Tulsa

Product Information

Although this book predates his iconic films by at least two decades, Tulsa is quintessential Clark. Here, the early black-and-white vérité style is replaced by a lingering, brightly-hued gaze that sometimes looks like a street-fashion shoot.

Clark has been the recipient of the National Endowment for the Arts' Photographers' Fellowship in 1973 and the Creative Arts Public Service Photographers' Grant in 1980. It has been claimed that thanks to Gene Pitney's 1960 song " Twenty Four Hours from Tulsa", Tulsa then represented "young love and family values"; [3] Clark's book challenged this with scenes of young people having sex, shooting up drugs, and playing with guns.

Softcover, 60 pages with additional blank leaf at rear, no specific title page but identified as Lustrum Press and with the photographer's introduction identified as L. When someone I knew would die, which happened a lot, I'd think they were one of the lucky ones," he told me. Quarto; Unpaginated; VG/VG;Black spine with white lettering; Jacket protected by mylar cover; Jacket has minimal shelf wear; Black cloth boards have slight wear at the upper edge; Binding tight; Interior clean.

When it first appeared in 1971, Larry Clark's groundbreaking book Tulsa sparked immediate controversy across the nation. Criticism of Tulsa has not been limited to a visceral rejection of images of drugtaking, casual sex, and gunplay; Martin Parr and Gerry Badger say that the "incessant focus [of Tulsa and Clark's 1983 book Teenage Lust] on the sleazy aspect of the lives portrayed, to the exclusion of almost anything else — whether photographed from the 'inside' or not — raises concerns about exploitation and drawing the viewer into a prurient, voyeuristic relationship with the work. Sex, drugs and violence were captured in a raw, grainy monochrome that defined the raw confessional style adopted later by Nan Goldin, Corinne Day and Antoine D'Agata.When it first appeared in 1971, Larry Clark’s groundbreaking book Tulsa sparked immediate controversy across the nation. Clark's first hardcover edition of this work, dated 1971 (the year of the softcover original edition) but in reality published by Clark in 1979. Clark learned photography early (his mother was a photographer of babies) and there’s a great deal of darkroom technique behind these pictures.

Ever interested by teenage subcultures, Clark chose young amphetamine users in his hometown of Tulsa, Oklahoma as his subject matter for this book Included are 50 black and white photographs that examine their daily lives. First edition, first printing; 4to (305 x 223 mm, 12 x 8¾ in); black-and-white photographs printed in offset, toned; photo-illustrated adhesive-bound wrappers, corners lightly creased as often, other handling mark and a short tear at the foot of spine, a very good copy; [64]pp. Considered shocking for its graphic portrayal of the intimate details of its subjects' risky lives, the book launched Clark's career. I shot with my friends every day for three years and then left town, but I've gone back through the years. One of Clark's images, of a young girl grinning as she gleefully squirts liquid from a syringe, has never left me.The primarily black jacket has some wear at edges, rubbing on the rear panel, and a few closed, creased tears at edges. Like many of his other works, Clark presents a dynamic portrayal of troubled teens, juxtaposing their youthful innocence and dark lifestyles, reminding the reader that "Once the needle goes in it never comes out. Seymour paid for Tulsa to be printed, together with his own book, A Loud Song (1971), which Lustrum also issued. His work has been included in group and solo exhibitions since the early 1970s, and he was the recipient of a National Endowment for the Arts Photographers' Fellowship in 1973 and a Creative Arts Public Service photographers' grant in 1980. He served in the military during the Vietnam War and has been a freelance photographer based in New York since 1966.

Covers heavily rubbed at the edges with additional wear and chipping to the spine, light cover creasing and other wear, first two leaves have some general shallow creasing, detached pages have some edgewear, the page with David Roper has some light soil to the margins. This exhibition comes with a parental warning (and controlled access) but it also comes with high praise. George Eastman House ( Rochester, New York) possesses a complete set of the fifty prints used to make the original book. An autobiography of his teenage years, it comprised more raw images of drug use and adolescent sex, as well as portraits of young hustlers working Times Square in New York, with a little of the edginess leavened by family snapshots and portraits.By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions. He had blurred the lines between participant and observer, but he’d also managed to be an artist instead of a voyeur. Reflections in a Glass Eye: Works from the International Center of Photography Collection, New York: Bulfinch Press in association with the International Center of Photography, 1999, pp. There was no judgment, no moral point of view in his early work: these kids all look like they're simply having a good time, as they shoot up or point guns at one another.