Whether as Major Tom, Ziggy Stardust, or Aladdin Sane, we all have a favorite Bowie era. One of the most chameleonic and unclassifiable artists in the music industry, David Bowie (Brixton.1947-2016) was one of the most influential creators in history. His ability to adapt and understand his youth allowed each change to be accompanied by a complex metamorphosis (both aesthetic and musical) that few artists have managed to achieve. If there was one negative thing to say about Bowie as an artist, it would be how difficult it was to keep up with him.

One of the few who succeeded was the British Duffy. Brian Duffy (London, 1933-2010) formed, together with David Bailey and Terence Donovan, part of the Black Trinity or, in other words, the photographers who defined the ‘Swinging Sixties’ in the 60s. Bowie and Duffy shared a creative ambition overflowing and together they gave shape and light to the cover of the album ‘Aladdin Sane’ in 1973. On the occasion of the commemoration of the 50th anniversary of the release of the sixth album in the career of the British artist, the College of Architects of Madrid (COAM) hosts the Bowie taken by Duffy exhibition, showcasing the unique tandem they formed together.

The show features more than 160 objects from the original collection from the Dyffy archive, where several pieces will see the light of day for the first time. Along with the exhibition, the publication of Aladdin Sane: 50 years, the book published by Chris Duffy, Brian’s youngest son, is presented. A tribute to ‘The Mona Lisa of Pop’, a title chosen by Chris for the photographs that make up the cover of the book and which were discarded for the cover at the time. “Who could have imagined that, by the time Duffy fired the shutter of his Hasselblad, in early 1973, one of these images would become a cultural icon,” Chris himself writes in the foreword.

“I think Chris decided to title it that way for two reasons. The first is obvious, and that is that we cannot deny that it is one of the most famous portraits of all time. But also because it resembles Da Vinci’s great enigma: we are those of us who have to decide if he’s sad or happy,” says Nick Pegg, British expert and author of the best-selling Bowie biographies series, with whom the The Reading team has had the opportunity to speak.

Geoff Marsh, curator of the David Bowie Is exhibition, acknowledges Bowie’s value in choosing that photo: “It could have gone very wrong for him. They were times when homosexuality was persecuted and it was a reason for shame. Showing an image where it is not known if it is a man or is it a woman, it was very risky”.

Carlton Books, 256 pages. First cover 50 €

You can get the book here.

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