Jim Lee | Willy/Midget 2/1968
Jim Lee
Willy/Midget 2/1968
C-Type Color Photograph
1968, printed later
Paper: 57 1/2 x 50 inches

Signed, titled, dated and editioned # 5/15 on print's recto and artist's label.

Jim Lee - Loli, Red Shoes
Jim Lee
Loli, Red Shoes
C-Type Color Photograph
2010
20 x 30 inches

Signed, titled, numbered (edition of 20), and dated on recto.

Jim Lee - On the Beach
Jim Lee
On the Beach
C-Type Color Photograph
1968, Printed Later
25 x 25 inches

Signed, titled, numbered 2/20, and dated on recto.

Jim Lee - Midget
Jim Lee
Midget
Silver Gelatin Photograph
1968, Printed Later
30 x 20 inches

Signed, titled, numbered 8/30, and dated on recto.

Jim Lee - Ossie Clark, Aeroplane
Jim Lee
Ossie Clark, Aeroplane
Silver Gelatin Photograph
1969, Printed Later
40 x 60 inches

Signed, titled, numbered 8/30, and dated on recto.

Jim Lee - Pyjamas, Brushing
Jim Lee
Pyjamas, Brushing
Silver Gelatin Photograph
1971, Printed Later
60 x 40 inches

Signed, titled, numbered 2/15, and dated on recto.

Jim Lee - Pyjamas, Shaving
Jim Lee
Pyjamas, Shaving
Silver Gelatin Photograph
1971, Printed Later
60 x 40 inches

Signed, titled, numbered 2/15, and dated on recto.

Jim Lee - Bikini, Beachy Head
Jim Lee
Bikini, Beachy Head
Silver Gelatin Photograph
1969, Printed Later
30 x 20 Inches

Signed, titled, numbered 23/30, and dated on recto.

Jim Lee - Moyra, Back
Jim Lee
Moyra, Back
Silver Gelatin Photograph
1972, Printed Later
30 x 20 Inches

Signed, titled, numbered 2/20, and dated on recto.

Jim Lee - Chaise Lounge
Jim Lee
Chaise Longue
C-Type Color Photograph
1971, Printed Later
20 x 30 Inches

Signed, titled, numbered 3/20, and dated on recto.

Jim Lee - Shimmering Light
Jim Lee
Shimmering Light
Silver Gelatin Photograph
1974, Printed Later
20 x 30 Inches

Signed, titled, numbered 2/20, and dated on recto.

Jim Lee - Bathers
Jim Lee
Bathers
C-Type Color Photograph
1976, Printed Later
40 x 60 Inches

Signed, titled, numbered 2/15, and dated on recto.

Jim Lee - Hat
Jim Lee
Hat
C-Type Color Photograph
1978, Printed Later
60 x 40 Inches

Signed, titled, numbered 2/15, and dated on recto.

Jim Lee - Divers, Rome
Jim Lee
Divers, Rome
C-Type Color Photograph
1976, Printed Later
40 x 60 Inches

Signed, titled, numbered 3/15, and dated on recto.

Jim Lee - Robot
Jim Lee
Robot
C-Type Color Photograph
2005, Printed Later
60 x 40 inches

Signed, titled, numbered 2/15, and dated on recto.

Jim Lee - Wishful Thinking
Jim Lee
Wishful Thinking
C-Type Color Photograph
2005, Printed Later
40 x 60 inches

Signed, titled, numbered 2/15, and dated on recto.

Jim Lee - Feather, Staircase
Jim Lee
Feather, Staircase
Silver Gelatin Photograph
2002, Printed Later
20 x 30 inches

Signed, titled, numbered 2/20, and dated on recto.

Jim Lee - Feather, Snatch
Jim Lee
Feather, Snatch
Silver Gelatin Photograph
2002, Printed Later
20 x 30 inches

Signed, titled, numbered 2/20, and dated on recto.

Jim Lee - Feather, Swipe
Jim Lee
Feather, Swipe
Silver Gelatin Photograph
2002, Printed Later
20 x 30 inches

Signed, titled, numbered 2/20, and dated on recto.

Jim Lee - Feather, Scent
Jim Lee
Feather, Scent
Silver Gelatin Photograph
2002, Printed Later
20 x 30 inches

Signed, titled, numbered 2/20, and dated on recto.

Jim Lee - Feather, Satisfied
Jim Lee
Feather, Satisfied
Silver Gelatin Photograph
2002, Printed Later
20 x 30 inches

Signed, titled, numbered 2/20, and dated on recto.

Jim Lee - Boxing, NY Win
Jim Lee
Boxing, NY Win
C-Type Color Photograph
1977, Printed Later
40 x 60 inches

Signed, titled, numbered 3/15, and dated on recto.

Having made himself a name with his fresh and theatrical take on fashion, Jim Lee is the “original wild child of fashion photography.” Lee’s stylish, theatrical photography is layered with strong narratives. He took photo shoots out of the rigid studios and placed them in a story context becoming a great pioneer of fashion photography who would change the course of the genre. The striking and sometimes controversial photographic style that centers on storytelling particularly meant complicated set-ups and ambitious outdoor productions creating dramatic results that “make you reach beyond the edges of the frame.”

For Jim Lee, storytelling was always at the heart of his work and his life. Lee was born in 1945 to parents who were both MI5 operatives marking a beginning to a life that followed anything but a conventional path. At the young age of 17 he decided to move to Australia where his interest and passion for photography sparked. His time in Australia was full of youthful adventure but, more importantly, it opened up a love for photography that allowed him full creative scope for his imagination. Back in Swinging London he began photographing bands such as The Who, The Beatles and The Rolling Stones. His portfolio and reputation grew and Lee became in demand as a fashion photographer working with personalities like the young Vogue editor-in-chief Anna Wintour and collaborating with such influential fashion designers as Yves Saint Laurent and Gianni Versace.

Lee was revolutionary in his time with his distinctly gritty, photojournalistic style, later developing into “a romantic soft-focus frenzy” as described by the photographer himself. He brought to the field of fashion and advertising photography strong, enchanting stories and narrative and therefore introduced a new form of visual expression, of which he became a pioneer. His photography often seems inspired by his own life, his narratives having a strong relationship with its own time, drawing to political events such as the Vietnam War or the Baader Meinhof events.

Today, Jim Lee is an established art photographer but still collaborates on many advertising and fashion projects such as covering fashion shows for celebrity designers Alexander McQueen and Zandra Rhodes. In the beginning of 2012 Lee’s work has been shown in London at Somerset House, to coincide with the launch of his biography Arrested published by Ammonite Press. In Spring 2013 it will be shown at the Multi Media Art Museum in Moscow and the National Art Museum of China in Bejing. Lee’s photographic work has not only been displayed world wide in galleries and museums but is also in the permanent collection of the Victoria & Albert Museum. Lee’s narrative-led, both surreal and filmic, and often risqué images create remarkably alive compositions begging the viewer to “reach beyond the frame.”

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