This summer, two exhibitions are dedicated to American photographer Annie Leibovitz. The first one, at the Mint Museum in Charlotte (North Carolina, USA), presents a compelling mix of new and rarely seen photographs alongside some of the most recognizable portraits in American culture. Leibovitz’s images feature a roster of artists, musicians, politicians, athletes, and other influential figures, presented in an engaging dual format, with prints on paper complemented by cutting-edge digital displays. From her early black-and-white work to her more recent, painterly conceptual portraits, the exhibition celebrates her 50-year career and showcases the breadth of her creativity.
The second one is happening at Hauser & Wirt gallery in Monaco and presents a group of works — landscapes, still lifes and portraits — made by the artist over the last two decades. The images tell stories shaped by time. But there are some photographs — Georgia O’Keeffe’s red hill, the portrait of Joan Didion in Central Park — that rhyme with photographs from other places, other times. They aren’t moored to the moment they were made.
On the occasion of these two events, Blind publishes a recently found and compelling interview with Annie Leibovitz conducted in 1984 by reporter Tod Mesirow for the Washington, D.C. local CBS affiliate and a weekly magazine show called Capital Edition.
Tod Mesirow: Are people nervous about being photographed by you now, since you’re so well known?
Annie Leibovitz: They might be nervous at first, but once we start working, that goes away. It’s like anything else—before you begin something, you might feel some anxiety. But lately, things have gone really well. Once we’re into the process, there’s really nothing to be nervous about.
So once the session starts, people relax because they’re engaged in it. Or is it more that you put them at ease?
I think it’s a little of both. We’re all just people, really. Maybe I do help them relax, but mostly it’s the nature of the work itself. You do it long enough, and they eventually get tired—and relax naturally.
So you kind of ‘break them down’?
I wouldn’t say that I break them down. Lately, I’ve had really great working relationships. For example, I shot Diane Keaton for the February cover of Vanity Fair. She actually requested me, so I knew it would go smoothly. We met beforehand and shared our ideas—I love working that way. She even made a list of concepts, and I had mine. Interestingly, she’d taken some photos of empty hotel rooms, and in those images, she seemed to be hiding—on the edge of the frame. At our meeting, the first word on her list was “hiding.” That’s exactly what I’d seen in her pictures. So the shoot became about solving that, creatively. There wasn’t time for anyone to feel nervous—it was very collaborative and deliberate.
How is that approach different from earlier work—like when you shot the Rolling Stones?
It’s not entirely different, but I’m much more open now to planning ideas together. It’s more like well-rehearsed theater. Back in the 1970s, I had ideas I’d spring on people at the last minute because I worried if I gave them time to think, they might say no. For example, I once had Arnold Schwarzenegger surprise Dolly Parton in the studio. If I’d told her the night before, she probably would’ve been uncomfortable—he wasn’t very well known then. But he showed up and charmed her, and it worked out.
Was her first reaction to Arnold something like, “No thanks”?
She was hesitant. I’d told her over the phone, and she said, “Well, I don’t know.” But today, I feel more secure working with people, planning things together. I just got back from shooting Jerry Hall in Rio for the March Vanity Fair cover. She had just released her memoir, Tall Tales, and Vanity Fair had bought the serialization rights. So it made sense for her to really go for something special on the cover. Again, we sat down and worked through ideas together.
Do you prefer this collaborative method to surprising people with musclemen?
(Laughs) It’s different, but I enjoy it now. I don’t feel like I’m losing anything—in fact, I might be gaining more. The better the plan, the more space there is for spontaneity and surprises.
So do you feel more attuned to recognizing those spontaneous moments when they happen?
Maybe. I think experience plays a big role—after doing this for 15 years, I’ve just gotten better at catching those moments.
What’s been your most fun shoot so far?
The one with Jerry Hall stands out. A few years ago, I might’ve been embarrassed—she’s such a pro, and I could hardly keep up. I used to worry about whether something was “art,” but now I just appreciate the experience. She’s like a photographer’s dream—she turns it on effortlessly. Working with someone who enjoys being photographed is amazing. It felt like I wasn’t even working. I’d shoot her for the next six months if I could.
Forget everyone else—just find more people like her?
It’s different. Spending a few days with Jerry Hall is not the same as working with someone like Robert Penn Warren. But both are valid, and I’ve learned to appreciate that. Each shoot has its own value for different reasons.
So even if the process is different, each photo has its own merit?
Yes. I’ve accepted that I’m a portrait photographer, and the job is about working with people—from all walks of life. That’s why I love working with Vanity Fair—it broadens the possibilities. The sky’s the limit.
Some people say you’ve “gone yuppie.” What is it like moving from Rolling Stone’s hippie image to Vanity Fair?
Honestly, I think Rolling Stone is more “yuppie” now than it used to be. It’s very established and set in its ways. After 13 years there, I wanted to focus more on my photography, not just solving Rolling Stone’s needs. I really enjoy figuring out what Vanity Fair is becoming. Tina Brown brings incredible energy—she wants the magazine to be alive. That underdog feeling really energizes me. The magazine had such a hyped launch, but when people wrote it off, we finally got the freedom to play and find our voice. I think you’ll be surprised by what’s coming.
Tina sounds cool. Is she fun to work with?
She’s great. She says “yes” to everything. If I say, “Let’s drive across the country to capture its feel,” she’ll say, “Go for it.” My first year with Vanity Fair was quiet—they didn’t use me much. But I needed the break after 13 years without a vacation.
So that creative freedom is important to you?
Definitely. Jann Wenner, at Rolling Stone, had a different style—more withholding. I developed my style there, but I was never sure how much he appreciated it. Now, I’m working with people who tell me they do—and I prefer that to the old love-hate thing.
You didn’t feel fully recognized at Rolling Stone?
Jann had his way of showing appreciation. Rolling Stone gave me my start—and in many ways, it shaped me.
Which of your recent shoots are favorites?
I really liked the ones with Sam Shepard and Greg Louganis.
The Louganis shot—was that taken underwater?
Yes. I tried underwater photography once before for a Life magazine poet series—it didn’t go well. This time, I used a proper Hollywood tank. Greg’s diving form is so beautiful. I wanted to capture that—not as a sports photographer, but to show his grace in a still image. Underwater, it became this elegant, almost balletic pose. It was an MGM tank, and I shot from outside—it looked like a giant fish tank.
Did you plan that ladder in the background?
Not exactly. It was just there, going into the tank, but I liked the look, so I kept it. We were also dealing with filtration and water color issues, so we added a magenta gel. It gave it an art nouveau feel.
What about Springsteen—have you photographed him before?
Yes, that image was an outtake from an album cover shoot. It matched the mood of his song “I’m on Fire.” I wanted to work with fire again.
It reminded me of your Patti Smith photo.
Exactly. No one remembers Patti’s shot, so I thought, let’s revisit it. They’re actually quite similar, so I plan to print them side by side.
Didn’t Springsteen write that Patti Smith song?
Yes—it was her hit. But the shoots were very different. Patti’s was more raw, poetic, tormented.
Was the Jeremy Irons photo taken in England?
Yes, in his garden. I’d shot him before for British Vogue. He loves the camera and is very aware of his image. There’s a bit of distance—something between him and the lens. I wanted to shoot him through a mirror, but we never found the right setup. Still, the picture we got says a lot about him.
You’re saying you’re more comfortable now just presenting people as they are?
Yes. I used to try to exaggerate aspects of someone to make them come across in a flat magazine layout. Now, I just try to present them honestly. Sometimes a small gesture, like how Redford sits, says everything. I really appreciate studio photography now—people come in and just offer themselves to the camera.
How did your recent exhibition come about?
It started in New York, then traveled around the country. I wanted to have a set of prints—a real body of work. The show will eventually be donated as a set to a museum. It’s been fun—like a rock tour. Every six weeks, I visit another city to see it.
Which photo has sold best?
The John and Yoko portrait. It has everything—history, form, romance, sex, even humor. It’s the best example of my work from that era. You don’t always know when you’re making something important, but that one still stands out.
Was the pose your idea?
Yes. I’d known John since 1970, and I’d been around the Dakota shooting for weeks. They’d just released Double Fantasy, and I was drawn to the romance of it. The pose itself came from my personal life—it’s how I used to sleep with someone. Originally, both were supposed to be nude, but Yoko kept her clothes on at the last second. That contrast—her clothed, him nude—made it stronger. John really wanted them both on the cover, so I knew we had to make it powerful.
Do you see cover photography differently from portrait work?
Absolutely. An album cover is a different problem. I often shoot from above—it’s about flattening the image, making it work graphically.
Like poetry—different forms with different rules?
Exactly. That’s what I did with the upcoming February and March Vanity Fair covers.
Who would you love to hear from, saying “great job”?
I’ve learned that it has to come from me. I don’t always believe praise from others, so I have to like it myself—and that’s the hardest part. But putting a show or a book together gives me the distance to appreciate my own work as a whole.
Are there photos you appreciate more now than when you took them?
Definitely. Right after a shoot, I tend not to like the images. I think of everything I could have done. That’s why I often shoot in series—it gives me time to refine the idea. I believe in reworking until there’s no excuse not to get something good—at least something in focus! (Laughs)
”Annie Leibovitz – Work” is on view at the Mint Museum in Charlotte, NC (USA) until August 31, 2025. “Annie Leibovitz – Stream of Consciousness” is on view at Hauser & Wirth Gallery in Monaco until September 27, 2025.
