Growing up in France with an American mother, Goude had access to both cultures. This multi-nationalism helped shape his vision. His work often mixes a multitude of references and inspiration, rooted in both classical culture and pop culture alike.
He choreographed the 1989 celebration to mark the 200th anniversary of the French Revolution, for which he dreamed up hundreds of costumes and characters. The parade is a “best of” of his creative universe and shows his unbridled imagination.
Goude was once named “the best photographer in the world” by Andy Warhol. Like the Pop Art icon, he started his career as an illustrator and art director.
Marked by the work of George Lois for Esquire, Goude moved to New York to work for the magazine in the 70s. His design work there mixed photography and illustration, often with surrealist results.
You can see his background in his photographs as he uses his design skills to create truly original images. He often elongates and redraws the human body to obtain an idealized version of it.
For me, Goude poses the same question Helmut Newton does: yes, some images are cringe-worthy (or worse), but I also recognize them as coming from a different time and place. Goude and Newton were most active in the 70s and 80s, a moment of great creative and sexual freedom. Since then, AIDS dampened sex, and society started to reckon with the damage the (white) male gaze can create.
Perhaps naively, perhaps for nostalgia reasons, I’ll continue to love Goude for how creative and unique he is.
© Jean-Paul Goude
Disclaimer: Aurelie’s Gallery does not represent Jean-Paul Goude. My “Photographers I love” series is purely for inspiration and to encourage discussion.
