PHOTOGRAPHER MONOGRAPHS

PUBLISHER
Damiani

BOOK FORMAT
Hardcover, 9.5 x 13 in. / 220 pgs / 120 color.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2010 p. 172   

PRODUCT DETAILS
ISBN 9788862081207 TRADE
List Price: $60.00 CDN $79.00

AVAILABILITY
In stock

BROWSE THE 2018 FALL CATALOG

From 'Led Zeppelin by Led Zeppelin' to 'The Swimming Pool in Photography' to 'Protest: The Aesthetics of Resistance,' with new monographs on Yayoi Kusama, Hilma af Klint, James Turrell and Jack Whitten, and announcing D.A.P. distribution for Glenstone Museum and SPBH Editions.

  

DAMIANI

Ara Gallant

Edited and with text by David Wills. Introduction by Anjelica Huston.

Photographer Ara Gallant’s dazzling photographs, like this wild holiday portrait of Mick Jagger, supermodel Iman, and model/photographer Paul Van Ravenstein from 1977, were truly a reflection of his personality. In her introduction to <a href="http://www.artbook.com/9788862081207.html">Ara Gallant</a>, Anjelica Houston explains, "When Ara danced, we girls followed. He was in his element and so were we. He could pivot two six-foot models in Manolo’s with the greatest of ease. He could transform a dance floor, make a room crackle, turn the lights down low." <p>From all of us at DAP and ARTBOOK, we wish you Merry Christmas and a Happy New Year!He was born Ira Gallantz in 1932 in the Bronx, but later changed his name to the more exotic-sounding Ara Gallant—and the life he led was indeed an exotic one. Gallant began his professional career in fashion as a hairdresser, working at Bergdorf Goodman department store in New York as one of the city's top colorists. In the mid-1960s, he was approached by Vogue and began to work exclusively on photo assignments, the first hair stylist to be paid to fulfill such a role. Gallant went on to work with many of the great fashion photographers of the period, Richard Avedon, Irving Penn and Bert Stern among them. Perhaps his most notable contribution as a stylist was the introduction of “flying hair,” an effect he first used on an Avedon shoot with iconic model Twiggy in 1966, and which is still widely employed today. By the early 1970s, Gallant had begun shooting his own pictures, his first assignment being a set of celebrity portraits for Interview magazine. His work often juxtaposed classic Horst-like compositions with contemporary scenarios. In the early 1980s, Gallant moved to Los Angeles to pursue a directing career, which never happened; in 1990, he committed suicide in a Las Vegas hotel room. This new book tracing Gallant's life and career is edited by David Wills and features photographs by Richard Avedon plus a foreword by Anjelica Huston.

Photographer Ara Gallant’s dazzling photographs, like this wild holiday portrait of Mick Jagger, supermodel Iman, and model/photographer Paul Van Ravenstein from 1977, were truly a reflection of his personality. In her introduction to Ara Gallant, Anjelica Houston explains, "When Ara danced, we girls followed. He was in his element and so were we. He could pivot two six-foot models in Manolo’s with the greatest of ease. He could transform a dance floor, make a room crackle, turn the lights down low."

From all of us at DAP and ARTBOOK, we wish you Merry Christmas and a Happy New Year!

PRAISE AND REVIEWS

The Daily Beast

Isabel Wilkinson

When it comes to glamour, the 1970s can be distilled into a few simple highlights: dangerously red lips, after-hours glitter, and really, really big hair. The man largely responsible for it all is Ara Gallant—the hairstylist turned photographer whose work filled the pages of Vogue and Interview from the late '60s to early '80s.

Ara Gallant

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FROM THE BOOK
“The first time that I remember being in the presence of Ara Gallant was in Richard Avedon’s studio on 75th Street in New York City, circa 1971. We were in the middle of a photo shoot with Dick, and Polly Mellen was the fashion editor and Ara was “doing hair.” Ara was never a hairdresser; his talent didn’t fit into the normal concept of what hairdressing might be--Ara always ‘did hair’--and suddenly Ara’s hands came alive and he started attaching yards of vinyl braid to my head with swift, deft fingers.
Ara had a very sure touch. We were perusing images of handsome young men of the moment (one of them was James Taylor, but we didn’t choose him because we hadn’t heard his music yet) whom Dick had thought might be a potentially good pairing for me on an upcoming shoot for Vogue in Connemara, in the heart of the Emerald Isle. Ara had just confessed his deep and abiding hatred for the color green, he said he wouldn’t even drive a green car if you paid him, and we were laughing so hard that I barely noticed that he had plucked my eyebrows into a whisper of a line, half way up my forehead--I was aghast, but said nothing.
Ara was subversive like that; he would perform tricks when you weren’t looking, and the results were often worrisome, if generally very glamorous: with Ara, it was not so much about hair and much more about the creation of a fantasy…”

--Anjelica Huston, excerpted from her Introduction to Ara Galant.

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