Honoring the Artist: Steven Klein

Sitting in a leather chair in the Vered Gallery, surrounded by his striking photographs of Madonna, internationally known fashion photographer Steven Klein seems at home. Describing his recent visit with Madonna at her elegant English estate appears authentic as well.

We can also imagine that a horse ride in the more modest Hampton countryside later that day, would also prove as comfortable for Klein.

Klein not only feels at home in a myriad of settings, but he makes others feel at ease, too. That demeanor is a rare quality, one that transcends the business at hand and, no doubt, allows Klein's subjects to abandon themselves to his photographic art.

Despite the personal comfort Klein creates for his subjects, he states very clearly that "a comfort zone is not important to me." In other words, he likes to take risks. He may even need to take them.

Q: My first observation is that you like contradictory places.

A: Yes. I like the city and the country, for example.

Q: Another contradiction - you are drawn to the still photographic image and movies. Tell us about your attraction to film.

A: Film is a turning point in my life. It's like opening a box of candy. I love directors like Goddard, Antonioni, Ozu. I just did a short film with Brat Pitt where there's a lot revealed with no cuts and little dialogue. Film magnifies emotion.

Q: What did you carry over from photography to movies?

A: Staging, creating space, working with models/actors.

Q: One of your signatures is working with celebrities like Madonna. How do you see their role in your work?

A: People have a need to see celebrities; it's part of our culture. But I don't see her as a symbol. I just see her as a person, a subject. I don't put her on a throne. And I don't treat her like a puppet either.

Q: You grew up in a small town in Rhode Island and went to Rhode Island School of Art and Design. Did living in a small town make you like New York more? And why did you leave painting?

A: Yes, I guess I was attracted to the big city after Rhode Island. I created my own world in that small town. Things changed after I got my first still camera when I was thirteen. When I was painting, I felt isolated. I wanted to be in a collaborative field, so I stopped and went into photography. But I took my time with changes. Being slow is beneficial.

Q: I have a feeling you get bored easily. Maybe you wanted to explore other art forms just for the sake of it.

A: Yes, the more I do, the more I want to learn about other things.

Q: This horse series is personal to both you and Madonna, right?

A: Yes, I love horses and so does she. The horse and his stall are very similar to a real place near Madonna's home in England. But we built a set for the shoot in L.A.

Q: About your fashion photography, how do the Europeans see you?

A: They describe me as the "dark American."

Q: Why? I see your photographs as expressionistic. Is that why?

A: No, it's for the subjects I deal with. I capture the underbelly of culture.

Q: I see that different cultures mean a lot to you and play an important part in your work.

A: Yes.

Q: Do you consider your work fine art?

A: No, fashion photography's intention is to sell a product and that dictates what it is. In itself, it has limitations, although there are magazines like W who have supported my vision and let me take risks. Generally speaking, however, there's too much fashion and not enough art nowadays. There's too much female sensibility in fashion photography and not enough male forces.

Q: Will you ever change your mind about your photographs not being fine art?

A: Maybe. I like fooling people. I'll flip the notion; I'll put art in fashion.

- Marion Wolberg Weiss

Mr. Klein's work can be seen at Vered gallery in East Hampton or at www.veredart.com.

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