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| | BOOK FORMAT
Clth, 9 x 11 in. / 120 pgs / illustrated throughout. PUBLISHING STATUS
Pub Date 9/30/2013
Active DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2013 p. 90 PRODUCT DETAILS
ISBN 9788415691136 TRADE
List Price: $55.00 CAD $72.50 GBP £47.00 AVAILABILITY
Out of stock | TERRITORY
WORLD Excl LA Spain | Love and desire in the portraiture of two American masters. |
| | | Edward Weston & Harry Callahan: He, She, ItEdited with text by Laura González Flores.
 This book compares the portrait photographs of two American masters, Harry Callahan (1912–1999) and Edward Weston (1886–1958), examining how their images combine desire and affection. While many of their well-known works have been understood as straightforward nudes or landscapes, this book looks beyond the limitations of these categories to suggest a more complex notion of their erotic photography. He, She, It looks at Callahan and Weston’s images through an examination of the relationship of the body and nature, but also, that of photography and affection. Unlike the majority of erotic photography that seeks to represent desire, in both Callahan and Weston we find the rare instance of desire wholly transformed into an image--an image where the subject is clearly not just displayed but the affection of the photographers toward the subject is clearly evident. For this to occur, there must be complicity between the photographer and his model. It’s clear that these are not anonymous and interchangeable models in these images but women whose bodies are evidently loved by the photographers: Tina and Charis in the case of Weston, and Eleanor in the case of Callahan. This emphasis makes this selection of photographs all the more intimate, and all the more deeply erotic.
Featured spread, with photograph by Harry Callahan (1942) at left, and by Edward Weston (1958) at right, are reproduced from Edward Weston & Harry Callahan: He, She, It.PRAISE AND REVIEWSAmerican Photo Jack Crager Though they never worked together, Weston and Callahan shared a remarkable artistry and a creative penchant for eroticism, often in images of their own wives and lovers. This exhibition catalog deftly juxtaposes the art of these two masters, as well as contrasting naturalistic forms (desert sand formations, vegetables close-ups) against the beauty of the humans figure. |
|  | STATUS: Out of stock Temporarily out of stock pending additional inventory. | |
| | | |  | MFA Publications, Museum of Fine Arts, BostonISBN: 9780878468508
USD $50.00 | CAD $67.5 UK £ 40Pub Date: 6/19/2018
Active | In stock
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|  | La Fábrica/Fundación Banco SantanderISBN: 9788415691136
USD $55.00 | CAD $72.5 UK £ 47Pub Date: 9/30/2013
Active | Out of stock
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|  | SkiraISBN: 9788857216331
USD $45.00 | CAD $57.5Pub Date: 9/17/2013
Active | In stock
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FORMAT: Clth, 9 x 11 in. / 120 pgs / illustrated throughout.
LIST PRICE: U.S. $55.00
LIST PRICE: CANADA $72.5
GBP £47.00
ISBN: 9788415691136
PUBLISHER: La Fábrica/Fundación Banco Santander
AVAILABLE: 9/30/2013
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: Out of stock
TERRITORY: WORLD Excl LA Spain | D.A.P. CATALOG: FALL 2013 Page 90 | PRESS INQUIRIES
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| Edward Weston & Harry Callahan: He, She, It Published by La Fábrica/Fundación Banco Santander.
Edited with text by Laura González Flores. This book compares the portrait photographs of two American masters, Harry Callahan (1912–1999) and Edward Weston (1886–1958), examining how their images combine desire and affection. While many of their well-known works have been understood as straightforward nudes or landscapes, this book looks beyond the limitations of these categories to suggest a more complex notion of their erotic photography. He, She, It looks at Callahan and Weston’s images through an examination of the relationship of the body and nature, but also, that of photography and affection. Unlike the majority of erotic photography that seeks to represent desire, in both Callahan and Weston we find the rare instance of desire wholly transformed into an image--an image where the subject is clearly not just displayed but the affection of the photographers toward the subject is clearly evident. For this to occur, there must be complicity between the photographer and his model. It’s clear that these are not anonymous and interchangeable models in these images but women whose bodies are evidently loved by the photographers: Tina and Charis in the case of Weston, and Eleanor in the case of Callahan. This emphasis makes this selection of photographs all the more intimate, and all the more deeply erotic.
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