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 ...
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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 gently, creating multiple exposures of the woodland scenes that suggest abstract sound patterns. The book accompanies an exhibition organized by ICP Assistant Curator Cynthia Young with acclaimed writer and Meatyard friend, Guy Davenport, who also wrote the text. Also included are the exhibition history, chronology, and bibliography.
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Seller's Description:
Good. Pages are clean! The cover has visible markings and wear. There is staining on the text block edges Fast Shipping-Each order powers our free bookstore in Chicago and sending books to Africa!
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Seller's Description:
Good. Size: 10x0x10; Unmarked and clean pages. Edge-wear. 2 inch tears along top and bottom edge of spine. Top edge of spine and pages slightly chipped. 5 inch crease along top edge of cover. Lh.
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Seller's Description:
Very Good in Very Good dust jacket. 0912334622. Reminiscence by Guy Davenport. Black and white photographs throughout. First edition. Foxing on top edge, upper corner of front free endpaper is clipped, else very good in a very good (a bit faded along the spine), price clipped dust jacket.
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Seller's Description:
Near fine/very good. Quarto. 10 1/2' x 9". 135pp. Very faint sunning to spine. Creasing to rear of dust jacket with a small one inch closed tear. Black and white photographs by the inimitable Meatyard.
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Seller's Description:
Meatyard, Ralph Eugene. Very good(+) in very good jacket. Reminiscence by Guy Davenport. Illustrated throughout with black-and-white photographs. 136 pages, slim square 4to, black cloth, d.w.; dust wrapper lightly chipped and edgeworn. New York: Aperture, 1974. First edition. A very good(+) copy in a very good dust wrapper. Scarce in hardcover.
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Seller's Description:
Very Good in Good jacket. {9' x 11'} In jacket with sun bleached spine and lightwise lightened top margin. Edgeworn with three rough hewn tears at top edge. Black cloth covered boards with gold letterring and some dust stains. This seems to passed through the collection of talented writer and activist Pearl Cleage. Her name is written on FFEP as Pearl Cleage Lomax due to the fact she was married to Michael Lomax, the Atlanta politician, for ten years (1969 to 1979). End pages tanned. Top textblock edge dust stained. [136 pages]