2024 Sculpture Tour
By Admin in Photography
June 10, 2024
Lead ImagePrada Archive 1998-2002 Photography by Norbert Schoerner
German photographer Norbert Schoerner’s lucid campaigns for Prada between 1998 and 2002 set the tone for fashion at the turn of the millennium, with his hyperreal, sharp-cut imagery of models like Angela Lindvall. If the iconic images have been perpetuated by moodboard-esque social media accounts, it’s taken the photographer ten years to feel comfortable personally revisiting the images – which he has now done, in the new, Idea-published book Prada Archive 1998-2002. “Prada was a complex and particular time for me – my gut instinct was really not feeling it,” he recalls, “but when I met Idea, I felt very much in safe hands with them. I was happy to hand the baton over.”
Bucking the traditional coffee book format, as Schoerner felt that “the sort of classic approach didn’t suit my work very much”, he worked with Idea and Jonny Lu Studio to innovate a unique hole-punched layout with scaled foldouts, all housed in an archival folder. “You have a true archive publication,” he explains of the design, which can incorporate future editions of the publication as “a sort of permanent work-in-progress.”
To mark the release of Prada Archive 1998-2002, we caught up with Norbert Schoerner to hear how, in his own words, the cutting-edge publication came to life.
“I’ve always liked Idea. I bought a book from them – a Japanese book about Miles Davis and his outfits. I get this email from Angela [Hill], saying ‘Hey Norbert, it’s Angela. Do you remember we used hang out in the 90s on Portobello Road?’ I hadn’t made the connection! I popped by for a coffee, we had a really good conversation, and then she said, ‘We’d be interested in doing a Prada book.’

“The idea had been put to me a couple of times, ten or so years ago, but it didn’t really feel right. I always have issues with getting too lost in my archive because part of my creative momentum comes from looking forward and attempting new things. Everybody is different, but for me, one thing that has kept me going for 35 years is that I live in hope that I’ll get better.
“But I really liked the Idea approach. I like the fact that they are not a conventional publisher. They’re coming from a collector’s book store background, and I think that gives them a totally different sensibility. Also, to be honest, I liked the speed. Because we decided in late November that we were going to do it and we did it. I ended up with such an amazing team – I get along really well with Idea and also Jonny Lu and his wonderful team. It was a very fulfilling process and I felt quite protected.
“Prada was always complex for me – a very particular time and process. It was special as it felt very personal and very direct because there was there was no agency involved. I had known the art director, David James, for a long time before. It was often very, very small meetings – maybe five people sitting around the table discussing ideas.

“Miuccia [Prada] wanted a loyalty from us. We would help her find our own vision. That’s a very intense relationship but it’s been an absolute privilege to have worked with her – although the relationship never ended. Just two and a half years ago, she got me back on board to shoot more campaigns, and when I came back, almost half the people were still there. It’s a special kind of loyalty.
“Her approach isn’t just intellectual – she likes storytelling. But one season, she wasn’t sure what the narrative environment could be for the collection. There was a certain lack of connection. We were shooting for 16 days, and we kept changing the concept. And then on day 16, Miuccia suddenly had an epiphany. There were one or two things she really liked, and so we reshot the whole campaign in two days. It was an 18-day shoot, basically. But it was not a power game, because you realise that she’s also figuring things out at the same time.
“There was one picture from Autumn/Winter 1998 that is in the book – a shoe shot. It’s one of my favourite shots. We built a set of felt cushions and it was two o’clock in the morning – Angela [Lindvall] had basically fallen asleep. And then the shoe came off her foot and it looked so beautiful. It’s also one of Miuccia’s favourite pictures.
“Miuccia [Prada] wanted a loyalty from us. We would help her find our own vision” – Norbert Schoerner
“In the first conversations with Jonny [Lu], we were discussing the broader context in which the book could come into existence. Glen [Luchford] had his book two and a half years before me. It’s a substantial, beautiful coffee table book. But I don’t think that traditional approach suits me, so I said to Jonny, ‘I want to do the kind of book that wedges up the coffee table!’ The binder holes are essential as, further down the line, we are working on making another edition of expanded content with extra material like the lighting diagrams or the Polaroids. We also made the decision to have no essay, no text – we wanted the book to speak for itself.
“I really liked how they cropped the photos. It’s almost a meditation on the details. It’s a younger generation [who edited the book] and they’ve grown up looking at my images in a very different way. It also reminds me of the way I used to work, because obviously everything was shot on film. And when editing, you’d enlarge the photograph and just work on a section. At one, two o’clock in the morning when you are so tired, it became kind of hypnotic. So it’s sort of a remix, changing the rhythm. Like we have a section in the beginning where we sort of just cropped into Angela’s hands so it’s all about hands. I love hands anyway – they tell a great language.

“What we have achieved didn’t really hit me until I held the book in my hand. Haptically it was beautiful, but a friend of mine messaged asking, ‘How does it smell?’ It didn’t have that distinctive ink smell that a book often has. It smelt more like a garden, in a strange way – organic, like the project itself. But there’s something about ink on paper … you know? It’s a beautiful thing.”
Prada Archive 1998-2002 by Norbert Schoerner is published by IDEA, and is out now. The first release is sold out, but additional copies will be available through global retailers in the upcoming weeks. Contact IDEA for a full list of stockists.
By Admin in Photography
“I feel that I and the camera are inseparable. Wherever I go, it must be.”
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By Admin in Photography
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By Admin in Photography

Daniella Bergonzi, whose talents shine brightly in the world of poetry and photography, has overcome challenges to capture photos with a unique perspective. She is the latest winner of the Lions Club Photography Award.
Despite the hurdles posed by her autism, Daniella’s artistic prowess shines through. Her photography was honored with the Lions Club award, and her poems were selected for the Key Biscayne Poetry Picnic.
Through her art, Daniella offers a truly unique and inspiring perspective on life.
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By Admin in Photography

LA GRANDE — A fully equipped photo studio is being made available for area photographers to rent by the hour or day to conduct photography sessions with their own clients.
Studio Slate owner Abby Stonebreaker is marketing the idea of photo studio-sharing to area photographers and creators. The concept is simple. Stonebreaker provides a fully equipped photo studio with backdrops and props, then leases it out to trusted photographers who don’t have a studio of their own in which to conduct their business.
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By Admin in Photography

The Old Church hosted an art exhibition from photographer Sean McKernan on May 27, 28 and 29.
McKernan has traveled to Leadville previously to see the Irish Miners Memorial. He said that he was presenting his gallery in Denver, and because of his previous connection, he was asked to present in Leadville as well.
McKernan was born in Belfast, Northern Ireland and is still based there today. His photo gallery begins when he was a young man in the early 1980s. McKernan grew up in the middle of a decades-long conflict in Northern Ireland called The Troubles, during which various groups resisted the rule of the British government whether through politics, protest or military action. The people of Northern Ireland often found themselves in the crossfire of the conflict.
As a young man, McKernan decided to use his photography to give himself a voice and to document what was happening around him. He took photos throughout the years of the conflict that depict funerals, bombings, protests and military occupation. However, many also depict the normal day-today activities happening right alongside the conditions of war.
The Troubles ended in 1998 with the Good Friday Agreement. McKernan said that while things are still not perfect in Northern Ireland, they are much better, and he hopes that his photo gallery shows a success story.
“It can be a powerful tool, the use of photography, as a medium for people to look for reconciliation, look at what they’ve got in common and see how they can work positively together,” McKernan said.
“Peace is still evolving and I think people should always have an appreciation and understanding of their history. If people don’t continuously look at their history, they are more likely to create problems in the future.”
By Admin in Photography

Exactly 40 years after embarking on a storied career with the Central Park Conservancy, Sara Cedar Miller, the organization’s former official photographer and historian emerita, will be retiring this month.
“It has never been an ordinary job—because, of course, the Park is extraordinary,” Miller said. She first came to the Central Park Conservancy, the nonprofit responsible for all aspects of the Park’s care and maintenance, in 1984 when a friend told her about a job opening for a photographer. In the decades since, she’s photographed practically every area of Central Park.
“From photographing fundraising events, the problems in the Park, the successes of the Conservancy, the staff working, the beautiful landscapes, construction sites—you name it, and I did it,” she explained. “No two days have ever been exactly alike.”
Miller’s images of the Park have been critical to communicating the Central Park Conservancy’s mission and goals to the wider New York City community. She said that her before-and-after photos of the Park’s landscapes were especially powerful in garnering support for the Conservancy in its early years.


Five years into her career as the Conservancy’s photographer, she took on an additional role as Central Park historian. In this role, Miller has spent countless hours researching different areas of Central Park, educating visitors, and leading tours, which she calls her “favorite thing to do.”
“There’s so much to see that people just walk by and never notice,” she explained. “Almost every inch of it offers something interesting to learn.”
During this interview, which took place in Central Park, she pointed out several unique features of the landscape, such as the lamppost numbering system, which can be used to determine where you are in the Park, and the thoughtful design of the benches along the Concert Ground, which are in place partially to protect the American elm tree islands that face the Bandshell.

As a tour guide, she often answered the query, “What was this place before it was Central Park?” This question led her to write her most recent book, Before Central Park. The book chronicles the many people who lived or worked on the land before it became Central Park, from Indigenous hunters to Dutch settlers to Black landowners in Seneca Village.
“I knew Seneca Village was going to be a big part of my research because people actually lived there,” Miller explained. “The book winds up being a lot about real estate, because it turns out the history of New York City is about real estate,” she laughed. “I was able to do the research, read every deed, and understand things about Seneca Village that were previously unknown.”
In addition to Before Central Park, Miller is also the author of three other books which draw on her intimate knowledge of the Park: Central Park, An American Masterpiece: A Comprehensive History of the Nation’s First Urban Park; Seeing Central Park: The Official Guide to the World’s Greatest Urban Park; and Strawberry Fields: Central Park’s Memorial to John Lennon.

Miller’s impact on the Park and the Central Park Conservancy is palpable. “Working with Sara these past six years has been an honor,” shared Central Park Conservancy President & CEO Betsy Smith. “When I first started at the Conservancy as president, Sara’s kindness and generosity made all the difference. She has unstintingly shared her tremendous wealth of knowledge about both Central Park and the Conservancy with scores of staff members and visitors over the last four decades, and in doing so has been instrumental in establishing our unique expertise and reputation. Sara’s enthusiasm for the Park and her love of the Conservancy is a legacy that will enlighten generations to come. We are so grateful for her decades of loyalty; she will be greatly missed.”
While Miller is excited for the upcoming projects she’ll be turning her attention to, it’s clear that there will never be a time quite like this one. “It was a magical period in the Park’s history,” she said. “The Conservancy was successfully restoring the Park to its former glory and proved it was no longer an impossible dream.”
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