Bio









Quote by Richard Avedon from the -The New York 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 / Current Exhibitions

2015
Bogota Biennial, Bogota, Colombia, March 2 – June 15

Palazzo delle Esposizioni, Rome, Italy, April 29 – September 20 (solo)

Hamster – Hipster – Hand: Under the Spellbound of the Mobile Phone, Museum Angewandte Kunst, Frankfurt, Germany, April 25 – July 5

The Botticelli Renaissance, Gemäldegalerie Kultureforum, Berlin, Germany, September 25 – January 24, 2016

Awards
2014 Young Photographers Alliance Lifetime Achievement Award
2012 Artist of the Year, American Friends of the Tel Aviv Museum of Art
2012 National Geographic Magazine Photography Seminar, Featured Speaker
2010 OUT in Art Award, GLAAD Award
2006 Presented with GLAAD's Vito Russo Award for Outstanding Contributions Toward Eliminating Homophobias
2004 13th Annual MVPA Awards - Winner Director of the Year - Best Rock Video of the Year for No Doubt It's My Life
2004 Special Juried Prize Mountainfilm, Telluride
2004 Special Juried Recognition, Sundance Film Festival
2004 Best Documentary, Aspen Film Festival
2003 12th Annual MVPA Awards - Adult Contemporary Video of the Year - Elton John This Train Don't Stop There Anymore
2000 Best Video for Moby's Natural Blues, the MTV Europe Music Awards
1999 Cover of the Year Category, the Eisies
1998 Best Cutting Edge Essay and Style Photography, Life magazine's Alfred Eisenstadt Awards for Magazine Photography (the Eisies)
1997 Art Directors Club Award for Best Book Design for LaChapelle Land
1996 ICP Infinity Award for Applied Photography
1996 Photographer of the Year Award, the VH-1 Fashion Awards
1995 Best New Photographer of the Year, French Photo and American Photo magazines


Solo Museum + Public Exhibitions

2015
Fotografias 1984 – 2013, Museo de Arte Contemporáneo, Lima, Peru, January 23 – April 13 [cat.]

2014
Land Scape, Public exhibition at bus stop R / Aldwych, London, UK, September 12 – 22

Once in the Garden, OstLicht. Galerie für Fotografie, Vienna, Austria, June 2 – September 14 [cat.]

2012
Burning Beauty, Fotografiska Museet, Stockholm, Sweden, November 30 – March 3 [cat.]

Lucca Center of Contemporary Art Museum, Lucca, Italy, June 29 – November 4

Bexco: Busan Exhibition and Convention Center, Busan, South Korea, June 16 – October 21 [cat.]

2011
Thus Spoke LaChapelle, Galerie Rudolfinum, Prague, Czech Republic, December 7 – February 26, 2012 [cat.]

David LaChapelle In Seoul, Hangaram Design Museum, Seoul, South Korea, November 22 – March 4 [cat.]

NosOtros: La Humanidad Al Borde, Museo de Arte Contemporáneo de Puerto Rico, San Juan, Puerto Rico, October 21 – March 25 [cat.]

Lost and Found, Bratislava City Gallery – Pálffy Palace, Bratislava, Slovakia, September 14 – October 31

From Darkness to Light, Lever House, New York, NY, June 2 – September 2

Shanghai Duolun Museum of Modern Art, Shanghai, China, April 16 – May 7

Earth Laughs in Flowers, Kestnergesellschaft, Hannover, Germany, February 25 – May 8

2010
Postmodern Pop Photography, Tel Aviv Museum of Art, Tel Aviv, Israel, July 13 – November 20

The Rape of Africa, Museum of Contemporary Canadia Art – Courtyard (part of Scotiabank CONTACT Photography Festival), Toronto, Canada, May 1 – 31

Museum of Contemporary Art Taipei, Taipei, Taiwan, April 9 – May 30 [cat.]

2009
Delirios de Razón (Delusions of Reason), Museo de Las Artes, Guadalajara, Mexico, September 4 – November 15

Rétrospective, Musée de la Monnaie de Paris, Paris, France, February 6 – May 31

Delirios de Razón (Delusions of Reason), Antiguo Colegio de San Ildefonso, Mexico City, Mexico, February 4 – June 28

2008
Forte Belvedere Museum, Florence, Italy, July 15 – October 19 [cat.]

Fotografiska Museet, Stockholm, Sweden, April 12 – May 11

Heaven to Hell: Belezas e Desastres, Museu Brasileiro da Escultura, Sao Paolo, Brazil, January 23 – February 5

2007
Palazzo Reale Museum, Milan, Italy, September 24 – January 6, 2008 [cat.]

Heaven to Hell, Museo de Arte Latinoamericana de Buenos Aires, Buenos Aires, Argentina, March 30 – May 21

2006
David LaChapelle: VIP, Very Important Portrait, Museo di Capodimonte, Naples, Italy, March 24 – June 30

2005
KALS'ART, Palermo, Italy, July 1 – September 15

2003
All American, Rockefeller Center: Montblanc International, October 30 – January 30, 2004

James Gallery at Moscow House of Photography, Moscow, Russia, April 7 – April 25

2002
Photographs, The Barbican, London, UK [cat.]

LaChapelle, Kunst Haus Wien, Vienna, Austria, June 6 – September 22

2000
Photology a Villa Impero, Bologna, Italy, March 4 – July 28 [cat.]

1999
Hotel LaChapelle, Palazzo delle Esposizioni, Rome, Italy, March 19 – May 24 [cat.]

20th Festival de la Mode, Galleries LaFayette, Paris, France, October 5 – January 5, 2000

The Beautiful & Bizarre, School of Visual Arts, New York, NY, March 2 – June 2

1998
Palacio Pombal, Lisbon, Portugal, September 17 – December 11

LaChapelle Land, Les Rencontres d’Arles, Arles, France, July 5 – September 12 [cat.]

1997
LaChapelle Land, Photology, Milan, Italy, March 7 – April 30

1989
Santa Fe Center for Photography, Santa Fe, NM, February 18 – May 18

Life Never Dies, Mars, New York, NY, February 11 – May 11

1986
Taking Pictures is Fun, Palladium, New York, NY, September 11 – December 11

Solo Gallery Exhibitions

2014
Land Scape, Galerie Daniel Templon, Paris, October 20 – December 23

Land Scape, Robilant + Voena, Milan, Italy, September 16 – October 17 [cat.]

Jablonka Galerie, Zürich, Switzerland, April 1 – June 7

Land Scape, Paul Kasmin Gallery, New York, NY, January 17 – March 1 [cat.]

2013
Gas Stations, Jablonka Maruani Mercier Gallery, Brussels, Belgium, December 11 – January 31, 2014

Still Life, Galerie Daniel Templon, Paris, France, June 6 – July 26 [cat.]

2012
Still Life, Paul Kasmin Gallery, New York, November 28 – January 19, 2013

Jesus is My Homeboy, Jablonka Galerie Böhm Chapel, Köln, Germany, May 14 – August 19

Earth Laughs in Flowers, Patricia Low Contemporary, Geneva, Switzerland, March 15 – April 29

Earth Laughs in Flowers, Fred Torres Collaborations, New York, NY, February 23 – March 24

Earth Laughs in Flowers, ROBILANT+VOENA Gallery, Milan, Italy, February 16 – March 24

Earth Laughs in Flowers, ROBILANT+VOENA Gallery, London, UK, February 14—March 24

Earth Laughs in Flowers, St. Moritz Art Masters, St. Moritz, Switzerland, February 11 – 26

Addicted to Passion, Arendt & Medernach, Luxembourg, September 26 – December 30

2011
Negative Currency and Recollections in America, PRISM, Los Angeles, CA, September 27 – November 5

Earth Laughs in Flowers, Maruani & Noirhomme Gallery, Knokke, Belgium, August 5 – September 12

The Raft, de Sarthe Fine Art, Hong Kong, China, May 25 – July 2 [cat.]

David LaChapelle: Early works 1984 – 1988, Michelman Fine Art, New York, NY, May 2 – June 15

Cathedral, Galerie Michael Schultz, Berlin, Germany, April 27 – May 24

2010
Galeria Leyendecker, Santa Cruz de Tenerife, Canary Islands, Spain, December 17 – February 26, 2011

Documents of Desire & Disasters, Paul Kasmin Gallery, Istanbul, Turkey, December 9 – March 1, 2011 [cat.]

Restart, Tavi Gallery, Tel Aviv, Israel, October 7 – November 4

American Jesus, Paul Kasmin Gallery, New York, NY, July 13 – September 18

The Rape of Africa, Robilant + Voena, London, UK, April 27 – June 23

Eden, Alain Noirhomme Gallery, Brussels, Belgium, April 20 – May 20

Deluge – Awakened, Galleria Manzoni, Bergamo, Italy, March 20 – April 28

Central Connecticut Sate University, New Britain, CT, March 18 – April 22

11x, Mbf-Kunstprojekte, Munich, Germany, February 24—April 1

2009
Cars and Money, Wolfgang Roth & Partners Fine Art Gallery, Miami, FL, December 1 – February 13, 2010

American Jesus, Sebastian Guinness Gallery, Dublin, Ireland, September 18 – November 28

The Rape of Africa, David DeSanctis Gallery, Los Angeles, CA, September 12 – October 31 [cat.]

The Rape of Africa, Galerie Alex Daniels, Amsterdam, Netherlands, June 6 – July 31

2008
Jesus is My Homeboy, Wolfgang Roth & Partners Fine Art Gallery, Miami, FL, December 2 – January 10, 2009

Galerie Rhomberg, Innsbruck, Austria, November – January 2009

Jesus is My Homeboy, Robilant + Voena, London, UK, October 13 – November 7 [cat.]

Auguries of Innocence, Tony Shafrazi Gallery, New York, NY, September 12 – October 24

2007
Awakened, Goss Gallery, Dallas, TX, March 20 – April 11

Awakened, Tony Shafrazi Gallery, New York, NY, February 24 – August 3

Awakened, Galería Leyendecker, Santa Cruz de Tenerife, Canary Islands, Spain

2006
Heaven to Hell, Jablonka Galerie, Berlin, Germany. November 30 – February 2

Galerie Du XX Siécle, Paris, France, October 26 – November 18 [cat.]

2005
Pictures for Italian Vogue 2001–2005, Staley-Wise Gallery, New York, NY, December – January 2006

Grand Opening: David LaChapelle, Goss Gallery, Dallas, TX, May 20 – August 12

David LaChapelle in Amsterdam, Galerie Alex Daniels/ Reflex Modern Art Gallery, Amsterdam, Netherlands, May 7 – July 16

Maruani & Noirhomme Gallery, Knokke, Belgium, March 26—April 20

Artists & Prostitutes 1985—2005, Deitch Projects, New York, NY, March 12 – April 21

2004
Portraits of Musicians, Rudolf Budja Galerie – Artmosphere Vienna, Salzburg, Austria, November 4 – December 18

2002
All American, Tony Shafrazi Gallery, New York, NY, July 16 – September 21

2001
Fotografie, Galleria Carla Sozzani, Milan, Italy, September 26 – November 4

Fish Stick, Camerawork Gallery, Berlin, Germany, September 7 – November 23

Photology, Bologna, Italy, March 4 – July 28

2000
Baldwin Gallery, Aspen, CO, December 29 – February 16, 2001

Fahey Klein Gallery, Los Angeles, CA, May 25 – June 8

1999
Tony Shafrazi Gallery, New York, NY, June 4 – September 15

1997
LaChapelle Land, Parco Gallery, Tokyo, Japan, March 30 – April 15

LaChapelle Land,Photology, Milan, Italym March 6 – August 30

1996
LaChapelle Land, Staley Wise Gallery, New York, NY, November 8 – November 30

1993
PomPom Croissant, Tomoko Liguori Gallery, New York, NY, September 11 – October 9

1991
Facility of Movement, Tomoko Liguori Gallery, New York, NY, November 9 – December 21

1989
Mirrors of God, David LaChapelle Cibachromes, Trabia MacAfee Gallery, May 25 – June 18

Somewhere Better, Trabia MacAfee Gallery, New York, NY, January 7 – January 28

1988
Your Needs Met, 56 Bleecker Gallery, New York, NY, May 25 – June 25

Javier Cibachromes, Trabia MacAfee Gallery, New York, NY, April 11 – May 12

1986
Taking Pictures is Fun, Palladium, New York, NY

1984
Angels, Saints, Martyrs, Park South Gallery / 303 Gallery, New York, NY, October 11 – November 8

Good News For Modern Man, 303 Gallery, New York, NY, March 29 – April 30

Sante Fe Center for Photography, Sante Fe, NM

Group Exhibitions

2015
Bogota Biennial, Bogota, Colombia, March 2 – June 15

Once Upon a Time and Now, The Lesbian, Gay, Bisexual & Transgender Community Center, New York, NY, February 3 – March 3

Il Cibo Nell’ Arte: Capolavori del Grandi Maestri dal Seicento a Warhol, Associazione Amici Di Palazzo Martinengo, Brescia, Italy, January 24 – June 14

20 + 2 Years, ARNDT, Singapore, January 16 – February 15

2014
A New Selection from the Elgiz Collection, Elgiz Museum, Istanbul, Turkey, June 17 – October 4

Images 2014, Fairfield Museum and History Center, Fairfield, CT, May 11 – June 22

Possession, Sheppard Contemporary, University of Nevada, Reno, NV, April 24 – June 27

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

Beyond Earth Art, Cornell University: Johnson Museum of Art, Ithaca, NY, January 25 – June 8

2013
En compagnie de Guy Bourdin: Fotografien aus der Sammlung F.C. Gundlach, Haus der Photographie/Deichtorhallen, Hamburg, Germany, November 1 – January 26

A Queen Within: Adorned Archetypes, Fashion and Chess, World Chess Hall of Fame, St. Louis, MO, October 19 – April 18

Cavinets de Curiosities, Le Musee Sainte-Croix, Poitiers, France, October 18 – March 16

Foto A–Z, NRW-Forum Kultur und Wirtschaft, Düsseldorf, Germany, September 28 – January 5, 2014

Masculine/Masculine. The Nude Man in Art from 1800 to the Present Day, Musée d'Orsay, Paris, France, September 24 – January 12, 2014

In God We Trust, Zachęta – National Gallery of Art, Warsaw, Poland, September 7 – November 10

It’s an American Thing, Staley-Wise Gallery, New York, NY, July 29 – September 14, 2013

Flowers and Mushrooms, Museum der Moderne Mönchsberg, Salzburg, Austria, July 27 – October 27

AND THOSE WHO WERE SEEN DANCING WERE THOUGHT TO BE INSANE BY THOSE WHO COULD NOT HEAR THE MUSIC, Friedman Benda, New York, NY, July 16 – August 17

Traumfrauen – Traummänner, Kunsthalle Rostock, Rostock, Germany, July 14 – September 1

Divine Bodies, Laing Art Gallery, Newcastle, UK, June 8 – September 29

Vanity, Muzeum Narodowe W Krakowie, Krakow, Poland, May 21 – September 1

Collectible III – Photographies, A. Galerie, Paris, France, January 21 – March 2

2012
About Caravaggio: Visioni & Illusiono Contemporanee, Museuo Tuscolano, Rome, Italy, December 1 – April 7, 2013 [cat.]

Figure and Form in Contemporary Photography, Los Angeles County Museum of Art, Los Angeles, CA, July 22 – October 14

Unnatural – Natural History, The Royal West of England Academy, Bristol, UK, July 14 – September 23

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

THE HABERDASHERY, Eric Firestone Gallery, East Hampton, New York, May 26 - June 18

Making History, Museum für Moderne Kunst Frankfurt, Frankfurt, Germany, April 20 - July 8

Group Show, Patricia Low Contemporary, St. Moritz, Switzerland, February 10 - May 31

2011
Cocktail Culture, Norton Museum of Art, West Palm Beach, FL, December 15 - April 15, 2012

Leonardo: Il Genio, il Mito, La Venaria, Turin, Italy, November 18, 2011 - February 19, 2012

Vanity: Mode/Fotografie aus der Sammlung F.C. Gundlach (Fashion/Photography from the F.C. Gundlach Collection), Kunsthalle Wien, Vienna, Austria, October 21 - April 1, 2012 [cat.]

Daphne Guiness, The Museum at the Fashion Institute of Technology, New York, NY, September 16 - January 7, 2012

The Lords and the New Creatures, Nye + Brown, Los Angeles, CA, September 10 - October 31

The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, The Montreal Museum of Fine Art, Montreal, Canada, June 2, 2011 – October 2, 2011; Dallas Museum of Art, Dallas, TX, November 13, 2011 – February 12, 2012; De Young Museum, San Francisco, CA, March 24 – August 19, 2012; The Fundación Mapfre–Instituto de Cultura, Madrid, October 6, 2012 – January 6, 2013; Kunsthal Rotterdam, Netherlands, February 9 – May 12, 2013; Swedish Center for Architecture and Design, Stockholm, Sweden, June 17 – September 22, 2013; Brooklyn Museum, Brooklyn, NY, October 25, 2013 – February 23, 2014; Barbican Gallery, London, UK, April 9 – August 25, 2014; National Gallery of Victoria, Melbourne, Australia, October 15, 2014 – February 22, 2015; Grand Palais, Paris, France, March 29 – August 3, 2015; Kunsthalle der Hypo-Kultustifung, Munich, Germnay, September 9, 2015 – January 10, 2016 [cat.]

Role Models-Role Playing, Rudolf Budja Galerie, Salzburg, Austria, June 2 – August 31

Beauty CULTure, The Annenberg Space for Photography, Los Angeles, CA, May 21 – November 27

Face Off: Portraits by Contemporary Artists, Lyman Allyn Art Museum, New London, CT, April 10 – September 18

Borders and Frontiers: Collage and Appropriation in the Contemporary Image, Oakland University Art Gallery, Rochester, MI, March 5 – April 10 [cat.]

Body Gestures, Herzliya Museum of Contemporary Art, Herzilya, Israel, February 12 – May28

2010
Popular BRANDS, SYMBOLS, ICONS 1960—2010, Galerie Thomas Modern, November 26 – February 19, 2011

Restart, Tavi Art Gallery, Tel Aviv, Israel, October 7 – November 4

Decadence Now! Visions of Excess, Galerie Rudolfinum, Prague, Czech Republic, October 4 – January 2, 2011 [cat.]

Divine Comedy, Sotheby’s, New York, NY, September 30 – October 19

Real Interface, Gana Art Busan, Busan, South Korea, July 30 – August 22

A Star Is Born. Photography and Rock since Elvis, Museum Folkwang, Essen, Germany, July 2 – October 10

POP ART 1960’s – 2000’s from Misumi Collection, Iwate Museum of Art, Morioka, Japan, May 25 – July 4

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

The First Western China International Art Biennial, Yinchuan Cultural Art Centre, Yinchuan, China

Revealed: The Tradition of Male Homoerotic Art, Central Connecticut Sate University, New Britain, CT, March 18 – April 22

ATOPIA: Art and City in the 21st Century, Centre de Cultura Contemporània de Barcelona, Barcelona, Spain, February 25 – May 24 [cat.]

Knock Knock: Who’s There? That Joke Isn’t Funny Anymore, Fred Torres Collaborations, New York, NY February 24 – May 15

2009
Fashion Room: Fotografien aus der Sammlung F.C. Gundlach (Photographs from the F.C. Gundlach Collection), Städtische Galerie Iserlohn, Iserlohn, Germany, November 27 – January 1, 2010

Rape of Africa, Galleria d’arte Moderna, Milan, Italy, November 11 – December 9

Who Shot Rock & Roll: A Photographic History 1955 to the Present, Brooklyn Museum, Brooklyn, NY, October 30 – January 31, 2010 [cat.]

Beauty Farm: La bellezza del corpo tra idealizzazione e ossessione, Fondazione Durini – Palazzo Durini, Milan, Italy, October 28 – November 12

Pop My Cherry, Patricia Low Contemporary, Geneva, Switzerland, September 17 – November 7

Naked!, Paul Kasmin Gallery, New York, NY, July 9 – September 19

America the Beautiful, Staley-Wise Gallery, New York, NY, March 6 – May 9

2008
Love Love Love, Martos Gallery, New York, NY, November 6 – December 6

Reverb, Jablonka Galerie, Berlin, Germany, October 14 – January 31, 2009

Traumfrauen, Deichtorhallen – Haus der Photographie, Hamburg, Germany, September 9 – November 9

Bad Planet, Gary Tatintsian Gallery, Moscow, Russia, April 15 – May 14

Shoes!, GAVLAK, West Palm Beach, FL, February 12 – January 31

Vanity Fair Portraits: Photographs 1913 – 2008, National Portrait Gallery, London, UK, February 14 – May 26, 2009; Los Angeles County Museum of Art, Los Angeles, CA, October 26 – March 1, 2009 [cat.]

2007
Arte e Omosessualità: Da von Gloeden a Pierre et Gilles, Palazzina Reale – Stazione di Santa Maria Novella, Florence, Italy, October 17 – March 24, 2008; Palazzo della Ragione, Milano, Italy, July 9 – November 11 [cat.]

Mode:Bilder, NRW-Forum Kultur und Wirtschaft, Düsseldorf, Germany, October 17 – March 24, 2008

Collection très privée, Galerie Sandrine Mons, Nice, France

Fotonoviembre 2007: IX. Bienal Internacional de Fotografía, Tenerife Espacio de las Artes – Centro de Fotografía Isla de Tenerife, Santa Cruz de Tenerife, Canary Islands, Spain

Pop Art: 1960's - 2000's: From Misumi Collection, The Museum of Modern Art, Ibaraki; traveling to Hiroshima City Museum of Contemporary Art; and Hachioji Yume Art Museum [cat.]

An Instinctive Eye: A Selection of Contemporary Photographs from the Sir Elton John Collection, PinchukArtCentre, Kiev, Ukraine, June 16 – August 12

2006
Colleziona, Fondazione FORMA per la Fotografia, Milan, Italy, December 15 – January 14, 2007

Men, War & Peace, Helmut Newton Foundation, Berlin, Germany, December 2 – May 30, 2007

The Other Side #2: Radical Pursuits – Delights in the Subversive and Sublime, Tony Shafrazi Gallery, New York, NY

The Heartbeat of Fashion: Sammlung F.C. Gundlach, Deichtorhallen – Haus der Photographie, Hamburg, Germany

Joy Pop!: Pop Art 1960’s – 2000’s. From Lichtenstein, Warhol to the Current Generation, Seiji Togo Memorial Sompo Japan Museum of Art, Tokyo, Japan

Kunstrai 2006, Galerie Alex Daniels – Reflex Modern Art Gallery, Amsterdam, Netherlands

Rendez-vous avec une femme, Galerie Adler, Paris, France

2005
Invito al Collezionismo, Galleria Carla Sozzani, Milan, Italy

A Selection of Vintage and Contemporary Photographs, ArteF Fine Art Photography Gallery, Zurich, Switzerland, November 16 – January 7

Passionate Image: The Body in Art and Advertising, Steven Kasher Gallery, New York, USA

Here Now, Sims Reed Gallery, London, UK

From the Source, Corkin Gallery, Toronto, Canada, September 10 – October 22

Beauty, Rudolf Budja Galerie – Artmosphere Galerien, Salzburg, Austria

Fashion in Art: Art in Fashion, The Gallery in Cork Street, London, UK

Rene Magritte, Robert Williams, David LaChapelle, Tony Shafrazi Gallery, New York, NY, January 15 – April 2

2004
Fashination, Moderna Museet, Stockholm, Sweden, September 25 – January 23, 2005

Love, Rudolf Budja Galerie – Artmosphere Galerien, Salzburg, Austria

Video: 25 Jahre Videoästhetik (25 Years of Video Aesthetics), NRW-Forum Kultur und Wirtschaft, Düsseldorf, Germany, January 24 – April 18

2003
Invito alla Fotografia, Galleria Carla Sozzani, Milan, Italy, December 13 – December 31

Looking for Leisure, Staley-Wise Gallery, New York, NY, July – August

Troisieme Anniversaire: Collection Permanente, Acte2Galerie, Paris, France

Vanity Fair, Torch Gallery, Amsterdam, Netherlands

2002
Buds, Blooms & Blossoms, Staley-Wise Gallery, New York, NY May – June

Archeology of Elegance: 1980–2000. 20 Jahre Modephotographie (20 Years of Fashion Photography), Deichtorhallen – Haus der Photographie, Hamburg, Germany, April 26 – September 8

Where is Elvis?: The Man and His Reflection, Howard Greenberg Gallery, New York, NY

2001
New York, New York: Streetlife, Architecture and Personalities, Staley Wise Gallery, New York, NY

2000
100 al 2000: Il Secolo della Fotoarte, Villa Impero, Bologna, Italy, January 30 – April 29

A Century of Fashion, Staley-Wise Gallery, New York, NY, October – November

Chic Thrills: Pop-Surealism in Photography, Cokkie Snoei, Rotterdam, Netherlands

Femmes plus que femmes: Mulheres, sobretudo mulheres, Museu de Arte Brasileira, São Paulo, Brazil

1997
The Warhol Look: Glamour Style Fashion, The Whitney Museum of American Art, New York, NY

1989
The Center Show, The Lesbian, Gay, Bisexual & Transgender Community Center, New York, NY, June 1 – December 1

Don’t Bungle the Jungle: A Benefit Exhibition for the Rainforest, Tony Shafrazi Gallery, New York, NY

Public Collections
Bayerische Staatsoper Portrait Gallery, Munich, Germany
Brandhorst Foundation, Munich, Germany
Daimler Art Collection, Stuttgart, Germany
La Monnaie de Paris, Paris, France
The Lesbian, Gay, Bisexual & Transgender Community Center, New York, NY
Los Angeles County Museum of Art, Los Angeles, CA
Louis Vuitton Moet Hennessy Foundation, Paris, France
National Portrait Gallery, London, UK
Serge Delsemme Foundation, Belgium
Tel Aviv Museum of Art, Tel Aviv, Israel