Analysis Of Annie Leibovitz's 'Vanity Fair'

The year 1983; it was a huge risk for the famous rock photographer to move to a glossy mainstream magazine, Vanity Fair. During her 13 years tenure at the Rolling Stone her work interfered with her extensive drug use; she had overdosed twice and was rumored to have hawked her photograph equipment to pay for cocaine. After some time in rehabilitation, clear and good, Annie was ready to start a new chapter in her career. The timing was right; Annie became the first magazine’s chief photographer. Vanity Fair envisioned Leibovitz as a continuation of grand tradition of portraiture and also gave her full artistic freedom. Unlike Rolling Stone budgets at Vanity Fair were not a problem, and Leibovitz could be more experimental. Her portraiture work transitioned from simple black and white images to extravagant, rich color staged production full of drama.
In 1987, Annie Leibovitz captured the Pop and graffiti artist Keith Haring naked and squatting on top of a coffee table with a surprised expression of his face; his entire body was painted, camouflaging him against the mural he painted (on the Salvation Army furniture and walls of the room). Haring’s boldness and oneness with his work are made literal. The image also marks the beginning of Leibovitz’s transition to the more concept
They were partners in every sense. The intellectual writer was 16 years older than pop culture photographer, but the two complement each other’s strengths; Susan Sontag, a celebrated critic of media and photography, introduced new dimension to Leibovitz’s work, while Leibovitz introduced Sontag to the world of celebrity. Annie admired Sontag despite the fact that she was interested in her work, but criticized it. Sontag could be tough on her at times, but Leibovitz attributes Sontag with helping her discover and seriousness and intellect in her