Allen Ellenzweig traces the male gaze upon men as captured by the camera throughout the history of photography. More than one hundred striking, provocative duotone photographs reflect a wide-ranging history of photographic male homoeroticism and the spiritual, physical, and intellectual exchange among men. Accompanying these images is a detailed account of the multiple, complex meanings of the homoerotic that have taken shape from the 1850s to today.
Ellenzweig situates each of his artists within their historical context, with chapters devoted to specific photographers and eras. He begins with nineteenth-century French photographer Eugène Durieu and his studies of the male nude, created under the direction of painter Eugène Delacroix. He then takes readers all the way through the rebellious 1960s and the disputes surrounding Robert Mapplethorpe's controversial retrospective in 1989 and 1990. Showing that homoeroticism in photography is anything but a contemporary invention, Ellenzweig unites photographers across the stylistic spectrum within a theme that came to inspire a host of larger spiritual, physical, and intellectual ideals.
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In The Homoerotic Photograph, Allen Ellenzweig reminds us that photography has persistently captured the male gaze upon other men. Gathered here are 127 beautiful and provocative duotone photographs that reflect the wide-ranging history of male homoeroticism as revealed by the camera - amply suggesting spiritual, physical, and intellectual exchange between men. To accompany these images, Ellenzweig offers a detailed account of the multiple and complex meanings of the homoerotic, from the 1850s to today. Each artist is placed in historical context, with chapters devoted to specific photographers and eras, beginning with the male nude studies created by nineteenth-century French photographer Eugene Durieu under the direction of painter Eugene Delacroix. Later in the century photographers such as Thomas Eakins, Frank Sutcliffe, and F. Holland Day portrayed classical ideals through images of male beauty and bonding, while the work of early twentieth-century photographers - Brassai, for example - showed the influences of the homosexual subculture and of Freud on photography. Modernists and Surrealists, represented by photographers George Platt Lynes and Herbert List, captured the artistic spirit of the late twenties and thirties. Later, the kinship created by war and the conflicting standards imposed by the post-World War II era were reflected in Minor White's spiritual artistry. Out of the rebellious sixties came the contemporary camera work of Arthur Tress, Duane Michals, and Robert Mapplethorpe, as well as the ongoing photographic studies of such artists as George Dureau and Chantal Regnault. Their engaging works range from exposes of men experiencing the whole gamut of human emotions -love, fear, sexual arousal, loneliness, hope - to portraits of public and private human relations, to detached explorations of erotic fantasies and primal passions. Against the backdrop of the disputes surrounding Robert Mapplethorpe's controversial retrospective in 1989 and 1990, Allen Ellenzweig demonstrates that the homoerotic in photography is hardly a contemporary invention. Current photographers across the stylistic spectrum share a common heritage of homoeroticism in photography, which serves to inspire spiritual, physical, and intellectual ideals.About the Author:
Allen Ellenzweig is an arts critic and cultural commentator currently researching the life of twentieth-century photographer George Platt Lynes. He is a contributing writer to the Gay & Lesbian Review Worldwide and has published in Art in America, PASSION: The Magazine of Paris, Studies in Gender and Sexuality, and the online magazine, TABLET. He teaches in the Writing Program at the College of Mount Saint Vincent in Riverdale, New York.
George Stambolian (1938--1991) was professor of French at Wellesley University and editor of Twentieth Century French Fiction: Essays for Germaine Bree and, with Elaine Marks, Homosexualities and French Literature: Cultural Contexts/Critical Texts.
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Book Description Columbia University Press, 1992. Rilegato. Book Condition: nuovo. New and mint copies., Ill. bn: Illustrated Throughout, Ill. colori: --, Peso: 1775 gr. Bookseller Inventory # 9442-E06
Book Description Columbia University Press, 1992. Hardcover. Book Condition: New. Bookseller Inventory # DADAX0231075367
Book Description Columbia University Press, 1992. Hardcover. Book Condition: New. book. Bookseller Inventory # M0231075367
Book Description Columbia University Press, 1992. Hardcover. Book Condition: New. Never used!. Bookseller Inventory # P110231075367
Book Description Columbia University Press. Hardcover. Book Condition: New. 0231075367 New Condition. Bookseller Inventory # NEW7.0993352