Visions: Contemporary Male Photography Hardcover – Nov 1 2006
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Most Helpful Customer Reviews on Amazon.com (beta)
There is an embarrassment of riches here and certainly something for everyone regardless of your interest or fetish. The photographs are in color, in black and white, in focus, out of focus, sharp and grainy. Some of the men are shot in classic poses, other have props running the gamut from masks to ropes, leather, lingerie and designer underwear of course. There are skinheads, an amputee, and men of different races.
Some of my favorite photographs in no particular order are Kristen Bjorn's shot of two nude men standing overlooking Rio de Janiero (I believe), Christopher Makos' six beautiful head shots, Monopoly's erotic "Colt rehearsal," Bruce LaBruce's humorous set-- particularly "Black Sheep," Aaron Cobbett's stylized sailor shot, Jay Diers' "Ty 1" for the beautiful side lighting, Matthias Herrmann for the guts to do those outrageous self-portraits, Matthias Kort for the wonderfully lit "Uwe," Joan Crisol's work, Mark Lynch's "Paul-The Old Warehouse, 1999" for obvious reasons, and the first photograph by Kelly Mink for its great composition. Finally the four photos of Carlos Quiroz-- is he influenced by Edward Weston?-- "Nude LVI," "Nude LXXXI," "Nude LXXXVI" and "Horse" are original beyond description. At first, I was totally convinced I was seeing a rose in the second photograph!
Someone will have to work long and hard to publish a collection of male nude photography better than this beautifully reproduced and printed book.
After a Foreword by the always readable and well-informed David Leddick, the book unfolds in sections based solely on the individual photographers fortunate enough to be included in this panorama. The pleasure of this particular book on the male nude is the variety: images range from the hilarious costumed fantasies, to the brutally erotic, to the quietly sensual, to the 'model look', to the beefcake stance. Included in the collection are the very well known photographers Tom Bianchi, Kristen Bjorn, Ed Freeman, Steven Underhill and Kingdom 19 and the works selected form their large repertoires are fine choices indeed.
But it is the pleasure of meeting new ideas from lesser-known photographers that is encouraging: David Vance, Joe Ziolkowski, Roger Nguyen, Troy Phillips are but a few. The artists are from around the world and for those of us familiar with the works of such photographers as Adam Raphael, Norm Yip, Eric Olson, and John Sonsini among others seem like a much-missed exclusion. But not every artist can be included in a volume even of this scope, and the book stands as a first class collection of the many ways the male nude can be celebrated. Highly Recommended. Grady Harp, March 07
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