Herb Ritts a must-see at the Ringling Museum

Last year, I had my eye on this exhibit and have been eagerly waiting for it to open. I remember asking my editor, "Please, please, let me cover this one!" The morning came, and as always, the John and Mable Ringling Museum of Art had such a magic to it. Whenever I step onto the grounds or into the museum, something sweeps over me and I feel elevated by a sense of awe and inspiration. How fortunate are we, Sarasota? We know that. But the breathtaking grandeur of this astounding museum and the caliber of such exhibits envelop your spirit on so many levels. Even a friend of mine, who's followed Herb Ritts (1952-2002) for years, declared in envy, "We need this in Vegas!" Well, we have it here, Sarasota! It opened on Friday, Feb. 22 and you absolutely must see this one.

This exhibit was a personal one for me, as my father worked in the fashion industry, including with Vogue. Ritts' gorgeous, classic, black and white photographs had an impact on me while growing up and inform my work as a professional figurative artist and in fashion illustration. An L.A. native, Ritts stamped a look of new glamour and defined the popular culture of the '80s and '90s with clean lines and hard contrasts.

Paul Martineau, curator of the J. Paul Getty Museum, pointed out the portrayal of environment and texture of shots in the desert as well as water, and how that earthy nature shaped an "anti-glamour" behavior to his work. Ritts was influenced by classical sculpture, and in his photography a focus on the architecture of the body is key. Many of us know these images, even grew up with them, whether it's the fashion, the nudes or the countless iconic celebrity images in Vogue, Vanity Fair, Rolling Stone or videos. Ritts bridged the gap between commercial photography and fine art. Also, when you look at his photos you are struck with the body as beautiful. That's an L.A. feel to me, along with the gorgeous natural lighting and couture.

When surrounded by these images, I was suddenly struck with memories of being pulled in, encouraging a greater appreciation of his artistry. To hear the personal stories from those who knew him and worked with him before his passing in 2002 was rather bittersweet. They communicated an intimacy with and trust in their friend. I could faintly sense "I miss him" in the voices in the audio tour, especially from his dear friend Richard Gere. Ritts was mostly self-taught, and while the two of them were just playing around taking photos, what resulted was something at which the world would marvel for decades. There are countless photos of Madonna, as she really championed him and even talked him into shooting film and videos. Videos of his include Madonna's "Cherish,"  Chris Isaak's "Wicked Games" and Janet Jackson's "Love Will Never Do Without You."

The first image to which I darted directly was Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989.

Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989

Gelatin silver print

Image: 46.8 x 50.3 cm (18 7/16 x 19 13/16 in.)

Sheet: 50.5 x 58.4 cm (19 7/8 x 23 in.)

Mount: 54.4 x 62.2 cm (21 7/16 x 24 1/2 in.)

Framed [outer dim]: 76.2 x 86.4 cm (30 x 34 in.)

The J. Paul Getty Museum, Los Angeles, Gift of Herb Ritts Foundation, 2011.18.28

© Herb Ritts Foundation

As a young woman, of course I called them by their first names. Many of us still do. It was the era of the great supermodel, of great music videos and glam. We clipped their images, held onto our Vogue covers and would gasp at their beauty on each month's issue. Ritts embodied timeless beauty through his lens with his love for being an L.A. native and the  raw appeal of Southern California. Hefty contrasts and bold shapes of the body elevated it and never allowed the seamless grace in line to be lost. The simplicity screams a powerful dynamic, and though it's said he worked simply in his approach, you must examine the photo closer. Detail and precision are masterful in capturing the shadow just right in a collarbone, or how the light swims from a knee to the toe. Conveyed here is also a trust and intimacy, shot in his own home in quite a cramped space. Cindy Crawford noted in the audio that he was a friend who welcomed that ease. Very rarely would this occur with other photographers. She also described how Ritts allowed "models to be models" while working with him on shoots. They could freely explore on their end in front of the camera, creating a dance or union that produced magical spontaneity.

Cindy Crawford, Ferre 3, Malibu, 1993

Gelatin silver print

Image: 35.6 x 27.9 cm (14 x 11 in.)

Framed: 55.9 x 45.7 cm (22 x 18 in.)

The J. Paul Getty Museum, Los Angeles, Gift of Herb Ritts Foundation, 2011.18.6

© Herb Ritts Foundation

In Cindy Crawford, Ferre 3, Malibu, 1993, something so striking occurs. I love the darting energy from a jutted elbow, to the tilt of her neck suggesting a playful prance about to begin. A timeless and elegant display of balance formulates between the billowy fill of the black dress framing the sturdy power in the exquisite line of her leg. The dynamic visual language in his work is profoundly displayed in Versace Dress, Back View, El Mirage, 1990. Again, the line is so crisp and the sharp contrast evokes such power in the simplicity, but the details of lighting and shadow to capture this are masterful. It's an example of the most stunning fine art photography.

Versace Dress, Back View, El Mirage, 1990

Gelatin silver print

Image: 61 x 50.8 cm (24 x 20 in.)

Framed: 76.2 x 63.5 cm (30 x 25 in.)

The J. Paul Getty Museum, Los Angeles, Gift of Herb Ritts Foundation, 2012.23.22

© Herb Ritts Foundation

Going back to each photo, I sought clues in how they were achieved, and I was left speechless in wonder of this punch of glorious beauty. Every image in the space demands you to stop thinking about it or "figure it out," and just experience it. I came back to each one with the same refreshing gasps as I did the first time I laid eyes on it. That's the timeless beauty of Ritts.

Recently, I had the pleasure to meet Mitchell Stone, who worked with Ritts on a couple of shoots. Mitch has worked as a hair stylist in the industry of film, TV and editorial for many years. His celebrity clientele list includes Kim Basinger, Jennifer Lopez, Helena Bonham Carter and so many more. His editorial work has appeared in Elle, Vanity Fair, InStyle, Rolling Stone and Vogue. He established himself among the fashion elite of New York City, where he was hired for fashion shoots with prestigious photographers, including Ritts. I was curious to know a bit more about Ritts as the man behind the camera whom so many dearly loved.

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Robin Punsalan: How did you come to work with Herb Ritts? What shoots did you work on with him?

Mitch Stone: My mentor, Max Pinnell, recommended me! I assisted him on a lot of great Herb Ritts shoots. Then I got my own shot with Calvin Klein and Antonio Sabato and others.

RP: What was it like working with him?

MS: Amazing! Herb was the ultimate pro. He would give hair and makeup all morning then we wouldn't start shooting until after lunch. It was like flying first class versus economy on every shoot.

RP: Any fun or cool memories that stick out most?

MS: Herb's birthday parties were legendary. I was the only non-famous person in the room! My favorite memory was dancing with this sexy brunette girl. She was an amazing dancer, and quite petite. Halfway through the song, I realized it was Madonna with brown hair. I almost had a heart attack.

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Mitch might have suffered a heart attack if he saw the shape my hair was in while writing this. Here's a great video on the exhibit with wonderful recollections included.

The collection is so immense that it calls for me to attend this exhibit a second or third time. It's inspired me so much that I couldn't wait to get home, pull out the paints and work on some fashion pieces. There was that same thrill I had as a young girl who was enchanted by his images and desired to paint something beautiful. I strongly suggest you attend this exhibit to see the photos in person, as online images just don't do them justice. The exhibit runs through May 19. You may also enjoy the following Gallery Walk & Talks: “Herb Ritts: The Body as Object," on March 21 at 6 p.m.; and “Herb Ritts: A Distinctive Sense of Style, “ on April 25 at 6 p.m. More info at www.ringling.org.