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Epic Victory in Curtin May 28, 2022

Posted by bohdan.warchomij in : AFR, Metaphor Online , comments closed

Independent Kate Chaney has won the  blue-ribbon seat of Curtin, in Perth’s wealthy western suburbs, from one-term Liberal MP Celia Hammond.

On Saturday speaking to her supporters she refused to claim victory  before her supporters and expectant media as the vote turned to postal vote counting to clinch an amazing campaign.

On Thursday the vote was confirmed and independent Kate Chaney began the first four years of the job ahead of her.

Ms Hammond had held the seat on a safe margin of 13.9 per cent but could not hold back a massive swing towards Ms Chaney,

who campaigned on the issues of climate change, integrity in politics and inclusive communities.

Ms Chaney promised to hold the Albanese government to account on these issues.

On Thursday Ms Chaney claimed victory, saying she was very proud to stand as the first female West Australian independent elected to the House of Representatives.

Ms Chaney’s grandfather and uncle were both federal Liberal ministers, but she had become frustrated with the country’s leaders on both sides of politics.

Kate Chaney and husband Bill Keane at campaign headquarters Photo Bohdan Warchomij

Her uncle Fred Chaney was there to congratulate his niece on her epic victory.

Uncle Fred Chaney at Kate Chaney’s campaign headquarters Photo Bohdan Warchomij

She acknowledged the contribution  to a huge crowd of enthusiastic supporters.

“A huge thanks to not only my team but my family as well, for all the support they have given me over this incredible four-month experience.”

It is the beginning of a very new four year experience  for Ms Kate Chaney.

She was generous in her response to her Liberal opponent when she thanked Celia Hammond for her contribution the last four years.

“I think it is community reclaiming politics.”

Ms Chaney  paid tribute to Ms Hammond for representing Curtin during the difficult pandemic period.

AFR: Lauren Sams Fashion Editor: On “Wonderland” Annie Leibowitz’s new photo book November 20, 2021

Posted by bohdan.warchomij in : AFR, AFR Magazine, Metaphor Online , comments closed

Natalia Vodianova and Helmut Lang (in picture frame), Paris, 2003. © Annie Leibovitz. From ‘Annie Leibovitz: Wonderland’

Call to mind a seminal magazine photograph from the past 50 years and there’s a good chance Annie Leibovitz took it. Luckily enough for us Lauren Sams, the Australian Financial Reviews fashion editor, has gone out of her way to review the book.

John Lennon, naked and wrapped around Yoko Ono, just hours before he was shot dead? Leibovitz. Demi Moore, seven months pregnant on the cover of Vanity Fair wearing nothing but a pair of earrings? Leibovitz. Whoopi Goldberg grinning like the cat who got the cream while bathing in milk? Leibovitz again. Melania Trump, pregnant in a gold bikini, standing on the steps of her husband’s Gulfstream, Caitlyn Jenner in a blush-coloured corset, revealing her true self for the first time on the cover of Vanity Fair, Kim Kardashian West and Kanye West, embracing on the occasion of their wedding… all Leibovitz.

Annie Leibowitz and Anna Winter Fashion Editor

Photo Annie Leibowitz

Leibovitz started her career as a photojournalist at Rolling Stone in 1971, when the magazine was in its infancy. She was just 21 when her portrait of John Lennon made the cover. Her photographs helped shape the magazine and give it the unvarnished visual gumption it has become known for. In her 12 years at the magazine, she went on tour with the Rolling Stones, shot the final image of the Nixon presidency as the disgraced politician boarded a helicopter from the White House, and captured the iconic, much-copied image of John Lennon and Yoko Ono.

In the late 1970s, editor Clay Felker approached her to shoot the model Margaux Hemingway for New West, a Californian spin-off of New York Magazine. It was her first brush with fashion and, says Leibovitz, a revelation.

“One of the things about fashion is that models know what they’re doing and they like being photographed,” she says. “That was such a new thing for me. I felt like the dentist before that, you know, everyone hated me. To enter this world where people liked being photographed and would play along, I couldn’t believe it. It felt like I was cheating or something.”

Apart from her portraiture, she’s been behind some of the most captivating fashion editorials in modern memory, working with models including Kate Moss, Karen Elson and Karlie Kloss to create fantastical, otherworldly stories that transcend the page and, indeed, the style of the day.

It is curious, then, that Leibovitz does not consider herself a fashion photographer. In fact, the 72-year-old says that for many years, she “didn’t take fashion seriously at all”.

Annie Leibowitz Photographer

“I went to the San Francisco Art Institute and studied [Henri] Cartier-Bresson,” says Leibovitz, speaking from her home in upstate New York, where she has sat out the pandemic with her three young adult daughters. “It was all about reportage and photojournalism. Fashion really seemed like the low end of the spectrum.”

Eventually, she concedes, “I found my way with it. But I never would have thought I’d end up in fashion.”

Leibovitz’s new book, Wonderland, would suggest otherwise. A smaller, slimmer volume than her other works (“I really did want something you could rest on your lap,” she says wryly), it is a celebration of her fashion photography

Anna Wintour, Vogue editor-in-chief since 1988, wrote the foreword, saying that “nothing is unphotographable for Annie; no request is too outlandish, too bizarre, too hard.”