Overview
For more than 25 years, artist William Wegman (b. 1943) has been making brilliant and inventive photographs with the 20 x 24" Polaroid camera. In 1979, when Polaroid invited Wegman to try out this enormous camera, he began a series of photographs featuring his dog, Man Ray, initiating a remarkable collaboration. After Man Ray died in 1982, Wegman continued his exploration of the medium with non-canine subjects and, later, with the dog Fay Ray and an expanding universe of her progeny.Now published as a reduced-format paperback, William Wegman Polaroids gathers together the best of this work-hundreds of unique, large-format photographs-with an insightful essay by the artist exploring his experiences with the camera and his exceptional models. The book is not only a comprehensive survey but also a record of sustained artistic creativity and loving appreciation of the canine form that is bound to enchant a new generation of readers in this charming new format.
Synopsis
For more than 25 years, artist William Wegman (b. 1943) has been making brilliant and inventive photographs with the 20 x 24" Polaroid camera. In 1979, when Polaroid invited Wegman to try out this enormous camera, he began a series of photographs featuring his dog, Man Ray, initiating a remarkable collaboration. After Man Ray died in 1982, Wegman continued his exploration of the medium with non-canine subjects and, later, with the dog Fay Ray and an expanding universe of her progeny.
Now published as a reduced-format paperback, William Wegman Polaroids gathers together the best of this work-hundreds of unique, large-format photographs-with an insightful essay by the artist exploring his experiences with the camera and his exceptional models. The book is not only a comprehensive survey but also a record of sustained artistic creativity and loving appreciation of the canine form that is bound to enchant a new generation of readers in this charming new format.
Publishers Weekly
Although Wegman's artistic output includes photography and video work that doesn't feature canines, "by the mid-Seventies," he wryly notes, "I had become the guy with the dog." The dog was Man Ray, a weimaraner with a movie star's instinct for the spotlight. Using a 1978 20x24 Polaroid camera, Wegman captured his beloved dog on film; for more than 20 years now, Wegman has continued to experiment with the camera, immortalizing his next weimaraner, Fay Ray, and a long line of her progeny. Though the collection contains a few portraits of people, next to the expressive and enigmatic canine tableaux, Wegman's human compositions are pale and unengaging-less human, in fact, than the dog photographs. In Rouge (1982), one of the last portraits of Man Ray, the ailing dog's eyes shine with wisdom and melancholy. In contrast, 1982's Eau II, a portrait of a glammed-up woman with a bloody nose and a Chanel bottle, seems cold and dated (or in the vein of a knock-off Cindy Sherman). It is when Wegman, refraining from indulging his latter-day fascination with prop and costume anthropomorphism, focuses on the dogs themselves-whether on their musculature, their sleek taupe coats or the graceful incline of their brows-that his photographs take on a life of their own and become truly beautiful. (Nov.) Copyright 2003 Cahners Business Information.