Search Results: Photography from Black Mountain College Museum + Arts Center Bookstore

Catalogue for the exhibition held January 20-May 20, 2017 at Black Mountain College Museum + Arts Center. The first in-depth exhibition and catalog devoted to the examination of photography at Black Mountain College. Organized around the themes of Available Light, Bearing Witness, Performing for the Camera, Experimentation, and Place, this catalog includes essays, photographer biographies, and a chronology about photography at Black Mountain College. It features over 100 photographs by more than forty artists including Josef Albers, Hazel Larsen Archer, Harry Callahan, Robert Haas, Barbara Morgan, Beaumont Newhall, Nancy Newhall, Andy Oates, Robert Rauschenberg, Aaron Siskind, Cy Twombly, Stan VanDerBeek, Susan Weil, and Jonathan Williams. Text by Julie J. Thomson, with an additional essay by Michael Beggs. Paperback, ix, 86 pages. NEW.

Jargon 112. Full-page black-and-white photographs, reproduced in 300-line screen extended-range duotone by The Stinehour Press. Designed by Elizabeth Matheson and John Menapace (to whom the book is also dedicated.) "Illuminations & Pyrotechnic Display" (text & collected quotations) by Jonathan Williams. One of 1450 copies issued in dark green cloth with pale green dust jacket. 64 plates. NEW in publisher's mylar.

Jargon 97. A sequence of 60 photographs by John Menapace, published in September 1984 in conjunction with an exhibition by the photographer at the North Carolina Museum of Art, Raleigh. Introduction by Donald B. Kuspit. Afterword by Jonathan Williams. [8], 60, [16] pages. Bound in warm gray cloth with pictorial dust jacket. NEW, from publisher's stock.

Jargon 89. Sixty-nine full-page black-and-white photographs (nudes, landscapes, street photography) with some writing by Bongé, introduction by A. D. Coleman, and afterword by Jonathan Williams. NEW, in publisher's mylar."I can think of few photographers--of Bongé's own generation or of those before and since--who have managed to contain successfully and simultaneously such opposite, independent lines within a continuum of imagery. One of the distinctions of Bonge's work as a whole is that these disparate components coexist therein, each considered in depth and finely realized yet equally weighted in their importance with his total oeuvre. Because they are such extremely different kinds of pictures, requiring divergent photographic strategies." -A.D. Coleman

Jargon 114. Stunning collection exploring altars built in memory of loved ones lost on the roadside, captured in a freshly archaic photo medium. Foreword by Thomas Meyer. 185 pages plus index. Bound in gray cloth & issued without dust jacket. NEW.

Jargon 77.
"Here is another book you can either attribute benignly to Black Mountain College or curse it for."
Starkly vivid and often grotesquely personal portraits taken by Lyle Bongé during visits to New Orleans for Mardi Gras throughout the early sixties. This stunning collection is prefaced by interview of Bonge conducted by fellow BMC alumnus, writer James Leo Herlihy. Preface by Jonathan Williams.
Landscape format quarto with full-page black-and-white photographs. 17 pages, [100] pages of illustrations. Paperback with the usual wear to the edges of cover and spine; price sticker on back cover and residue of an earlier sticker on the front cover.

Jargon 64, Patrons' Edition. Number 83 of 100 copies of the Patrons' Edition, bound in the same bright red cloth as the regular edition, but with a pictorial inset on the front cover; clear acetate wrap; bright red colored top edges; signed by Tom Patterson, Jonathan Williams, Roger Manley, and Guy Mendes on colophon in colorful inks; and issued in a black cloth four-flap portfolio case with clasps and blind stamped lettering on upper cover. (Note that the colophon states that the Patrons' Edition was bound in full leather. This was not the case!)

Jargon 64. This book was published in 1987, one year after Eddie Owens Martin's suicide. A beautiful tribute, and collection of photos and essays about the world famous outsider artist, and captures the strangeness and depth of beauty of his massive lived creation. Color photographs by Jonathan Williams, Roger Manley, and Guy Mendes. Foreword by John Russell. One of 4,000 copies bound in bright red cloth, with duo chrome photographic endpapers, and a glossy pictorial dust jacket. NEW in publisher's mylar.

This edition of the conceptual artist and poetry magazine features 10 photographs by poet, photographer, and Jargon Society founder Jonathan Williams. Front matter is a photograph of Williams on his 51st birthday by David Colley. Stapled in glossy white wrapper. [24] pages. Fine with crisp corners.

Jargon 104. Black-and-white photographs by Mark Steinmetz paired with text by Janet Lembke. Paperback edition, NEW."Who has ever seen Italian olive oil trees this well? For the past five years or so Mark Steinmetz has been teaching in the summer photography program of the Art Department of the University of Georgia at Cortona, in Tuscany. Tuscan Trees offers a portfolio of some of his most luminous findings. The shimmering animation of his olive trees is of an order that suggests what Aaron Siskind achieved with his anthropomorphic rocks and walls, surely an epiphany in photographic history." -Jonathan Williams, on front flap.

Jargon 104, LIMITED SIGNED EDITION. Black-and-white photographs by Mark Steinmetz paired with text by Janet Lembke. 44 plates. Limited edition of 50, individually numbered and signed by Mark Steinmetz and Janet Lembke. Bound in dark green cloth with matching endpapers, and gorgeous decorative paper dust jacket with paper label, protected by mylar. With original signed black-and-white print laid in. (Print may differ from the one pictured.)"Who has ever seen Italian olive oil trees this well? For the past five years or so Mark Steinmetz has been teaching in the summer photography program of the Art Department of the University of Georgia at Cortona, in Tuscany. Tuscan Trees offers a portfolio of some of his most luminous findings. The shimmering animation of his olive trees is of an order that suggests what Aaron Siskind achieved with his anthropomorphic rocks and walls, surely an epiphany in photographic history." -Jonathan Williams, on front flap of the trade edition.