ebrpara njer\u00ebzve q\u00eb rrall\u00eb kishin qen\u00eb t\u00eb q\u00ebndronin k\u00ebshtu p\u00ebrball\u00eb nj\u00eb kamere. Nuk b\u00ebnte dallim n\u00eb seriozitetin q\u00eb u jepte. T\u00eb gjith\u00eb meritonin t\u00eb nj\u00ebjt\u00ebn hap\u00ebsir\u00eb dhe t\u00eb nj\u00ebjt\u00ebn v\u00ebmendje.<\/p>\n

Njeriu pas kamer\u00ebs<\/h3>\n

Pavar\u00ebsisht aft\u00ebsis\u00eb p\u00ebr t\u00eb zbuluar an\u00eb t\u00eb panjohura t\u00eb t\u00eb tjer\u00ebve, Avedon mbeti vet\u00eb nj\u00eb figur\u00eb komplekse. Pas energjis\u00eb, sharmit dhe vet\u00ebbesimit q\u00eb shfaqte n\u00eb pun\u00eb, fshihej nj\u00eb njeri i p\u00ebrfshir\u00eb vazhdimisht n\u00eb ankth dhe dyshime p\u00ebr veten. Dokumentari i Howard p\u00ebrpiqet t\u00eb shkoj\u00eb p\u00ebrtej imazheve t\u00eb njohura, drejt marr\u00ebdh\u00ebnies s\u00eb tij me familjen, f\u00ebmij\u00ebris\u00eb, obsesionit krijues dhe nevoj\u00ebs p\u00ebr kontroll. Kontribuojn\u00eb Twiggy, Isabella Rossellini, Lauren Hutton, Calvin Klein dhe djali i tij, John Avedon, nd\u00ebrsa arkivi i Richard Avedon Foundation i dha realizuesve akses n\u00eb qindra mij\u00ebra fotografi, negativ\u00eb dhe materiale t\u00eb papublikuara.<\/p>\n

Pamjet e pun\u00ebs e tregojn\u00eb nj\u00eb personalitet energjik. Asistenti i tij, fotografi Sebastian Kim, kujton nj\u00eb seanc\u00eb me Dalai Lama-n: Avedon godet aksidentalisht kok\u00ebn te nj\u00eb pajisje drite. Dalai Lama shp\u00ebrthen n\u00eb t\u00eb qeshura. Avedon shkrep. Dy fotografit\u00eb q\u00eb dol\u00ebn, thot\u00eb Kim, e kap\u00ebn momentin e duhur. Anekdota p\u00ebrmbledh nj\u00eb pjes\u00eb t\u00eb filozofis\u00eb s\u00eb tij: fotografia nuk ishte gjithmon\u00eb kontroll i plot\u00eb, por aft\u00ebsi p\u00ebr ta njohur nj\u00eb \u00e7ast t\u00eb papritur kur t\u00eb vij\u00eb.<\/p>\n

\"\"<\/p>\n

Avedon nd\u00ebrroi jet\u00eb n\u00eb vitin 2004, n\u00eb mosh\u00ebn 81-vje\u00e7are, teksa punonte p\u00ebr nj\u00eb projekt t\u00eb The New Yorker<\/em> me titull Democracy<\/em>. La pas nj\u00eb arkiv me rreth 60.000 seanca fotografike.<\/p>\n

Ajo q\u00eb e b\u00ebnte t\u00eb ve\u00e7ant\u00eb nuk ishte aft\u00ebsia p\u00ebr t\u00eb fotografuar fytyra t\u00eb famshme, por m\u00ebnyra si i shihte. Fotografia e tij mbetet n\u00eb distanc\u00ebn mes imazhit publik dhe njeriut real, aty ku nj\u00eb shkrepje \u00ebsht\u00eb vet\u00ebm fillimi i nj\u00eb imazhi q\u00eb t\u00eb ndjek shum\u00eb koh\u00eb pasi \u00ebsht\u00eb b\u00ebr\u00eb.<\/p>\n

THELB,<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Nga Marilyn Monroe te njer\u00ebzit e zakonsh\u00ebm t\u00eb Amerik\u00ebs, Avedon k\u00ebrkoi gjithmon\u00eb at\u00eb q\u00eb fshihet pas pamjes. Dokumentari i ri i Ron Howard n\u00eb Netflix e rikthen n\u00eb v\u00ebmendje nj\u00eb karrier\u00eb gjasht\u00ebdekad\u00ebshe q\u00eb ndryshoi fotografin\u00eb e mod\u00ebs dhe t\u00eb portretit. N\u00eb nj\u00eb prej portreteve m\u00eb t\u00eb njohura t\u00eb Marilyn Monroe, aktorja nuk ka buz\u00ebqeshjen, sharmin […]<\/p>\n","protected":false},"author":2,"featured_media":4663,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[49,38,59,48],"tags":[],"tmauthors":[64],"class_list":["post-4662","post","type-post","status-publish","format-standard","has-post-thumbnail","category-art","category-editorial","category-kryesore","category-kulture"],"_links":{"self":[{"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts\/4662","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4662"}],"version-history":[{"count":3,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts\/4662\/revisions"}],"predecessor-version":[{"id":4672,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/posts\/4662\/revisions\/4672"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=\/wp\/v2\/media\/4663"}],"wp:attachment":[{"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4662"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4662"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4662"},{"taxonomy":"tmauthors","embeddable":true,"href":"https:\/\/thelb.al\/index.php?rest_route=%2Fwp%2Fv2%2Ftmauthors&post=4662"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}