Il necrologio del New York Times su uno tra i maggiori interpreti del ritratto che il mondo abbia conosciuto.
Le foto di Bill Cunningham non solo hanno cambiato il mondo di immaginare la fotografia, ma hanno contribuito a definire uno stile che ha influenzato la società che fotografava.
Mr. Cunningham was such a singular presence in the city that, in 2009, he was designated a living landmark. And he was an easy one to spot, riding his bicycle through Midtown, where he did most of his field work: his bony-thin frame draped in his utilitarian blue French worker's jacket, khaki pants and black sneakers (he himself was no one's idea of a fashion plate), with his 35-millimeter camera slung around his neck, ever at the ready for the next fashion statement to come around the corner.
Nothing escaped his notice: not the fanny packs, not the Birkin bags, not the gingham shirts, not the fluorescent biker shorts.
In his nearly 40 years working for The Times, Mr. Cunningham snapped away at changing dress habits to chart the broader shift away from formality and toward something more diffuse and individualistic.
At the Pierre hotel on the East Side of Manhattan, he pointed his camera at tweed-wearing blue-blood New Yorkers with names like Rockefeller and Vanderbilt. Downtown, by the piers, he clicked away at crop-top-wearing Voguers. Up in Harlem, he jumped off his bicycle — he rode more than 30 over the years, replacing one after another as they were wrecked or stolen — for B-boys in low-slung jeans.
Il cinema racchiude in se molte altre arti; così come ha caratteristiche proprie della letteratura, ugualmente ha connotati propri del teatro, un aspetto filosofico e attributi improntati alla pittura, alla scultura, alla musica.