Foreword by Natalie Angier
Preface by Leonard Nimoy
Afterword by Anne Wilkes Tucker
Trade cloth in dustjacket
| 10.75 inches x 8.25 inches 96 pp., | 50 B&W photographs | US $45.
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In the preface to his provocative new
book of nude studies, The Full Body Project, photographer and actor Leonard Nimoy writes,
The average American woman weighs twenty-five percent more than the models wearing the clothes marketed to her. There is a huge industry built up around selling women ways to get their bodies closer to a fantasy ideal. The message is 'You don't look right. But if you buy our product, you can get there.
In The Full Body Project, Nimoy presents images
of full-bodied women, many of whom are engaged in fat liberation and the
size acceptance movement — and challenges dominant notions of the ideal
female figure as represented in the media and fine arts.
The women in
these pages are proudly wearing their own skins. They accept and respect
themselves, and I hope that my images convey that feeling to others. Leonard Nimoy
Leonard Nimoy, best known to the public as Spock in the Star Trek television
and motion picture series, has been a lifelong photographer. Following
his work on the Star Trek television series, he studied photography under
Robert Heinecken at UCLA and since then has exhibited his work widely,
in addition to lecturing on photography and contemporary art. His photographs
are in numerous private and museum collections. A previous book of his
photographs, Shekhina, was published in 2002.
Five Ties Publishing produces high-quality books on photography, fine art,
film, architecture, and graphic design in collaboration with emerging and
internationally renowned artists and writers. Five Ties founder Garrett
White is the former director of publications at the Los Angeles County
Museum of Art and the Whitney Museum of American Art.
A great list, inspiring, challenging, informative, entertaining, can
only be built from a strong vision and a willingness to take risks beyond
the need for high volume and pre-established commercial appeal. Garrett
From the Foreword by Natalie Angier:
The women in [these] photographs seize the aesthetic and emotional reins through the time-honored primate
strategy called making direct eye contact. In most artistic renditions
of the nude, the subject's gaze is indirect . . . But the women shown here
do not avert their eyes, either from the camera or from each other. They
look us straight in the face and ask thatwe do the same. Significantly,
their gaze is not hostile or defiant. It doesn't say, what are you staring
at, chum? Does my fat body repel you? Nor is it campy or vampy or in the
least bit embarrassed. Instead, it is the gaze of gimlet-eyed women who
know perfectly well that they are on view, and that their unclothed bodies
are not the standard models of beauty as brought to you by museums, the
movies, or Maybelline. Yet by fixing us in their level-headed sight, the
women politely but firmly demand that we begin our inspection at eye level,
where the self is exposed and makes its humanness known. We get to know
these women before we begin appraising their bodies. And the paradoxical
result of our face-based introduction, our feeling that we understand these
women as individuals and already count them as friends, is that we see
their bodies less personally,relieved of any object lessons or projections
of our private pieties and fears. Rather than rejecting their bodies as
unacceptably obese . . . we see them almost as abstractions, an interplay
of geometries, patterns, and themes. We can see them for what they are,
for what every body must be: an imperfect, magnificent evolutionary compromise
between the life forms that preceded it, and the life forms yet to be.
December 2007 from
Five Ties Publishing, NYC