First edition, first printing. Hardcover. Fine cloth, with photographically illustrated dust jacket. 246 pp. with 102 duotone plates. 10-7/8 x 11-1/4 inches. Photographs by Lewis Baltz. Essay by Gus Blaisdell (in English). This edition was limited to 3000 hardbound copies. Out of print. Very scarce.
Descrizione libro Artspace Press/Castelli Graphics/Aperture, Albuquerque/New York, 1980. Hard Cover. Condizione libro: New. Condizione sovraccoperta: New. First Edition; First Printing. Edition limited to 3000 copies. Brand New book sealed in publisher's original shrinkwrap. Flawless and in perfect condition. No remainder mark. ; 4to 11" - 13" tall; 246 pages. Codice libro della libreria 28929
Descrizione libro Artspace Press/Castelli Graphics/Aperture, Albuquerque/New York, 1980. Hardcover. Condizione libro: New. Condizione sovraccoperta: New. 1st Edition. First edition, limited to 3000 copies. Hardcover in dust jacket. New in publisher's shrinkwrap. Codice libro della libreria 000809
Descrizione libro Aperture, 1981. Hardcover. Condizione libro: New. Codice libro della libreria P110960414002
Descrizione libro Aperture, 1981. Hardcover. Condizione libro: New. book. Codice libro della libreria 0960414002
Descrizione libro Artspace Press and Castelli Graphics, Albuquerque, New Mexico and New York, 1980. Hardcover. Condizione libro: New. Condizione sovraccoperta: New. 1st Edition. First edition, first printing. Signed in black ink on the title page by Baltz (signed at the Galerie Thomas Zander in Cologne). Hardcover. Fine cloth, with photographically illustrated dust jacket. Photographs by Lewis Baltz. Essay by Gus Blaisdell (in English). Designed by Jack W. Stauffacher. 246 pp. with 102 duotone plates. 10-7/8 x 11-1/4 inches. This edition was limited to 3000 hardbound copies.Includes a complimentary signed copy of Lewis Baltz: Nevada (New York: Castelli Graphics, 1978; item #108067). This first edition was limited to 2,000 copies. Out of print. Very scarce. Out of print. A very rare signed copy in New condition.Includes copies of the original 1978 exhibition press releases from the Susan Spiritus Gallery and Castelli Graphics, New York.[Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006). New in New dust jacket, in original publisher's shrink-wrap (slit open for signature). The included signed copy of Nevada is also in New condition. While Lewis Baltz is perhaps best known for his New Industrial Parks near Irvine, California series, Park City might be a better candidate as the magnum opus of the artist's early work. Not merely representative of the stylistic and conceptual framework of the photographic movement he helped to define, Park City is the single most exhaustive and far-reaching visual criticism of 1970s-era American real estate development: the book is thus the New Topographics document par excellence. The book's 102 plates (Baltz defines the Series as "a sequential work of 102 elements") first take the viewer through overall site views that set up a jarring contrast between the mountains (already carved up for the ski area) and the freshly built condominiums and houses that soon will take over the landscape.Moving through the pages, the plates begin to focus more and more on the excavation and earth moving efforts that precede building; the mounds of earth, littered with construction debris, are but pitiful doubles of the mountains in the background. As Baltz takes us closer in, we can begin to discern the buildings themselves: dreadful echoes of The Tract Houses clumped together and rising ostentatiously from the once verdant valley floor. A little over halfway into the book, we're brought inside the still-under-construction homes, where images of more debris mingle with dingy interior views that invoke claustrophobia rather than inviting living spaces. A fireplace wall covered with a vapor barrier, too-small windows, miles of wood studs and endless drywall combine to suggest an oppressive blandness.By the time one arrives at the book's final plate, a feeling of pity for the eventual inhabitants of these spaces begins to emerge. And in the final image, we see just how many of these properties have been sold on a map dotted with push pins of varying colors, indicating the status of each lot in the subdivision. Recalling the book's first plate, a distant view of the landscape dotted with structures, this map is a satisfying final image, in that it represents the complete transformation of the landscape into an abstract, flat object--not unlike Baltz's photographs themselves.The centerpiece of a loosely conceived trilogy that began with the New Industrial Parks and ended with San Quentin Point, Park City embodies the best, most incisive and considered qualities of both, and stands as the finest publication by one of the most important of contemporary artists.In his philosophical essay on the work of Lewis Baltz, Gus Blaisdell rigorously examines the very nature of photography and its relationship to the physical world. Blaisdell systematically unclutters and demystifies previous attempts at understanding photographs of the real world, representation and perception, stripping bare all "gobbledegook" and "rigamarole" of various intellectual stabs. and he does it in a way that invites the reader along on his mind-bending ride. That's Gu. Codice libro della libreria 108060
Descrizione libro Aperture. Hardcover. Condizione libro: New. 0960414002 New Condition. Codice libro della libreria NEW6.0637599