First edition, first printing. Hardcover. Light brown cloth (several different colors of cloth were used in binding the book), with title stamped in gilt on front cover and spine, no dust jacket as issued. Photographs and poetry by Edmund Teske. Introduction by Aron Goldberg. Includes an extensive illustrated chronology compiled by Pamela Blackwell. Unpaginated, with 53 black and white plates (including one portrait of Teske by Pamela Blackwell, 1976) and 2 four-color plates, and 10 additional black and white reference illustrations for Chronology section, beautifully printed by Gardner/Fulmer Lithograph, Buena Park, California, on 100 lb. fine Lustro Offset Enamel Dull Cream paper. 14 x 11 inches. This first edition was limited to 4000 hardbound copies.

Images from Within: The Photographs of Edmund Teske (Untitled, 22)

Arts & Photography

Teske, Edmund

Photography & Video

Friends of Photography Bookstore

A seller has used both the Product Description &amp; Editorial Reviews to describe his own used copy of this book.

Heinecken

Untitled, No. 25 in the Friends of Photography publications on serious photography. Includes Harry Callahan's distinguished career in photography, "Lee Friedlander, Photographer of 1980," Mark Klett, the 1980 Ferguson Grant recipient, Beaumont Newhall on John B. Green, Anita Ventura Mozley on Imogen Cunningham's beginnings, and more. 55p. Measures 9x12 inches.

Discovery and Recognition

Alinder, James

A collection of photographs depicting everyday life in New York City by the first Black artist to receive a Guggenheim Foundation Fellowship

Roy DeCarava: Photographs

Friends of Photography Bookstore [Published date: 1983]. Untitled 31: This publication is the 31st in a series of publications on serious photography by The Friends of Photography. Soft cover, 48 pp. [From Preface] Even though it is the nature of the medium to enable photographers to take as many images as their temperament allows, it has been a common practice to work for single "masterpieces", and to consider the remainder of a month's work as trials and, largely, failures. In the past decade, however, certain artists have defined territories of interest that could allow the taking of many successful photographs. The idea of the masterful image became a less important part of the aesthetic vocabulary. Along with this redefinition of what constitutes a successful work of art came a detachment from traditional composition that led to a new visual freedom.Among the most important, successful and prolific of the photographers who have come to prominence over the past decade is Nicholas Nixon. In an attempt to establish a personal understanding of his vision, he has consciously worked in one-year blocks of time, with new ideas and visual modes evolving in each twelve-month period. The results have been of a consistently high quality and interest. The intensity of his vision speaks directly to such basic concerns as the nature of the human spirit. As one of the select photographers represented by Light Gallery, he chose to have a smaller exhibition there each year rather than to have the traditional biennial show. Functioning as a personal culmination for a group of pictures, this annual presentation allowed him to bring one set of ideas to completion, and to move purposefully on to the next. Thus, the commission offered by Boston's Institute of Contemporary Art in the summer of 1981 to create a body of photographs to be exhibited in the Institute's gallery only weeks after its completion supported a continuation of his way of working.

Nicholas Nixon: Photographs from One Year (Untitled, No. 31)

Nixon, Nicholas

Individual Artists

Samuel Bourne: Images of India (Untitled, 33)

Ollman, Arthur

Marion Post Wolcott, Fsa Photographs (Untitled, 34)

Wolcott, Marion

Observations: Essays on Documentary Photography

For much of the 1940s, 50s, and 60s, photographer Harry Callahan's wife, Eleanor, was his most regular subject. She stares out of his acclaimed work, sometimes sharp and sometimes blurred, sometimes Classical and sometimes Modern, in public parks and city streets, at the beach, in a tent, in the studio and their home, nude and clothed, eventually pregnant and then mothering. The couple's longstanding collaboration makes up an intimate visual diary of their relationship and of Callahan's artistic exploration: these are seldom portraits in the traditional sense. More than studies of Eleanor, they are stages in Callahan's lifelong exploration of photography as a creative medium, showing his embrace of an array of materials and techniques, including highly detailed large-format negatives, distortions of movement and focus, silhouettes and multiple exposures. The subject was always Eleanor, but there were always new ways of seeing her.

Eleanor (No. 35)

Callahan, Harry M.

First edition, first printing. Soft cover. Photographically illustrated stiff wrappers; no dust jacket as issued. Photographs by Todd Walker. Introduction by Julia K. Nelson. Unpaginated (48 pp.), with 34 four-color plates. 10-3/8 x 9 inches.

Todd Walker: Photographs (Untitled Number 38)

Walker, Todd

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