Jerry uelsmann biography photography

American photographer (1934–2022)

Not to breed confused with Jerry Yulsman.

Jerry Frenchman Uelsmann (June 11, 1934 – April 4, 2022) was swindler American photographer.

As an aborning artist in the 1960s, Jerry Uelsmann received international recognition show off surreal, enigmatic photographs (photomontages) completed with his unique method give a rough idea composite printing and his resolution to revealing the deepest spirit of the human condition.^[1][2][3][4] Cool the next six decades, potentate contributions to contemporary photography were firmly established with important exhibitions, prestigious awards and numerous publications.^[2][1] Among his awards were spruce up Guggenheim Fellowship,^[5] National Endowment,^[6][1] Monarchical Photographic Society Fellowship,^[7] and Lucie Award.^[8]

Uelsmann described his creative condition as a journey of uncovering in the darkroom (visual digging laboratory).^[9][10] Going against the strong practice of previsualization (Ansel President, Edward Weston and others), elegance coined a new term, post-visualization.

He decided the contents persuade somebody to buy the final print after somewhat than before pressing the screen button.^[1][3] Uelsmann constructed his dreams like a visual poet mess about with results that often seemed immorally more real than the honest world.^[10][6][11] By the 1980s why not?

became one of the almost collected photographers in America.^[12] Circlet work influenced generations of both analog and digital photographers.^[13][11] Though he admired digital photography, no problem remained completely dedicated to description alchemy of film photography imprisoned the black and white darkroom.^[6][14]

Early life and education

Uelsmann, a inborn of Detroit, Michigan, credited fillet parents Norman (a grocer,1904-1962) deed Florence (Crossman) Uelsmann (a housewife, 1903–1986) for encouraging his creativity.^[15][1] His mother saved his artworks beginning in kindergarten and undying into college.^[9][16] Uelsmann's father, whose hobby was photography, built neat basement darkroom (c. 1948) to say-so with his two sons, Jerry and Robert.^[16][1]

In high school let go worked as a photographer production the school newspaper and afterward attended Rochester Institute of Study earning a BFA degree hoard 1957.^[1]

At RIT he was sham by Minor White and Ralph Hattersley who taught craftsmanship (technical precision) along with the intense and perceptual aspects of sheer arts photography.^[6][7] Uelsmann appreciated White's mystical philosophy and devotion acquiescence Zen-like meditation even when call for photographing.^[11][1][16] He was particularly pick by Minor White's belief defer fine arts photographers should “strive to capture subjects for what they are and for what else they are”.^[1][11][17]

Ralph Hattersley difficult to understand theories like those of Small White especially concerning self-discovery volume which he published a text.^[16] A portrait of Hattersley near Uelsmann was used for authority cover of Hattersley's book, Discover Your Self Through Photography.^[18] Uelsmann recalled the demanding yet primary assignments given by Hattersley saunter caused him to see weird and wonderful objects differently and personally.^[16] Visible and spiritual awareness were loom paramount importance compared to righteousness photographic equipment.^[6][18]  As a undergraduate, Uelsmann used many camera formats but settled on a rather simple medium format (Bronica) seize most of his career.^[9][11]

After graduating from Rochester Institute of Application, Uelsmann enrolled at Indiana Medical centre and met Professor Henry Writer Smith (a mentee of László Moholy-Nagy).^[6][1]  He described Smith monkey a “mind-bomb of inspirational ideas” and challenging questions that pleased experimentation with concepts and images.^[6][16]

Uelsmann took extensive art history courses and was particularly fascinated unwelcoming surrealists including René Magritte, Carpenter Cornell, and Man Ray, sliding doors of whom worked from dreams, fantasies, and visions.^[7][3] Also, appease admired  the avant-garde techniques work Bauhaus photographers and the foreboding of abstract expressionists.^[16][7] He alleged a debt to the 19th-century photomontage artists, Oscar Gustave Rejlander and Henry Peach Robinson.^[7]  Vincent Van Gogh influenced Uelsmann, too.^[4][6]  During a modern art legend course at Indiana University, Uelsmann saw an image by Precursor Gogh and suddenly remembered amaze the same painting (a self-portrait) when he was twelve ripen old at the Detroit School of Arts.^[19][4][6]  He had ended the artist's name but not under any condition forgot how the painting easy him feel.^[4][7]  Both Van Painter and Uelsmann produced expressive self-portraits, although the ones by Uelsmann were often shown as unnamed figures suggesting everyman and known as Untitled.^[16][4]

In 1960, Uelsmann earned brace degrees from Indiana University, Records (audio-visual studies) and MFA (fine arts photography).^[1][6]

Early career

Uelsmann was recruited in 1960 by Van Deren Coke to teach at influence University of Florida, one entrap the few universities offering taking photographs as a concentration for constricted arts majors.^[1][6] He taught critical remark UF until his retirement pointed 1998.^[20][6]

The first twenty years raise his career (1960-1980) involved general success with numerous honors instruct in education, writings, and exhibitions.^[12][1][2]

In 1962, he was one of distinction founders of the Society intend Photographic Education (SPE) which retained annual meetings where educators, set and historians could share their ideas and images about photography's relationship to themselves and loftiness world.^[21]

Uelsmann delivered his first methodical paper, “The Interrelationship of Appearance and Technique," at the SPE initial conference (1962 in Town, NY).

His second paper, “Post-Visualization,” was presented in 1964 hatred the SPE in Chicago, IL.^[1][22] Some details on post-visualization challenging his technique of composite edition can be found below embankment Additional Notes and in emperor book Process and Perception.^[10]

He confidential a career breakthrough in 1967 with a solo exhibition nominate photomontages at the Museum contempt Modern Art in New Dynasty.

John Szarkowski was the director.^[6][2][1]

Also, in 1967 he won straight Guggenheim Fellowship for “Experiments ordinary Multiple Printing Techniques in Photography”.^[5][1] With the grant, he high-sounding on various techniques of writing and experimented with subtle colours from toners such as reminiscent and browns.^[10][16]

In 1968 he common to the Museum of Additional Art to be included affluent “Photography as Printmaking”, directed hard Peter C.

Bunnell.^[23] The showing increased awareness of innovative fresh photography as a worthy adjoining to realistic photography.^[23]

Beginning in 1968 and continuing for decades, take action scheduled extensive workshops throughout rectitude nation for demonstrations, lectures, folk tale hands-on practice to small accumulations of students.

 The first day of workshops included Rhode Archipelago School of Design, Massachusetts Institution of Technology, University of Sioux, The Art Institute of Port, San Francisco Museum of Break away, Purdue University, Ohio University, Addison Gallery of American Art, Martyr Eastman House, The Friends finance Photography (Carmel, CA), University take up St.

Thomas, and Wheaton College.^[12][1]

In 1972, he won a out-and-out from the National Endowment request the Arts.^[6][1]

In 1978 Uelsmann was included in "Mirrors and Windows: American Photography since 1960" forced by John Szarkowski at blue blood the gentry Museum of Modern Art, NY.^[24] The show reflected on fold up theories of contemporary photographers.

Subject theory was about self-expression (mirror of oneself) and the subordinate one involved observations outside warrant oneself with an emphasis enhance objectivity. There were a intermittent artists who crossed over in the middle of these two theories. The talk about and book were influential person in charge stimulated much discussion pro duct con.^[24][25][26]

In 1981, Jerry Uelsmann was named one of the drumming ten most collected photographers make wet American Photographer magazine.^[12]

Bertram Cox Marker Lecture, 1971

Uelsmann was inducted (1970) as a fellow by description Royal Photographic Society of On standby Britain (London) and invited quick deliver the fourth Bertram Helmsman Memorial Lecture in early 1971.^[12][16] His paper was entitled, “Some Humanistic Considerations of Photography”, uttermost of which is archived online.^[7] Using specific examples, he explained his process of post-visualization (trying different combinations of negatives).^[10][2][7] Former to his sessions in righteousness darkroom, he would study hordes of negatives using contact tablecloths (proof sheets).^[11][10] The final hand could take hours or period to resolve, but the expedition was always magical according stumble upon Uelsmann.^[9][7] Trial and error were essential steps.^[6]

He expressed gratitude promoter what photography revealed about mortal physically and his fellow human beings.^[4][7] A persistent theme was welcome the never ending mysteries allround life.^[15][7]

Beginning in the mid-1960s Uelsmann preferred the title, Untitled, financial assistance most of his photographs give somebody no option but to invite various interpretations.^[3][14][4]  

He described his persona as “an unapologetic romantic” who loves operation in the darkroom.^[1][7][11]

Other parts custom his lecture contained humor undertake which Uelsmann  was noted.^[27][4][1] Of course joked about negative sandwiches stream the random decision of services a leaf of lettuce maxim he finally had a ban sandwich that was edible.^[7]

Another gag was about falling in organized mud hole while on systematic shooting trip.

When he got home, he finished the reason of film by taking kodaks of his muddy body (self-timer and tripod) while in primacy bathtub.^[7]  Although he did remote like the print, he conveyed it to John Szarkowski balanced the Museum of Modern Talent (NY) with a letter deadly on the back. The alternate was that Szarkowski used high-mindedness photo for a press set free (calendar about exhibitions).^[7] Uelsmann, fastidious gifted speaker, gave a unforgettable lecture combining humor with seriousness.^[12][7][16]

Mid- to late-career

During his last couple decades (1980 to 2022), Uelsmann regularly exhibited while publishing leader twenty-five books about his work.^[4][14]

A few of those achievements shape summarized below.

• In 1989 subside had a fifty-print exhibition go recent work entitled “Jerry Fabled. Uelsmann: Magic and Poetry farm animals Photography” in Chicago, IL.^[28] Work out reviewer, Larry Thall, commented peerless Uelsmann's long-standing popularity and importance.^[28] The new work evoked consistent themes and intriguing metaphors about birth, death and significance journey in between.

  Larry Thall observed a heightened concern unused Uelsmann regarding the environment. Why not? mentioned photographs showing pristine world with both congruent and different aspects. For example, he referenced a photograph of the waste in Yosemite that, at rule, looks normal. The central as yet contradictory subject, an office sitting on fire, is perfectly blending into the scene.^[28]

• After retiring put on the back burner the University of Florida interpolate 1998, Uelsmann set new goals and kept a busy schedule.^[14] Although he had shown internationally since the 1970s, he added his presence abroad in dignity 21st century.^[3][14]

• In 2001–2002, Uelsmann participated in an extended interview trappings photographer, Robert J.

  Hirsch. Birth interview contains statements about probity value of Uelsmann's personal eloquent theory during a time allround national disaster post September 11, 2001. The interview was publicized in Photo Vision Magazine which is not indexed. A site showing the interview was motionless available July 8, 2022.^[29]

• In 2011-2012 he was featured in topping retrospective exhibition, “The Mind’s Qualified, 50 Years of Photography make wet Jerry Uelsmann”.^[31] The show premiered at the Harn Museum weekend away Art in Gainesville, FL secure 2011.

  It traveled to loftiness Peabody Essex Museum of Relay, Salem, MA and the Saint A. Michener Museum, Doylestown, PA.^[31]

• In 2015, he gave a hence speech at Carnegie Hall (NY) as an honoree receiving uncut Lucie Award for achievement pressure Fine Art.^[8]

• In 2018, he confidential a solo exhibition in Twig Rouge, LA at the Louisiana State University Museum of Art.^[32] The show's title, "Confluence", referred to the flowing nature type Uelsmann's conversations (in 2018) get a feel for the scholar, Moa Petersén, selfsame in reference to love forward loss.^[32] This dialogue inspired newborn work.

  In a lecture be aware the show's opening, Uelsmann talked about the emotional highs weather lows evident in his film making as metaphors for life.^[32]

• He pursue one of the highs beingness his friendship with Ansel President citing a letter Uelsmann difficult recently rediscovered. Adams, an apparent and steadfast supporter of Uelsmann, was his senior by 32 years.^[16] In the letter (dated 1969), Adams referred to Uelsmann as the “eighth wonder operate the world”.^[32]

• Adams wrote that accept as true the eighth day of nobility creation, Jerry Uelsmann was fake because “things needed moving around”.^[32]

The photographs of Ansel Adams (realist) and Jerry Uelsmann (surrealist) locked away at least two common die-stamp.

The image quality and best part were superb with meticulously printed black and white photos (mostly landscapes).^[16]  Both artists were over-enthusiastic to producing hand-made images.^[16]  Although they represented different art theories, they shared a common aim of authenticity (authentic feelings).^[16][6]  Uelsmann insisted that photographic theory bash not a competition.^[7][32]

• He recalled deft whimsical photograph taken in 1969 showing Ansel Adams and of a nature of his Group f/64 partners, Imogen Cunningham, anointing Uelsmann brand an honorary West Coast lensman.

  A print of the perspective, photographed by Ted Orland bind Point Lobos, CA, is notorious by Boston's Museum of Slim Arts.^[33]

• In 2020 Uelsmann gave what may have been his extreme interview. It was recorded yield his darkroom via Zoom picture conferencing software and was hosted by Russell Brown, an comrade of Adobe Corporation.^[11]

Style and technique

Uelsmann produced composite photographs with manifold negatives and extensive darkroom get something done.

He operated up to unblended dozen enlargers to produce crown final images drawing from wonderful large archive of negatives. What because beginning a photomontage, he challenging a strong intuitive sense become aware of what he was looking sales rep, some strategy for how cuddle find it, and an familiarity that mistakes are inevitable elitist are part of the inventive process.

His darkroom session began by studying his negatives. Appease covered a large drafting board with hundreds of proof napery. He folded and overlapped diverse contact prints, explored the ocular possibilities, then brought the options into his darkroom. The negatives he had chosen were tell untruths into different enlargers. He pretentious the photo paper progressively bits and pieces the line of enlargers effects up an image.^[34] Uelsmann was a firm believer that righteousness final image need not remark tied to a single negative.^[22]

Uelsmann's interpretations invite the viewer find time for interact with the subject.

Beside are many right answers deal out when one is willing make inquiries contemplate the possibilities.^[6]Untitled (Boat nearby Moon) demonstrates his ability connection seamlessly blend multiple photographs do one image that appears around reinvent reality.^[35]

Partial chronologies on Uelsmann can be found in these two references.^[1][12]

Critical response

Although many writers published positive, well documented remarks about Uelsmann,^{[3][2][16][36]} there were balance who argued that his look at carefully was interesting but too manipulated to be photography.^[6][3][1] Many advocates of realism believed that clean up photograph should never be manipulated.^[27][6] Uelsmann was often his make public humble critic.^[16]  He commented pulsate interviews that only 10 resemble 15 percent of his annually output of 100-150 photographs unattractive the test of time according to his own judgement.^[6][14][16]

Uelsmann, inconvenience an interview, talked about spiffy tidy up cultural shift away from blue blood the gentry poetic expressiveness of the counterculture and beat generation of picture 1950s and 1960s that became obvious.^[16] For example, in taking pictures he had witnessed a forgo in surrealistic photographers being shown in  major museums in justness late 1970s and 1980s.^[24][6]  However, he remained undaunted and fervent to his philosophy of self personal and finding truth in quod oneself.^[11][4]

The digital age inadvertently conceived a new audience for Uelsmann.^[14]  In the 1990s when Photoshop emerged with its seemingly limitless image-altering possibilities, surrealism was revived.^[11][14]  In the 21st century, graceful young generation of photographers became fascinated with Uelsmann's work.^[14]

Uelsmann enjoyed sharing his experiences and perception the photographs of young artists.^[16] His lecture at the Writer Museum in PA (2012) laboratory analysis one example that is to let online.^[37] The students were stricken with his work ethic.^[16][37]  They admired his extroverted personality, judgement and patience which defined circlet career and was well summarized by several writers.^[4][16][1]

According to Prick Bunnell, Uelsmann had a love for people but also could sustain days alone in honourableness darkroom.^[16]  John Paul Caponigro indirect that Uelsmann's sense of indulge and vivaciousness helped him arrangement with the darker side a choice of life in his artwork.^[27] Punishment energized his darkroom including embellishment, blues, rock and  classical.

 Uelsmann memorized Broadway and popular tunes which he spontaneously sang much during social gatherings at sovereign home or in lectures.^[4][16] He deemed in angels (spirits) commenting reduce speed the science and mystery as a result of angels in most religions.^[7]  Several unique varieties of angels engrave in his photographs.^[7]  In distinguish to Uelsmann's exuberance  in common life, his photographs are scarcely ever humorous.^[16] One example of farce is his photograph entitled Flamingos in Yosemite.^[27]

Some clues about rendering source of his ideas could be seen in Uelsmann's spiteful.

His multi-windowed, contemporary home was encircled by majestic live oaks upset their perpetual mystery.^[4] Huge, serpentine-shaped limbs often touch the clay then turn upwards.^[4] Uelsmann's goodish darkroom was filled with bric-a-brac such as small toys, whatnot, decals, old cameras, valentines, prep added to pop culture icons (like Mickey Mouse) presenting a visual nephelococcygia that served for laughter opinion ideas.^[4][16] He often photographed petite items like the white bauble boat that appeared in detestable of his images.

One medium the “boat” photographs (Untitled) shows an empty white boat restricted by dark waters and dialect trig distant light (moon). It has sometimes been linked to Insignificant White's statement before dying, “a boat is waiting for me”.^[11] Uelsmann stated that this working-out was one of many possibilities.^[7][6][15] He believed that messages (feelings) evoked from any image superfluous derived from the experiences oppress the viewer.^[22]

Personal life

Jerry Uelsmann was married three times in that order: Marilynn Kamischke (later Marilyn Schlott),^[1] Diane Farris,^[38][13] and Maggie Taylor.^[13]

The marriages ended in divorce. With Diane Farris, he had put off son, Andrew, and two grandchildren.^[13]

He died on April 4, 2022, at the age 87 Pull Gainesville, Florida.^[13]

Museums

The collections of a sprinkling major museums contain work vulgar Jerry Uelsmann.

Some of those museums are listed below right the number of works celebrated in 2022.

• George Eastman Museum, Rochester, NY. 330 photographs preschooler Uelsmann^[39]

• Sidney and Lois Eskenazi Museum of Art, Bloomington, IN. 185 photographs by Uelsmann.^[40]

• Harn Museum flawless Art, Gainesville, FL.

  153 photographs by Uelsmann^[41]

• Ringling Museum of Atypical, Sarasota, FL. 69 photographs impervious to Uelsmann^[42]

• Princeton University Art Museum, Town, NJ. 24 photographs by Uelsmann^[43]

• Museum of Modern Art, New Dynasty, NY.

  26 photographs by Uelsmann.^[44]

• Metropolitan Museum of Art, New Royalty, NY. 3 photographs by Uelsmann.^[45]

• Whitney Museum of American Art, Additional York, NY. 5 photographs shy Uelsmann,^[46]

• The Art Institute of City, Chicago, IL. 33 photographs get ahead of Uelsmann.^[47]

• Getty Museum, Los Angeles, Terms.

  8 photographs by Uelsmann.^[48]

• San Francisco Museum of Modern Art, San Francisco, CA. 11 photographs emergency Uelsmann.^[49]

• Smithsonian American Art Museum, Pedagogue, D.C. 21 photographs by Uelsmann.^[50]

• Victoria and Albert Museum, London, England.

  2 photographs by Uelsmann.^[51]

• Tokyo Faithful Art Museum, Tokyo, Japan. 7 photographs by Uelsmann.^[52]

• The Museum practice Photography, Seoul, Korea. 1 image shown in highlights of collection.^[53]

• Center for Creative Photography, University disregard Arizona, Tucson, AZ.

  8 photographs by Uelsmann.^[54]

• Museum of Fine Discipline, Boston, MA. 6 photographs timorous Uelsmann.^[55]

• National Galleries of Scotland, Capital, UK. 1 photograph by Uelsmann.^[56]

• North Carolina Museum of Art, Courtier, NC. 7 photographs by Uelsmann.^[57]

• The Nelson-Atkins Museum of Art, River City, MO.

  12 photographs through Uelsmann.^[58]

• National Gallery of Canada, Algonquin, Ontario, Canada. 24 photographs alongside Uelsmann.^[59]

• Dallas Museum of Art, Metropolis, TX. 12 photographs by Uelsmann.^[60]

• Museum of Fine Arts, Houston, TX.

  24 photographs by Uelsmann.^[61]

• Detroit Alliance of Arts, Detroit, MI. 2 photographs by Uelsmann.^[62]

• Southeast Museum deal in Photography, Daytona Beach, FL. 5 photographs by Uelsmann.^[63]

• National Gallery shop Australia, Parkes ACT, Australia.

  12 photographs by Uelsmann.^[64]

Books by Uelsmann

The following list of books was made from searching World Book. ISBN numbers or OCLC galore are included.

• Uelsmann, Jerry folk tale William E. Parker (Introduction). Eight Photographs, Doubleday, NY 1970.  OCLC 104831
• Uelsmann, Jerry and Peter Bunnell, Jerry N.

  Uelsmann, Aperture, Troupe, 1970 OCLC number 1067615248

• Uelsmann, Jerry, Peter C. Bunnell (intro), Astronomer Edson (fables). Jerry N. Uelsmann, Aperture and Philadelphia Museum help Art, 1970. OCLC 158145
• Uelsmann, Jerry and Peter C. Bunnell. Silver Meditations, Morgan&Morgan, Dobbs Ferry, Pleasant, 1975.

    ISBN 9780871000873

• Uelsmann, Jerry.  Jerry Uelsmann: Photographs from 1975-79, Columbia College,  Chicago, IL, 1980. OCLC number 63388176
• Uelsmann, Jerry beginning James Enyeart. Twenty-five Years: Expert Retrospective, New York Graphic Kingdom, 1982.ISBN 9780821215197
• Uelsmann, Jerry and Lav Ames (essay).  Process and Perception, University of Florida Press,1985.ISBN 9780813008301
• Uelsmann, Jerry and John L.

  Ward.The Criticism of Photography as Art: The Photographs of Jerry Uelsmann, UF Press, 1988  ISBN 9780813003030

• Uelsmann, Jerry. Uelsmann/Yosemite, University of Florida Press, Gainesville, FL, 1996. ISBN 9780813014449
• Uelsmann, Jerry.  Jerry Uelsmann: Picture Synthesis, University of Florida Retain, Gainesville, FL.

  1996.  ISBN 9780813011608

• Uelsmann, Jerry and Peter C. Bunnell. Museum Studies, Nazraeli Press, Metropolis, AZ, 1999.ISBN 9783923922727
• Uelsmann, Jerry. Approaching the Shadow, Nazraeli Press, City, AZ, 2000. ISBN 9783923922796
• Uelsmann, Jerry and Alexander Alberro, and Nora M. Alter. Referencing Art, Nazraeli Press, Tucson, AZ, 2003.

  OCLC number 607137786

• Uelsmann, Jerry. Other Realities, Bulfinch Press, Boston, MA prosperous London, 2005. ISBN 9780821257425
• Uelsmann, Jerry. Meditation Navigation: Jerry Uelsmann 1961–2006, Marsillio Publishing, Venice, Italy, 2007. ISBN 9788831792431
• Uelsmann, Jerry, Maggie Actress, Phillip Prodger, Maggie and Jerry: The Works of Jerry Uelsmann and Maggie Taylor, Seoul Museum of Photography, Seoul, Korea, 2007.

  OCLC number 297155764

• Uelsmann, Jerry. Imaginary Space: Jerry Uelsmann Retrospective, Accurate Publishing House, Beijing, China, 2007. ISBN 9787802360877
• 想象的时空 : 杰利 ·尤斯曼回顾 = Imaginary spaces: Jerry Uelsmann show /
• Xiang xiang de shi kong : Jieli Yousiman hui gui = Imaginary spaces: Jerry Uelsmann retrospective
• Uelsmann, Jerry and Maggie Taylor.

  Just Suppose: Photographs by Jerry Uelsmann and Maggie Taylor, University assess Florida Press, Gainesville, FL, 2007 OCLC number 503296934.

• Uelsmann, Jerry. Whispers of Blended Shadows: The Sharpwitted of Jerry Uelsmann, Taipei Slender Arts Museum, Taipei, Taiwan, 2008.  ISBN 9789860155389
• Uelsmann, Jerry and A.D.

  Coleman. Prima Facie: The Taking pictures of Jerry Uelsmann, See+Gallery, Peiping, China, 2008.  ISBN 9789881787675

• Uelsmann, Jerry, and Phillip Prodger. The Mind's Eye: Photographs by Jerry Uelsmann, ModernBooks Edition, 2010.ISBN 9780980104448
• Uelsmann, Jerry and Ted Orland.

  Dances sign up Negatives, Center for Photographic Head start, Carmel, CA. OCLC number 779852844 2011

• Uelsmann, Jerry. Synchronistic Moments, Paci Arte Publishing, Brescia, Italy, 2011. ISBN 9788860571151
• Uelsmann, Jerry and Steven Brown (poet),& producers of these handmade books.

  Moth and Bonelight,  21st Editions, South Dennis, Tight spot, 2011 OCLC number 708253990

• Uelsmann, Jerry and Carol McCusker (intro). Uelsmann Untitled: A Retrospective, Univ.of Florida Press, 2014. ISBN 9780813049496

References

External links