Tulsa

Product Information

The International Center of Photography (New York) has shown the prints, together with others not included in the book. His recent photography addresses similar subjects, but with the distance of an observer, and a more prominent formal sensibility. Here, the early black-and-white vérité style is replaced by a lingering, brightly-hued gaze that sometimes looks like a street-fashion shoot. I shot with my friends every day for three years and then left town, but I've gone back through the years. Tulsa is a key work in post-war American photography, containing graphic photographs of sex, violence, and drug use in the Oklahoma suburb, much of which Clark participated in as well as documenting.

Although this book predates his iconic films by at least two decades, Tulsa is quintessential Clark. 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. His large-scale retrospective “Kiss The Past Hello” was exhibited at the Musée d’Art Moderne de la Ville de Paris in 2010, and he has been the subject of solo exhibitions at the Galerie Urbi et Orbi in Paris, the Taka Ishii Gallery in Tokyo, and at the International Center of Photography in New York.He served in the military during the Vietnam War and has been a freelance photographer based in New York since 1966. The artist’s works are held in the collections of the Art Institute of Chicago, the Whitney Museum of American Art in New York, the Los Angeles County Museum of Art, and the Fotomuseum Winterthur in Switzerland, among others. In 2010, a retrospective of Clark's work, Kiss the past hello, was held at the Musée d'Art Moderne de la Ville de Paris. During the 1960s, Clark documented the culture of drug use and illicit activity of his friends in Tulsa, and his photographs from those years were published as Tulsa (1971).

The primarily black jacket has some wear at edges, rubbing on the rear panel, and a few closed, creased tears at edges. And in case you’re wondering, Clark had such intimate access to his subjects because he was shooting up the drugs right along with them. Some chipping, rubbing and wear to the dustcover edge with several one inch tears along the head and base of the spine now protected with a Mylar cover.Cover image from Tulsa made into a 23" x 18" poster from an exhibition at the Robert Freidus Gallery. Because of his subsequent heroin addiction, it took Clark 10 years to complete Teenage Lust, which was finally published in 1983. Quarto, unpaginated; VG/VG-; spine black, with white lettering; dust jacket protected with a mylar covering; mild shelf wear and soiling; wear to crown and tail of jacket spine; small closed tear and crease to upper edge of jacket back; signed flat by Clark at title page; profusely illustrated with black and white photographs; pages clean; shelved Case 11.

The original announcement card for an exhibition of work by Larry Clark titled "Tulsa" and "Artist's Books" and held at Printed Matter, NYC, July 22 - September 12, 1999.Its publication in 1971 "caused a sensation within the photographic community", leading to a new interest in autobiographical work. Larry Clark, born in Tulsa, worked in his family's commercial photographic portrait business before studying photography with Walter Sheffer at the Layton School of Art in Milwaukee, Wisconsin from 1961 to 1963. Often controversial, Clark’s black-and-white images unflinchingly capture overt sexuality, drug use, and violence, as seen in his iconic photobook Tulsa (1971) and his debut feature film Kids (1995). When someone I knew would die, which happened a lot, I'd think they were one of the lucky ones," he told me. Gibson later clarified: 'What happened was that Larry always wanted to control the distribution of Tulsa himself.

Tulsa demonstrated a new style of photography that was subjective, alienated and completely detached from any social agenda. The Groninger Museum ( Groningen) bought the series of prints in 1998 and exhibited them in January–April 2005. Larry Clark's photographs in Tulsa are unflinching portrayals of difficult and often unsightly circumstances viewed through a participant's eyes. By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions.

The lighting is natural, the composition often classic, and there’s a lot of poignancy and humanity on display as these young people spiral away. In his collages and videos of the late 1980s and early 1990s, he broadened this investigation into revealing the ways that mass media alternately creates, rejects, and eroticizes young people. 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.