The online Adobe Acrobat version of this file does not show sample pages from Coleman’s primary publishing relationships. The complete print version of A. D. Coleman: A Bibliography of His Writings on Photography, Art, and Related Subjects from 1968 to 1995 can be ordered from: Marketing, Center for Creative Photography, The University of Arizona, Tucson, AZ 85721-0103, or phone 520-621-7968. Books presented in chronological order 1. Carbon Copy: 6/25 – 6/29 1973. New York: ADCO interviews” with those five notable figures, serves also as Enterprises, 1973. [Paperback: edition of 50, out of print, “a modest model of critical inquiry.”This booklet, printed unpaginated, 50 pages. 17 monochrome (brown). Coleman’s on the occasion of that opening lecture, was made available first artist’s book. A body-scan suite of Haloid Xerox self- by the PRC to the audiences for the subsequent lectures in portrait images, interspersed with journal/collage pages. the series.] Produced at Visual Studies Workshop Press under an 5. Light Readings: A Photography Critic’s Writings, artist’s residency/bookworks grant from the New York l968–1978. New York: Oxford University Press, 1979. State Council on the Arts.] [Hardback and paperback: Galaxy Books paperback, 2. Confirmation. Staten Island: ADCO Enterprises, 1975. 1982; second edition (Albuquerque: University of New [Paperback: first edition of 300, out of print; second edition Mexico Press, 1998); xviii + 284 pages; index. 34 b&w. of 1000, 1982; unpaginated, 48 pages. 12 b&w. Coleman’s The first book-length collection of Coleman’s essays, this second artist’s book. Twelve photographs by Coleman of volume contains the bulk of the material Coleman chose the grave of composer-saxophonist Charles Parker, with to preserve in book form from his writings for the Village autobiographical text, all dating from summer 1962. Voice ,the New York Times, Popular Photography, Camera Published under the name Allan D. Coleman.] 35, and assorted other periodicals, produced during the period indicated in the book’s subtitle. Much of this book 3. The Grotesque in Photography. New York: Ridge Press/ tracks the emerging photography scene in the United Summit Books, 1977. [Hardback and paperback: 208 States, with particular emphasis on the east coast and west pages; bibliography. 215 b&w. The first critical survey of coast. Many of the texts included are occasional pieces, this mode of photography, a project for which Coleman but a number of polemics and commentaries on such received a 1975 Art Critics Fellowship from the National matters as censorship and the current states of photography Endowment for the Arts (the first such fellowship ever criticism and photography education appear here, as does given to a photography critic). The book begins with an the critic’s famous “debate” with the late Minor White, historical overview but concentrates on twentieth-century along with longer, germinal pieces on Roy DeCarava and imagery; included are over 200 duotone illustrations of Manuel Alvarez Bravo, two public lectures, and Coleman’s works by Alexander Gardner, Brassaï, Hannah Höch, Jerry most widely cited essay,“The Directorial Mode in N. Uelsmann, Robert Heinecken, Eikoh Hosoe, Clarence Photography.”The book’s second edition contains an John Laughlin, Adal Maldonado, Allen A. Dutton, Les introduction by independent scholar and critic Shelley Krims, Paul Diamond, Michael Martone, M. Richard Rice, a new preface by the author, and an appendix con- Kirstel, and many others. The book contains an introduc- taining four essays cut for reasons of space from the first tion and four sections:“Roots of the Grotesque,”“Realities,” edition and here restored, including a previously unpub- “Constructed Realities,”and “Unrealities.”Recipient of the lished response to Susan Sontag’s On Photography. Chicago ’77 award for “distinguished achievement in the Reprinted from 136, 137, 139, 140, 141, 143, 148, 149, 153, communicating arts.”] 158, 166, 178, 421, 807, 809, 811, 814, 819, 822, 826, 834, 4. Lee/Model/Parks/Samaras/Turner: Five Interviews 838, 842, 844, 849, 860, 863, 865, 868, 872, 873, 878, 883, Before the Fact. Boston: Photographic Resource Center, 888, 897, 902, 908, 910, 911, 915, 916, 917, 918, 919, 932, 1979. [Paperback: second edition, Staten Island, New 933, 1093, 1133, 1141, 1146, 1149, 1161, 1163, 1175, 1198, York: CODA Enterprises, 1997; iv + 40 pages. The com- 1214, 1219, 1230, 1249, 1252, 1258, 1261, 1263, 1275, 1278, plete text of the introductory lecture in a spring 1979 lec- 1285, 1299, 1306, 1312, 1323, 1333, 1335, 1339, 1341, 1342, ture series sponsored in Boston by the Photographic 1345, 1347, 1362, 1364, and 1365; second edition, addi- Resource Center, an organization of which Coleman was a tional essays reprinted from 156, 830, and 1347.] founder. The others in the series were Russell Lee, Lisette 6. The Photography A-V Program Directory, co-authored Model, Gordon Parks, Lucas Samaras, and Pete Turner. with Douglas I. Sheer and Patricia J. Grantz. New York: Coleman’s lecture, constructed as a set of “imaginary Photography Media Institute, Inc., 1980. [Hardbound: iii 1 + 220 pages; appendices; indices. 40 b&w. Funded in part Santa Fe. This volume collects “the most provocative and by a grant from the New York State Council on the Arts, durable of Coleman’s shorter essays from 1979 to 1989 on this project constructs the first database concerning various aspects of photography and related subjects—a audio-visual materials related to various aspects of still selection of texts never before published in book form.” photography, from the technical and instructional to the (From the back jacket.) These twenty-seven essays and historical and biographical. Contains listings of over 3300 talks were written in the period between the work covered films, audio- and videotapes, slide-sound programs, slide by the critic’s first monograph, Light Readings,and that in sets, and computer programs on photographic subjects: his subsequent volume, Critical Focus. Originally, they information on formats, sources, content, prices, etc. The appeared in a diversity of art, photography, and general- book also includes an assortment of commentaries by audience publications (some of them obscure, and many Sheer on the state of audio-visual production and presen- of them long since defunct). A few are occasional pieces. tation technologies, and three essays by Coleman, includ- Several have a scholarly premise. Most of them, however, ing “A Hard Look at Software,”on the use of such audio- are meditations on the state of photography in our time, visual materials in the classroom.] viewed from a diversity of perspectives. Among the topics: the waning hegemony of the Museum of Modern Art’s 7. Looking at Photographs: Animals. San Francisco: Department of Photography; the relationship between Chronicle Books, 1995. [Hardback: 40 pages; glossary of photography and performance art; the art market’s con- terms. 12 color; 25 b&w. Coleman describes this book as flation of different approaches to photographic printmak- “an experiment in teaching children how to interpret, ing; the inherent corruption of the grants system for the analyze and think critically about photographs.”Written arts; the emergence of color in contemporary photographic for children eight to twelve years of age, the book com- practice; the state of photography education, and of pho- prises an introduction and a series of eighteen two-page tography criticism as well; mass-media manipulation of layouts, each layout including one full-page reproduction still images; the limitations of the “snapshot aesthetic”; of a photograph, a brief essay by Coleman examining that and photography’s capacity to evoke the censorial impulse. photograph, and a smaller inset photograph with a short Recipient of Honourable Mention in the 1996 Kraszna- caption. Some of the captions were not written by Krausz Photography Book Awards. Reprinted from 95, 97, Coleman. Photographers represented include Alfred 140, 141, 169, 173, 194, 207, 217, 224, 226, 238, 246, 271, Stieglitz, Mary Ellen Mark, Peter Beard, Garry Winogrand, 387, 457, 512, 513, 423, 458, 1030, 1032, 1055, 1058, 1353, and Jacques-Henri Lartigue.] 1357, 1362, 1364, 1365, 1380, and 1381.] 8. Critical Focus: Photography in the International 10. Depth of Field: Essays on Photography, Mass Media Image Community. Munich: Nazraeli Press, 1995. and Lens Culture. Albuquerque: University of New Mexico [Paperback: 184 pages; indices. 24 b&w. Introduction by Press, 1998. [Hardback and paperback: xxii+197 pages; Bill Jay.A selection of Coleman’s commentaries on the endnotes, indices. 20 b&w. A selection of eleven essays— United States and international photography scenes from several of them previously unpublished, and most of the 1988 through 1993, drawn from Coleman’s column in the rest considerably revised versions of earlier published New York Observer and other material, as converted into essays—on a wide range of issues and subjects: criticism his series of “Letters from,”published regularly in Photo itself; documentary, photojournalism, and press photog- Metro, a west coast periodical. This volume contains dis- raphy; the ethics of street photography; the work of cussions of recent exhibitions and publications by such William Mortensen and Edward S. Curtis; the impact of figures as Sally Mann, Jock Sturges, Cindy Sherman, the lens on western culture; the “vanishing borderline” Andres Serrano, Christian Boltanski, Sebastião Salgado, between high and low art, and the relation thereto of Laurie Simmons, John Baldessari, and many others, along photography and the computer. A number of these essays with accounts of such events as Houston FotoFest and the are research papers, reflecting the more scholarly aspects Arles photo festival, responses to prominent instances of of Coleman’s activities between 1978 and the present. censorship, and other matters. Recipient of the International Reprinted from 241, 252, 385, 516, 943, 1378, 1379, and Center of Photography’s Twelfth Annual Infinity Award 1384.] for Writing on Photography in 1995, and Honourable Mention in the 1996 Kraszna-Krausz Photography Book 11.