Göttingen: Steidl, Date: 2004. First edition thus. Small quarto (9-3/4" x 9"). 299, (1)pp. Bibliography. Gray linen lettered in black, photo mounted on front cover. Profusely illustrated with photographic plates. "Published in conjunction with the exhibition Ralph Eugene Meatyard, organized by the International Center of Photography. Exhibition Dates: December 10, 2004 through February 27, 2005"--Colophon An earlier printing of Meatyard's work was done as An Aperture Monograph" in 1974. The photographs of Ralph Eugene Meatyard (1925-1972) defy convention: they have been called visionary, surrealistic, and meditative. Whatever the label, these evocative images of friends and family and the natural world around his home illustrate a delicate psychology of human interaction. Meatyard was trained as an optician, a profession that he maintained all his life in Lexington, Kentucky; he bought a camera in 1950 for the sole purpose of photographing his first-born son. But shortly thereafter, he joined the Lexington Camera Club and developed a friendship with his photography teacher Van Deren Coke, as well as a circle of local writers and photographers, including Guy Davenport, Thomas Merton, Wendell Berry, Jonathan Williams, and Minor White. Family and friends freely participated in Meatyard's staged and mysterious images, which often involve masks and abandoned spaces, and obliquely reference social, political, and cultural issues. A key subject in Meatyard's work is the ...

mint oversize hc, expedited and international shipping not available, Steidl/ICP ISBN 3865210651 9783865210654 [US]

New York/Göttingen: International Center of Photography/Steidl, Date: 2004. 1st edition. Hardcover. VG. some foxing on corners. Illustrated Ivory cloth covers. 299 pages : chiefly illustrations, The photographs of Ralph Eugene Meatyard defy convention: they have been called visionary, surrealistic, and meditative. Whatever the label, these evocative images of friends and family and the natural world around his home illustrate a delicate psychology of human interaction. Meatyard was trained as an optician, a profession that he maintained all his life in Lexington, Kentucky; he bought a camera in 1950 for the sole purpose of photographing his first-born son. But shortly thereafter, he joined the Lexington Camera Club and developed a friendship with his photography teacher Van Deren Coke, as well as a circle of local writers and photographers, including Guy Davenport, Thomas Merton, Wendell Berry, Jonathan Williams, and Minor White. Family and friends freely participated in Meatyard's staged and mysterious images, which often involve masks and abandoned spaces, and obliquely reference social, political, and cultural issues. A key subject in Meatyard's work is the natural environment, which is featured in his Light on Water series, in which long exposures seem to create calligraphic texts, and his No-Focus series, in which he deliberately photographed stems and twigs out of focus. In one of his last series titled Motion-Sound, the pictures were made by moving the camera ...