This exhibition brings together works by Horst P. Horst, Robert Mapplethorpe, and Arthur Elgort produced through sustained creative partnerships with Lisa Fonssagrives-Penn, Lisa Lyon, and Kate Moss. Spanning fashion and fine art photography from the mid twentieth century to the 1990s, these pairings illuminate how photographic meaning is shaped through repeated encounters, negotiated authorship, and the reciprocal construction of image and identity.

Horst P. Horst’s work with Lisa Fonssagrives-Penn in the late 1930s and 1940s coincided with the emergence of fashion photography as a modernist discipline. Their images established a sculptural approach to the body, treating couture and anatomy as interdependent formal structures within rigorously composed studio environments. Drawing upon classical proportion and Surrealist abstraction, their collaboration transformed the fashion model into a site of architectural order and visual idealization.

Robert Mapplethorpe’s collaboration with Lisa Lyon in the early 1980s redirected portraiture toward questions of self-fashioning and control. Lyon’s deliberately cultivated physique enabled Mapplethorpe to fuse references to classical statuary with contemporary explorations of gender and power. Their images present the body not as a neutral subject but as an authored construct, shaped through pose, surface, and the mutual orchestration of appearance.

Arthur Elgort’s photographs of Kate Moss in the 1990s articulated a new visual language grounded in movement and environmental presence. Departing from the formal containment of the studio, their work situates the figure within open landscapes and urban space, emphasizing spontaneity and physical immediacy. This approach aligned fashion photography with cinematic realism and redefined the model as a participant within lived context rather than an isolated emblem of style.

Together, these three collaborations trace a shift in the role of the photographic subject across the twentieth century, from idealized form to constructed identity and finally to experiential presence. In Company proposes collaboration as a central condition of photographic practice, through which visual systems are developed, bodily ideals are negotiated, and meaning emerges from sustained exchange between photographer and subject.