Baltz, Lewis; Gus Blaisdell (35 results)

Pamphlet. 48p., stapled wraps, 10x8 inches landscape format, illus., very good catalog for an exhibition of contemporary photography featuring works by Baltz, DeLappa, and Labrot.

Hardcover. Condition: new.

Hardcover. Condition: New. Dust Jacket Condition: New. 1st Edition. First edition, first printing. Signed by William Peterson and Nicole Blaisdell Ivey. Hardcover. Black laminated cloth with title stamped in green on spine; with photographically illustrated dust jacket. Essays, fiction and correspondence by Gus Blaisdell selected and edited by William Peterson and co-edited by Nicole Blaisdell Ivey. Includes some of Blaisdell's most brilliant writings on artists and photographers including Lewis Baltz, John Gossage, Joel-Peter Witkin and others. Foreword by Stanley Cavell. Preface by William Peterson. Introduction by David B. Morris. Envoi by Ira Jaffe. Includes a chronology and a bibliography. Designed by Melissa Tandysh. 382 pp., with numerous halftone illustrations. 9-1/4 x 6-1/2 inches. New in New dust jacket, enclosed in a clear archival Brodart protective cover (opened only for signatures). From the publisher: "From the moment he arrived in New Mexico in 1964, Gus Blaisdell (1935-2003) was a legendary presence. Famous in Albuquerque as a writer, teacher, publisher, editor, and especially as the proprietor of the Living Batch bookstore, Blaisdell was also a brilliant critic whose essays influenced readers throughout the country and across the Atlantic. This long-awaited collection of Blaisdell's critical writings includes essays on literature, art, and film, along with moving tributes by some of the distinguished writers who numbered Blaisdell among their friends. Introductory essays by philosopher Stanley Cavell and literary critic David Morris join colleague Ira Jaffe's poignant memoir to provide perspectives on the man by friends who knew him well. Glimpses of Blaisdell's vivid personality can be had from the many photographs included, and the diligently researched chronology compiled by Nicole Blaisdell Ivey tracks the course of her father's complicated life." Signed by Author.

First edition. Oblong softcover. 48 pages. Features text by Gus Blaidsell on the works of Lewis Baltz, Lois Gruberger writing on William DeLappa and Arnold Gassan writing about Syl Labrot. Includes numerous color and black and white images. A clean very near fine copy in stapled wrappers. Uncommon.

Hardcover. Black and grey boards with black lettering; 108 unnumbered pages; chiefly illustrations (some color, some folded). Created on the occasion of an exhibition held at Gallery Min, Tokyo, May 13-July 2, 1989. Good (Ex-Library with sticker on lower spine and inside rear pastedown; boards are edgeworn/scuffed/smudged/bumped; textblock edges are lightly scuffed/smudged; interior is clean; binding is solid.).

Soft cover. Condition: New. 1st Edition. True first edition, first printing. Signed in black ink on the title page by Baltz. Soft cover (original exhibition catalogue). Photographically illustrated stiff wrappers, with French folds. Photographs by Lewis Baltz. Texts by Marvin Heiferman, Paolo Costantini, Shirley Irons, Gus Blaisdell, Jane Livingston, Mowry Baden, Mark Haworth-Booth, Bernard Lamarche-Vadel, Jeff Kelley, Oliver Boissiere and Michael Schmidt. 156 pp., with numerous four-color and black and white plates. 13 x 9-1/4 inches. Out of print. New in publisher's shrink-wrap (slit open for signature). Published on the occasion of the 1990 exhibition Lewis Baltz: Rule Without Exception, organized by Julia Brown Turrell, at the Des Moines Art Center, Des Moines, Iowa (traveled to numerous venues). An important, comprehensive and visually provocative survey of Baltz's major projects over the previous 20 years. Signed by Author.

Hardcover. Condition: Near Fine. 108 unnumbered pages : chiefly illustrations (some color, some folded). Publisher's binding sturdy, fresh, and attractive; contents as new. In a slipcase that shows virtually no wear. 1440 grams.

Hardcover. Condition: Near Fine. 1st Edition. First edition, first printing. Hardcover. Black faux leather-covered boards with matte gray tipped-in title plate on cover and printed in gray on spine, no dust jacket as issued; contained in a black cardboard slipcase with matte gray title plate on front and spine. Photographs by Lewis Baltz. Essay (in English and Japanese) by Gus Blaisdell. Designed by Hiroshi Osaka. Unpaginated (136 pp., including 8 two-page gatefolds), with 12 four-color and 72 duotone plates beautifully printed on heavy matte paper by Mitsumura Printing Company, Ltd., Japan. 10-1/2 x 13-1/2 inches. Published on the occasion of the exhibition "Lewis Baltz: Candlestick Point" at Gallery Min, Tokyo (May 12 -- July 2, 1989). Out of print. Scarce. Near Fine (minor shelf wear to boards, endemic to the title, else Fine) in Very Good slipcase (small bump to top; minor shelf wear and several handling indentations). A continuation of Baltz's "New Topographics" investigation of the industrial wasteland at San Francisco's Candlestick Point. In wide-angle and close-up views, Baltz lays bare what we'd rather not see, while at the same time luring the viewer with the perverse pleasures of his images, here echoed by the sensuous pleasure of the book itself.

151 pp.; 34 x 24.5 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Exhibition catalogue published in conjunction with show held at the Institute for Contemporary Art, P.S.1 Museum, Long Island City, New York, December 16, 1990 -February 10, 1991. Traveled to the John and Mable Ringling Museum od Art, Sarasota, Florida, April 5 - May 26, 1991 ; Des Moine Art Center, Iowa, July 12 - September 1, 1991 ; Mills College Art Gallery ; Oakland, California, November 10 - December 22, 1991 and the Los Angeles County Museum orf Art, March 26 - May 31, 1992. Text by Marvin Heiferman, Paolo Costantini, Shirley Irons, Gus Blaisdell, Jane Livingston, Mowry Baden, Mark Haworth-Booth, Bernard Lamarche-Vadel, Jeff Kelley, Olivier Boissiere, and Michael Schmidt. Includes biography of the artist. Fine / New. In still sealed publisher's shrink-wrap. This copy never opened as New, as issued. Due to large size and weight of this publication additional shipping charges will be required for international orders.

Hardcover. One of 3,000 copies. Light brown cloth over boards with black lettering; 246 pp.; richly illustrated (chiefly b&w photos). An edition of 3,000 copies. Good (Ex-Library with sticker on the spine and on rear pastedown, and associated markings to the interior; boards are edgeworn/scuffed/smudged; textblock edges are scuffed/smudged/toned; interior is clean; binding is solid.).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. First edition thus (in German; originally published in 1990 for the Des Moines Art Center by the University of New Mexico Press), first printing. Signed in black ink on the first page by Baltz. Hardcover. Black paper-covered boards with title printed in gray on the spine; with laminated photographically illustrated dust jacket. Photographs by Lewis Baltz. Texts (in German) by Marvin Heiferman, Paolo Costantini, Shirley Irons, Gus Blaisdell, Jane Livingston, Mowry Baden, Mark Haworth-Booth, Bernard Lamarche-Vadel, Jeff Kelley, Oliver Boissière, Urs Stahel and Michael Schmidt. Includes a biography, bibliography, exhibition history, collections and brief biographies on the contributors. Designed by Connie Wilson, HoltzWilson Design Corporation, Des Moines, Iowa, in collaboration with Lewis Baltz. 168 pp., with 33 four-color and 110 black-and-white plates beautifully printed on coated paper by Steidl, Göttingen. 13-1/4 x 9-3/4 inches. Published on the occasion of the 1993 exhibition Lewis Baltz: Regel ohne Ausnahme at Fotomuseum Winterthur. This first Scalo edition was limited to 2000 copies. Near Fine in Near Fine dust jacket (light bump to the upper right front corner). An important, comprehensive and visually provocative survey of Baltz's major projects over the previous 20 years. Signed by Author.

Hard Cover. Condition: Near Fine. Dust Jacket Condition: Very Good. Baltz, Lewis (photos) (illustrator). First Edition. 246pp.; HB beige w/blk.; slight rub w/clean,tight pgs. DJ dk.gray w/blk.-photocover; rubbed w/wear on edges. 102 images in & around Park City, Utah. 1of3,000 Size: 4to - over 9¾" - 12" tall.

Cloth. Condition: Very Good. Dust Jacket Condition: good +. First edition. Oblong 4to. 246 pp. Text by Gus Blaisdell. Superb study documenting the building of a rapidly growing ski resort and second-home development near Salt Lake City. One of the photographer's best known works. A clean very good copy in mustard cloth in a good dustwrapper with a large chip missing at top of spine area and with quite a bit of rubbing to the wrapper. Still, a respectable copy of an important book. A large and heavy volume.

First edition. Oblong hardcover. First printing. Published in conjunction with an exhibition at Gallery Min in Tokyo. Essay by Gus Blaisdell in English and Japanese. A collection of color plates and duotone images. All images taken in and the Candlestick Point area in San Francisco, California. A clean near fine copy in a near fine cardboard slipcase with some very minor wear. No dust jacket as issued. A beautifully produced book.

First edition and first printing. Hardcover. 246 pages. One of only 3000 copies printed. Features text by Gus Blaisdell, who was a long time friend of Baltz. A collection of 102 black and white photographs all taken in Park City, UT which truly exemplify the New Topographics movement. A clean and tight near fine copy in cloth boards and in near fine dust jacket with some light rubbing and edge wear. Still, a nice copy of this classic. (Parr & Badger v2, 34).

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. Original printing, still in shrinkwrap.

Condition: Sehr gut. Artspace Press, Albuquerque, New Mexico and Castelli Graphics, New York, 1980. First edition, first printing. Martin Parr, The photobook, vol 2, page 34. Hardback with full brown cloth and jacket. 265 x 275 mm (19 1/2 x 11 in), 248 pages. 102 black and white photographs. Essay by Gus Blaisdell; design by Jack W Stauffacher. Text in english. Condition: Book inside and outside excellent; clean and flawless. Dustjacket with light trace of use; no tears, no missing parts. Overall very fine, very fresh condition! Collector`s copy! "Park City marks a key moment in Baltz`s oeuvre, when he brought his conceptual instincts fully to the fore. . Park City is one of the most important photobooks of the Late twentieth century." (Gerry Badger)******************Artspace Press, Albuquerque, New Mexico and Castelli Graphics, New York, 1980. Amerikanische Originalausgabe. Erstausgabe. Martin Parr, The photobook, vol 2, Seite 34. Hardback mit Schutzumschlag. 265 x 275 mm, 248 Seiten. 102 schwarz-weiß Fotos. Essay von Gus Blaisdell. Design von Jack W Stauffacher. Text in englischer Sprache. Zustand: Buch von innen wie aussen tadellos und frisch. Originalschutzumschlag sehr frisch, mit kleineren Gebrauchsspuren; keine Risse, keine Fehlstellen. Insgesamt sehr guter, sehr frischer Zustand! Sammler-Exemplar! Lewis Baltz, geboren 1945 in Newport Beach/Kalifornien, lebt seit 1985 in Frankreich und Italien. Bekannt wurde er in den siebziger Jahren mit der New Topographics Bewegung und der Teilnahme an der gleichnamigen wegweisenden Ausstellung in Rochester, New York. Sprache: Englisch Gewicht in Gramm: 1600.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. First edition, first printing. Inscribed "For Dana" [publisher Dana Asbury], dated 13/04/91 and signed in black ink on the first page by Baltz. Hardcover. Black cloth-covered boards with title blindstamped on cover and spine; with photographically illustrated dust jacket. Photographs by Lewis Baltz. Texts by Marvin Heiferman, Paolo Costantini, Shirley Irons, Gus Blaisdell, Jane Livingston, Mowry Baden, Mark Haworth-Booth, Bernard Lamarche-Vadel, Jeff Kelley, Oliver Boissiere and Michael Schmidt. 156 pp., with numerous four-color and black and white plates. 13 x 9-1/4 inches. Out of print. Fine in Fine dust jacket. Published on the occasion of the 1990 exhibition Lewis Baltz: Rule Without Exception, organized by Julia Brown Turrell, at the Des Moines Art Center, Des Moines, Iowa (traveled to numerous venues). An important, comprehensive and visually provocative survey of Baltz's major projects over the previous 20 years. Signed by Author.

Hardcover. Condition: As New. Dust Jacket Condition: Near Fine. 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. Out of print and a rare. [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006). As New in Near Fine dust jacket (stray surface marks and wear to the extremities), in original publisher's shrink-wrap saved with the book; dust jacket enclosed in a removable archival Brodart cover. 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 Gus. No critical writer comes close. The essay is essential reading for anyone seriously interested in photography. From the publisher: "During 1978 and 1979 Lewis Baltz, one of America's foremost contemporary photographers, undertook to document the building of a rapidly growing ski resort and second-home development east of Salt Lake City in Utah's Wasatch Mountains. His concern was to record the construction of Park City as an example of the urbanization of the American West. When Baltz first saw the landscape around Park City, it appeared utterly chaotic, devastated by decades of abuse and neglect. Littered with fragments of iron, glass, wood, and wire -- the residue of mining wastes abandoned years earlier -- much of the land could support only meager vegetation. The scene suggested the aftermath of cataclysmic, purposeless violence. During the two and one half years that Baltz photographed Park City, the wasteland was covered with houses and commercial structures; ironically these only increased the sense of starkness and desolation. In Year of Decision: 1846 Bernard DeVoto wrote that vacant grandeur of the Western mountains gave Americans a new image of solitude. Baltz's Park City photographs can be viewed as a record of the terminal stages of individuality and isolation played out against an indifferent natural setting, the heroic landscape recycled as a recreational resource. Baltz's view of the landscape as real estate has produced a series of photographs that taken together demand consideration as art. Working serially, Baltz asserts, develops, and questions the ideas that constitute the multiple and contradictory themes of his images. These photographs were made in the extraordinary harshness and clarity of Park City's high-altitude light. Edges are brittle, distant objects unobscured by atmosphere, as in a vacuum. Each object stands discrete and disassociated from its surroundings. Interiors, too, share this airlessness, suggesting claustrophobia rather than shelter. Many of these images suggest something of the quality found in photographs made during unmanned space probes. In Baltz's photographs essential information is often conveyed through indirection, in details or in far-distant objects. In Park City, as in many of Baltz's earli.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. Cloth. First edition, signed by Baltz on the title page.

Condition: Wie neu. Artspace Press, Albuquerque, New Mexico and Castelli Graphics, New York, 1980. First edition, first printing. Signed by Lewis Baltz! Martin Parr, The photobook, vol 2, page 34. Hardback with full brown cloth and jacket. 265 x 275 mm (19 1/2 x 11 in), 248 pages. 102 black and white photographs. Essay by Gus Blaisdell; design by Jack W Stauffacher. Condition: Book and jacket new, mint, complete; but heavily bumped at the top and at the bottom of the spine of book and jacket. Still originally shrink-wrapped in publisher`s plastic foil; only opened once for signature. Signed by the artist! "Park City marks a key moment in Baltz`s oeuvre, when he brought his conceptual instincts fully to the fore. . Park City is one of the most important photobooks of the Late twentieth century." (Gerry Badger)******************Artspace Press, Albuquerque, New Mexico and Castelli Graphics, New York, 1980. Amerikanische Originalausgabe. Erstausgabe. Signiert von Lewis Baltz! Martin Parr, The photobook, vol 2, Seite 34. Hardback mit Schutzumschlag. 265 x 275 mm, 248 Seiten. 102 schwarz-weiß Fotos. Essay von Gus Blaisdell. Design von Jack W Stauffacher. Zustand: Buch und Originalumschlag neu, verlagsfrisch, komplett; aber stark bestossen am oberen und unteren Ende des Buchrückens. Noch original-verschweißt in der Plastikfolie des Verlags, nur einmal geöffnet für die Signatur! Signiert vom Künstler! Lewis Baltz, geboren 1945 in Newport Beach/Kalifornien, lebt seit 1985 in Frankreich und Italien. Bekannt wurde er in den siebziger Jahren mit der New Topographics Bewegung und der Teilnahme an der gleichnamigen wegweisenden Ausstellung in Rochester, New York. Sprache: Englisch Gewicht in Gramm: 1600.

Hardcover. Condition: As New. Dust Jacket Condition: As 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. Out of print and a rare. 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 "Nevada" press releases from the Susan Spiritus Gallery and Castelli Graphics, New York and a copy of the publisher ARTSPACE's original 1980 book release announcement. [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006). As New in As New dust jacket (with original publisher's shrink-wrap saved in the book; dust jacket enclosed in a removable archival Brodart cover. 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 Gus. No critical writer comes close. The essay is essential reading for anyone seriously interested in photography. From the publisher: "During 1978 and 1979 Lewis Baltz, one of America's foremost contemporary photographers, undertook to document the building of a rapidly growing ski resort and second-home development east of Salt Lake City in Utah's Wasatch Mountains. His concern was to record the construction of Park City as an example of the urbanization of the American West. When Baltz first saw the landscape around Park City, it appeared utterly chaotic, devastated by decades of abuse and neglect. Littered with fragments of iron, glass, wood, and wire -- the residue of mining wastes abandoned years earlier -- much of the land could support only meager vegetation. The scene suggested the aftermath of cataclysmic, purposeless violence. During the two and one half years that Baltz photographed Park City, the wasteland was covered with houses and commercial structures; ironically these only increased the sense of starkness and desolation. In Year of Decision: 1846 Bernard DeVoto wrote that vacant grandeur of the Western mountains gave Americans a new image of solitude. Baltz's Park City photographs can be viewed as a record of the terminal stages of individuality and isolation played out against an indifferent natural setting, the heroic landscape recycled as a recreational resource. Baltz's view of the landscape as real estate has produced a series of photographs that taken together demand consideration as art. Working serially, Baltz asserts, develops, and questions the ideas that constitute the multiple and contradictory themes of his images. These photographs were made in the extraordinary harshness and clarity of Park City's high-altitude light. Edges are brittle, distant objects unobs.

Hardcover. Condition: Near Fine. 1st Edition. First edition, first printing. Signed in pencil on the first page by Baltz. Hardcover. Black faux leather-covered boards with matte gray tipped-in title plate on cover and printed in gray on spine, no dust jacket as issued; contained in a black cardboard slipcase with matte gray title plate on front and spine. Photographs by Lewis Baltz. Essay (in English and Japanese) by Gus Blaisdell. Designed by Hiroshi Osaka. Unpaginated (136 pp., including 8 two-page gatefolds), with 12 four-color and 72 duotone plates beautifully printed on heavy matte paper by Mitsumura Printing Company, Ltd., Japan. 10-1/2 x 13-1/2 inches. Published on the occasion of the exhibition "Lewis Baltz: Candlestick Point" at Gallery Min, Tokyo (May 12 -- July 2, 1989). Out of print. Scarce. Near Fine (bumps to the lower right corner of boards; crimping of page edges; minor shelf wear) in Near Fine slipcase (small bumps to top and bottom; minor shelf wear and 2 areas where surface of paper may have been removed by tape or stickers, revealing the matte black paper layer beneath). A continuation of Baltz's "New Topographics" investigation of the industrial wasteland at San Francisco's Candlestick Point. In wide-angle and close-up views, Baltz lays bare what we'd rather not see, while at the same time luring the viewer with the perverse pleasures of his images, here echoed by the sensuous pleasure of the book itself. Signed by Author.

First edition. Oblong hardcover. First printing. Number 22 of only 45 copies. Published in conjunction with an exhibition at Gallery Min in Tokyo. Essay by Gus Blaisdell in English and Japanese. A collection of color plates and duotone images. All images taken in and the Candlestick Point area in San Francisco, California. A near fine copy in a very near fine cardboard slipcase with some minor wear. No dust jacket as issued. Includes a tipped in page saying that this is part of a "collector's edition consists of forty-five signed and numbered copies from the artist's archives. Signed by Baltz.

Condition: Sehr gut. Artspace Press, Albuquerque, New Mexico and Castelli Graphics, New York, 1980. First edition, first printing. Signed by Lewis Baltz! Martin Parr, The photobook, vol 2, page 34. Hardback with full brown cloth and jacket. 265 x 275 mm (19 1/2 x 11 in), 248 pages. 102 black and white photographs. Essay by Gus Blaisdell; design by Jack W Stauffacher. Condition: Book inside and outside excellent; clean and flawless. Dustjacket with light rubbing at the edges, but complete and very fine with no missing parts. Overall very fine condition! Signed by the artist! Collector`s copy! "Park City marks a key moment in Baltz`s oeuvre, when he brought his conceptual instincts fully to the fore. . Park City is one of the most important photobooks of the Late twentieth century." (Gerry Badger)******************Artspace Press, Albuquerque, New Mexico and Castelli Graphics, New York, 1980. Amerikanische Originalausgabe. Erstausgabe. Signiert von Lewis Baltz! Martin Parr, The photobook, vol 2, Seite 34. Hardback mit Schutzumschlag. 265 x 275 mm, 248 Seiten. 102 schwarz-weiß Fotos. Essay von Gus Blaisdell. Design von Jack W Stauffacher. Zustand: Buch von innen wie aussen tadellos und frisch. Originalschutzumschlag an den Kanten etwas berieben, aber sehr schön und komplett erhalten ohne Fehlstellen. Insgesamt sehr guter Zustand! Signiert vom Künstler! Sammler-Exemplar! Lewis Baltz, geboren 1945 in Newport Beach/Kalifornien, lebt seit 1985 in Frankreich und Italien. Bekannt wurde er in den siebziger Jahren mit der New Topographics Bewegung und der Teilnahme an der gleichnamigen wegweisenden Ausstellung in Rochester, New York. Sprache: Englisch Gewicht in Gramm: 1600.

Condition: Sehr gut. Artspace Press, Albuquerque, New Mexico and Castelli Graphics, New York, 1980. First edition, first printing. Signed by Lewis Baltz! Martin Parr, The photobook, vol 2, page 34. Hardback with full brown cloth and jacket. 265 x 275 mm (19 1/2 x 11 in), 248 pages. 102 black and white photographs. Essay by Gus Blaisdell; design by Jack W Stauffacher. Condition: Book inside and outside excellent; clean and flawless. Dustjacket with light trace of use; no tears, no missing parts. Overall very fine condition! Signed by the artist! Collector`s copy! "Park City marks a key moment in Baltz`s oeuvre, when he brought his conceptual instincts fully to the fore. . Park City is one of the most important photobooks of the Late twentieth century." (Gerry Badger)******************Artspace Press, Albuquerque, New Mexico and Castelli Graphics, New York, 1980. Amerikanische Originalausgabe. Erstausgabe. Signiert von Lewis Baltz! Martin Parr, The photobook, vol 2, Seite 34. Hardback mit Schutzumschlag. 265 x 275 mm, 248 Seiten. 102 schwarz-weiß Fotos. Essay von Gus Blaisdell. Design von Jack W Stauffacher. Zustand: Buch von innen wie aussen tadellos und frisch. Originalschutzumschlag mit kleineren Gebrauchsspuren; keine Risse, keine Fehlstellen. Insgesamt sehr guter Zustand! Signiert vom Künstler! Sammler-Exemplar! Lewis Baltz, geboren 1945 in Newport Beach/Kalifornien, lebt seit 1985 in Frankreich und Italien. Bekannt wurde er in den siebziger Jahren mit der New Topographics Bewegung und der Teilnahme an der gleichnamigen wegweisenden Ausstellung in Rochester, New York. Sprache: Englisch Gewicht in Gramm: 1600.

Oblong 4to, 246pp; cloth. One of Baltz's haunting, poetic photographic documentations of urban development and the American landscape, accompanied by an essay by Blaisdell. The first edition consisted of only 3000 copies; this copy has been signed by Baltz on the title page. Grease mark to front board, else fine in a very slightly marked dust jacket.