Bio









Quote by Richard Avedon from the NY Times article by Amy M. Spindler

“Mr. LaChapelle is certain to influence the work of a new generation of photographers in the same way that Mr. Avedon pioneered so much of what is familiar today.”

"Mr. Avedon said that 'of all the photographers inventing surreal images, it was Mr. LaChapelle who has the potential to be the genre's Magritte.'"

-The New York Times

Quote by Helmut Newton from the NY Times article by Cathy Horyn

"He isn't very impressed by current photography. ‘There's a lot of pornographic pictures taken by the young today,’... He frowned. ‘A lot of the nudity is just gratuitous. But someone who makes me laugh is David LaChapelle. I think he's very bright, very funny, and good.’”
- The New York Times



David LaChapelle is known internationally for his exceptional talent in combining a unique hyper-realistic aesthetic with profound social messages.

LaChapelle’s photography career began in the 1980’s when he began showing his artwork in New York City galleries. His work caught the eye of Andy Warhol, who offered him his first job as a photographer at Interview Magazine. His photographs of celebrities in Interview garnered positive attention, and before long he was shooting for a variety of top editorial publications and creating some of the most memorable advertising campaigns of his generation.

LaChapelle’s striking images have graced the covers and pages of Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D, and he has photographed some of the most recognizable faces on the planet, including Tupac Shakur, Madonna, Eminem, Andy Warhol, Philip Johnson, Lance Armstrong, Pamela Anderson, Lil’ Kim, Uma Thurman, Elizabeth Taylor, David Beckham, Jeff Koons, Leonardo DiCaprio, Hillary Clinton, Muhammad Ali, Britney Spears, Amanda Lepore, Katy Perry and Lady Gaga, to name a few. After establishing himself as a fixture in contemporary photography, LaChapelle decided to branch out and direct music videos, live theatrical events, and documentary films. His directing credits include music videos for artists such as Christina Aguilera, Moby, Jennifer Lopez, Amy Winehouse, Britney Spears, and No Doubt. His stage work includes Elton John’s The Red Piano and the Caesar’s Palace spectacular he designed and directed in 2004. His burgeoning interest in film led him to make the short documentary Krumped, an award-winner at Sundance from which he developed RIZE, the feature film acquired for worldwide distribution by Lion’s Gate Films. The film was released theatrically in the US and in 17 different countries in the summer of 2005 to huge critical acclaim, and was chosen to open the 2005 Tribeca Film Festival in New York City.

Review excerpts from RIZE:

"This movie is, among other things, a celebration..."
-New York Times

"David LaChapelle's RIZE is a visual miracle; an unexpected knockout as social history. An important film."
-Rolling Stone

"Spectacular!"
-The Wall Street Journal

“Eye-popping visuals and an appreciation of social complexities combine for an entirely satisfying experience that will bring audiences out of their seats in a good way.”
-Variety

"LaChapelle reveals he has the documentary filmmaker's gift for charting the evolution of a new form of artistic expression as a way of illuminating an entire world... a moving documentary."
-Los Angeles Times

“It's also the most infectiously energetic and inspiring doc I've seen in years.”
-The Village Voice

In 2006, LaChapelle decided to minimize his participation in commercial photography, and return to his roots by focusing on fine art photography. Since then, he has been the subject of exhibitions in both commercial galleries and leading public institutions around the world. He has had record breaking solo museum exhibitions at the Barbican Museum, London, Palazzo Reale, Milan, Museo del Antiguo Colegio de San Ildefonso, Mexico City, the Musee de La Monnaie, Paris, the Museum of Contemporary Art in Taipei, Taiwan. In 2011, he had a major exhibition of new work at The Lever House, New York and retrospectives at the Museo Arte Contemporáneo de Puerto Rico, the Hangaram Design Museum in Seoul, Galerie Rudolfinum in Prague, Fotografiska Museet in Stolkholm, and the Tel Aviv Museum of Art in Israel, in which he was awarded artist of the year. In 2014, LaChapelle exhibited his new series, “Land Scape” in New York, Vienna, London and Paris.

Other selected museum exhibitions include: the National Portrait Gallery in Washington D.C., the Los Angeles County Museum of Art, the National Museum in Krakow, the Kestner-Gesellschaft in Hanover, Germany, the Lucca Center of Contemporary Art Museum in Italy, the Shanghai Duolun Museum of Modern Art, the Museum of Contemporary Canadian Art in Toronto, and the Kunsthaus Wien in Vienna.

Over the course of his 30+ year career, LaChapelle continues to be inspired by everything from art history to street culture, from the metaphysical to immortality, projecting an image of twenty-first century pop culture through his work that is both loving and critical. Always aware of larger social implications, LaChapelle’s work transcends the material world. He is quite simply the only photographic artist working today who has been able to successfully maintain a profound impact in the realm of celebrity photography as well as the notoriously discerning contemporary art intelligentsia.

David LaChapelle is sponsored by PHASEONE


Critical Essay
Post on Pop
Nili Goren, Curator, Tel Aviv Museum
David LaChapelle is known internationally and in Israel as a photographer, a director of documentaries, and a video artist whose colorful, smooth and extroverted style is filled with sensuality, fantasy, and dark adventure, packed with accessible popular images, and communicates with a wide and variegated audience. His images have appeared on the covers of scores of leading fashion and entertainment magazines, and LaChapelle himself has played a pivotal role in the promotion of prestigious brands, such as Diesel, Nokia, Tommy Hilfiger, etc. He has photographed hundreds of celebrities, always depicted provocatively, usually in full or partial nudity.

Albeit daring, the nudity in these photographs does not result from him being trigger-happy, nor from an attempt to surprise and shock. Even in his commercial photographs, LaChapelle combines criticism of the marketing method whose objects are all those taking part in its constitution, including the target audience (of both the marketed product and the photograph as an object), and even the photographer himself as the one who creates the bait of the sales scheme.

When he photographed rapper Lil Kim for the Louis Vuitton campaign, the company logos were imprinted from head to toe on the dark skin of her naked body as a stamp. In this manner he created a sales-promoting attraction while, at the same time, placing the singer, himself, and the public of viewers and potential buyers as part of the array responsible for commodification of the female body. The "brand-name rush," the pursuit of fashionable designer items, the obsessive manicuring of the body in an attempt to resemble the figures on the catwalk or in the Oscars ceremony—all these rituals, as means to acquire a social status, make for the body's transformation into a label, and the conversion of the human figure into advertising space.

LaChapelle does not sanctify the erotic facet in order to satisfy the voyeuristic urge or the curiosity of an audience of viewers and fans; he prefers to celebrate the freedom to use it precisely in order to liberate the representation of the body, primarily the female body, from the pornographic context, from erroneous interpretation, and from the inevitable association of nakedness with sin, or the mechanical association of passion and lust with sexual gratification, abuse, and humiliation.

LaChapelle's first exhibition in Israel, at Tel Aviv Museum of Art, contains very little nudity, which is not intended to promote sales, but rather to convey an idea. The show features only a few traces of LaChapelle's familiar body of work and the Hollywood icons.

Exceptional in this context are three monumental photographs of Michael Jackson, two of them conduct an explicit dialogue with death: one portrays the singer collapsed in the arms of another man, who takes the place of Mary in the Pietà pose; the other portrays Jackson as the Archangel Michael defeating Satan. LaChapelle distances Jackson's controversial personality far from the juicy gossip and horror estates in three images which shift the discussion of the legend—that accompanied the singer's intricate biography and continues the mystery around the story of his death—into a new, religious context.

Most of the photographed subjects in the exhibition are neither actors, singers, or major glamorous figures, but rather models whose very anonymity makes for a criticism devoid of gossipy preaching, of ascription to a specific figure or episode; criticism directed at a social moral content which converses with life and the art world.

To some extent, LaChapelle is considered an outsider in the art world and in the world of commercial photography alike. He tends to add subversive ideas and unusual aspects to the marketed product. In an advertising campaign for coffee, for example, he chose to emphasize the fact that it is a stimulant, and alluded to the fetishistic dimension inherent in the coffee ritual, complete with the pompous jargon associated with it, which he compared to the pompous ritualism of sadomasochistic rituals.

LaChapelle is an exceptional practitioner in the field of advertising, among other reasons, since he frequently incorporates in his works metaphors with a moral, religious motifs, and familiar elements from works by the great masters, from the Middle Ages to the present.

Such references are foreign to the world of magazine advertising and the clean and alienated high-gloss language characterizing the genre. In the critical-cultural discourse typifying the contemporary art world, and especially contemporary photography, on the other hand, there is avoidance, nearly to the point of loathing, of the use of canonical references and their direct interpretation as an allegory for existential values.

LaChapelle performs an iconoclastic act in the critical discourse.

He avoids academic understatement and educated insertion of cynical preaching into ideological discussions of contemporary theory. At the same time, he does not flaunt his clear preference for mundane language rife with hackneyed symbols and cliché images; instead he simply uses it with rich and piercing, stylized creative freedom. He stages wild scenes and dark adventure stories, replete with images and events, arranged in one-shot across the entire frame, some of them requiring more than one viewing to grasp fully.

LaChapelle's work is interspersed with humor, at times even irony, but it is entirely devoid of cynicism. The Crash works are all but meant to be a cynical comment on the flux of catastrophes passing before our eyes in shocking news images to which we have become so accustomed; nor are they oriented toward perversion and dark passions as we know them, for example, from James Ballard's eponymous novel or from David Cronenberg's film by the same title based on it.

LaChapelle's crashes address an economic crash, the collapse inherent in the sanctified capitalistic ideal, and therefore they are accompanied by pathos-filled titles originating in slogans from the marketing campaigns of the depicted cars (The Crash: Boundless Freedom, 2008; The Crash: Intelligent Decadence, 2008; The Crash: Enhanced Performance, 2008).

The same applies to the banknotes (Negative Currency: 100 Shekel as a Negative, 2010). These are not replicated in series, like Andy Warhol's dollar bills from 1962, and although, similarly to early Pop, their very appearance in the photograph conceals a criticism of the values celebrated by affluent society, the approach to the object in his work is fundamentally different with regard to the art world and its products, as well as to consumerist society and its commodities.

In the presented bill, in contradistinction to Warhol's endless replication of dollars, the intention is neither to exhaust the eye, nor to indicate the lack of a focal point in the work or the limitations of the printing technique as opposed to the well-oiled and exact capital mechanism.

LaChapelle uses the banknotes themselves as the negative in the enlarger, allowing one to discern in the print details which, ordinarily—namely in ordinary use—remain invisible.

The two sides of the banknote appear together and in reversal colors at the final print thus associate with art's intricate age-old confrontation of the paradox of two-dimensional representation of a reality which has volume.

A discussion that took a significant turn in post-Impressionism and in Cubism after Cézanne, as the painterly surface was opened to concurrent presentation of several perspectives, through fragmentary and holographic panoramic photography, to 3D cinema and state-of-the-art virtual reality systems.

The two dimensions are superimposed into a single photograph, in fact opting for the traditional option of multiple exposures and their printing into a single photograph, a process which distorts the conveyed data, yet generates a new occurrence transpiring almost only on the plane of the work. In the case of the banknote, the simultaneous manifestation of front and back is familiar from the gesture common among merchants and sellers, who hold the note against the light to reaffirm its originality by means of transparency and the water marks imprinted in it.

In the context of authenticity and commercialization of art works, in his spectacular banknote photographs the artist furnishes us—consciously and in carefully-controlled dosage—with arguments and food for thought in the futile debate among art lovers regarding the commercial apparatus and the pricing and evaluation methods in the art market.

The series of banknotes embodies the answer to a range of superfluous questions, such as regarding the price of the work and the value of the note documented in it.

Hence it projects various peculiar comparisons between Picasso's broken portraits or the color drippings in Jackson Pollock's action paintings and the early scribbling of any child. The banknote assumes a new appearance which calls for profound perusal of the work's details, and therefore also close acquaintance with the original—the note which passes hands, folded in one's wallet or stuck in the pocket—which embodies purchasing power, a source of gratification, dispute and quarrels, economic power, "current money with the merchant," as it is called in Genesis (23:16), when Abraham purchased the Cave of Machpelah.

Double-Take
The negation of the subject, announced in post-modernism as the "death of the author," was already apparent in Pop with the transition from the concept of the author to that of the artist who operates within society, documenting and gathering existing images, and generating a collective subject of sorts.

Thereby early Pop succeeded, despite its relinquishment of the single subject, to continue formulating basic feelings and sentiments, such as love, despair, and hope, which culminated in Roy Lichtenstein's comics works. On the other hand, Warhol's doctrine represented total renunciation of the emotional disposition accompanying the private or collective subject. The artist became a social historian, who documents and replicates images as cultural products.

This inclination culminated with Warhol's alienated, cold, and technical treatment of death and disaster. The critics, for the most part, maintained that even death can be transformed into an emotionless image in a society inundated with images and information.

According to post-modernist criticism, and mainly Jean Baudrillard's theory of the simulacrum, the affinity between signs and their origins in reality weakens, and sometimes is even eliminated altogether; reality is replaced by a set of images and imitations, sometimes entirely devoid of origin.

A flux of information rife with recurring images and ideas, that do not provide a clear notion regarding the state of affairs or events in the world; rather, they form a text, subject to interpretation, which serves as basis for the production of additional texts. The eye adapts itself to the dizzying whirl of the flickering images, as radical as they may be, and the mind becomes accustomed to their subversiveness.

Television, internet, outdoor advertising from monumental street screens to the tiny screen on a cellular phone, reality TV shows and virtual reality—all these have liberated the image from certain limitations, technical, ethical or institutional, while at the same time sentencing it, obviously, to mediocrity resulting from the inability to shock in content or appearance. Back in the 1990s this freedom lost its power as a liberating view, art withdrew from its clinging to the simulacrum, to the non-graspable, to the constant flickering of images without hierarchy and of myriad realities elusively oscillating between the imaginary and the real; a tendency of return to the corporeal, to engagement with the human and social, with the politics of states and citizens, and not only that of representation and signifiers, became apparent.

LaChapelle grew up in an artistic setting which fully exploited the freedom of visual expression and the breaching of the boundaries of morality and censorship. At the same time, his approach does not quarrel with the numbness to which the liberty of the image has led. Instead it turns to the freedom of metaphor. LaChapelle strives to return the audience, the individuals in society, from their status as signifiers or as elements in the semiotic discourse, to their human existence, as active partners in the discourse, rather than the subjects discussed in it.

LaChapelle combines religious narratives in his work, which, throughout history, have been introduced into art by the church and were intended to preach and glorify its power. Devout Christianity used Christ to foster propaganda, and God—to provide an excuse for killing and wars under the guise of reward and punishment. LaChapelle opts for the tolerant facet of religion, focusing on sermons which preach for love, forgiveness, and acceptance of the other. Via re-makes of original works he produces a fresh statement of his own. A blend of kitsch with porn chic, incorporating Hollywood and the New Testament in a single frame, and combining comics with Baroque and dark perversions with a soft and vulnerable human nature.

Courtney Love's Pietà photograph with a lookalike of her dead husband, Kurt Cobain, lead singer of Nirvana, as baby Jesus in her lap, sheds a new light on one of the best-known representations of death and compassion in the history of culture, drawing analogies between religion and faith, with the entire spectrum of feelings and emotions they invoke, and the adoration of rock stars and popular culture icons. The work's foreground features an infant with golden locks playing with giant dice-like blocks bearing the inscription "Heaven to Hell," sentencing the rock star, who committed suicide, to either eternal rest or everlasting torments, depending on the result. The stigmata marks on the arms and feet of the deceased are also the wounds bleeding due to heroin injection, thereby reinforcing the analogy between the ecstasy offered by religion and that granted by narcotics.

Marilyn Monroe, the quintessential sex symbol and the ultimate celebrity—the star who reflected a reality of suffering, exploitation, and a tragic death at a young age, alongside glamor and fame, drew the interest of Pop artists and their followers. Much like Japanese artist, Yasumasa Morimura, who quoted her renowned photograph with the fluttering skirt in a self-portrait as Marilyn, LaChapelle also treats her image in a gender context, yet adds another twist, since he quotes the star's figure not from a direct photographic documentation of her, but rather from the most hackneyed version of her portrait in Warhol's Pop piece. Morimura used Monroe for a game of sexual identities, as part of which he masqueraded and had his picture taken in the figure of famous actresses who became icons of the ultimate femininity (Marilyn Monroe, Brigitte Bardot, Greta Garbo).

LaChapelle shifted from impersonation to the real thing, from cross-dressing to trans-gender. As homage to Warhol's Marilyn, he photographed Amanda Lepore, a New York-based transsexual who gained fame mainly through his photographs where she starred proudly between photographs of models in leading fashion magazines.

LaChapelle confronts the hypocrisy and double standard regarding sexuality, especially in America, striving to breach through the conservative approach which accepts and encourages plastic surgery and remodeling the body based on codes of beauty, while the transsexual language and sex-change operations are still foreign and appalling to it.

Of all people, he depicted Lepore in a tribute to "natural birth" to accentuate the miracle, which is still a fantasy—the birth of a baby from the body of a transsexual.

The one who was born in a male body yet rejected it, fulfilled her dream and became a woman, represents—despite the plasticity and artificiality of her body—an extraordinary truth and direct sincerity. LaChapelle depicts her in numerous photographs: in one she is presented with her back to Michelangelo's David, the ideal masculine form body; in another—as the figure of Marilyn Monroe, and in the famous photograph where she sniffs diamonds—as a model of radical addiction to glamor. In the photograph Death by Hamburger, 2001, a giant American burger, alluding to Claes Oldenburg's soft sculpture and the interplay of scale in Surrealism, strikes and crashes a slender girl, whose well-shaped legs alone manage to escape the bear hug of the epitome of junk food. The hamburger, however, is represented by blown-up vinyl, in heightened exaggerated duplication, as synthetic as the greasy patty and as megalomaniac as the aspirations of its makers.

The criticism of some of the values consecrated in contemporary society—the addiction to fast food, the worship of anorectic models of beauty, and their destructive encounter—are conveyed via references to Pop and Surrealism, rather than by means of the original. LaChapelle, as an important documenter of Pop culture, also combines a note on Pop art in his approach, thereby infusing this concept with a new meaning.

Exhibitions

Upcoming Exhibitions


2014
Paris | Paris Photo | Galerie Daniel Templon | November 13 - 16, 2014

Paris | Galerie Daniel Templon | "Refineries and Gas Stations" | October 30 - December 24, 2014


Solo Museum + Public Exhibitions


2012
Stockholm | Fotografiska Museet | “Burning Beauty” | November 30 – March 3, 2013


Lucca, Italy | Lucca Center of Contemporary Art Museum | “David LaChapelle” | June 29 – November 4


New York | American Friends of the Tel Aviv Museum | "Artist of the Year"


Busan | Busan, Busan Exhibition and Convention Center | “David LaChapelle” | June 16 – October 21


2011
Prague | Galerie Rudolfinum | "Thus Spoke LaChapelle" | December 7, 2011 – February 26, 2012


Seoul | Hangaram Design Museum - Seoul Art Center | “David LaChapelle” | November 22 – February 26, 2012


San Juan | Museo de Arte Contemporaño de Puerto Rico | "Nosotros: La Humanidad Al Borde" | October 23 – March 25, 2012


Bratislava | Galeria Mesta Bratislavy | "Lost and Found" | September 14 – October 31


New York | Lever House | "From Darkness to Light" | June 2 – September 2


Shanghai | Shanghai Duolun Museum of Modern Art | April 16 – May 7


Hanover, Germany | Kestner-Gesellschaft | "David LaChapelle:
Earth Laughs in Flowers" | February 25 – May 8


2010
Tel Aviv | The Tel Aviv Museum of Art | “Post Modern Pop Photography” | July 23 – November 20


Toronto | Museum of Contemporary Canadian Art | Mocca Courtyard "The Rape of Africa" | May 1 – 31


Taipei | Museum of Contemporary Art Taipei | "David LaChapelle" | April 9 – May 31


2009
Guadalajara, Mexico | Museo De Las Artes | "Delirium of Reason" | September 4 – November 15


Paris | Musee de la Monnaie de Paris | "Retrospective" | February 6 – May 31


Mexico City | Antiguo Colegio de San Ildefonso | "Delirium of Reason"| February 4 – June 28


2008
Florence | Forte Belvedere | "David LaChapelle" | July 15 – October 19


Krakow, Poland | National Museum | "David LaChapelle" | May 29 – October 30


Stockholm | Fotografiska Museet | "David LaChapelle" | April 10 – May 11


Sao Paolo | Museu Brasileiro da Escultura | "Heaven to Hell / Bellezas y Desastres" | January 23 – February 5


2007
Milan | Palazzo Reale | "David LaChapelle" | September 24 – January 6, 2008


Buenos Aires | Museo de Arte Latinoamericano de Buenos Aires | "Heaven to Hell / Bellezas y Desastres" | March 30 – May 21


2006
Berlin | Helmut Newton Foundation | "Men & War" | November 31 – January 23, 2007


Naples, Italy | Capodimonte Museum | "VIP: Very Important Portraits" | March 24 – June 31


2005
Palermo, Italy | KALS'ART | "David LaChapelle" | July 1 – September 15


2003
New York | Rockefeller Center: Montblanc International | "All American" | October 30 – January 30, 2004


2002
London | Barbican Museum | "David LaChapelle" | October 10 – December 23


Vienna | Kunsthaus Wien | "LACHAPELLE" | June 6 – September 22


2000
Sao Paolo | Museo de Arte Brazileira | "Femmes Plus Que Femmes" | May 4 – June 4


1999
Paris | Galleries LaFayette | "20th Festival de la Mode" | October 5 – January 5, 2000


Rome | Palazzo delle Esposizioni | "Hotel LaChapelle" | March 19 – May 24


New York | School of Visual Arts | "The Beautiful & Bizarre" | March 2 – June 2


1998
Lisbon, Portugal | Palacio Pombal | "David LaChapelle" | September 17 – December 11


Arles, France | Les Recontres D'Arles | "LaChapelle Land" | July 5 – August 16


1989
Santa Fe | Santa Fe Center for Photography | "David LaChapelle" | February 18 – May 18


New York | Mars | "Life Never Dies" | February 11 – May 11


1986
New York | Palladium | "Taking Pictures is Fun" | September 11– December 11


Solo Gallery Exhibitions

2014
Vienna | OstLicht. Galerie für Fotografie | "Once in the Garden" | June 2 - September 14, 2014


London | Robilant + Voena | "Land Scape" | May 16 - June 18, 2014


Zurich | Jablonka Galerie | "David LaChapelle" | April 1 - June 7, 2014


New York | Paul Kasmin Gallery | "Land Scape, 2013" | January 17 – March 1


2013
Brussels | Maruani & Noirhomme Gallery | "Gas Stations" | December 11, 2013 - January 31, 2014


Paris | Galerie Daniel Templon | "Still Life" | June 6 – July 26


2012
New York | Paul Kasmin Gallery | “David LaChapelle: Still Life” | November 26 – January 19, 2013


Luxembourg | Arendt & Medernach | "Addicted to Passion" | September 27 – December 30


Cologne, Germany | Jablonka Galerie | “Jesus Is My Homeboy” l
May 14 – August 19


Geneva | Patricia Low Contemporary | “Earth Laughs in Flowers” | March 15 – April 29


New York | Fred Torres Collaborations | “Earth Laughs in Flowers” | February 23 – March 24


Milan | Robilant + Voena | “Earth Laughs in Flowers” | February 16 – March 24


London | Robilant + Voena | “Earth Laughs in Flowers” | February 14 – March 24


St. Moritz | Reformiere Dorfkirche | “Earth Laughs in Flowers” |
February 11 – 26


2011
Los Angeles | Prism Gallery | "David LaChapelle: Negative Currency and Recollections in America" | September 27 – November 5


Knokke, Belgium | Serge Maruani & Alain Noirhomme Gallery l "David LaChapelle: Earth Laughs in Flowers" | August 5 – September 12


Hong Kong | De Sarthe Fine Art | “The Raft” | May 25 – July 02


New York | Michelman Fine Art | “David LaChapelle Early Work” | May 2 – June 15


2010
Tenerife, Spain | Galería Leyendecker | "David LaChapelle" | December 17 – February 26, 2011


Istanbul | Paul Kasmin Gallery | "David LaChapelle: Documents of Desire & Disasters" | December 9 – January 29, 2011


New York | Paul Kasmin Gallery | "American Jesus" | July 7 – September 18


London | Robilant + Voena | "The Rape of Africa" | April 26 – May 25


Brussels | Alain Noirhomme Gallery | "Eden" | April 20 – May 20


2009
Miami | Wolfgang Roth + Partners | "Cars And Money" | December 2 – March 12, 2010


Dublin | Sebastien Guinness Gallery | "American Jesus" | September 18 – October 31


Los Angeles | David DeSanctis Gallery | "The Rape of Africa" |
September 12 – October 31


Amsterdam | Galerie Alex Daniels | "The Rape of Africa" |
June 6 – July 31


2008
Miami | Wolfgang Roth + Partners | "Jesus is My Homeboy" | December 2, 2008 – January 10, 2009


London | Robilant + Voena | "Jesus is My Homeboy" | October 31 – November 7


New York | Tony Shafrazi Gallery | "Auguries of Innocence" |
September 12 – October 24


St. Moritz | St. Moritz Art Masters | "Jesus is My Homeboy" | August 29 – September 5


Maastricht, The Netherlands | The European Fine Art Fair (Rafael Jablonka) | "Jesus is My Homeboy" | March 4 – 14


2007
Tenerife, Spain | Galería Leyendecker | "Awakened" | November 9 – December 9


London | Frieze (Rafael Jablonka) | "Awakened" | October 11 – 14


Monaco | La Galerie Delphine Pastor | "David LaChapelle" | May 11 – July 29


Dallas | Goss Gallery | "Awakened" | March 20 – April 11


New York | Tony Shafrazi Gallery | "Awakened" | February 24 – April 28


2006
Berlin | Jablonka Galerie | "Heaven to Hell" | November 30 – February 17, 2007


Paris | La Galerie Du XX ( w/ Maruani Noirhomme) | "David LaChapelle" | October 26 – November 18


2005
New York | Staley Wise Gallery | "David LaChapelle Pictures for Italian Vogue" l December 9, 2005 – January 28, 2006


Dallas | Goss Gallery | "Grand Opening : David LaChapelle" | May 20 – August 12


Amsterdam | Galerie Alex Daniels | "David LaChapelle" | May 7 – June 16


Knokke, Belgium | Maruani Noirhomme Gallery | "David LaChapelle" | March 26 – May 15


New York | Deitch Projects | "Artists & Prostitutes" | March 12 – April 16


2004
Freyung, Vienna | Palais Kinsky - Rudolf Budja Galerie | "Portraits of Musicians" | November 4 – December 1


2003
Moscow | Moscow Photo Festival | "David LaChapelle" | April 9 – May 12


2002
New York | Tony Shafrazi Gallery | "All American" | July 16 – September 21


2001
Milan | Galleria Carla Sozzani | "David LaChapelle" | September 27 – November 23


Berlin | Camerawork Gallery | "Fish Stick" | September 7 – November 23


Bologna, Italy | Photology | "David LaChapelle" | March 4 – July 28


2000
Aspen | Baldwin Gallery | "David LaChapelle" | December 29 – February 29, 2001


Los Angeles | Fahey Klein Gallery | "David LaChapelle" | May 25 – June 8


1999
New York | Tony Shafrazi Gallery | "David LaChapelle" | June 4 – September 15


1997
Tokyo | Parco Gallery | "LaChapelle Land" | March 30 – April 15


Milan | Photology | "LaChapelle Land" | March 6 – August 30


1996
New York | Staley Wise Gallery | "LaChapelle Land" | November 8 –30


1995
New York | Trabia MacAfee | "Javier Cibachromes" | April 11 – May 12


1991
New York | Tomoko Ligouri Gallery | "Facility of Movement" | November 9 – December 21


1989
New York | Trabia MacAfee Gallery | "Mirrors of God + the
Intervention of St. Lucy" | May 25 – June 18


New York | Trabia MacAfee Gallery | "Somewhere Better" | January 7 – 28


1988
New York | 56 Bleecker Gallery | "Your Needs Met" | May 25 – June 25


1984
New York | 303 Gallery | "Angels, Saints, & Martyrs" | October 11 – November 8


New York | 303 Gallery | "Good News for Modern Man" | March 29 – April 30


Group Museum + Public Exhibitions

2014
Fairfield | Fairfield Museum and History Center | "Images 2014" | May 11 - June 22, 2014


New York | Cornell University: Johnson Museum of Art | "Beyond Earth Art" | January 25 - June 8, 2014


2013
Brooklyn, New York | Brooklyn Museum | "The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk" | October 25, 2013- February 23, 2014


Paris | FIAC | Galerie Daniel Templon | "David LaChapelle" | October 24 - 27


St. Louis, Missouri | World Chess Hall of Fame | "A Queen Within: Adorned Archetypes, Fashion and Chess" | October 19, 2013 – April 18, 2014


Poitiers, France | Musée Sainte-Croix | "Cabinets de Curiosities" | October 18, 2013- March 16, 2014


Paris | Musée d'Orsay | "Masculine / Masculine. The Nude Man in Art from 1800 to the Present Day" | September 24 – January 2, 2014


Warsaw, Poland | Zachęta Narodowa Galeria Sztuki | "In God We Trust:
 The Religious Mosaic In America" | September 7 – November 10


Salzburg, Austria | Museum der Moderne Mönchsberg | 
“Flowers & Mushrooms” | July 27 – October 27


Krakow | National Museum in Krakow | "Vanity: Fashion Photography from the F.C. Gundlach Collection" | May 20- September 1


2012
Rome | Museo Tuscolano ­Scuderie Aldobrandini | "About Caravaggio Visioni & Illusioni Contemporanee" | December 1 - April 17, 2013


Los Angeles | Los Angeles County Museum of Art | "Figure and Form in Contemporary Photography" l July 22 - October 14


Oberstdorf, Germany | Villa Jauss | "Everywhere and Nowhere" |
June 23 – September 30


Frankfurt | Museum für Moderne Kunst Frankfurt | "Making History" | April 19 – July 8


2011
West Palm Beach, Florida | Norton Museum of Art | "Cocktail Culture"| December 15 – March 11, 2012


Turin, Italy | Venaria Reale | “Leonardo. Il Genio, il Mito” |
November 18 – January 29, 2012


Salzburg, Austria | Museum Der Moderne Salzburg | “Role Models and Role Playing” | July 23 – October 30


Montreal | The Montreal Museum Of Fine Art | "The Fashion World Of Jean Paul Gaultier: From the Street to the Stars” l June 13 – October 02


Los Angeles | Annenberg Space For Photography | “Beauty Culture” | May 28 – November 27


New London, Connecticut | Lyman Allyn Museum | "Face Off: Contemporary Portraits by Contemporary Artists" | April 9 – September 18


Herzilya, Israel | Herzliya Museum Of Contemporary Art | “Body Gestures” | February 12 – May 28


2010
Busan | Gana Art Busan | “Real Interface” | July 30 – September 22


Toronto | Museum of Contemporary Canadian Art |
"Pervasive Influence : The Mechanical Bride" | May 1 – June 6


New Britain, Connecticut | Central Connecticut State University |
"David LaChapelle" | March 18 – April 22


Barcelona | Centre de Cultura | “Atopia, Arte Y Ciudad en el Siglo XXI" | February 25 – May 24


2009
Milan | Galleria d'Arte Moderna | "Rape of Africa" |
November 11 – December 6


New York | Brooklyn Museum | "Who Shot Rock & Roll" |
October 20 – January 31, 2010


London | Frieze Art Fair | October 15 – 22


2008
Los Angeles | Los Angeles County Museum of Art | "Vanity Fair Portraits" | October 26 – March 1, 2009


London | National Portrait Gallery | "Vanity Fair Portraits" |
February 14 – May 18


2006
Berlin | Helmut Newton Foundation | "Men, War, & Peace" |
December 2 – May 30, 2007


2000
Bologna, Italy | Villa Impero| "Il Secolo Della Fotoarte" |
January 30 – April 29


1989
New York | The Lesbian + Gay Center | "The Center Show" |
June 1 – December 1


1988
New York | Grand Central Station | "Grand Windows" | December 13


Group Gallery Exhibitions

2014
Basel | Art Basel | Galerie Daniel Templon | June 19 - 22, 2014


Hong Kong | Art Basel | Galerie Daniel Templon | May 15 - 18, 2014


Hong Kong | Art Basel | Paul Kasmin Gallery | May 15 - 18, 2014


New York | Frieze Art Fair | Paul Kasmin Gallery | May 9 - 12, 2014


Brussels | Art Brussels | Galerie Daniel Templon | April 25 - 27, 2014


Brussels | Art Brussels | Gallery Maruani & Mercier | April 25 - 27, 2014


Reno | University of Nevada, Sheppard Contemporary | "Possession" | April 24 - June 27, 2014


Cologne | Art Cologne | Gallery Maruani & Mercier | April 10 - 13, 2014


London | Barbican Gallery | "The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk" | April 9 - August 25, 2014


Paris | Art Paris | Galerie Daniel Templon | March 27 - 30, 2014


New York | The Armory Show | Galerie Daniel Templon | March 6 - 9, 2014


Washington, D.C. | National Portrait Gallery | "American Cool" | February 7 – September 7, 2014


Brussels | BRAFA Art Fair | Maruani & Noirhomme Gallery | January 25 - February 2, 2014


2013
Miami Beach | Art Basel | Paul Kasmin Gallery | December 5- 8, 2013


Miami | Pulse Contemporary Art Fair | Staley Wise Gallery | December 5- 8, 2013


New York | Staley Wise Gallery | "It's An American Thing" |
June 29- September 14


New York | Friedman Benda | "And those who were seen dancing were thought to be insane by those who could not hear the music" |
July 16 - August 17


Switzerland | Art Basel | Seismic Shift | June 13 – 16


Newcastle, UK | Laing Art Gallery | "Divine Bodies" | June 8 – 28


Hong Kong | Milk Maidens | Art Basel | May 23 – 26


New York | Frieze Art Fair | Gas | May 10 – 13


Brussles | Art Brussels Contemporary Art Fair | Seismic Shift |
April 17 – 21


Milan | Milan International Modern and Contemporary Fair | Seismic Shift | April 5 – 7


New York | The Armory Show | Last Supper | March 7 – 10


2012
Houston | Texas Contemporary Art Fair| Gaia | David LaChapelle | October 18 – 21


London | Frieze Art Fair | Seismic Shift | David LaChapelle |
October 11 – 14


Bristol, England | Royal West of England Academy |
"Unnatural - Natural History" | July 14 – September 23


Basel | The Solo Project | “Earth Laughs in Flowers” | June 13 – 17


East Hampton, New York | Eric Firestone Gallery | “The Haberdashery” | May 25 – June 18


Hong Kong | Hong Kong Convention and Exhibition Centre |
Hong Kong Art Fair | Earth Laughs In Flowers | May 17 – 20


Milan | Robilant + Voena | MIA, Milan Image Art Fair | Negative Currency: Yuan | May 4 – 6


Milan | Robilant + Voena | Milan International Modern And Contemporary Art Fair | Earth Laughs In Flowers | April 13 – 15


St. Moritz | Patricia Low Contemporary | Group Show |
February 10 – March 31


2011
Los Angeles | NYE+BROWN | "The Lords and the New Creatures"| September 10 – October 31


Rochester, Michigan | Oakland University Art Gallery | “Boarders and Frontiers: Globalization, Temporality & Appropriation in the Contemporary Image” | March 5 – April 10

Singapore | Marina Bay Sands | "Art Stage Singapore" | January 12 - 16


2010
Munich, Germany | Galerie Thomas | "Popular : Brands Symbols Icons 1960-2010" | November 26 – February 19, 2011


London | Frieze Art Fair | October 14 – 17


Tel Aviv | Tavi Art Gallery | "Restart" | October 7 – November 4


New York | Sotheby's Gallery | "Divine Comedy" | September 29 – October 19


Busan | Gana Art |"Real Interface" | July 30 – August 22


New York | Armand Bartos Fine Art | "Knock Knock: That Joke Isn't Funny Anymore" | February 24 – April 24


Los Angeles | Photo LA Presented by Los Angeles County Museum of Art | "David LaChapelle" | January 14 – 17


2009
Geneva | Patricia Low Contemporary | "Pop My Cherry" |
September 17 – November 11


New York | Paul Kasmin Gallery | "Naked!" | July 9 – September 19


2008
Berlin | Jablonka Galerie | "REVERB" | November 14, 2008 – January 31, 2009


New York | Jose Martos Gallery | "Love Love Love" | November 6 – December 6


2006
New York | Tony Shafrazi Gallery | "The Other Side #2" |
November 11 – February 3, 2007


2005
New York | Tony Shafrazi Gallery | "Magritte, Williams,
LaChapelle" | January 15 – April 2


1989
New York | Tony Shafrazi Gallery | "Don't Bungle The Jungle" | June 3 – 30


Public Collections

2013
Munich | Bayerische Staatsoper Portrait Gallery


2012
Los Angeles | Los Angeles County Museum of Art


2012
Tel Aviv | Tel Aviv Museum of Art


2011
London | National Portrait Gallery


2009
Stuttgart | Daimler Art Collection


2009
Paris | La Monnaie de Paris


2007
Paris | Louis Vuitton Moet Hennessy Foundation


2006
Munich | Brandhorst Foundation


2005
Belgium | Serge Delsemme Foundation