Customer Reviews

Ralph Eugene Meatyard: The Family Album Of Lucybelle Crater And Other Figurative Photographs

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In James Rhem's book Meatyard's well-known Lucybelle Crater photographs are reproduced in the family album setting that the photographer himself planned they should have, but never got during his lifetime. The photographs are printed on black pages, with handwritten captions underneath; the images are arranged in groups, & the groups are themselves sequenced. For those who like Meatyard's photography, or acknowledge his significant position in American photography, this new presentation is reason enough to want this book.
But there's a lot more being offered here. First, in an authoritative introduction, Rhem presents an overview of all of Meatyard's photography. This essay is a prelude to and a setting for Rhem's real (and groundbreaking) work: thoroughly researched, original & penetrating elucidation of Meatyard's Lucybelle Crater photographs.
Personally I have had difficulty in understanding what the Lucybelle Crater pictures were about since first seeing them in an earlier version 25 years ago. From comments by friends & other photographers I realized that I was not alone in having this difficulty. We faced page after page of photos of two people, one wearing a hag's mask, the other a mask of an old man. These figures are posed most often against suburban backgrounds that are familiar and mundane. Some pictures are visually interesting, others dull. As you turn the pages the images accumulate, asking be "read". But how? "What's going on here?" was my nagging question. I knew I was missing something important about these pictures. What was it?
Rhem's essay is valuable in answering that question. And what's striking is how he does this and how well he does it. Not with scholarly jargon (though he has the thorough-going mind of a scholar). Not with flights of imaginative "interpretation" based on his own subjective feelings and opinions. And certainly not by calling attention to himself as a critic, biographer or insider (all of which, by the way, he is).
James Rhem works from a dense gathering of factual information about Meatyard--some unknown until now (thanks to Rhem's wide, and thorough investigations into primary sources.) This factual information provides the basis for a conceptual approach to the Lucybelle pictures that is both lively with anecdotes and rich with insights. Rhem has a sincere desire (you can sense it in his sentences) to tell you what he thinks Ralph Eugene Meatyard's photographs are about. He approaches the photographer not as a subject for a thesis but as a man whose pictures continue to have something important to offer us. Rhem has taken up that offer and made it his job in this book to understand and interpret it, using the considerable (and considerably generous) means that he's accumulated for that very purpose.

27 oct 2002

At last someone has written an extremely intelligent, well researched, and accessible book on Meatyard. Rhem takes on this complex and poignant piece of art, and reveals its mystery to us. As an artist, tired of reading badly written criticism and art-writing, I found this book to be a real gift. I've read most of the available writing on Meatyard and nothing approaches this. A must-buy.

I have always been amazed at the work of Meatyard. I gained more respect for his work and understanding of the man behind the camera in the work published by James Rhem. To know the feelings of all involved in the creation of Meatyard's work adds a greater understanding of this complex man. James Rhem has gone the step beyond to make all who read the book understand the creation of the Lucy Belle Crater Series!

EXCELLENT!

This is a beautiful book: complicated, exhaustively researched, yet written to be accessible to the lay reader. Meatyard's work is gorgeous, comic, haunting, and virtually unknown except to photographers. James Rhem has done a masterly job of balancing scholarly rigor and critical transparency. In _Family Album_ he fills a void in the scholarship of photography. I look forward to seeing more work by this author.

James Rhem has composed a superb monograph on the little known (at least to me) photographer, Ralph Eugene Meatyard. Rhem's essay not only captures perfectly the comedic/tragic apsects of Meatyard work (and I suspect in a better way than the artist could have done himself) but also has universal application for seeing in the arts. This is a valuable contribution to photography, and I am grateful for Meatyard's work and Rhem's interpretation.

There hasn't been a finer book on Ralph Eugene Meatyard written. The scholarship is amazing and the writing is strong. Here's Meatyard's most famous work finally presented the way he wanted it to be -- with the captions and the 'look' of a family album. The added pictures are all one's I hadn't seen before and they really expanded my respect for Meatyard. Rhem's book is gem.

I first heard of Meatyard in a Lenswork interview with photographer Larry Wiese, and this casual reference aroused my interest. Rhem's well-researched account satisfied my initial interest, but then Rhem acheived something else as well. I gained an appreciation for Meatyard's work that I had initially avoided out of ignorance. Rhem brings to light the numerous influences that molded Meatyard and informed his work: influences as varied as Ezra Pound; Gertrude Stein; Flannery O' Connor; and Zen Buddhism. Rhem interviewed friends and family, combed through archival material and rare unpublished interviews with Meatyard.
The end product is one of the finest art books I've personally ever read.