![]() In addition, Autumn created the album packaging for Beck’s ‘Sea Change,’ The Raconteurs’ ‘Broken Boy Soldiers,’ The White Stripes’ ‘Icky Thump’ and many more. ![]() Using “The Farm” as a home base, he traveled around the country and Europe photographing Art Happenings, Love-Ins, Anti-War demonstrations, and the Counterculture of the late 60’s and early 70’s.Īutumn de Wilde directed Elliott’s video for “Son of Sam” and created the packaging for his album Figure 8. Over the next 7 to 8 years it became known as “The Farm,” a creative environment that was a notorious haven for actors, writers, musicians, artists, designers, filmmakers and poets. In 1965, Jerry rented the old 46 acre Barham Ranch in the hills above Warner Bros. His mentor photographer Robert Frank encouraged Jerry to pursue photography as a means of personal expression after working with him on the films “Chappaqua” and “Me and My Brother” featuring Julius and Peter Orlovsky and Allen Ginsburg. Jerry de Wilde began his photography career in the 1960’s in Los Angeles. A selection of 50 photos by Jerry and Autumn de Wilde will be on display through November 30. While Jerry’s photography captures a time and place detailing historic events Autumn’s portrait and documentary photos take a more surreal approach creating a personal yet fantastical canvas. From Jerry’s photos of the Monterey Pop Festival in 1967 to Autumn’s photos of a new generation of bands and songwriters (Elliott Smith, Beck, Death Cab For Cutie and The White Stripes) all the images are iconic and reflect the photographers unique approach. They have photographed everyone from Jimi Hendrix to Jenny Lewis. ![]() Combined they have photographed over a half a century of iconic artists and historic events. On Octo“Autumn de Wilde and Jerry de Wilde: Two generations of counterculture photography,” the father/daughter exhibition of Jerry and Autumn de Wilde’s photography will open at the Morrison Hotel Gallery’s Soho Loft at 116 Prince Street in New York City. “It made it feel more like play and less like being attacked by a camera.Half A Century Of Photography Captured By The de Wildes In “Autumn de Wilde and Jerry de Wilde: Two Generations Of Counterculture Photography” “I would have them pretend they were in scenes from movies that never got made,” she says. She explains over the phone how she uses her drama school training to loosen up artists who are uncomfortable being in front of the lens. No matter the medium, the subjects of de Wilde’s work radiate a sense of ease. “I had started storytelling with my photography, I just didn’t quite realize it yet.” Her homespun visual for the Figure 8 track “ Son of Sam”-along with that album’s now-iconic cover photo-kicked off her illustrious career.Īcross the last 20 years, de Wilde has photographed covers for Beck, the White Stripes, Jenny Lewis, and Childish Gambino directed videos for the Decemberists, Death Cab for Cutie, and Florence and the Machine and taken portraits of seemingly every Los Angeles creative under the California sun. “I was really moved that he believed in me,” de Wilde recalls. She wasn’t sure if she was up to the task, but he insisted. when, in 2000, her friend asked her to direct a video for one of his songs. Autumn de Wilde was an aspiring photographer in L.A.
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