1978, ISBN: 9780195031966

London: Macdonald, 1985. Oversize Paperback. Very Good. XL. A clean, unmarked book with a tight binding. 10 1/8""w x 11 7/8""h. Includes 25 photographic plates suitable for framing., … More...

London: Macdonald, 1985. Oversize Paperback. Very Good. XL. A clean, unmarked book with a tight binding. 10 1/8""w x 11 7/8""h. Includes 25 photographic plates suitable for framing., Macdonald, 1985, 3, New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<

1978, ISBN: 9780195031966

New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography c… More...

New York: Oxford University Press, 1979. xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education.. 1st. Paperback. Good. 8vo., Oxford University Press, 1979, 2.5<

1979, ISBN: 0195031962

Paperback

[EAN: 9780195031966], Gebraucht, guter Zustand, [PU: Oxford University Press, New York], xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean ins… More...

[EAN: 9780195031966], Gebraucht, guter Zustand, [PU: Oxford University Press, New York], xvi, 283 pages, [32] pages of plates, illustrations; 21 cm. GB 700. Good+. Firm binding, clean inside copy. Expected browning. Smart photography criticism. CONTENTS: Latent image; Paul Strand; Jerry Uelsmann; Christmas gift: "Harlem on my mind"; Richard Kirstel: "pas de deux"; James Van DerZee; Roy DeCarava: "thru black eyes"; "Photography into sculpture": sheer anarchy, or a step forward?; Inside the museum, infinity goes up on trial; Holography: a prophecy; The horrors of Hiroshima; Roger Minick: delta west; Robert Heinecken: a man for all dimensions; Bruce Davidson: east 100th street; Duane Michals: sequences; Richard Kirstel: is this the scopes trial of photography?; Jerry Uelsmann: he captures dreams, visions, hallucinations; Les Krims: four photographs that drove a man to crime; Fundi: the nuances of the moment; Peter Bunnell: money, space, and time, or the curator as juggler; Jan Van Raay: the crest of a tidal wave; Photography and conceptual art; Harvey Stromberg: the sneakiest show in town; Diane Arbus: the mirror is broken; "I have a blind spot about color photographs"; Larry Clark: Tulsa; Danny Seymour: a loud song; Michael Abramson: Palante; More on color: readers speak out; A manifesto for photography education; Danny Lyon and Geoff Winningham: barred doors, bared mats; Paul Strand; Bernadette Mayer: "memory" Thomas Barrow and Charles Gatewood; Duane Michals: the journey of the spirit after death; Who will be the replacements?; Bea Nettles; Judy Dater; Beuford Smith: he records the texture of black life; Not seeing Atget for the trees; Robert Frank: the lines of my hand; Ed Ruscha: "my books end up in the trash"; Ed Ruscha: I'm not really a photographer"; Van Deren Coke: the painter and the photograph; Ansel Adams: let me make one thing perfectly clear; Robert D'Alessandro: New York's funky epiphanies; Diane Arbus: her portraits are self-portraits; Bob Adelman and Susan Hall: down home; Robert Delford Brown: an introduction; Life may have died, but photography lives on; Ralph Gibson: deja-vu; Minor white: octave of prayer; Michael Lesy: Wisconsin death trip; Must they "progress" so fast?; Shouldn't we be more concerned?; "Photography: recent acquisitions; Clarence John Laughlin; Bill Dane; Emmet Gowin; Julio Mitchel; W. Eugene Smith: "minamata"; Michael Martone: dark light; New Japanese photography; Paul Diamond; Abigail Hayman and Imogen Cunningham; "From today, painting is dead": a requiem; Art critics: our weakest link; Reinventing photography; My camera in the olive grove: prolegomena to legitimization of photography by the academy; Because it feels so good when I stop: concerning a continuing personal encounter with photography criticism; Where's the money?; The indigenous vision of Manuel Alvarez Bravo; On plagiarism; "Violated" instants: Lucas Samaras and Les Krims; Novel pictures: the photofiction of Wright Morris; The directorial mode: notes toward a definition; Humanizing history: Michael Lesy's Real life; Visual recycling: Irving Penn's "street material"; Lament for the walking wounded; No future for you?: speculations on the next decade in photography education. Size: 8vo, Books<