Neimanas, Joyce. Joyce Neimanas by Sarah J. Moore.

Center for Creative Photography, University of Arizona, 1984. Exhibition catalog, wraps, 24 pages, includes checklist of 23 works and chronology of Neimanas' career. Photographic art includes Multiple Images; Collage; Hand Coloring; and Writing on Photographs. Two copies available, fine and near fine. First buyer gets better one.  Summary:

Joyce Neimanas (1984) is a 24-page exhibition catalog published by the Center for Creative Photography at the University of Arizona, Tucson. Written by art historian Sarah J. Moore and featuring a foreword by James Enyeart, the publication was produced to document a solo exhibition of photographic and mixed-media works by the innovative contemporary artist Joyce Neimanas that ran from September 23 through November 1, 1984.

The volume acts as both a visual portfolio and a critical analysis of Neimanas' radical departure from traditional darkroom practices.

Core Themes & Content

• Subverting "Observed Reality": Moore’s text explores Neimanas’ core philosophy that photography should not be bound to societal expectations of realism or objective truth. The monograph highlights the artist's rejection of traditional boundaries, exploring how she treats photography as a malleable raw material rather than a sacred window into reality.

• The Mechanics of Mixed Media: The publication delves into Neimanas' pioneering use of altered photographic forms. It focuses heavily on her complex, hand-manipulated imagery, including her famous large-scale collages composed of SX-70 Polaroid prints, hand-colored details, and layered mixed-media surfaces that disrupt normal spatial perspectives.

• The Seduction of Memory: Moore examines how Neimanas exploits the viewer's implicit trust in the photographic document. By fracturing images and reassembling them, the work challenges how society uses pictures to construct memory, nostalgia, and domestic truth.

Structure & Plates

The catalog is designed as a streamlined, staple-bound directory containing 16 four-color plates of Neimanas' work. To provide a comprehensive resource for collectors and researchers, Moore includes a detailed artist chronology, an extensive selected exhibition history, and a formal checklist of the objects displayed in the 1984 Tucson exhibition.

Joyce Neimanas captures a pivotal moment in post-war American photography when the medium was being violently redefined. Through Moore's scholarly perspective, the publication frames Neimanas not merely as an iconoclastic printmaker, but as a conceptual vanguard who proved that the "ideal subject" in photography is merely an illusion.