Harry Callahan: The Photographer at Work HD AS NEW

Tucson & New Haven: University of Arizona & Yale, 2006. First Impression. Hardcover. In exceptionally good condition. Demy folio, [31cm/12inches], full blind-stamped black cloth with mylar-protectect dust jacket, pp.192. Illustrated with b-w halftones, colour plates &tc. Foreward by John Szarkowski and Amy Rule. Inscribed by Harry Callahan's wife, Eleanor and daughter Barbara, both of whom were germane to the production of the book. Please feel free to ask for particulars and/or additional photographs. ... Callahan left almost no written records—no diaries, letters, scrapbooks or teaching notes. His technical photographic method was to go out almost every morning, walk through the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day's best negatives. Yet, for all his photographic activity, Callahan, at his own estimation, produced no more than half a dozen final images a year. He photographed his wife and daughter and the streets, scenes and buildings of cities where he lived, showing a strong sense of line and form, and light and darkness. Even prior to birth, his daughter showed up in photographs of Eleanor's pregnancy. From 1948 to 1953 Eleanor, and sometimes Barbara, were shown out in the landscape as a tiny counterpoint to large expanses of park, skyline or water. He also worked with multiple exposures. Callahan's work was a deeply personal response to his own life. He encouraged his students to turn their cameras on their own lives, leading by example. Callahan photographed his wife over a period of fifteen years, as his prime subject. Eleanor was essential to his art from 1947 to 1960. He photographed her everywhere - at home, in the city streets, in the landscape; alone, with their daughter, in black and white and in color, nude and clothed, distant and close. He tried several technical experiments - double and triple exposure, blurs, large and small format film. Callahan was one of the few innovators of modern American photography noted as much for his work in color as for his work in black and white. ... Britt Salvesen joined the Los Angeles County Museum of Art (LACMA) in 2009 as curator and head of the Wallis Annenberg Photography Department and the Prints and Drawings Department. Previously, she was director and chief curator at the Center for Creative Photography (CCP), University of Arizona. She received her MA from the Courtauld Institute of Art and her PhD from the University of Chicago. She has chaired LACMA's Curatorial Forum and has initiated several cross-departmental projects and institutional collaborations. Her exhibitions at LACMA include Catherine Opie: Figure and Landscape (2010); Ellsworth Kelly: Prints and Paintings (2012); Under the Mexican Sky: Gabriel Figueroa—Art and Film; John Divola: As Far as I Could Get (2013); and See the Light: Photography, Perception, Cognition—The Marjorie and Leonard Vernon Collection (2014). Current research is directed toward a Robert Mapplethorpe retrospective, in collaboration with the Getty Museum and Getty Research Institute (2016); and a survey of 3D photography and film, co-organized with the Art Institute of Chicago (2017).