Read Ebook {PDF EPUB} Aquarian Odyssey A Photographic Trip Into the Sixties by Don Snyder Aquarian Odyssey: A Photographic Trip Into the Sixties by Don Snyder. The first section of the page lists books solely about the or a member of the Grateful Dead. The second section lists books of photographs of related areas such as sixties music, Bay Area in the sixties, hippies and similar. Some of these include photographs of the Grateful Dead. This list is not intended to be comprehensive. A portrait of the Grateful Dead using photographs, reprinted articles, reminiscences, graphics and more. Three groups of photographs of the Dead by the San Francisco photographer Herb Greene. Over half the photographs are from the sixties and include some of the classic images of the Dead. The other two sections are pictures from 1979 and from the In The Dark photo sessions in 1987. A book of black and white photographs of the Grateful Dead from the 1970s through to the 1990s. A day planner which also provides a history of the Grateful Dead using an extensive selection of archival artwork and Jay Blakesberg's black-and- white and color photographs. 700 plus page primarily visual history of the Grateful Dead. A 40 year retrospective of concert and backstage photographs of the Grateful Dead, Jerry Garcia and a number of post-Grateful Dead bands. A photographic document of the Grateful Dead's final five Fare Thee Well concerts in Santa Clara and Chicago. Eyes of the World: Grateful Dead Photography 1965 � 1995 is a fine art, hardcover coffee table photography book that brings together, for the first time, a comprehensive collection of photographs from a wide range of photographers whose work has captured the Grateful Dead at different times throughout their career. Photographs: Jay Blakesberg. "A coffee table book featuring Jay Blakesberg's photographs of Jerry Garcia on and offstage with members of the Grateful Dead, guest musicians, friends, and other musical partners. This book features 145 color and B&W photographs spanning 1978-1995." A 80 page photo-book containing over 100 photographs of the hippie scene in San Francisco. Includes shots of The Grateful Dead. A collection of photographs of hippies in the Haight-Ashbury. Over 200 photos of rock performers by a variety of photographers together with information about the photographers and some of the sessions. A collection of over 250 colour photographs including shots of Haight-Ashbury, light shows, and the Grateful Dead. This book about Haight-Ashbury by photographer Gene Anthony includes over 275 photos. The 60's volume in a decade by decade series of books of photographs from Life magazine. A postcard book with photographs and text by Baron Wolman comprising a collection of classic shots from Wolman's Classic Rock book. Includes a Grateful Dead page and a Jerry Garcia page. A book with over 100 photographs by Baron Wolman with accompanying text, of the rock 'icons' of the late 1960s and early 1970s. Includes photographs of the Grateful Dead and Jerry Garcia. This collection of photographs from the sixties includes a chapter about West Coast which includes a section about the Grateful Dead. Shortish text, with lots of photographs by Jim Marshall, about the Monterey Pop Festival held in June 1967. A collection of the rock photographs or Randy Bachman. A collection of photographs, by many of the leading photographers of the 1960s, accompanied by a lengthy text by Landy. Foreword by Jerry Garcia. A Rolling Stone publication comprising 177 photographs of musicians. The photographs are presented in a series of themes. Photographic recollections of the Fillmore East. Includes photos of the Grateful Dead. Includes photographs of the Grateful Dead, Woodstock, the Human Be-In, the Monterey Pop Festival, and many other subjects. A collection photographs by "the rock & roll photographer" Jim Marshall. The 124 duotone images include the Grateful Dead. An instruction guide on how to be successful as a music photographer. Illustrated throughout with Jon Sievert photographs and those of other photographers. Includes a photo of Garcia and Grisman. A photographic celebration of the diversity of the city's cultures, landscapes, people, and architecture. A portrait of the 1960's that has developed from the 30 year collaboration between photographer Richard Avedon and writer Doon Arbus. An English and German book of photographs. A collection of photographs that documents the people, politics, passions, arts and fashions of San Francisco in the sixties. A collection primarily of photographs of groups and performers. There is one large colour photograph for each artists accompanied by a small piece of text. Includes a Grateful Dead page. A book of 300 plus photographs chronicling Peter Simon's life from the mid-1960's onward. Includes tour photos of the Dead in the 1970's. A collection of photographs by Elaine Mayes taken during the Monterey Pop Festival. A collection of photographs of musicians interspersed with images of the Southern states. The book covers a wide range of music including jazz, blues, punk, country, hip-hop, rock and roll, folk and gospel musicians. In a work of defiant ambition culled from over 5,000 photographs, Fred W. McDarrah's Sixties presents America's most tumultuous decade through the eyes of one man. A collection of photographs of the Bay Area in the 1960's. Includes photos and references to the Grateful Dead. The cover photo is of the Grateful Dead on the front steps of 710 Ashbury Street. Previously unpublished photos. Includes a Grateful Dead page and photos of Garcia at Woodstock. "An affectionate tribute that juxtaposes cooled-out hippies in Haight-Ashbury against history-making shots of huge rock concerts and peace marches, the book portrays the youth revolution in full swing and showcases the writers, musicians, movie stars, organizers, and political leaders that made it happen." Though synonymous with peace, love, and living outside the mainstream, its history goes back long before the . Starting as a dairy farm in San Francisco's Outlands, the area saw a building boom of Queen Anne country homes for well-heeled San Franciscans and served as a refuge for victims of the 1906 earthquake and fire. Through world wars, industrial and cultural revolutions, the dot-com boom, and beyond, the Haight-Ashbury has one of the most fascinating histories of any place, anywhere. "Experience a photographic journey back to the 1960's in the San Francisco Bay Area with images taken by Kelly Hart as he explores the streets, theaters, dances, protests, light shows, and the culture of those dramatic and influential times." A memoir with over 200 photographs. "Photographer and Grateful Dead insider Rosie McGee pulls us into her 10-year memoir of living, traveling and working with the Dead and other notables of the legendary Sixties." This volume captures the revolutionary and tumultuous spirit of these historic times in stunning black-and-white photography. A photographic chronicle of the Haight in the sixties. Includes photographs of the Grateful Dead. Over 500 of never-before-seen images documenting Marin County's vibrant music scene from Bob Minkin's archives including live performance shots, intimate backstage, off-stage and at home photographs of our favorite players including Jerry Garcia, Bob Weir, Phil Lesh and written contributions by musicians including Phil Lesh, Pete Sears, Bill Kreutzmann, Jorma Kaukonen, Steve Kimock and many more. Don Snyder, 76, artistic photog shot Coney, Leary. Don Snyder, a photographer whose images chronicled the 1950’s world of Coney Island and the alternative culture of the 1960’s, died Sun., Aug. 29, at the age of 76 in the Chelsea loft where he lived and worked for 50 years. His magical-realistic photos of the circle around the late in Millbrook, N.Y., were published in 1979 in “Aquarian Odyssey: A Photographic Trip Into the Sixties,” by Liveright Publishing Corp. His subjects included the poet/photographer Gerard Malanga and the filmmaker/writer . He also produced light sculptures — constructions creating and using light, which he exhibited in the Brooklyn Museum and the Queens Museum. For a few years in the 1970’s, he taught at the School of Visual Arts where his signature was “fleshprints.” An artist/subject would cover parts of his or her body — most often the face — with petroleum jelly, press them on light-sensitive paper, then develop and print the resulting distorted but recognizable image. Although he was not a photojournalist, Snyder apprenticed himself for a time to the late W. Eugene Smith (1918-’78), whose fame rests on brutally vivid photos of World War II and of the people of Minamata, Japan, who were made ill by a factory’s discharge of heavy metal into the water. Born in Brooklyn in 1934, Snyder began to photograph the raffish world of Coney Island as a teenager and attached himself to photographers whose work he admired. He recalled one photo instructor who made him collect blood from a slaughterhouse to use as a photo developer. “It took a long time but it really worked,” Snyder told a friend. Snyder attended Syracuse University for a time and was briefly in the Air Force, where he had training in aerial photography. His later work ranged from fashion photos to images of the bizarre fringes of bohemian society. He continued to make periodic photo excursions to Coney Island. One of his recent photo subjects was the mounted police unit that was stationed for a time on the Hudson River pier at W. 23rd St., four blocks west of his studio. He married Michaeleen Maher in 1967 but the couple separated in 1980. In 1981 he was in a devastating auto accident that left him with metal pins in his hip and legs. In addition to Maher, his daughter, Deegan, of California, and his son, Ariel, of City, and a brother, Steve, of Albany, also survive. ISBN 13: 9780871406392. Aquarian odyssey: A photographic trip into the sixties. Snyder, Don. This specific ISBN edition is currently not available. RustyRiver offers fast daily shipping and 100% customer satisfaction GUARANTEED! Moderate wear to dust jacket. "synopsis" may belong to another edition of this title. Shipping: US$ 3.00 Within U.S.A. Customers who bought this item also bought. Top Search Results from the AbeBooks Marketplace. 1. Aquarian odyssey. Book Description Condition: new. Seller Inventory # BBB_newH_087140639X. 2. Aquarian odyssey: A photographic trip into the sixties Snyder, Don. Book Description Condition: New. New. Seller Inventory # Q-087140639x. 3. Aquarian Odyssey: A Photographic Trip into the Sixties (1 Vol, Unpaged) Snyder, Don. Book Description Condition: New. New. Seller Inventory # Q-087140639X. 4. Aquarian odyssey: A photographic trip into the sixties. Book Description Condition: New. A+ Customer service! Satisfaction Guaranteed! Book is in NEW condition. Seller Inventory # 087140639X- 2-1. Shop With Us. Sell With Us. About Us. Find Help. Other AbeBooks Companies. Follow AbeBooks. By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions. HYPERGRAPHIC. I finally finished this thing recently, still part of my Read Your Own Books project, and right after I did, I wondered why I didn’t just finish it all the way through right away. It was a regular Wednesday morning. I was sitting on a sidewalk ledge before a yellow wall painted with red flowers, occasionally taking a sip of my favorite hot Kopi which I grabbed to go, and I was grazing through the last parts: the hippies are trapped in a deadly Alaskan winter while the sun glowed higher over the fence behind me. T. C. Boyle himself is a description master, but I found this series of photographs by Don Snyder, the guy who took the novel’s cover shot, equally enchanting. These are from his book called Aquarian Odyssey: A Photographic Trip into the Sixties . [Except the first one and , photos courtesy of Dylan Reece’s Journal de l’Internet. Aquarian Odyssey Part 1 and Part 2.] Photographer Don Snyder 1934- 2010. The recent passing of the photographer Don Snyder has created a conundrum. Those who knew him well, including a number of distinguished artists and photographers, readily state that he was remarkable. He is recalled as an alchemist and magician in the dark room; a master printer and inventive visionary. Don was also a gifted and generous teacher. A guru. There was a vast knowledge of all aspects of the medium from the history of photography, to endless formats and equipment. He knew how to coax and bring to life all of the information embedded in a negative. Despite his originality Don found it difficult to succeed in the business and marketing aspect of the art world and commercial photography. This was particularly true during the more recent decades during which I lost contact. He died without a will leaving vast archives and no resources to properly evaluate and preserve them. A body of work of great value is at risk and represents a quagmire to sort through. Settling the estate and solidifying a complex and daunting legacy looms as perhaps yet another unrealized project. It readily indicates a genius able to focus on the excitement and challenge of creating challenging work but with limited ability to archive, promote, and market it. It would take a dedicated curator and exhaustive research to bring together all of the exhibitions, projects, illustrations and publications that comprised his career. The one ready landmark is the book Aquarian Odyssey in which, curiously, I appear as a nude model, painted silver, in the Green River . Back around Woodstock I frequently visited the as one of many guests of the artist/ photographer, Benno Friedman. He was a class or two behind me at Brandeis. While living in New York a friend, Jim Jacobs, took me to the Berkshires for a weekend. That first time I stayed in the belfry of the church/ home of Ray and Alice Brock. It is where that famous Thanksgiving dinner occurred. It resulted in getting busted when he tried to dump the garbage. I returned for Thanksgiving in the church and at Benno’s in later years. It is an ongoing gathering which I no longer participate in. It was an era of love, peace and happiness. We believed in community and the muse Moosh Magik who danced in the embers during visionary nights of color and light. It seemed we could change the world or at least make it more beautiful. Memories of dawn on cold clear winter nights. Alone on the snow covered lawn, listening to the sounds of dogs barking, somewhere in the distant hills. In addition to the main house there are two other smaller cottages on Benno’s property. Don and his wife Mikki lived in one. I remember the summer when she was pregnant with the eldest Deegan and then her brother Ariel. The first time I met the poet/ photographer, Gerard Malanga, Don photographed us together. He was doing a project that entailed wearing multiple neckties. I never saw the image but Gerard is trying to track it down. It is buried somewhere in an archive, his, or Don’s. While not really a hippie, Mikki was, Don wanted to document the era and its unique sensibility He had an ability to fade in and out of the zeitgeist. In it enough to know the players and ethos yet out of it sufficiently objectively to record its signifiers. Don always seemed to have ideas for projects. He was the first person I knew to use a fisheye lens. Of course it quickly became a cliché. But he was on top of all the new gizmos and chemicals. There was a frenetic curiosity and experimentation. Much of my involvement was serendipitous. Like Woody Allen a lot of times I just showed up. Such as when was shooting Alice ’s Restaurant in the church. Our friends were working as extras on the set. There was also a film with Stacy Keach that was in production. That weekend my girlfriend Arden Harrison and friend Jim Sillen were used as extras in End of the Road (1970). I was miffed to be passed over. Playboy did a story that was largely unflattering to the scene. The late Liza Condon took exception to being characterized as a “bony beaked German scientist type.” I did a cover story for the Herald Traveler Sunday Magazine. There was another story called “Alice’s Breast Flaunt” that ran in a super market tabloid. Everyone thought I wrote it. Not true. There was a similar scandal when scabs took over the Cambridge Phoenix, before The Real Paper. A story ran that I was accused of writing. Again, not true. Don was shooting a project. He asked me to participate. Behind graphic designer Jerry Martin’s house there was access to a bit of the Green River. As secluded private property we often went nude swimming. The river wasn’t deep enough to swim but you could cool off and sun bathe. There was some silver body paint and Don smeared it on me and another couple. We cavorted as water sprites while Don shot from the river bank. I can remember him smiling like a satyr and working from different angles. Like a lot of what he shot the film went into the freezer for several years. It was expensive to process color film. So the color was fresh and rich when he later lined up a publisher. I looked it up on line and Aquarian Odyesey is now a rare book that sells for more than a hundred bucks. My copy is signed. On another occasion I was around when Benno was shooting illustrations for the Alice’s Restaurant Cook Book . That’s me and some friends with an apple in my mouth in the chapter on Stuffing. Being in that book impressed the heck out of my writer friend Dennis Metrano. Oh well. When e mailed me that Don died I called Gerard. I asked them both to contribute to an obituary. For similar reasons both were reluctant to add to this report. As close friends they were being drawn into a difficult situation. The emotions that entails were too daunting to write on him with any objectivity. At least for now. Gerard did pull together what follows. There has been an exchange of complex and emotional e mails with Matuschka but nothing usable. There were other suggestions of those who knew Don and might contribute. There have been e mails but no results. I contacted Benno who knew Don perhaps better than anyone. There was a brief and poignant response. In January he suffered a spinal injury while skiing. He has made remarkable progress. But recently there was a devastating setback. He has his own struggle to deal with. Yesterday I told Astrid that I was giving up on trying to write an obit for Don. More and more I felt not qualified. I didn’t really know him or the work that well. But it fell to me by default. Nobody has stepped up to write about Don. It would be just another Snyder project that never saw the light of day. Having slept on it well here we are. Flawed and inadequate as it is. The hope is that it will provoke others to come forth and add to this dialogue. I am sure Don would like that. I can see that sardonic, knowing smile on his face. My thoughts about him and the era we shared remain tangled up in blue. What follows was written by Gerard Malanga. Don Snyder, 1934-2010. My last contact with Don was on Saturday afternoon, August 28th. He had tried reaching me earlier in the day three times successively, but each time I picked up the phone, there was no one at the other end. He couldn't hear me and I couldn't hear him. I called him back finally a couple of hours later, and we had a fun-loving conversation, as usual. He'd given me the news that , a mutual friend, was holed up at the Chelsea Hotel while his apartment was being fumigated for bedbugs. Don was joking in his mad-cap way about how he was in better shape than Ira. That was no small feat since he himself was under a cloud with emphysema not to mention being slowly swallowed up by his archive (a lifestyle he and Ira shared). He had accumulated to such an extent as to make him neck-in-neck with Ira for the Collyer Brothers award in hoarding. Boxes upon boxes of prints were piled 8 feet high in the bathroom and counting. You wouldn't wanna get caught under the avalanche. His situation had simply gotten out of control. The reason he called was to tell me that he was finally going to draw up his Will in the next week, naming me as his executor. Don died alone in his flat sometime on Sunday, the very next day. I don't even wanna think through his last moments. Don's legacy in photography is two-fold. First, there are the photographs themselves amounting to a staggering body of work, both in color and black & white, that started in the late 1950s with his historic Coney Island Inferno series which still remains unpublished. The work ended with the ongoing farewell series to his cat Bonsai, also unpublished. His book, Aquarian Odyssey , published by Norton in the '70s, remains an enduring classic. So much work accumulated that he was way ahead of himself in catching up to the present. There are thousands upon thousands of negatives, slides, transparencies and hand-painted prints but fewer silver prints. It became daunting. He never looked back. Don went from being a master alchemical printer to making color laser photocopies and then assembling them into storyboard portraits. He was mercurial and fastidious in the approach to his work, no matter how it came about. Early on, he'd printed for Eugene Smith, and Diane Arbus, and now he was printing for me! Photography, it seems, never left him for a moment, but buried him alive.