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"Conekin, Becky"
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Lee Miller in fashion
Lee Miller was a Vogue cover girl, Man Ray's lover, the first photojournalist at the liberation of Dachau and Buchenwald, and one of the most important female photographers of the 20th century. Combining fine art and urban wit, her photographic technique was learned from the great photographers of her day, among them Edward Steichen, Man Ray, and George Hoyningen-Huene. Becky E. Conekin's current work gives us a wide lens view on Miller's life and her work in fashion photography.
Book
Eugene Vernier and Vogue Models in Early 'Swinging London': Creating the Fashionable Look of the 1960s
Writing at the time and published the following year, the young Jonathan Aitken, then a twenty-four-year- old reporter for London's Evening Standard, interviewed the young people he believed were \"making an impact\" in the city in the fields of fashion, design, music, photography, politics, business, art, television, and even gambling and prostitution. Whether these changes have anything to do with \"swinging\" is a matter of semantics, but the fact remains that without these changes today's younger generation would be imperceptibly different from their youthful parents, whereas in fact they are enormously different. [...]it seems to me that the inflated ballyhoo about Swinging London does have some serious relevance to the generation of which I am writing, particularly through its indirect influence on advertising and communications, so I make no apology for giving so many pages over to what may seem essentially frivolous people.
Journal Article
“Another Form of Her Genius”: Lee Miller in the Kitchen
Lee Miller was aVoguecover girl in New York in the mid-to-late 1920s. In the early thirties she was Man Ray's muse, student, and lover in Paris, where she also worked as both photographer and model for ParisVogue, as well as for numerous courtiers, including Patou and Scheperelli. The mid-thirties found her with her own successful photographic studio back in Manhattan. In WWII she served as BritishVogue's official war correspondent and was one of the first photographers to enter liberated Dachau and Buchenwald. In 1957 Miller passed the Cordon Bleu course at their Paris school. Generally overlooked, if not overtly dismissed, Lee Miller's gourmet phase in the 1950s and 1960s is discussed in this article as “another form of her genius.” Always ahead of her time, Miller was a mezza maven and a tapas enthusiast. The home she shared with her husband, Roland Penrose, in the English countryside was frequently filled with weekend guests drawn from the international modern art world. For many of them she created “food pictures,” some inspired by their own works of art. She collected and invented recipes, often based on her extensive travels and sometimes as practical jokes and rebukes.
Journal Article
The English National Character: The History of an Idea from Edmund Burke to Tony Blair
Conekin reviews The English National Character: The History of an Idea from Edmund Burke to Tony Blair by Peter Mandler.
Book Review
The autobiography of a nation: The 1951 Festival of Britain, representing Britain in the post-war era
The 1951 Festival of Britain was conceived in the immediate post-war period--a period of housing shortages, the continuation of wartime rationing, and the initial stages of the dissolution of the Empire. It was both a celebration of Britain's WWII victory and a proclamation of its national recovery. There were eight government-funded exhibitions in England, Scotland, Northern Ireland and Wales and a pleasure garden in Battersea. Eight and a half million people visited the London South Bank exhibition and the B.B.C. aired 2,700 Festival broadcasts. On the local level, two thousand British cities, towns and villages organized and funded a Festival event. Even so, there is no historical monograph on the 1951 Festival. This dissertation examines the reconstruction of post-war British national identity in the context of the Festival's social democratic project. As a series of consciously constructed events, the Festival provides an opportunity to see a society and a government struggling to recast national identity after the unique British experience of the \"peoples' war\". The 1951 Festival of Britain set the broad parameters for \"New Britain\". \"Experts\" were enlisted in this project to construct representations of the nation's past and future, focusing on \"British contributions to civilisation\". Its goals of redistributing knowledge and constructing a modern, cultured citizenry were ones shared by the Festival planners and many within Labour. The crumbling myth of the post-war consensus is questioned by the contentious nature of the Festival, as well as its Labour agendas. The Festival's constitutive \"chapters\" focused on representations divided broadly into two categories: \"time\" and \"place\". Emphasizing a modern future, as well as an ancient past, allowed the construction of an imagined, united (white) national community. Focusing on pleasure and fun accessible to all created the illusion of a classless, egalitarian society. Stressing Britain's \"unity through diversity\" via official regional exhibitions, as well as the encouragement of every British community's participation facilitated a multi-layered and multivalent sense of Britishness.
Dissertation