Other Limited Editions/Books & Portfolios


Purple Heart & Pearls

2005 & 2006

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Purple Heart

A portrait of Bob Goodman

2005

Editing: Mark Goodman

Design and layout: Angela Rodgers

Typography, printing, and binding:

Meredith Miller, Punchpress, Austin, Texas

&

Christina Tran, solelightful.com, Austin, Texas

Size of book: 8 9/16 x 5 1/2 x 3/16 inches

24 pages

Quantity: Three

A brief autobiographical statement by Bob Goodman submitted in 1993 to the Veterans Administration precedes five extended narratives written between 1945-1988 about him by VA doctors. One copy of this book was intended as part of a custom made box containing a beaded necklace with a World War II Purple Heart medal as the pendant. It was never completed.

Hand-sewn book, two with purple paper wrap covers blind stamped (“PURPLE HEART 1995/2005”), and the third in a yellow paper wrap cover with a white title label. Two inkjet passport-style photographs conclude this volume.

Signed and numbered by the editor on the colophon page

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Pearls

A portrait of Alice Goodman

2006

Editing: Mark Goodman

Design and layout: Angela Rodgers

Typography, printing, and binding:

Meredith Miller, Punchpress, Austin, Texas

&

Christina Tran, solelightful.com, Austin, Texas

Size of book: 8 9/16 x 5 1/2 x 3/16 inches

24 pages

Quantity: Three

A portrait of Alice Goodman that includes a 1938 high school yearbook entry about her, a letter she wrote to her soldier-husband in 1944, and eleven narratives by doctors whom she consulted between 1964-1986. One copy of this book was intended as part of a custom made box containg a cultured pearl necklace. It was never completed.

Hand-sewn with almond colored paper wrap covers blind stamped (“PEARLS 1996/2006”). Two inkjet passport-style photographs conclude this volume.

Signed and numbered by the editor on the colophon page

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Belonging To Memory

2005

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A portfolio of ten 16x20” silver gelatin photographs printed from negatives taken in Boston, Massachusetts (1) and Bastrop, Texas (9) between 1994-2001; the prints were made by the photographer and signed on the verso; the portfolio is also signed and numbered on the colophon page.

Design and layout: Angela Rodgers

Inkjet printing: Joshua Partridge, Berkeley, California

Chemise and slipcase by Jace Graf, Cloverleaf Studio, Austin, Texas

In addition to the ten interleaved prints there are five pigment printed text pages (title, quotation, autobiographical essay, thumbnails, colophon) housed in a four-flap chemise & slipcase of blue fabric and gray paper. The slipcase cover is stamped “Belonging to Memory” with silver foil.

Size of slipcase/chemise: 20 7/8 x 16 1/2 x 1/16 inches

Quantity: Two*

* #2 destroyed in the Bastrop Wildfire

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Life Is A Dream

 2006

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A portfolio of ten 16x20” silver gelatin photographs printed from negatives taken in Austin, Texas (1), Tuscon, Arizona (1), and Bastrop, Texas (8) between 1994-1999; the prints were made by the photographer and signed on the verso; the portfolio is also signed and numbered on the colophon page.

Design and layout: Angela Rodgers

Inkjet printing: Joshua Partridge, Berkeley, California

Chemise and slipcase by Jace Graf, Cloverleaf Studio, Austin, Texas

In addition to the ten interleaved prints there are five pigment printed text pages (title, quotation, autobiographical essay, thumbnails, colophon) housed in a four-flap chemise & slipcase of green fabric and gray paper. The slipcase cover is stamped “Life Is A Dream” with silver foil.

Size of slipcase/chemise: 20 7/8 x 16 1/2 x 11/16 inches

Quantity: Two*

* #2 destroyed in the Bastrop Wildfire

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 Self-Portrait

 2007

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A three-volume box set

1. Looking for the Birdie

2. The Fragility of Euphoria

3. The Source of the Apeiron

The three volumes are autobiographical. Volume 1 focuses on grade school, but ends after the first year of college. It's illustrated with annual school portraits, other formal photographs, a few snapshots, yearly progress reports by grammar school teachers, and a personal letter written by a college English professor to his former student—a dropout who became a flâneur on the streets of Boston and a non-stop moviegoer. Volume 2 is about falling head over heels in love with photography. The photographs reproduced are from 1969-1970, the year before studying with Minor White, images taken during his 1970 summer workshop, and a few immediately following. It concludes on a trip made with Minor to Maine, and a sudden realization. Volume 3 begins at the newly opened photography workshop, Apeiron, in Millerton, New York, during the summer of 1971; it includes a small selection of candid photographs, the inaugural summer and the first winter residency posters, and an invitation to Apeiron's going-out-of-business party, in 1981. The text is a personal essay and elegy. 

Photographs, editing, and text: Mark Goodman

Scans and pigment printing: Peter Williams, AgavePrint, Austin, Texas

Binding and letterpress sheet: Meredith Miller, Punchpress, Austin, Texas

Box: Jace Graf, Cloverleaf Studio, Austin, Texas

The books are cloth with the title and author stamped in silver foil on each cover and wrapped in a Mylar dustjacket. The set of three books are hand sewn and housed in a full cloth drop spine box with "Self-Portrait" and "Mark Goodman" stamped in silver foil on the front cover; and the tray base interiors are lined with a vintage cotton fabric illustrating wooden view cameras and a photographer's birdie. Laid in is a letterpress table of contents sheet. 

24 pages, each book

Size of book: 8 6/85 3/4 x 1/2 inches

Size of box: 9 1/2 x 6 3/8 x 1 3/4 inches

Quantity: Five*

* #4 lost or stolen in transit

Signed and numbered by the photographer/author on the colophon page

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Chester Eisenhuth Photographs

2007

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Chester Eisenhuth was an amateur photographer who took black & white pictures of friends and family in his hometown of Millerton, New York, from the 1930s-1950s. Mark Goodman made silver prints (11x14" RC paper) from Mr. Eisenhuth's original negatives throughout the 1970s (as well as a few in the 1980s), and, in 2007, he had scans and 13x16" crystal archive prints produced. (All of the remaining RC prints were destroyed in the Bastrop Wildfire.) This portfolio consists of 25 interleaved crystal archive photographs with additional pigment print text, thumbnail, and colophon pages. The sheets are housed in a full cloth drop spine box with paper lined interiors: Green English buckram case, brown/black cloth trays, Roma handmade paper lining on the trays; stamped "CHESTER EISENHUTH PHOTOGRAPHS" at front board with black foil. There is also a cutout at fore edge of the interior tray wall to facilitate print handling.

Text, editing, and original silver prints: Mark Goodman

Crystal Archive prints: Laser Light Printmakers, Aptos, California

Pigment prints: Peter Williams, AgavePrint, Austin, Texas

Box: Jace Graf, Cloverleaf Studio, Austin, Texas

16 3/4 x 13 5/8 x 1 3/8 inches

Quantity: Two

 #1 lost or stolen in transit

#2 Amon Carter Museum of American Art

Signed and numbered by the author/editor on the colophon page

 

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PUYE

2008

The Puye Cliff Dwellings are the ruins of an abandoned pueblo, located in Santa Clara Canyon on Santa Clara Pueblo land near Española, New Mexico. The site was declared a National Historic Landmark, in 1966.

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A portfolio of matted and unmatted photographs, prints, postcards, and a rare book housed in the well of a double wall portfolio box that has green cloth on trays and brown cloth on the case. A real photo postcard is recessed into the front board, along with “PUYE” and “MARK GOODMAN” stamped in shiny black foil. An interior removable stiff board covered with Nideggen paper (same used for the lining trays) provides additional support below the prints.

10 silver gelatin prints, 1990 (matted, 4-ply)

  2 pigment prints, 1990 (unmatted)

11 vintage postcards (matted, 4-ply)

  2 pigment print postcards (unmatted)

  1 E. S. Curtis gravure from a photograph (matted, 4-ply)

  1 Fred Harvey litho from a photograph (matted 4-ply)

  6 pigment print text and thumbnail pages (unmatted)

The book recessed at the base of the interior tray bottom: Edgar L. Hewett, Antiquities of the Jemez Plateau, New Mexico, Smithsonian Institution Bureau of American Ethnology Bulletin 32, Washington, Government Printing Office, hard cover in Mylar. 1906. Fine condition.

B&W photographs, silver prints, and editing: Mark Goodman

Pigment prints: Peter Williams, AgavePrint, Austin, Texas

Box: Jace Graf, Cloverleaf Studio, Austin, Texas

Matting: Sarah Lantz, Davis Gallery, Austin, Texas

Size of box: 17 1/8 x 20 3/4 x 4 1/8 inches

Quantity: One

Fine Arts Library, the University of Texas at Austin

Signed and numbered by the photographer/author on the colophon page

 

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Big Boys Dicks

 2008

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In the fall of 1980, Mark Goodman photographed the punk rock scene in Austin, Texas that centered around Raul's Club, mainly taking pictures of two popular bands, the Big Boys and the Dicks, along with their fans.

Photographs, sequence, and text: Mark Goodman

Scans, layout, and pigment printing: Peter Williams, AgavePrint, Austin, Texas

Binding: Meredith Miller, Punchpress, Austin, Texas

Box: Jace Graf, Cloverleaf Studio, Austin, Texas

Hard boundbook with an ivory cloth cover in a subtle checkered pattern; hand-sewn binding and headbands in white silk thread; “BIG BOYS DICKS” stamped on front board of cover in black foil; and a Mylar dust jacket. Box is a full cloth drop spine with silver paper lined tray base interior; and “BIG BOYS DICKS” stamped on front board of the box in silver foil.

64 pages

Size of book: 10 1/4 x 10 1/4 x 7/8 inches

Size of box: 11 1/8 x 10 7/8 x 1 3/8 inches

Quantity: Five*

* #4 lost or stolen in transit

Fine Arts Library, the University of Texas at Austin

Signed and numbered by the photographer/author on the colophon page

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Tryst Trace Tribe

2009

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A portfolio of forty-five photographs taken on Kodachrome 200 slide film between 2000-2005, within the Central Business District of Austin, Texas—the city’s original square mile. These photographs were taken within the same geographical boundaries as Capital Improvements, but two decades later, and employ an "inside out" approach: color, not B&W; a 35mm handheld camera, not a 120mm on a tripod; a telephoto lens (details), not extreme wideangle (vistas); vertical, not horizontal; artifacts, not architecture; and metaphors, not documents.

Photographs and editing: Mark Goodman

Crystal Archive prints: Laser Light Printmakers, Aptos, California

Pigment prints: Peter Williams, AgavePrint, Austin, Texas

Box: Jace Graf, Cloverleaf Studio, Austin, Texas

 

Size of portfolio box: 22 x 18 x 1 3/8 inches

The box is a full cloth, double wall, Canson paper tray liner, "Mark Goodman" direct stamp on front board in gold foil, and three pigment prints recessed in front board.

Quantity: Three

#1 Fine Arts Library, the University of Texas at Austin

Signed and numbered by the photographer/author on the colophon page 

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Fairview

2009 

 

Fairview is a beautiful, historic, public cemetery, which has grown to approximately thirty-six acres, the last of which was eight acres donated in 1947 and cleared and opened in 2000. Fairview Cemetery is located in the 1100 block of State Highway 95, one-half mile north of the intersection of State Highway 95 and State Highway 71, in Bastrop County, twenty-eight miles east of the Texas State Capitol in downtown Austin.

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Photographs and editing: Mark Goodman

Pigment prints: Peter Williams, AgavePrint, Austin, Texas

Binding & Box: Jace Graf, Cloverleaf Studio, Austin, Texas

Hardbound, hand-sewn book with marbleized end papers; the front cover is a tan library fabric stamped “FAIRVIEW” and "Mark Goodman 2009" in gold foil; and the spine is green fabric. The box is a full green cloth with marbleized paper lining the interior tray; and “FAIRVIEW” and "Mark Goodman 2009" is stamped in black foil on front board of the box.

64 pages

Size of book: 8 1/4 x 5 1/2 x 3/4 inches

Size of box: 9 1/8 x 6 1/8 x 1 3/8 inches

Quantity: Three

Fine Arts Library, the University of Texas at Austin

Signed and numbered by the photographer on the colophon page

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South Beach

 2011

The late 1970s and the early 1980s was the low point in the history of South Beach. Crime exploded. Prostitutes walked the streets. Cocaine Cowboys took over the neighborhood at night, shooting each other brazenly over drug deals gone wrong. This was the South Beach I walked along for about an hour one morning in May 1980. Though I’d intently taken thousands of black & white photographs of people I didn’t know on the streets of the northeast for a decade, at Lummus Park I shot only one roll of 21⁄4 x 21⁄4 Ektachrome slide film—twelve frames. I was visiting my parents in Delray Beach fifty-five miles to the north, where I took three more rolls of this same film, my only photographs in color at the time. In South Beach, I asked the few people who’d ventured out of their efficiency apartments, sunning themselves by the seashore that morning, if I might take their pictures. No one refused my request. I did not photograph any buildings. I did not intend to return as a photographer again, nor did I.

—from the book's introductory essay, “America’s Riviera,” the history of South Beach 

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Photographs, editing, and text: Mark Goodman

Pigment prints: Peter Williams, AgavePrint, Austin, Texas

Binding & Box: Jace Graf, Cloverleaf Studio, Austin, Texas

64 pages

Size of book: 11 3/16 x 11 1/8 x 1 inches

Size of box: 11 7/8 x 12 1/8 x 1 ½ inches

47 vintage postcards restored

2 vintage (1950s & 1960s) travel decals 

This book has three primary chapters: "America's Riviera," an essay on the history of South Beach; "Ocean Drive" as represented in two dozen vintage (1920s-1960s) postcards of the Art Deco hotels along South Beach's most famous street; and “God’s Waiting Room," five color photographs, taken May 1980.

Quantity: Three

Book is clothbound, hand sewn with yellow thread, headbands in tan silk thread, and stamped “South Beach” and “Mark Goodman” in gold foil on front cover. 

Full cloth drop spine box with 1950s/1960s cotton fabric of the sun and bathers at the seashore; paper lined tray base interiors; and a paper label (“South Beach. Mark Goodman. 1980 & 2010") on spine of the box. 

Fine Arts Library, the University of Texas at Austin

Signed and numbered by the photographer/author on the colophon page

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Family Album

2011

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A two-volume box set

1.  To Trace Their Shadows

2.  My Fictions—But Her Story

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"See you in the future,"

she told me.

I said, "Isn't that 

where our past catches

up with us?"

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These two volumes are autobiographical. Volume 1 begins with a family portrait—the single photograph taken of my parents and me together—at my Aunt Adele's wedding, in 1956; the next spring, I received a Brownie Hawkeye camera for my eleventh birthday and began taking photographs—first, portraits of my parents at home, and, later, pictures at summer camp. Volume 2 is the story of my Aunt Reenie and the photo album she created during the mid-1950s to define herself and remember her friends and suitors. Illustrations are snapshots from her album.

Photographs, editing, and text: Mark Goodman

Pigment prints: Peter Williams, AgavePrint, Austin, Texas

Binding & Box: Jace Graf, Cloverleaf Studio, Austin, Texas

Letterpress sheet: Meredith Miller, Punchpress, Austin, Texas

24 pages, each book

Size of book: 5 5/8 x 8 5/8 1/2 inches

Size of box: 6 3/8 x 9 1/2 x 1 6/8 inches

Quantity: Three 

Fine Arts Library, the University of Texas at Austin

The books are cloth, the binding hand sewn, and a pigment print photograph is recessed into each front board. The set of two books is housed in a drop spine box with full fabric and a paper lined tray base interior. Laid in is a letterpress table of contents sheet.

Signed and numbered by the photographer/author on the colophon page

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