Your Cart
Shipping to
Shipping
Total
Checkout
If you want to order more than 15 books, contact us directly.
Email cart to onestar press
Terms and Conditions of Sales

All prices and offers on our website are subject to change at the discretion of onestar press.
All products are subject to availability.

Replacement and credit policy
All sales are final and no returns are provided.

Only in the event that purchased item(s) are unavailable will onestar press provide the client with a credit or refund option.

Any goods that may arrive damaged due to shipment will be replaced once the client and onestar press have both confirmed the damages.

Retailers
Kindly note that a discount of 30% is available for a minimum order of 5 copies to select retailers. If you are a retailer, you are welcome to send onestar press your Cart for confirmation, and a sales representative will finalize your transaction by email.

The terms and conditions listed above are subject to change at any time by onestar press.

Published 2011

CAMERA ARTISTS / Limited Edition Portfolio

Edition of 8 copies plus 1 Artist Proof and 2 Hors Commerce
10 original signed and numbered photographs (32,9 x 48,3 cm / 13 x 19 in - size of paper)
Accompanied by a 128 page artist book (23 x 31 cm / 9 x 12 in )Each box is individually numbered.

Each photo is printed on Hahnemühle textured Museum Etching paper and protected by Terphane sleeves
The photos and book are contained in a labeled custom made canvas clamshell box

Lost (appearance alone)
Sometime in the summer of 1975 I stepped outside an apartment in San Diego to take a photograph. I was staying with people I barely knew and was marooned in a world of sun, beach, and continuous social interaction. Like Marcel Duchamp, whose art I then admired, my purpose in ‘taking’ a photograph (as opposed to ‘making’ one) was to produce an image of ‘visual indifference’ and ‘total absence of good or bad taste’. Geographically speaking, I was not ‘lost’. After finishing the School of Visual Arts in 1973 I was determined to work with the camera, a machine which I have never grown accustomed to. As a student I had been greatly impressed with the films of Michael Snow and by conceptual art-where photography played a supportive role to an idea. I was also beginning to consider ‘narrative’.

Tim Maul, NYC 11/09