The New York-born artist excelled in many mediums, including feature films, book making, painting, graphic design and more.
During his New York days, Klein frequented the Museum of Modern Art, where he discovered the work of photographer Edward Weston, as well as documentary ones of the ’30s like Walker Evans and Dorothea Lange — all of whom influenced him.
In a written tribute, Campany noted how Klein embarked on a two-year stint in Germany in 1946 as part of an Allied forces reconstruction mission. There, he worked as a radio operator — on horseback. Klein spoke of his affinity for France in that interview, “Paris is a place where a lot of things have been done on every level and there is less the atmosphere of ‘Ooh la, la, look at us.’ I grew up on 109th Street [in Manhattan]. My father was like Willy Loman in ‘Death of a Salesman.’ He was convinced that New York is the center of the world and America is the land of opportunity. He didn’t have much opportunity or maybe he did but he never really made much of it.
Even midway through his eighties, Klein saw through the facade of keeping up appearances. “I am always amazed to hear young models say, ‘I use this to take off my makeup. I use this before I go to sleep. I use this while I’m sleeping. I wash my hair with this.’ They know all these things but if they knew as much about politics or finance as they do about taking care of their bodies, that would be helpful to everybody. But I take off my hat to them because they have really got it down pat.
Interestingly, it was films, not fashion photography or any other art that Klein found most gratifying. Explaining his preference for films, Klein told WWD, “I find people don’t know how to read photographs. There isn’t this dialogue. Many people look at a photograph in an exhibition, they look at the title below and they snicker, ‘Ha,’ as if you caught somebody picking their nose, which is not my preoccupation.
Orson Welles said of Klein’s debt 1958 film, “Broadway by Light,” that it was the first movie that really needed to be in color, according to Campany. And a decade later the equally boundary-breaking filmmaker Stanley Kubrick told Klein upon meeting him, “William, you’re probably too far ahead.”
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