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It was taken in Danville, Virginia, in 1971, by the photographer Emmet Gowin, and the woman in question is his wife, Edith. The picture is so piercingly intimate that I find it difficult even to look at it. This is not because I feel as if I am intruding, or being shown something that I was not meant to see, but simply because it seems to hover too close to the vital force of human connection. It is too poignant, too alive. Rather than merely avoiding clichés—about love and intimacy, artist and muse, public and private—the picture seems to repel them, as an amulet repels evil spirits. Clichés are prophylactics against the complexity and intensity of direct experience, tools used to distance ourselves from reality, but this photograph brings love near enough that we can feel its hot breath. Gowin is one of those people who talks about his life using the pronoun “we.” He also likes to say, “If I never met and married Edith Morris, you would never have heard of me.” There is a certain amount of performative modesty in this statement, but it’s also probably true. Edith was the beating heart of the collection of photographs that Gowin took of his extended family during the nineteen-sixties and seventies, which garnered him his first rush of recognition, and which remains his greatest body of work. In them, she exudes the constancy and majesty of a towering redwood. Occasionally, Gowin tells a story about how he began to make these early pictures.
For the original version including any supplementary images or video, visit http://www.newyorker.com/culture/photo-booth/the-most-intimate-photograph
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