Finding aid for the Lewis Baltz Archive, 1968-2013
Beth Ann Guynn
Descriptive Summary
Title: Lewis Baltz Archive
Date (inclusive): 1967-2013
Number: 2013.M.31
Creator/Collector:
Baltz, Lewis,
1945-2014
Physical Description:
54 Linear Feet
(49 boxes)
Repository:
The Getty Research Institute
Special Collections
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
reference@getty.edu
URL: http://hdl.handle.net/10020/askref
(310) 440-7390
Abstract: American photographer and author Lewis
Baltz first gained recognition as one of the key figures in the New Topographic Movement of
the late 1970s, pioneering an approach to photography that refused to glorify industrial
process, revealing instead landscapes blighted by rapid development and human detritus. The
collection encompasses Baltz's career spanning from his early black-and-white Prototype Works of the late 1960s to his color
projects of the
early twenty-first century up to and including Aqua Alta and
It's a Wonderful Life (2002). Included are original
materials - negatives with printing notes, contact sheets, outtakes for images not selected
as part of a final project, proof prints, and duplicate final prints - as well as
installation shots, exhibition ephemera, and publications by and about Baltz.
Request Materials: Request access to the physical materials
described in this inventory through the
catalog
record
for this collection. Click here for the
access policy .
Language: Collection material is in English and French with some German.
Biographical/Historical Note
American photographer and author Lewis Baltz first gained recognition as one of the key
figures in the New Topographic Movement of the late 1970s, pioneering an approach to
photography that refused to glorify industrial process, revealing instead landscapes
blighted by rapid development and human detritus. Born in Newport Beach, California in 1945,
Baltz became interested in photography at an early age and began photographing seriously at
age 12. He poured over photography publications (early influences were Ed van der Elsken,
Wright Morris and Edward Weston) and frequented camera shops, especially William R.
Current's store in Laguna Beach, where the owner became his early mentor, employing him in
the store at age 14. Baltz graduated from the San Francisco Art Institute in 1969 and
received his MFA from Claremont Graduate School in 1971.
Growing up in postwar Southern California Baltz witnessed first-hand the region's rapid
transformation from open, agricultural and desert space into a homogenized urban
environment. By 1967 he had already begun responding to the changes around him, creating
tightly framed black-and-white photographs that recorded the generic, oft-overlooked details
of these man-made environments – the flat, expansive stucco facades punctuated by blank
windows and exterior piping, signage, parking lots, empty closets and set-like motel rooms
of the new tract house developments and anonymous, light industrial and commercial urban
spaces. These early single images, which he first called the
Highway
Series
, were later to be collectively titled
Prototype
Works
.
From single images of generic, urban details Baltz went on to produce images in series such
as
The Tract Houses (1969-1971),
The
New Industrial Parks near Irvine, California
(1974-1975),
Nevada (1977),
Park City (1978-1981) and
San Quentin Point (1981-1983) that charted, with minimalist
precision, both the monotonous urbanization of once-isolated locations and the newly-created
wastelands on their marginalized edges.
Baltz's first solo show,
Tract Houses, was held at the Leo
Castelli Gallery, New York, in 1971 when he was 26. His work gained further recognition with
his participation in the ground-breaking 1975 group exhibition
New
Topographics: Photographs of a Man-Altered Landscape
, curated by William Jenkins,
and first held at the George Eastman House in Rochester, New York. Along with Robert Adams
and Joe Deal, among other photographers, Baltz advanced a documentary view of landscape
which appositionally responded to their photographic predecessors, such as Ansel Adams and
Edward Weston, by abandoning all traces of the sublimity of the natural world in their work
in favor of a detached, critical view of urban and suburban realities and their terrains.
In his serial work of the 1980s Baltz gradually shifted from black-and-white to color
photography. This shift coincided with his feeling that he had exhausted the subject of the
postwar industrial transformation of American landscape, and he began moving from creating
images evoking the past, however recent, to creating those meant to convey the future.
Candlestick Point (1984-1990), which includes his first
color images (12 out of the 84 images in the series are color), explores the temporality of
the no-man's land between the San Francisco airport and the city's ballpark. In this series,
Baltz's only United States commission, he documented the desolate landfill that was destined
to be made into Candlestick Point State Recreation Area.
Disenchanted with American Reagan-Bush era politics, Baltz moved to Europe in the late
1980s, where his use of color photography coincided with a paradigmatic shift in his serial
works from making what were essentially documentary images to making images with a more
explicit social and political content. He became especially interested in exploring the uses
and abuses of new technologies. In series such as
The Power
Trilogy
(1992-1995) Baltz explores the omnipresence of surveillance cameras and
society's increasing dependence on and subsequent vulnerability to powerful new science and
medical technologies. Next, his practice further moved from making traditionally-sized
serial photographs suitable for gallery and museum viewing, i.e. in a "private" setting, to
the creation of large-scale, site-or audience-specific works, often manifested as a single
image. These projects were primarily created for public spaces and broad public audience
participation. Furthermore, in works such as
Piazza Sigmund
Freud
(1989) and
SHHHH! (for Luxembourg) (1995)
Baltz broadened his definition of what a "site" might be, moving from the concept of a
concrete, physical place to seeing a site as embodying a social fabric, a community or the
history of a place. Yet, despite such shifts in his practice, Baltz's subject always
essentially remains the fraught and highly complex relationships between urban space,
architecture, landscape and ecology.
Seeing books as more democratic and less precious than original photographs, Baltz began
publishing his serial work in 1974 with
The New Industrial Parks near
Irvine California
. Although he favored machine-made, mass-produced publications
over unique handmade artists' books, Baltz nevertheless insisted on achieving facsimile
reproduction in order to create an experience closer to or even better than viewing an
original photographic print. His early books were published by Castelli Gallery. In 1993
Baltz met the publisher Gerhard Steidl, the printer for the Fotomuseum Winterthur's (Scalo
Verlag) reproduction of the catalog for Baltz's 1990 retrospective
Rule without Exception. Steidl became his primary publisher, producing new books
as well as reprinting the early Castelli Gallery publications.
Baltz was the recipient of numerous fellowships and awards, including a scholarship from
the National Endowment for the Arts (1973, 1977), the John Simon Guggenheim Memorial
Fellowship (1977), the US-UK Bicentennial Exchange Fellowship (1980), and the Charles Brett
Memorial Award (1991). He had over 50 one-person exhibitions, not only at Castelli, where he
was part of the gallery's stable for a number of years, but also at museums and galleries
such as the Corcoran Gallery of Art, the Victoria and Albert Museum, the San Francisco
Museum of Modern Art, the Tokyo Institute of Polytechnics, and the Albertina. His work has
also been in more than 160 group exhibitions, commencing with
California Photographers 1970 at the Pasadena Museum of Modern Art and including
seven recent thematic exhibitions in 2011, three of which were associated with the Getty
initiative Pacific Standard Time:
Under the Big Black Sun: California
Art, 1974-1981
(MOCA);
It Happened at Pomona: Art at the
Edge of Los Angeles, 1969-1973
(Pomona College Museum of Art); and
Seismic Shift: Lewis Baltz, Joe Deal and California Landscape Photography,
1944-1984
(California Museum of Photography, Riverside). Baltz's works are found
in museum collections including the Museum of Modern Art, New York; the Whitney Museum of
American Art, New York; the Tate Modern, London; and the Museum of Contemporary Art, Los
Angeles.
Baltz taught in numerous East Coast and West Coast American universities as well as at the
Universitta' IVAV di Venezia and the European Graduate School EGS in Saas-Fee, Switzerland.
He was married to the photographer Slavica Perkovic, with whom he frequently collaborated.
Baltz died in Paris in 2014.
Administrative Information
Access
Open for use by qualified researchers.
Preferred Citation
Lewis Baltz Archive, 1968-2013, The Getty Research Institute, Los Angeles, Accession no.
2013.M.31.
http://hdl.handle.net/10020/cifa2013m31
Acqusition Information
Gift of Slavica Perkovic and Lewis Baltz. Acquired in 2013.
Processing History
The collection was processed by Beth Ann Guynn, Linda Kleiger and Lilly Tsukahara in
2013-2014.
Related Archival Materials
Lewis Baltz notebooks and ephemera, 1987-2011, Getty Research Institute, Accession no.
2015.M.27.
The library holds a copy of Baltz's portfolio
Venezia
Marghera
(2013), special collections accession number 2014.R.17*.
Eighty-six monographs, 26 serials, one video tape and one CD-ROM were transferred to the
library. These publications may be found by searching the library catalog for the Lewis
Baltz Archive.
Separated Materials
Eighty-six monographs, 26 serials, one video tape and one CD-ROM were transferred to the
library. These publications may be found by searching the library catalog for the Lewis Baltz Archive.
Scope and Content of Collection
The collection encompasses Lewis Baltz's career spanning from his early black-and-white
Prototype Works of the late 1960s to his color projects of
the early twenty-first century up to and including
Aqua Alta
and
It's a Wonderful Life (2002). Included are original
materials-negatives with printing notes, contact sheets, outtakes for images not selected as
part of a final project, proof prints, and duplicate final prints-as well as installation
shots, exhibition ephemera, and publications by and about Baltz.
Series I, Projects, forms the largest portion of the collection. It contains original
materials for most of Baltz's major projects starting with his early single black-and-white
images known first as
Highways Series and later renamed
Prototype Works. The projects are divided into two main
groups: black-and-white projects and color projects. The former group roughly coincides with
Baltz's American work, while the latter group is primarily, but not exclusively, composed of
his European work (i.e. work he created after moving to Europe). This group contains a small
amount of black-and-white work, especially among the earlier transitional projects.
The work Baltz produced in the first half of his career was essentially serial in nature.
He kept binders for each project (or sometimes for groups of smaller projects) that housed
the project's negatives, contact prints and printing notes. In addition to these materials
the series contains gelatin silver prints for a number of projects including
The Tract Houses;
The New Industrial
Parks
;
Nevada;
Park
City
;
San Quentin Point;
Candlestick Point (including two portfolios);
The Canadian
Series
;
Continuous Fire Polar Circle and
Fos Secteur 80. These prints can be proof prints, reproduction
prints, duplicate prints or outtakes. Most are 8 x 10 inch prints although there are a few
larger and smaller prints; some are signed.
During the late 1980s and early 1990s Baltz continued to produce works of a serial nature
such as his
89-91 Sites of Technology, yet he was also
beginning to create large pieces both for museums and public spaces. The binders for the
European projects thus encompass a wider variety of materials. The materials for projects
such as
89-91 Sites of Technology are similar to those found
in the black-and-white work, albeit in color. The materials in other binders reflect both
the large-scale and transitory nature of Baltz's later projects and include original
photographic materials used for creating the projects as well as photographs, cds, dvds, and
printed materials relating to the completed projects. Additionaly there are color proof
prints for
5W31 (Decay);
11777
Foothill Blvd.
;
Piazza Pugliese;
SHHHH! (for Luxembourg); and
Gladesaxe,
Copenhagen
.
Series II is primarily devoted to materials that can be seen as compilations on Baltz's
career. Included are binders compiled for the two-volume retrospective publication
Rule without Exception; Only Exceptions (Göttingen: Steidl, 2012)
and a binder of exhibition and installation shots. Although Baltz was a collaborator on the
Steidl project, the publication falls outside the scope of his original work and is thus not
a project in the sense of Series I. Jeffery Rian's
Rowboat
portfolio is included here as an example of a group portfolio to which Baltz
contributed.
Printed articles by Baltz; articles, reviews, and notices about Baltz; and ephemera from
Baltz's solo and group exhibitions comprise Series III. These materials, while undoubtedly
incomplete, taken together nevertheless present a detailed overview of Baltz's career. Also
included are small amounts of ephemera from projects undertaken by Baltz's students at
various institutions, other assorted ephemera, a very small amount of late correspondence
received or sent by Baltz and two photographic portraits of Baltz.
Arrangement
The collection is comprised of three series:
Series I: Projects, 1967-2011;
Series II: Books, portfolios and
exhibition materials, 1988-2012;
Series III: Printed matter and
ephemera,1984-2013.
Indexing Terms
Subjects - Topics
Landscape photography
Photography, Artistic
New topographics (Photography)
Art, American -- 21st century
Art, American -- 20th century
Human ecology
Photography, Industrial
Genres and Forms of Material
Chromogenic color prints -- United States -- 21st century
Chromogenic color prints -- Europe -- 20th century
Chromogenic color prints -- United States -- 20th century
Color transparencies -- Europe -- 20th century
Contact prints -- United States -- 20th century
Color negatives -- Europe -- 20th century
Contact prints -- Europe -- 20th century
DVDs -- Europe -- 20th century
Gelatin silver negatives -- Europe -- 20th century
Gelatin silver prints -- Europe -- 20th century
Dye difussion thermal transfer prints -- Europe -- 20th
century
Photographs, Original
Gelatin silver prints -- United States -- 20th century
Silver-dye bleach prints -- United States -- 20th century
Silver-dye bleach prints -- Europe -- 20th century
Portfolios (groups of works)
Compact discs -- Europe -- 20th century
Contributors
Baltz, Lewis,
1945-2014
Series I.
Projects,
1967-2011
Scope and Content Note
The series contains original materials for most of Baltz's major projects starting with
his early single black-and-white images known first as
Highways
Series
and later renamed
Prototype Works. The
projects are divided into two main groups: black-and-white projects and color projects.
The former group roughly coincides with Baltz's American work, while the latter group is
primarily, but not exclusively, composed of his European work (i.e. work he created
after moving to Europe). This group contains a small amount of black-and-white work,
especially among the earlier transitional projects.
The work Baltz produced in the first half of his career was essentially serial in
nature. He kept binders for each project (or sometimes for groups of smaller projects)
that housed the project's negatives, contact prints and printing notes. In addition to
these materials the series contains gelatin silver prints for a number of projects
including
The Tract Houses;
The
New Industrial Parks
;
Nevada;
Park City;
San Quentin Point;
Candlestick Point (including two portfolios);
The Canadian Series;
Continuous Fire
Polar Circle
; and
Fos Secteur 80. These prints
can be proof prints, reproduction prints, duplicate prints or outtakes. Most are 8 x 10
inch prints although there are a few larger and smaller prints; some are signed.
During the late 1980s and early 1990s Baltz continued to produce works of a serial
nature such as his
89-91 Sites of Technology, yet he was
also beginning to create large pieces both for museums and public spaces. The binders
for the European projects thus encompass a wider variety of materials. The materials for
projects such as
89-91 Sites of Technology are similar to
those found in the black-and-white work, albeit in color. The materials in other binders
reflect both the large-scale and transitory nature of Baltz's later projects and include
original photographic materials used for creating the projects as well as photographs,
cds, dvds and printed materials relating to the completed projects. Additionaly there
are color proof prints for
5W31 (Decay);
11777 Foothill Blvd.;
Piazza
Pugliese
;
Politics of Bacteria;
SHHHH!(for Luxembourg); and
Gladesaxe,
Copenhagen
.
Titles and dates of projects are primarily taken from Jeff Rian,
Lewis Baltz, 2001 and then from the Kestnergesellschaft, Albertina catalog,
Lewis Baltz, 2012. Dates refer to the dates the first
images were shot; projects often continue over a period of years. Published monographs
resulting from a project are noted in the scope and content note for the project.
Project binders replicate Baltz's original binders as closely as possible, excepting
that groups of materials originally housed within a single sleeve are sleeved
individually.
Arrangement
Arranged by project in rough chronological order.
box 1-14; 40-45
Black-and-white projects,
1967-1988
Scope and Content Note
Binders generally contain negative strips and often contact prints affixed two to a
sheet with printing notes. Prints (not from binders) are 8 x 10 inch gelatin silver
prints, unless otherwise noted.
box 1
Prototype Works,
1967-1976
box 1, folder 1
Negatives
Scope and Content Note
Twenty-one sleeves of 35mm negatives (Adox KP14; Kodak Panatomic X Film and ?) in
strips of three to six frames; not all rows filled.
box 1, 38
The Tract Houses,
1969-1971
box 1, folder 2
Negatives
Scope and Content Note
Four sleeves of 35mm six-frame strips (ADOX KB14 and ?).
Prints
Scope and Content Note
Thirty-two prints.
box 38, folder 1
Cropped prints
Scope and Content Note
Six prints, 9 x 6 1/4 inches and smaller, on heavy glossy paper. Included are
numbers 7; 16 (two prints, one with blue identifier number and enlargement
percentages noted); 19; 23; and 25.
box 38, folder 2-4
8 x 10 inch prints
Scope and Content Note
Twenty-five prints. Seven prints are on heavy gloss paper (numbers 3; 9; 11;
13; 18; 24; 25). Seven prints are on Agfa paper with identifier numbers and
percentages written on versos in blue marker (numbers 2; 3; 12; 13; 14; 17;
25). Eleven prints are on Agfa paper with "Tract Houses" and numbers in pencil
on versos (numbers 1; 2; 9; 13; 14; 17; 20 (cropped); 21; 22 (two prints);
24). Of these, numbers 9; 14; and 22 bear sticky notes containing enlargement
percentages on their versos.
box 38, folder 5
Reproduction prints
Scope and Content Note
One print of
Tract House number 4. Blindstamped
on verso: Reproduction print.
box 2, 38
The New Industrial Parks near Irvine,
California
,
1974-1975
Scope and Content Note
Published books:
The New Industrial Parks near
Irvine
, California, New York: Leo Castelli/Castelli Graphics; Rochester
and N.Y.: Distributed by Light Impressions, 1974.
box 2, folder 3
Negatives
Scope and Content Note
Eight sleeves containing 35mm negatives (Kodak Panatomic X film); strips are four
to six frames each; rows numbered 50 and 52 on the final sleeve are lacking
negatives.
Prints
Scope and Content Note
Twenty-four prints.
box 38, folder 8
Gelatin silver prints
Scope and Content Note
Nine prints. Numbered on versos: 3; 7; 12; 16 (2); 26 (2); 27; 49. Three wet
stamped on verso: Do not crop / for reproduction. One with Castelli Graphics
label and wet stamped on verso: Not for sale. One wet stamped on verso: Do not
Crop/ Reproduction print. For reproduction. Not for sale. Three with
annotation on verso: NIP. The unstamped prints may be proof prints.
box 38, folder 9
Dye sublimation print
Scope and Content Note
One 11 3/4 x 8 inch print on Kodak Electronic Imaging Paper. Written on
verso: Reproduction print / Not for sale / ©Lewis Baltz / Element No. 27 from
"The New Industrial Parks Near Irvine, California" / Date: 1974. / Courtesy
of: Gallery Luisotti @ Bergamot Station / 2525 Michigan Ave #2, Santa Monica /
CA 90404.
box 38, folder 6
Signed
Scope and Content Note
Five prints, all signed, dated and numbered on their versos. Three
annotated on verso: NFS. Includes three prints from edition 3/21: IP7.
BAl0099 (2) and IP33 BAL0100, and two prints from edition 19/21: IP41
BAL0227 and IP50 BAL0228.
box 38, folder 7
Unsigned
Scope and Content Note
Nine prints. Six annotated NIP on verso and numbered: 10; 11; 28; 39; 51.
Two numbered: 46; 47. The nineth print is number 33 (corrected from 34) from
edition 3/21.
box 1, folder 3
Maryland,
1976
Scope and Content Note
Published as volume 4 of
Works/Lewis Baltz,
Göttingen: Steidl; London: Thames & Hudson distributor, 2010.
Five sleeves of 35mm negatives (Kodak Panatomic X Film and ?) in strips of three to
six frames.
box 1, folder 4
Unidentifed project,
1976
Scope and Content Note
Two sleeves of 35mm negatives (Kodak Panatomic X Film and ?) in strips of three to
six frames; not all rows filled.
box 2; 38; 45
Nevada,
1977
Scope and Content Note
Published book:
Nevada, New York: Castelli Graphics,
1978; also as volume 5 of
Works/Lewis Baltz,
Göttingen: Steidl; London: Thames & Hudson distributor, 2010.
box 2, folder 1
Contact prints
Scope and Content Note
Twenty-eight contact prints on 14 sheets with printing notes.
box 2, folder 2
Negatives
Scope and Content Note
Eight sleeves containing 26 3 1/4 x 2 1/4 inch negatives (Kodak Safety Film 6040)
and three strips of 35mm negatives (three to six frames each; rows numbered 30-32
on the final sleeve are lacking negatives.
Prints
Scope and Content Note
Twenty-six prints.
box 38, folder 10
Signed prints
Scope and Content Note
Twelve signed, dated and numbered prints on double-weight Agfa paper. Six of
the prints have edition numbers: N1 AP/1; N1 22/40; N3 32/40; N6 20/40; N11
40/40; N14 1/40. Five prints are without edition numbers: N2; N4; N7; N12; N15.
The twelfth print, N8, has the edition (A.P.3), signature and date erased, but
still visible, and with a typed caption taped to verso.
box 38, folder 11
Outtakes
Scope and Content Note
Thirteen prints. Eight of the prints are on double-weight Agfa paper with
typewritten labels taped to versos and numbers added: 1; 5; 11; 13 (crossed out
and replaced with a 12; )14. One print is on double-weight non-Agfa paper with
typewritten label taped to verso and number added: 12; and numbered in lower
right corner: 21 (this image is not the same as the one renumbered 12 above;
however it does correspond to the editioned print number 12). Seven prints are
without labels. Of these, two prints are numbered in lower left corner: N9; N10;
one print is numbered in lower left corner: #1 with a sticky note that reads: ?
none. Three of the unmarked prints can be identified as numbers 1, 5 and 8; and
one unmarked print depicts the Mustang Lounge. Three of the images in this group
may not be part of the original portfolio. Note: this entire group of prints is
listed as "outtakes" on the original inventory.
box 45, folder 1
Proof print
Scope and Content Note
One 11 x 14 inch print. Typewritten label taped to verso: Nevada #3 / 1977 /
Location: Northwest Nevada.
box 3-6
Park City,
1978-1981
Scope and Content Note
Published book: Park City / Lewis Baltz, Gus Blaisdell, Albuquerque, N.M.: Artspace
Press in association with Aperture, Inc., 1980; also as volume 6 of
Works/Lewis Baltz, Göttingen: Steidl; London: Thames &
Hudson distributor, 2010.
box 3, folder 1
1-188
Scope and Content Note
Strips of 35mm Kodak Safety film (includes some Kodak Panatonic X film); mostly
five-frame, but some strips with fewer frames. No strip numbers 44-45 and 92-97.
Includes 2 1/4 x 3 inch negatives numbered 44-46 and 92-96. No number 97 is
present for either format. From original binder labeled Park City 4.
box 4, folder 1
189-360
Scope and Content Note
Strips of 35mm Kodak Safety film; mostly five-frame, but some strips with fewer
frames. Also includes strip number 347 alternate. No strip number 349. From
original binder labeled Park City 4.
box 3, folder 2
1-188
Scope and Content Note
Contact print for number 178 is lacking. From original binder labeled Park City
4.
box 4, folder 2
189-360
Scope and Content Note
From original binder labeled Park City 4.
Proof prints and notes
Scope and Content Note
Eighty-seven prints. Each print is accompanied by a full sheet of notes. The
original sleeves were numbered 1-102 and do not correspond to the print or
negative numbers on the notes (i.e. the prints are not arranged consecutively by
their numbers).
box 5
1-61
Scope and Content Note
Lacking print numbers 2 (349) and 3 (346). From original binders labeled Park
City 1 (numbers 1-31), and Park City 2 (numbers 31-61).
box 6
62-102
Scope and Content Note
Lacking print numbers 62 (126); 67 (137); 69 (337); 70 (239); 71 (210); 74
(271); 76 (279); 77 (278); 86 (305); 94 (360); 95 (325); 98 (326); and 100
(328). From original binder labeled Park City 3.
box 39, folder 1
Reproduction print
Scope and Content Note
Typewritten on Janet Borden, Inc. label on verso: Lewis Baltz / Prospect Park,
Subdivision Phase 3, / Lot 55, looking west / from the series, Park City / 8 x 10
gelatin silver print. Wet stamped on verso: Copy. Orange dot sticker on verso: AP
5433. Green dot sticker on verso: 037.
box 7-9
San Quentin Point,
1981-1983
Scope and Content Note
Published book:
San Quentin Point, essay by Mark
Haworth-Booth, Millerton, N.Y.: Aperture, in association with Verlag Zwölftes Haus,
Berlin, 1986; also as volume 7 of
Works/Lewis Baltz,
Göttingen: Steidl; London: Thames & Hudson distributor, 2010.
box 7, 8
Contact prints
Scope and Content Note
One hundred and fifty-two contact prints on 78 sheets with notes; two sheets are
lacking contact prints (negative numbers 201, 228, and 229).
box 7
1-98
Scope and Content Note
Lacking contact prints for numbers 1 and 2.
box 8
102-255
Scope and Content Note
Lacking contact prints for numbers 228 and 229.
box 9, folder 1
Negatives
Scope and Content Note
Two hundred forty-nine 2 1/4 x 3 inch black-and-white negatives (Kodak Safety
Film 6040) numbered 7-256. Numbers 99; 100 and 156 are lacking.
Prints
Scope and Content Note
Fifty-four prints.
box 39, folder 2
Reproduction prints
Scope and Content Note
Nineteen prints, numbered on versos: 1; 2 (2); 4; 7; 11; 19 (2); 23(2); 27; 28
(2); 37 (2); 43; 53 (2). In cases where there are two prints of one number, one
of the prints was originally misnumbered and later corrected. Numbers 1; 2; 19
(corrected from 16); 22 (corrected from 19); 23 (corrrected from 20); 28
(corrected from 25); 37 (corrected from 33) are wet stamped on verso: Not for
sale / Do not crop / For reproduction/ San Quentin Point, no. ___ / © Lewis
Baltz 1985.
Numbers 2; 7; 11; 19; 23; 27 28; 37; 43; 53 (both)are wet stamped on verso:
Reproduction print / Do not crop / For reproduction / San Quentin Point, no. ___
/ © Lewis Baltz 1985. Also wet stamped on versos (and sometimes crossed out):
Credit to read: / "Courtesy Castelli / Graphics, New York."
Print number 1 with edition number (3/35), signed and dated by Baltz.
box 39, folder 3
Numbered prints
Scope and Content Note
Nineteen prints. Numbers: 1; 12; 17; 19; 21; 22; 23 (2); 25; 29; 30; 32; 33;
34; 35; 39; 43; 47; 49; 50; 51; 53; 54.
box 39, folder 4
Editioned prints
Scope and Content Note
Eight prints. AP3: number 50. AP4 numbers: 7; 11; 22; 28; 52; 56. Signed by
Baltz and dated 1984. 7/35: number 4; signed by Baltz and dated 1985.
box 39, folder 5
Special exhibition prints
Scope and Content Note
Four prints. Numbers 47; 48; 50; 51. Written on versos: Special exhibition
print. Signed by Baltz and dated 1984.
box 39, folder 6
Non-portfolio prints
Scope and Content Note
Four unnumbered prints not part of the portfolio.
box 42
Portfolio boxes
Scope and Content Note
Two empty black wooden boxes, printed on lids: San Quentin Point.
box 9, folder 2
Contact prints
Scope and Content Note
Two contact prints on one sheet with printing notes.
box 9, folder 2
Negatives
Scope and Content Note
Two 2 1/4 x 3 inch negatives (Kodak Safety Film 6040).
box 9, folder 2
Contact prints
Scope and Content Note
Two contact prints on one sheet with printing notes.
box 9, folder 2
Negatives
Scope and Content Note
Two 2 1/4 x 3 inch negatives (Kodak Safety Film 6040).
box 10-11; 40-43
Candlestick Point,
1984-1988
Scope and Content Note
Published book:
Candlestick Point, New York:
Aperture, 1989, and Göttingen: Steidl, 2011.
Twelve of the 84 images in the series were made in color; some color materials are
present here.
box 10, folder 1
Contact prints
Scope and Content Note
One hundred thirty-two 3 1/4 x 2 1/4 inch contact prints with notes; contact
prints 57 (the number is crossed out and replaced with number 58) and 124 are
missing.
box 10, folder 2
Negatives
Scope and Content Note
One hundred thirty-three 3 1/4 x 2 1/4 inch black-and-white negatives (Kodak
6040); negative 43 is missing.
Prints
Scope and Content Note
Includes and 8 x 10 inch portfolio (56 prints) and and 11 x 14 inch portfolio (55
prints).
box 11
Color match prints
Scope and Content Note
Label on spine: 4 x 5 print files empty. Sticky note on front cover:
Candlestick Point. Binder contains ten 8 x 10 inch chromogenic color match
prints, numbered 73-82, each with two corresponding 3 1/4 x 2 1/4 inch color
negatives (Kodak VSP 606) and an original negative sleeve with notes written on
it. Seven of the prints are accompanied by two glassine sleeves bearing printing
notes, two have one glassine sleeve, and one has three glassine sleeves. Also
present, but lacking prints, are two-strip negatives numbered 82-84 with
original negative sleeves with notes written on them; number 82 is accompanied
by one glassine sleeve bearing notes and numbers 83 and 84 are each accompanied
by two glassine sleeves bearing notes.
box 40, folder 1
Portfolio pages
Scope and Content Note
8 x 10 inch letterpress and printed pages. Includes one title page; two
dedication pages: Made in Italy, for D; two colophon pages; and a five-page
introductory essay.
Prints
Scope and Content Note
Fifty-six prints. Includes 54 of the 72 gelatin silver prints forming the
suite and two duplicate prints (numbers CP7, CP19). Lacking numbers 1-3;
5-6; 10-11; 14-15; 17-18; 25; 28; 32; 51. Numbered on versos.
box 40, folder 2
Numbers CP4-CP31
Scope and Content Note
Eighteen prints.
box 40, folder 3
Numbers CP33-CP52
Scope and Content Note
Eighteen prints.
box 40, folder 4
Numbers CP53-CP72
Scope and Content Note
Twenty prints.
11 x 14 inch portfolio
Scope and Content Note
Fifty-five prints.
box 41, folder 1
Gelatin silver prints
Scope and Content Note
Forty-three prints. Numbers present: CP 2; CP3; CP4; CP5; CP6; CP8; CP10;
CP11; CP12; CP19 (2); CP21 (2); CP24; CP28; CP32; CP34; CP35; CP46 (slight
stain in sky); CP47; CP49; CP50; CP51; CP52; CP53; CP55; CP59; CP60(2);
CP62; CP63; CP64 (2); CP65; CP66 (2); CP67; CP68 (2); CP70; CP71; CP72
(2).
box 43, folder 1
Chromogenic color prints
Scope and Content Note
Four prints. Numbers present: CP78 (unmarked); CP80 (corrected from 81);
CP81 (2; one corrrected from 82).
box 41, folder 2
Signed prints
Scope and Content Note
Eight gelatin silver prints. Five prints are signed, numbered and dated
1988: CP25 (2); CP27; CP40; CP41. Three prints are signed, numbered,
editioned and dated 1988: CP26 1/5; CP26 5/5; CP30 4/5.
box 42
Portfolio box
Scope and Content Note
Unmarked black linen clamshell box in slipcase.
box 12, 44-45
The Canadian Series,
1985
Scope and Content Note
Twenty-one prints.
box 12, folder 1
Contact prints
Scope and Content Note
Thirty-four contact prints on 17 sheets with printing notes.
box 12, folder 2
Negatives
Scope and Content Note
Thirty-nine 2 1/4 x 3 1/4 inch black and white negatives (Kodak Safety Film 6040)
contained in nine sleeves.
box 44, folder 1
8 x 10 inch prints
Scope and Content Note
Eighteen prints, variously marked on their versos. Nine prints with typewritten
Eaton/Schoen Gallery label bearing title, date, medium, edition, and measurement
information. Two prints with Eaton/Schoen Gallery labels and typewritten label
taped to verso: The Canadian Series / Date: 1985/ Location: Near Victoria, BC,
Canada. One print with an Easton/Scheon Gallery label; a Canadian Series label;
a Castelli Graphics label and a copy photographer's wet stamp: Photography by /
Eric Pollitzer / 407 Jerusalem Avenue / Hampstead, N.Y. 11550 / 212-839-8994;
516-292-0515 / Neg # 54321. Two prints with Canadian Series label and wet stamp:
Reproduction print / Not for sale. Four prints with Canadian Series label and
wet stamp: Reproduction print / Not for sale; and handwritten printing
instructions.
box 45, folder 2
11 x 14 inch prints
Scope and Content Note
Three unnumbered prints, all with typewritten label taped to verso: The
Canadian Series / Date: 1985 / Location: Near Victoria, BC, Canada; and two wet
stamped: Reproduction print.
box 13
Europe (various projects),
circa 1985 to circa 1986
Scope and Content Note
Label on original binder spine: Europe 1985. Sticky note on front cover: F & B
/ Continuous Fire Circle / & Milan.
F
Scope and Content Note
This project may be Norway.
box 13, folder 1
Contact prints
Scope and Content Note
Five contact prints with notes. Contact print F5 is on a sheet with B1.
box 13, folder 2
Negatives
Scope and Content Note
Five 3 x 2 1/4 inch negatives (Kodak 6040) numbered F1-F5.
box 13, folder 1
Contact prints
Scope and Content Note
Six contact prints B1-B6 with notes. Contact print B1 is on a sheet with F5;
contact print B6 is on a sheet with N1.
box 13, folder 3
Negatives
Scope and Content Note
Six negatives numbered B1-B6 and seven unnumbered negatives on a sheet market
B9. All 13 negtives are currently retained by Luisotti Gallery.
box 13, folder 6
Contact prints
Scope and Content Note
Two contact prints on one sheet with printing notes.
box 13, folder 7
Negatives
Scope and Content Note
Eight 35mm negatives (Kodak FX 5040) in a sleeve with rows labeled 1 to 7 (rows
3 to 7 are empty) and one 3 x 2 1/4 inch negative.
box 13; 44
Continuous Fire Polar Circle,
1986
Scope and Content Note
Label on original binder spine: Europe 1985. Sticky note on front cover: F & B
/ Continuous Fire Circle / & Milan. Published book: volume 9 of
Works/Lewis Baltz, Göttingen: Steidl; London: Thames &
Hudson distributor, 2010.
box 13, folder 1
Contact prints
Scope and Content Note
Seven contact prints with notes. Contact print N1 is on a sheet with B6 (see:
Europe, Berlin).
box 13, folder 4
Negatives
Scope and Content Note
Seven 3 x 2 1/4 inch negatives (Kodak 6040) numbered N1-N7.
box 13, folder 5
Outtakes
Scope and Content Note
Fifty-seven 3 x 2 1/4 inch negatives (Kodak 6040) in nine sleeves labeled
N1-N9.
box 44, folder 2
Prints
Scope and Content Note
Reproduction prints? Seven prints (numbers 1-7), with typewritten labels taped to
versos: Continuous Fire Polar Circle # ___ / Date: 1987 / Location: Lofoten
Island, Norway.
box 14A
Near Reno,
1986
Scope and Content Note
Published book: volume 8 of
Works/Lewis Baltz,
Göttingen: Steidl; London: Thames & Hudson distributor, 2010.
box 14A, folder 1
Contact prints
Scope and Content Note
Forty contact prints on 20 sheets, with notes.
box 14A, folder 2
Negatives
Scope and Content Note
Forty 2 1/4 x 3 1/4 inch negatives (Kodak Safety Film 6040).
box 44, folder 3
Proof prints
Scope and Content Note
Sixteen prints. Numbers 1; 2; 3; 6; 7; 9; 11; 12;13; 14; 15; 16; 17; 18; 19; 20
and one unnumbered print. Stamped on versos: FOS no. ___. Also stamped on number
12: Reproduction print / Lewis Baltz. Number 18 with two handwritten labels on
verso: "La photographiè / enchantier" / Exposition du mois de la photo 188 /
16/11-17/12 (struck through) and: Lewis Baltz / "Fos Secteur 80," 1986 / Portfolio
de 21 images / 16 x 24 cm / Gal. Michèle Chomette / Paris. Number 19 verso with
wet stamp for Galerie Michèle Chomette.
box 44, folder 4
Reproduction prints
Scope and Content Note
Sixteen prints and one envelope, numbers: 1; 2; 4; 5; 6;7; 8; 9; 10; 11; 12; 13;
14; 15; 16; 17. Wet stamp on versos: Reproduction print / FOS no. ___ / Lewis
Baltz.
box 14, folder 6
Bodrum,
1988
Scope and Content Note
One 8 x 10 inch negative. From binder labeled on front cover: Kawasaki 1A & 1B.
Kawasaki 2A & 2B. It Colors... / Bodrum 1988 / 5W31 (Decay) / Don and Shirley's
Country House / LA 1988 [plus additional projects scattered throughout label that
have been crossed out]. Second label on front cover: 11777 Foothill Blvd.
box 15-28; 32-33; 36; 43
Color projects,
1989-2011
Scope and Content Note
Most binders contain a mix of materials that varies from project to project and
includes formats such as chromogenic color prints, proof prints, contact prints,
negatives, transparencies, silver dye bleach prints (Cibachrome prints), printed
materials and so forth. Some black-and-white material is present as noted. Size of
materials vary and are noted by project.
box 15-17
89-91 Sites of Technology
series,
circa 1989-1995
Scope and Content Note
Three binders all labeled: Techno: Work prints, negs. The binders seem to contain
materials for a mix of projects including the three projects that form the
Power Trilogy (1992-1995):
Ronde de
nuit
(The Night Watch), Lille, France;
Docile
Bodies
, France; and
The Politics of
Bacteria
, Paris, France. Each binder contains a mix of color proof prints,
color contact sheets and 2 1/4 x 3 inch color negatives. Published book:
Lewis Baltz: The Politics of Bacteria, Docile Bodies, Ronde de
Nuit
. Los Angeles: Museum of Contemporary Art; Santa Monica: Ram
Publications, 1998.
box 18-19
Toshiba Project, Kawasaki City,
Japan,
1989
Scope and Content Note
Part of Baltz's
89-91 Sites of Technology
series.
box 18
Binder 1
Scope and Content Note
Binder contains 39 black-and-white contact prints with printing notes and 38
corresponding 2 1/2 x 3 1/4 inch black-and-white negatives (Kodak Safety Film
6040; negative for number 36 is lacking and an additional sleeve numbered 41-44 is
empty); 202 two-strip 2 1/2 x 3 1/2 inch color negatives (Fujicolor 100A) in 52
sheets (numbered 1-71 with numbers lacking and one unnumbered sheet); and 202
corresponding color contact prints in 53 sheets (numbered 1-73 with numbers
lacking).
box 19
Binder 2
Scope and Content Note
Binder contains six 8 x 10 inch color transparencies, one with printing note on
original sleeve, and four corresponding color print-outs; nine 10 1/2 x 8 1/2 inch
chromogenic color prints with 16 corresponding 3 1/4 x 2 1/4 color negatives with
printing notes on their original enclosures; five eight-frame color contact sheets
and one four-frame color contact sheet; 85 3 1/4 x 2 1/4 inch color negatives
(Fujicolor 100A); and 82 35mm color slides.
box 20-21
Ronde de Nuit,
1989-1992,
Scope and Content Note
Published book:
Ronde de nuit, check list, Olivier
Boissière, Douchy: Centre régional de la photographie Nord Pas-de-Calais, 1992. Part
of Baltz's
89-91 Sites of Technology series.
box 20
Binder 1
Scope and Content Note
Labels on original binder: CRP Proof sheets/negatives / mostly mainframes. (CRP =
Centre régional de la photographie Nord Pas-de-Calais). Binder contains 25 color
contact sheets (192 frames) and corresponding 2 1/4 x 3 1/4 inch color
negatives.
box 21
Binder 2
Scope and Content Note
Labels on original binder: CRP Proof sheets/negatives / Interesting rooms /
surveillance. (CRP = Centre régional de la photographie Nord Pas-de-Calais).
Binder contains 37 color contact sheets (284 frames) and corresponding 2 1/4 x 3
1/4 inch color negatives.
box 22, folder 2
The Deaths in Newport,
1989-1995
Scope and Content Note
Published CD-ROM:
The Deaths in Newport, Paradox Pr,
1985. Published volumes: Paris: Onestar Press, 2002; Paris: Vier5, 2010. Spine label
on orginal binder: Des Moines 1991 / Newport Beach 1989. Sticky note on cover: Des
Moines, Santa Monica and LA 1990s.
Contact prints
Scope and Content Note
One sheet containing eight 2 1/4 x 3 1/4 color prints.
Negatives
Scope and Content Note
Eight 2 1/4 x 3 1/4 color negatives (Fujicolor 100A) in four strips of two.
Contact prints
Scope and Content Note
One sheet containing eight 2 1/4 x 3 1/4 color prints.
Negatives
Scope and Content Note
Eight 2 1/4 x 3 1/4 color negatives (Fujicolor 100A) in four strips of two and
eight 2 1/4 x 3 1/4 black-and-white negatives (Kodak Safety film 6040) in four
strips of two.
Contact prints
Scope and Content Note
One sheet containing eight 2 1/4 x 3 1/4 color prints.
Negatives
Scope and Content Note
Eight 2 1/4 x 3 1/4 color negatives (Fujicolor 100A) in four strips of two.
Contact prints
Scope and Content Note
One sheet containing eight 2 1/4 x 3 1/4 color prints.
Negatives
Scope and Content Note
Eight 2 1/4 x 3 1/4 color negatives (Fujicolor 100A) in four strips of two.
box 22, folder 2
Empty lot, beach, rooftops
Contact prints
Scope and Content Note
Two sheets each containing eight 2 1/4 x 3 1/4 color prints.
Negatives
Scope and Content Note
Includes six 2 1/4 x 3 1/4 color negatives (Fujicolor 100A) in four strips of
two with one notes from glassine wrapper, and eight 2 1/4 x 3 1/4
black-and-white negatives in four strips of two (Kodak FXP 6040) including two
negatives of a tree for which there are no corresponding contact prints.
box 14; 43
5W31 (Decay),
1991
Scope and Content Note
The project also known as: 5 West 31st St. All materials, except for proof prints,
are from the binder labeled on front cover: Kawasaki 1A & 1B. Kawasaki 2A &
2B. It Colors... / Bodrum 1988 / 5W31 (Decay) / Don and Shirley's Country House / LA
1988 [plus additional projects scattered throughout label that have been crossed
out]. Second label on front cover: 11777 Foothill Blvd.
box 14, folder 1
Black-and-white
Scope and Content Note
Six 3 1/4 x 2 1/4 inch negatives contained in two sleeves and one sheet of
notes on grid paper.
box 14, folder 4
Color
Scope and Content Note
Eleven 3 1/4 x 2 1/4 inch negatives (Fuji Reala) contained in two sleeves.
box 14, folder 2
Transparencies
Scope and Content Note
Two 8 x 10 inch color transparencies, each housed with a corresponding
black-and-white negative (one is hinged and one has a mylar overlay); one 4 x 5
inch color transparency.
box 14, folder 3
Contact sheets
Scope and Content Note
Two contact sheets (one with mylar overlay) containing a total of 12 frames.
box 43, folder 3
Proof prints
Scope and Content Note
Two 14 x 11 inch silver dye bleach (Cibachrome) prints. One is titled on verso,
with edition number crossed out and replaced with N.F.S., signed by Baltz and
dated 1995. A typewritten caption is taped to the verso of the second print: 5
West 31st St / Date: 1992 / Location: New York City. Verso is also annotated: Top
(with arrow pointing upwards).
box 14
Don and Shirley's Country House,
1991
Scope and Content Note
Seven 3 1/4 x 2 1/4 inch negatives (Fujicolor; Kodak EPT) contained in two sheets
plus one negative of an unknown oval object. From binder labeled on front cover:
Kawasaki 1A & 1B. Kawasaki 2A & 2B. It Colors... / Bodrum 1988 / 5W31
(Decay) / Don and Shirley's Country House / LA 1988 [plus additional projects
scattered throughout label that have been crossed out]. Second label on front cover:
11777 Foothill Blvd.
box 14
11777 Foothill Blvd.,
1991
Scope and Content Note
As part of the traveling exhibition
Rule Without
Exception
, Baltz was commissioned by LACMA in 1992 to produce a typical
view of the Los Angeles cityscape. The site he photographed was the spot where
Rodney King was beaten by police on March 3, 1991. All materials except for the
color print are from the binder labeled on front cover: Kawasaki 1A & 1B.
Kawasaki 2A & 2B. It Colors... / Bodrum 1988 / 5W31 (Decay) / Don and Shirley's
Country House / LA 1988 [plus additional projects scattered throughout label that
have been crossed out]. Second label on front cover: 11777 Foothill Blvd.
box 14, folder 7
Color negatives
Scope and Content Note
Six 3 1/4 x 2 1/4 inch negatives (Fuji Reala) contained on two sheets.
box 14, folder 8
Transparencies
Scope and Content Note
Seven color 5 x 7 inch transparencies contained on four sheets (one with mylar
overlay containing notes).
box 43, folder 2
Color print
Scope and Content Note
One 8 x 10 inch silver dye bleach print (Cibachrome). Sticky note on verso: Baltz
/ title: 11777 Foothill Blvd. / 1991 / Location: Los Angeles. Wet stamp on verso:
Gallery Ram / Bergamot Station / 2525 Michigan Ave .02 / Santa Monica, CA
90404.
box 23
Giochi dei Simulazione / Simulation
Games
,
1991
Scope and Content Note
Binder contains one 8 1/4 x 6 1/4 inch color transparency; one 8 x 10 inch color
transparency; one 7 1 /4 x 5 1/4 inch color work print; seven 36-frame contact
sheets; 25 2 1/4 x 3 1/4 inch color and two black-and-white negatives (Kodak VPH
6028) and one 8 x 10 1/2 inch color work print (with color photocopy adhered to its
verso).
box 22, folder 1
Des Moines,
1991 July
Scope and Content Note
Spine label on original binder: Des Moines 1991 / Newport Beach 1989. Sticky note
on binder cover: Des Moines, Santa Monica and LA 1990s.
Slides
Scope and Content Note
Twenty-two 35mm color slides.
Prints
Scope and Content Note
Sixteen 3 1/2 x 5 1/2 inch color proof prints.
Negatives
Scope and Content Note
Twenty-five 35mm color negatives (Kodak 5090).
box 46**, folder 1
Piazza Pugliese,
1992
Scope and Content Note
One 16 x 20 inch Cibachrome (silver dye bleach) proof print.
box 46**-47**
Politics of Bacteria,
1992-1995
box 46**, folder 2
Studies
Scope and Content Note
Two circa 14 x 17 inch Cibachrome (silver dye bleach) prints. Signed on verso
with annotation: Study for: Politics of Bacteria.
box 47**
Photohof portfolio
Scope and Content Note
Nine circa 30 x 14 inch Cibachrome (silver dye bleach) prints.
box 24
The Black Triangle,
1994-1996
Scope and Content Note
Unrealized project. The Black Triangle is a region on the borderland of North
Bohemia, South Saxony and Lower Silesia. Characterized by extensive open pit mining
of brown coal, it is the most highly contaminated area in central Europe.
Label on binder: Siemans. Binder contains sixty-five 3 1/4 x 2 1/4 inch color
negatives (Kodak EPR 6017); eight 3 1/4 x 2 1/4 inch chromogenic color contact
prints; one 35mm negative (Fuji Reala; Kodak EPP 607; Kodak 5018 EPY); one 8 x 10
inch color transparency; two 9 3/4 x 6 5/8 inch Ilfochrome (silver dye bleach)
prints; seventeen 5 1/2 x 4 inch Sony video prints (dye sublimation/dye diffusion
thermal transfer); typescripts for an eight-page article in English, "A Bouquet for
the Black Triangle," and a seven-page article in French, "Un boquet por le triangle
noir," published in
L'architeture d'aujourd 'hui,
June, 1998; and sixty-nine 35mm color slides, some numbered to accompany the
aforementioned article.
box 46**, folder 3-4
SHHHH! (for Luxembourg),
1995
Scope and Content Note
Two 14 3/16 x 10 3/4 inch Cibachrome (silver dye bleach) proof prints.
box 25, folder 3
Unheimlich, Ljubljana/Los
Angeles
,
1996
Scope and Content Note
Labels on binder: Swimming to the Seine / Unheimlich; It's a Wonderful Life / Aqua
Alta - Enghein. Includes two exhibition announcement cards for
Inexplicable Presence (Curator's Working Place), at the
Moderna Galerija Ljubljana; one color electrophotography reproduction of the
finished project image with overlaid text; and one pieced color inkjet reproduction
of the project image without overlaid text.
box 26
Helvetiaplatz/Escher-Wyss-Platz,
Zürich,
1997
Scope and Content Note
Binder labeled: Zürich, 1996. Includes images for
Helvetiaplatz/Escher-Wyss-Platz as well as other other projects [?]
Binder contains seven Sony video prints; 88 3 1/2 x 2 1/2 2-frame color negative
strips (Kodak E100S; Fuji Realia) with 12 color contact sheets; ten 8 x 10 color
transparencies; one 10 1/8 x 5 3/16 inch color transparency with corresponding color
print; and two color inkjet prints.
box 46**, folder 5
Gladsaxe, Copenhagen,
1997
Scope and Content Note
One 20 x 24 inch Cibachrome (silver dye bleach) proof print.
box 27, 32
Sun-Tzu in Groningen,
1998
box 27, folder 2
Binder
Scope and Content Note
Title on original binder: 1998: Paris, Groningen. Binder contains "Sun-Tzu in
Holland," six pages of text on five sheets; 37 35mm color slides (nine are
unmounted); 24 2 1/2 x 3 1/2 inch color negatives (Fuji Reala) and four
corresponding sheets of 2 1/4 x 3 1/4 inch contact prints; three color promotional
images; and eight business cards for contacts and services in Groningen. The
promotional materials are of the following images: Number 3, "In Planning Never a
Useless Move" (five copies); Number 4, "Toplicht" (three copies); and Number 6,
"Frontier Ground" (six copies).
box 32, item D1
Lewis Baltz, Sun-Tzu in
Groningen
Scope and Content Note
One CD. Title from liner.
box 32, item D2
Groningen work
Scope and Content Note
One CD. Title written on disc.
box 27, 32
Friends, There Are No Friends, (
Tu peux toujours être mon ami),
1998
box 27, folder 1
Binder
Scope and Content Note
Title on original binder: 1998: Paris, Groningen. Includes eight strips of 3 1/2
x 2 1/2 inch two-frame color negatives (Fuji Realia) and two corresponding color
contact sheets; eight chromogenic color 4 x 6 inch prints with corresponding color
index prints; 17 35mm color slides; and two 8 x 10 inch dye sublimation prints,
one of an outdoor cafe scene and the other depicting a group of five people
standing on a balcony.
box 32, item D3
Tu peux toujours être mon [ami]
DVD
Scope and Content Note
One DVD. Title from liner. Written on disc: Affiche "Friend" / 2008.
box 32, 36
Michelina,
1999
Scope and Content Note
Academie de France à Rome, Villa Medici.
box 32, item 11
Michelina CD
Scope and Content Note
One CD. Title on jewel box liner: Michelina. Also on liner: Michela Terreri /
avec / Slavica Perkovic / et Lewis Baltz.
box 36, folder 6
Text and photographs
Scope and Content Note
Photocopy of five-page text in French and two chromogenic color prints (Baltz,
Michelina and Perkovic; Michelina holding her eponymous CD) with printed note and
envelope.
box 28
Venezia/Marghera,
1999-2000
Scope and Content Note
Binder contains one color postcard of the Grand Canal, Venice; 12 black-and-white
printer's proof sheets, some with notes; two 9 x 7 inch gelatin silver proof prints;
one black-and-white video scan [?](dye sublimation) with a clipping and glassine
envelope with notes; eight chromogenic color prints, 9 3/8 x 12 inches and smaller
(seven of which have several corresponding 3 1/4 x 2 1/4 inch negatives); three
sheets of chromogenic color contact prints; four 4 x 6 inch chromogenic color prints
dated 1998 on their versos; three 5 1/2 x 4 inch Sony video prints (dye sublimation)
and two four-frame 35mm negative strips.
Venezia/Marghera was published as a portfolio by Steidl in 2012.
box 25, 32
Swimming to the Seine,
2000
box 25, folder 1
Binder
Scope and Content Note
Labels on binder: Swimming to the Seine / Unheimlich; It's a Wonderful Life /
Aqua Alta - Enghein. Includes four color contact sheets with corresponding 2 1/2 x
3 1/32 inch negatives (Kodak GPZ and Fuji 100); and one 8 x 10 inch color work
print.
box 32, item D4
Swimming to the Seine CD
Scope and Content Note
Title from CD. Also written on CD: 0400 Lewis.
box 25, folder 2
Aqua Alta, Enghein, Belgium, and
It's a Wonderful Life,
2002
Scope and Content Note
Labels on binder: Swimming to the Seine / Unheimlich; It's a Wonderful Life / Aqua
Alta - Enghein. Includes eight 4 x 5 inch color transparencies and four 8 x 10 inch
color inkjet work prints. It is unclear which images belong to which project.
Aqua Alta was produced for the Fourth Biennale de
Einghein under the artistic direction of Catherine Grout.
box 33
Renovation of Piazza Arnolfo di Cambio, Coll di Val d'Elsa,
2002-2011
box 33, folder 1
Ateliers Jean Nouvel,
Colle Val d'Elsa: Piazza
Arnolfo di Cambio, Progetto di ristrutturazione
,
2002 Dicembre
Scope and Content Note
Twenty-five page spiral bound artists' proposals.
box 33, folder 2
Coll Valle d'Elsa: Conceptual Proposal for the
Amelioration of the West Side of the Piazza Arnolfo di
Cambio
,
circa 2002
Scope and Content Note
Two copies, one spiral bound, of Baltz's seven-page proposal.
box 33, folder 3
Goras,
2004-2007
Scope and Content Note
Includes one gelatin silver contact sheet with 12 corresponding 2 1/4 x 2 1/4
inch negatives; one chromogenic color contact sheet (Fuji Realia) with 12
corresponding 2 1/4 x 2 1/4 inch negatives; and five color photocopies
(electrophotography).
box 33, folder 4
Colle,
2011
Scope and Content Note
Includes three chromogenic color contact sheets, two of which have corresponding
2 1/4 x 2 1/4 inch color negatives (Fuji Realia); and one color photocopy
(electrophotography).
box 29-31, 36,
Series II.
Books, portfolios and exhibition materials,
1988-2012, undated
Scope and Content Note
Most of the materials in this series can be seen as compilations on Baltz's career.
Included are binders compiled for the two volume retrospective publication
Rule without Exception; Only Exceptions (Göttingen: Steidl,
2012) and a binder of exhibition and installation shots. Although Baltz was a
collaborator in the Steidl project, the publication falls out of the scope of his
original work and is thus not a project in the sense of Series I. Also included are
Jeffery Rian's
Rowboat portfolio and a letter relating to
Baltz's
Three Videos portfolio. Rian's portfolio is
included here as an example of a group portfolio to which Baltz contributed.
Arrangement
Arranged roughly by date.
box 36, folder 6
Extracts from Three Videos
1992-94
,
1995
Scope and Content Note
One letter to Baltz on gallery letterhead regarding the portfolio.
box 48
Jeffery Rian, compiler,
Rowboat,
2010
Scope and Content Note
The
Rowboat box project includes original artworks by
ten of Rian's friends that were created to accompany Rian's 14-track album
Battle Songs recorded with his band Rowboat. Baltz's piece
is the photograph
Fairfax, 1973/2010.
box 29-30
Rule Without Exception; Only
Exceptions
,
2012
Scope and Content Note
Book material for Lewis Baltz,
Rule without Exception; Only
Exceptions
, Göttingen: Steidl, 2012. These binders contain materials for the
illustrations for the publication, which chronicles the two main phases of Baltz's
work.
box 29
Rule Without Exception; Only Exceptions
originals
Scope and Content Note
Sticky note on bubblewrap packet: Rule w/o Exception / Only Exceptions / originals.
Included are 26 - 4 x 5 inch color transparencies, most proceeded by their original
plastic sleeves bearing notes; 18 - 3 /12 x 2/ 12 inch 2-frame color negative strips
(Fuji Realia); five corresponding color contact sheets; two 8 x 10 inch gelatin
silver installation shots; one 4 x 5 inch black-and-white negative; ten 3 1/2 x 2
1/2 inch black-and-white negatives (Kodak FXP 6040); seven 8 x 10 inch gelatin
silver reproduction prints; four 12 x 8 1/2 inch black-and white and color
electrophotography reproductions; eight black-and-white and color photocopies; and
ten Ilfachrome prints, 11 x 8 inches and smaller.
box 30
Exceptions
Scope and Content Note
Labels on binder spine and front cover: Exceptions. Binder contains one 35mm color
slide; six 4 x 6 inch, eight 7 1/4 x 5 inch and five 2 x 3 inch chromogenic color
prints; one 3 1/2 x 2 1/2 inch color negative; eight 8 x 10 inch Ilfachrome prints;
11 - 5 1/2 x 4 inch Sony video prints; seven color transparencies, 11 x 7 1/2 inches
and smaller; 11 dye sublimation prints; four 2 1/2 x 2 1/2 inch color negtives and
corresponding color contact prints; three color promotional images; one 8 x 10 inch
silver gelatin print; two four-frame 35mm color negative strips; and two 8 x 11 inch
inkjet prints.
CDs
Scope and Content Note
Five CDs from the "Exceptions" binder.
box 32, item D5
Screen shot Le Mepris
Scope and Content Note
One CD-R originally in 1998 Friends materials sleeve. Title from disc. Sticky on
original jewel case: Eingelese / $ 80 unter.
box 32, item D6
Back matter, LA MOCA book / RdH Pompidou book
Scope and Content Note
One CD-R originally in 2002 Colle Val d'Elsa materials sleeve. Title from disc.
Sticky on original paper CD envelope: Eingelese.
box 36, item D7; D8
Breits eigler buch [?]
Scope and Content Note
Two CDs labeled: Baltz / eigel scan / Only Exceptions/ p. 109; and Only
Exceptions p.109 and Quark Neu / Only Excpetions / Quark / Deaths in Newport /
segment of / Only Excpetions / 5 Dec 2011. Note with CDS; breits eigler buch
[?]
box 32, item D9
Panorama 2002 / Kid in Gora
Scope and Content Note
Title on CD. Also on CD: Baltz colle. Originally in sleeve labeled: Images for
curriculum vita section.
box 31
Dias,
1988-1998, undated
Scope and Content Note
title from label on binder. Contains 254 35mm slides of projects and exhibitions.
box 35-37
Series III.
Printed matter and ephemera,
1984-2013, undated
Scope and Content Note
Included are printed articles by Baltz; articles, reviews, and notices about Baltz; and
ephemera from Baltz's solo and group exhibitions. These materials, while undoubtledy
incomplete, taken together nevertheless present a detailed overview of Baltz's career.
Also included are small amounts of ephemera from projects undertaken by Baltz's students
at various institutions, other assorted ephemera, a very small amount of late
correspondence received or sent by Baltz and two photographic portraits of Baltz.
Arrangement
Arranged first by type of material and then by date.
box 35
Articles, papers, notices and reviews,
1984-2011
Scope and Content Note
Printed and audio visual materials by or about Baltz.
box 35, folder 1
Lewis Baltz and John Gossage,
Photographie aus
Berlin
,
1984
Scope and Content Note
Catalog for exhibition that originated at Castelli Graphics, NY and traveled to
Jones/Troyer Gallery, Washington, D.C. and the California Museum of Photography, UC
Riverside. Each entry is signed by the featured artist except for Uschi Blume's
spread.
box 35, folder 2
Frits Gierstberg, "Rule Without Exception,"
1992
Scope and Content Note
In
Perspektief, n. 43. Four offprints.
box 35, folder 3
Henry Urbach, "Interim on Interim,"
1994
Scope and Content Note
In
Elle Decor, v. 5, n.1, p. 112-119. Discusses
Baltz's Sausalito bungalow on pages 114-115.
box 35, folder 4
"Renzo Piano / Album,"
1996
Scope and Content Note
Article in
L'architecture d'aujourd'hui, n. 308,
contains Baltz stills from Slavica Perkovic video footage. Four offprints in
presentation cover.
box 35, folder 5
Lewis Baltz, "Sin título, Félix Gonzáles-Torres,"
1996
Scope and Content Note
Brochure essay for
Félix Gonzáles-Torres: acto de presencia
en México
exhibition.
box 35, folder 6
L'architecture d'aujourd'hui,
1997
Scope and Content Note
Presentation cover for no. 312 containing multiple copies of seven articles from
the magazine written by or about Baltz.
box 34, item V1
Sylvain Roumette,
Contacts: Lewis
Baltz
,
1998 March 27
Scope and Content Note
Title from label on VHS case and on tape. Also on label and tape: Durée: 13'5.
Date: 27-03-98 / Rèalisatuer: Sylvain Roumette / versìon originale.
box 35, folder 7
Raphaël Stopin,
L'ouvre de Lewis Baltz, photographe
americain
(1967 à nos jours.),
2000
Scope and Content Note
Mémoire de maîtrise, for Art contemporain, Université la Sorbonne. Includes text,
annexes and note to Baltz.
box 35, folder 7
Lewis Baltz, "Clio's Fulcrum: An E-mail from the Palm Beaches,"
2001
Scope and Content Note
Purple, no. 8, pages 162-167; article and
photographs by Baltz.
box 35, folder 8
Deborah Bishop, "Tom's Living Museum,"
2001
Scope and Content Note
Dwell, no. 6; three chromogenic color photographs
found between pages 58 and 59 of the article.
box 35, folder 9
"Lewis Baltz,"
2004
Scope and Content Note
Two page spread of Baltz's photographs in "Boys' Life" issue,
Brutus, no. 553.
box 35, folder 10
"Best Books" column,
2006
Scope and Content Note
Wallpaper*, no. 85, "Design Awards" issue, p. 71
discusses the Baltz boxed set published by Steidl.
box 32, item D12
Mario Pfeifer,
Reconsidering The New Industrial
Parks Near Irvine California by Lewis Baltz, 1974,
2009
Scope and Content Note
One CD. Title printed on CD. Also printed on CD: Dual 16 mm film installation, /
B/W, mono, 13 min, © 2009. DVD sample and review copy only. Exhibition, sale / or
distribution prohibited. Courtesy of Mario Pfeifer / and KOW Berlin.
/www.kow-bderlin.com. Numbered on CD: 163.
box 35, folder 11
Playbill for
Don Giovanni, English National
Opera,
2010-2011
Scope and Content Note
Baltz photographs appear on pages 20-21; 26-27; and 40 (with acknowledgements).
box 35, folder 12
Wolfgang Scheppe, "Realabstraktion un Facade,"
2011
Scope and Content Note
In Arch +, no. 204. Article includes Baltz
photographs. Accompanied by a "with compliments" card from Scheppe to Baltz.
box 35, folder 12A
Brigitte Ollier, "Lewis Baltz, des hommes et des lieux,"
2014
Scope and Content Note
In
Libération week-end, 5-6 July, 2014, pages 42-44.
Also included in this issue is a review of the exhibition Lewis Baltz: Common
Objects by Édouard Launet, "Abstractions et projections," page 45.
box 35, folder 13
Newspaper reviews,
2005-2011
Scope and Content Note
Three reviews.
box 36
Advertisements for Comme des Garçons,
2003
box 36, folder 1
Dazed and Confused, no. 99,
box 36-37
Exhibition ephemera,
1988-2013
Solo exhibitions,
1988-2014
box 36, folder 8
La photographie en chantier, Galerie
Michèle Chomette,
1988
Scope and Content Note
One invitation and one gelatin silver press print [no. 48 ?] from
Candlestick Point.
box 36, folder 9
Lewis Baltz photographies, Artothèque -
Centre cultural de vitré,
1991
Scope and Content Note
One invitation.
box 36, folder 10
Lewis Baltz, Galerie DB-S,
1991
Scope and Content Note
One invitation.
box 36, folder 11
Lewis Baltz, AR/GE Kunst Museum
Galerie,
1991
Scope and Content Note
Three invitations.
box 36, folder 12
Lewis Baltz: Rule Without Exception, Des
Moines Art Center,
1991
Scope and Content Note
One invitation.
box 36, folder 13
Lewis Baltz: Rule Without Exception,
Castelli Graphics,
1991
Scope and Content Note
Two announcement cards.
box 36, folder 14
Rule Without Exception, Mills College Art
Gallery,
1991
Scope and Content Note
One gelatin silver installation shot taken by John Gossage.
box 36, folder 15
Scandiano, Mulino Gandini,
1991
Scope and Content Note
Six chromogenic color installation shots and envelope.
box 36, folder 16
Lewis Baltz opere/progetti, Civici Musei,
Reggio Emilia,
1991
Scope and Content Note
One brochure.
box 36, folder 17
Lewis Baltz: 5 Projects 1983-1988,
Stedelijk Museum Amsterdam,
1992
Scope and Content Note
One invitation.
box 36, folder 18
Lewis Baltz: Ronde de nuit, Seibu
Contemporary Art,
1992
Scope and Content Note
One brochure and two checklists with envelope and one announcement card.
box 36, folder 19
Lewis Baltz, Stephen Wirtz
Gallery,
1992
Scope and Content Note
Brochure and two silver dye bleach prints (installation shot and reproduction
print).
box 36, folder 20
Rule Without Exception, LACMA,
1992
Scope and Content Note
Three invitations (two unopened), one silver dye bleach press print, one title
transparency.
box 36, folder 21
Galerie Michele Chomette,
1993
Scope and Content Note
One silver dye bleach press print.
box 36, folder 22
Lewis Baltz, Janet Borden,
Inc.,
1993
Scope and Content Note
Two exclusive representation announcements and two exhibition announcement
cards.
box 36, folder 23
Fotomuseum Winterthur,
probably 1993
Scope and Content Note
Three postcards.
box 36, folder 24
Lewis Baltz: Rule Without Exception, Musée
d'art moderne de la ville de Paris,
1993
Scope and Content Note
Two invitations.
box 36, folder 25
Lewis Baltz, Galerie Fotohof,
1994
Scope and Content Note
Two invitation/exhibition announcement cards.
box 36, folder 26
Lewis Baltz, Lousiana Musuem of Modern
Art,
1995
Scope and Content Note
One invitation.
box 36, folder 27
Lewis Baltz, The Deaths at Newport, Ram
Gallery,
1995
Scope and Content Note
One invitation.
box 36, folder 28
Geschichten von Verlangen und Macht,
Museum für Photographie,
1995-1996
Scope and Content Note
With Slavica Perkovic. One invitation and one color transparency for cover of
accompanying catalog.
box 36, folder 29
Lewis Baltz: Generic Night Cities, Galerie
Angelo Falzone,
1996
Scope and Content Note
Three announcement/invitation cards.
box 36, folder 30
Sun Tsu in Groningen, Centrum voor
Architectuur en Stedebouw,
1998
Scope and Content Note
Two packets of postcards containing images of the seven pieces he created for
this project. One packet is unopened.
box 36, folder 31
Lewis Baltz, MOCA,
1998
Scope and Content Note
Invitation and brochure.
box 36, folder 32
Lewis Baltz and Slavica Perkovic:
Workshop
, Fabrica,
1998
Scope and Content Note
One announcement card.
box 36, folder 33
Lewis Baltz and Slavica Perkovic: Boys 'N
Girls
, Dirty Windows Gallery,
1999
Scope and Content Note
One announcement card.
box 37, folder 1
Prototype, Gallery Luisotti,
2000
Scope and Content Note
Three announcement cards.
box 37, folder 2
Lewis Baltz: Venezia, Roma, La
Chaufferie,
2001
Scope and Content Note
One announcement card.
box 37, folder 3
Was wäre wenn, Kunstverein
Rüsselheim,
2001
Scope and Content Note
One newspaper clipping.
box 37, folder 4
Lewis Baltz: Tract House Photographs
1969-1971
, Norton Simon Museum,
2002
Scope and Content Note
One invitation with envelope, two brochures and two flyers.
box 37, folder 5
Lewis Baltz: Park City, Yale Art
Gallery,
2002
Scope and Content Note
Press release, brochure, three reproduction prints, two guide prints, two
transparencies, one envelope.
box 37, folder 6
Lewis Baltz, Galerie Thomas Zander,
2005
Scope and Content Note
One invitation.
box 37, folder 7
Lewis Baltz: 89-91 Sites of Technology,
Palazzina dei Giardini,
2007
Scope and Content Note
Announcement card, brochure.
box 37, folder 8
Lewis Baltz: 1989-91 Sites of Technology,
Gallery Luisotti,
2008
Scope and Content Note
Brochure.
box 37, folder 9
Lewis Baltz: Prototypes/Ronde de Nuit,
National Gallery of Art,
2011
Scope and Content Note
Three invitations, text for Tyler Green blog [?].
box 37, folder 9A
Lewis Baltz, Kestner Gesellschaft
2012-2014
Scope and Content Note
One brochure for Baltz's 2012 exhibition with a letter from the gallery dated 13
March 2014.
box 32, 37
Lewis Baltz, Albertina Museum,
2013
box 37, folder 10
Binder of press clippings
box 32, item D10
Installation views cd
Scope and Content Note
One cd. Title from original case. On cd: Albertina (printed) / Lewis Baltz
(written).
box 37, folder 10A
Lewis Baltz: Common Objects, Le Bal,
2014
Scope and Content Note
One exhibition brochure; one flyer for a soirée about Baltz with five speakers
and a seven-page typescript in French by Bertrand Schefer entitled "Vanishing
Point." See also Box 35, folder 12A for a review of the exhibition and a related
article by Brigitte Ollier.
Group exhibitions,
1993-2013
box 37, folder 11
1993-2013
Scope and Content Note
Invitations, announcement cards and brochures for nine group exhibitions,
including one unopened packet of cards each from
The Act of
Seeing [Urban Space]
, Foundation pour l'architecture, Brussels, 1994 and
a group exhibition at the Museum of Contemporary Art, Helsinki, 1995.
box 37, folder 12
Icons: Bilder der Stadt and
Offene Grenzen, Galerie Fotohof,
1998
Scope and Content Note
Two exhibition announcement cards and 12 reproduction images (Cibachromes).
box 37, folder 13
Publi©Domain: 3. Österreichesche Triennale zur
Fotografie
,
1999
Scope and Content Note
Five brochures.
box 37, folder 14
Museum of Modern Art and Western Antiquities: Lens
Drawings
, Marian Goodman Gallery, Paris,
2013
Scope and Content Note
Exhibition catalog.
box 37, folder 15
Paint Hotel, Joe Sheftel Gallery,
2013
Scope and Content Note
Exhibition checklist.
Student projects,
1993-1994, undated
Scope and Content Note
Materials and ephemera produced by Baltz's students at various institutions.
box 37, folder 16
CH8004,
1993-1994
Scope and Content Note
Announcement card, catalog and installation shots (eight color slides) for student
exhibition/class project Kreise 4 und 5, Hochschule für Gestaltung, Zürich.
box 37, folder 17
Ensba (Beaux-Arts) catalog cover,
undated
Scope and Content Note
Two Panasonic video prints (dye sublimation) and one color transparency.
box 37, folder 18
Schwarz Rot Gelb,
undated
Scope and Content Note
Brochure and two catalogs.
box 37, folder 19
Correspondence,
1972-2013, undated
Scope and Content Note
Includes: one undated note with envelope from Chris Bratton; a photocopy of a letter
from Baltz to Harold Jones dated 4 March 1972;a letter dated 8 November 2012 from
Dartmouth College inviting Baltz to be Artist-in-Residence during Spring Term 2014,
and Baltz's letter in response; a printed e-mail from John Counter 17 November, 2012;
and correspondence with Tim Eaton of Eaton Fine Art regarding a dispute over the
signing of a work print that Baltz gifted to Eaton (2013). The gelatin silver print,
written on and folded in four by Baltz when he returned it to Eaton, is included.
box 37, folder 20
Enclosures from books,
2005-2013, undated
Scope and Content Note
Notes enclosed with books gifted to Baltz by the author or publisher. The books have
been separated to the library's core collection.
box 37, folder 21
Architectures Jean Nouvel,
1995-1999
Scope and Content Note
Five New Year's [?] cards for the architectural firm (liquid EP? on glossy paper)
featuring Baltz works.
box 37, folder 22
Portraits of Baltz,
1990, undated
Scope and Content Note
One gelatin silver print by Bonacini and one dye sublimation print from a video
[?]
box 37, folder 23
Unidentified ephemera,
2001, undated
