Search Results: Photography from Kate Mitas, Bookseller

Dayton, Ohio: University Art Galleries, Inc., Wright State University, (1978). Very Good. 9 x 12 inches. 64pp. White wrappers printed in black. B&w illustrations. Light wear and faint toning to wrappers.

Chicago: Stephen Daiter Gallery, 1999. Near Fine. 10-3/8 x 8-1/2 inches. [16]pp including wrappers. Stapled photographically illustrated b&w wrappers. B&w illustrations. Hint of wear to spine, else fine.

San Francisco: Ev Thomas, (1975). Very Good. 9 x 9 inches. 32pp. Stapled white wrappers printed in black. B&w photographic illustrations. Slight soiling and toning to wrappers, else fine. The first issue of this uncommon photography magazine, which includes contributions by Steve Tvorik, Marv Bondarowicz, Robert Booker, Carol Tranter, Samuel W. Samore, R.T. Griffin, Alan Kornblatt, John Mercer, Lew Thomas, Bill Burke, Paul Paletti, and E.E. Thomas.

New York: Simon Lowinsky, 1997. Near Fine. 8-3/4 x 8 inches. [8]pp including wrappers. White stapled wrappers printed in black. Slight crease near spine, else fine. Catalogue from an exhibition held at Simon Lowinsky's gallery, with an essay by Michael Torosian (who would later write for the 2014 Steidl reprint of Heath's iconic work).

Claremont, California: August 9th Press, (1978). First edition. Very Good. 8-1/2 x 11 inches. Unpaginated, but 20pp. Stapled white and black wrappers printed in black. B&w photographic reproductions. Light scuff to rear wrapper; minor shelfwear. Clean and bright. Artist's book of Crawford's photo series of different kinds of industrial materials -- glass, aluminum, steel -- in the Mojave Desert, in California. The photos were taken from 1975-1978, and reflect Crawford's enduring interest in the interplay between the natural world and mankind.OCLC locates one holding.

San Francisco: Camerawork / NFS Press, (1977). About Very Good. 12 x 9-1/8 inches. 119,[1]pp. Black and white wrappers. B&w illustrations from photographs. Rubbing and light wear to wrappers; crease to lower corner of front wrapper; slight bump to lower corner throughout. A landmark study of conceptual photography, issued and edited by NFS Press co-founders Donna-Lee Phillips and Lew Thomas, and acting as an outgrowth of an exhibition at San Francisco's Camerawork Gallery. "Comprising work by seventy-two photographers from all parts of the country, Eros & Photography is structured around the ideas implicit in examining the relationship between sex and photographic imagery, rather than around esthetic notions or styles, or photographic personalities." Contributors include Joel Peter Witkin, Linda Frye Burnham, Craig Morey, Peter D'Agostino, and more.

(n. p.), [San Francisco]: [Federal Telegraph Company], (n. d.), circa 1920. Good. 18-3/4 x 14-3/4 inches. Mounted photograph, in a black wooden frame with an engraved metal plaque. Light soiling and toning; three approximately nickel-sized spots of loss to photographic overlay; frame somewhat scuffed and worn. Large photograph showing one of the Federal Telegraph Company's 100 KW antenna loading inductors, with a man in work clothes standing beside it for scale.

Los Angeles / Osaka: Glass Eye Productions / Glass Eye Osaka, (1976). Very Good. 8-1/2 x 8-1/2 inches. 43,[1]pp. Stapled light grey and white wrappers printed in black. B&w photographic reproductions. Slight spotting and wear to wrappers. Internally clean and bright. Includes contributions by Virgil Moreno, Pat O'Neill, Fukuo Ikeda, Kenneth Shorr, and Neon Park.

(n. p.), (n. d.), circa 1920. Good. 7" x 10" b&w photograph mounted on 12" x 14" board. Wear and light spotting/soil to board; loss to board corners; hint of spotting to photo edges. A curious photograph, depicting what appears to be a white woman sitting in a semicircle on the grass with four boys of different races (African American and possibly American Indian?), all wearing headbands and traditional American Indian-style dress. There are no clues as to why this gathering has taken place, or even if these are in fact American Indians or merely a group costumed as such. My hunch is the latter, and that perhaps this is a teacher with four students, but I will leave the reader to decide.

New York: Light Gallery, 1985. Fine. 9-1/2 x 7-1/2 inches. Unpaginated, but 18pp. Stapled black wrappers printed in silver. B&w photographic illustrations. Clean and sharp.

Berkeley: De Novo Press, (1983). Good+. 11 x 8-1/2 inches. Unpaginated, but approx. 100pp. Black wrappers printed in white. B&w illustrations of people who've placed personal ads paired with the text of their ad, often with additional, later commentary by the subject. Wrappers lightly worn, with creasing to joints and slight crease to front corner.

San Francisco: Camerawork Press, (1976). Very Good+. 12 x 9-1/8 inches. [2],86pp + laid-in errata slip. White wrappers printed in black. B&w illustrations from photographs throughout. Light toning and minor soiling/wear to wrappers, else fine. An outgrowth of an exhibition held simultaneously at Camerawork Gallery and La Mamelle's Art Center in San Francisco in 1976. "Once linguistic structuring is integrated iwth photographic procedures genres are subjected to reinterpretation and expansion. Unexpected formats emerge enabling artists to handle content that no longer can be contained within a pictorial tradition" (from the Introduction).

San Francisco: Frisco Gazette / San Francisco Camera Publishing Company, Inc., 1969. Good. 11 x 8-1/2 inches. Unpaginated, but 60pp. Black wrappers printed in b&w. B&w illustrations. Wrappers rubbed and worn; crease to corner of front wrapper and beginning leaves. Interior clean and bright. "A collection of photographs from San Francisco State College." Includes contributions from Dirk Martin, Michael Bishop, John Sanford, Serge Scherbatskoy, Jack Welpott, R. Z, Vander Vegt, Leland Rice, Jack Foss, Andrea West, Don Renfro, Ed Douglas, and more.

San Francisco: NFS Press, (1978). First edition. Very Good. 12 x 9 inches. 112pp. White wrappers printed in black. B&w illustrations. Light toning and wear to wrappers; bump to spine foot. Interior clean and sound. From the Preface: "The contemporary world is dominated by the presence of the photograph. Its power to displace perspectives of the external world is now equivalent to the spontaneous act of seeing. This is translated into formalist theory when the thing photographed is less important than the photograph itself. The status of the photograph has reached the position whereby the world is now compared to it."