Duane Michals, the trailblazing American photographer whose bold vision pushed the boundaries of the medium, has left an indelible mark on our collective consciousness at just 94. A true pioneer of the 'directorial mode', Michals shunned the straightforward to weave captivating tapestries that danced between reality and fantasy.
His artistic DNA was woven from the rich imagery of his Catholic upbringing and the dreamlike essence of surrealism, which informed a distinctive approach that blurred the lines between documentary and narrative. Witness 'Paradise Regained' (1968), where a couple's suburban sitting room is transformed into a lush Eden over six sublime images – a masterclass in sequential storytelling that has become his hallmark.
Michals fearlessly explored the human condition, plumbing the depths of mortality, identity and perception. Take 'Death Comes to the Old Lady' (1969), where Death's sombre presence injects gravitas into the mundane, or 'The Fallen Angel' (1968), a poignant tale of temptation and regret that showcases his mastery of narrative.
But Michals didn't just stop at storytelling – he also called out photography's perceived objectivity. In 'A Failed Attempt to Photograph Reality' (1975), he delivered a bold statement by filling blank pages with text, underscoring the notion that photographs can only capture superficial appearances, not the deeper truths.
Born in McKeesport, Pennsylvania, of Czech descent, Michals's early life – marked by his family's unhappy marriage and steel town upbringing – would later seep into his work. An art school education and a fateful trip to Russia in 1958 sparked his passion for photography, while commercial commissions – including portraits for Vogue magazine and the iconic cover for The Police's 'Synchronicity' (1983) – provided the financial backing for his artistic pursuits.
The surrealists held Michals in high esteem; his 1965 encounter with René Magritte in Brussels would forever change his photographic language. That pivotal meeting yielded portraits created using double exposures, further cementing the surrealist influence on his innovative style.