Gary Saretzky Photo Books
Adams, Robert, et al. New Landscapes. Untitled 24.
Adams, Robert, et al. New Landscapes. Untitled 24.
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Friends of Photography, 1981. Wraps, very good with crimp upper right corner of front cover, otherwise fine. Photographers: Gail Skoff; Lynn Lown; Linda Connor; Robert Adams; Wanda Hammerbeck; Jay Dusard; Laura Volkerding; and Eric Johnson. 56 pages with color and black and white illustrations. Summary:
Overview:
New Landscapes is Untitled No. 24 in the Untitled series published by the Friends of Photography in 1981, part of their long-running program of photography monographs and themed volumes. The Untitled series was created to highlight significant trends, exhibitions, and voices in contemporary photography from the 1970s into the 1990s.
Content & Structure:
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Edited by James G. Alinder with an introduction/brief essay by Mark Johnstone, the book brings together the work of a group of photographers exploring new directions in landscape photography.
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The book is oblong softcover with about 55–56 pages, featuring color and black-and-white images emphasizing a contemporary approach to the landscape.
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Contributors include photographers such as Gail Skoff, Lynn Lown, Linda Connor, Robert Adams, Wanda Hammerbeck, Jay Dusard, Laura Volkerding, and Eric Johnson — a mix of established and emerging voices engaging with the theme of landscapes in diverse ways.
Thematic Focus:
Rather than traditional “picturesque” landscapes, New Landscapes reflects a more modern, nuanced view of terrain and place, influenced by late-20th-century photographic approaches that consider both natural and human-altered environments. Images range from intimate or abstracted views to broader compositions, revealing how contemporary artists interpret land, environment, and visual experience through photography in this period.
Significance:
As part of the Untitled series, this volume helped document shifts in landscape photography at a time when many artists were questioning and expanding the genre’s boundaries — moving away from purely romantic imagery toward more conceptual, documentary, or critical perspectives.
