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Title: Tarnished Silver: After the Photo Boom: Essays on Photography and Related Matters 1979-1989 by A.D. Coleman ISBN: 1-877675-20-2 Publisher: Midmarch Arts Pr Pub. Date: 01 March, 1996 Format: Paperback List Price(USD): $20.00

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Average Customer Rating: 5 (5 reviews)

Rating: 5
Summary: From a review by Elva Ramirez, Photo Metro
Comment: "Well-known for his succinct essays and a knowledge of photography that spans nearly the whole history of it, Coleman writes in a casual, familiar style that engages the reader by informing yet never condescending. His essays are filled with facts, anecdotes and witticisms on Polaroid, Kodak, famous and long-dead artists, even a story on 'chocolate photography.' But, unlike intellectual diatribes that ramble on, seemingly in tongues, with recurrent lapses into other languages and esoteric terms, Coleman remains far from that style. . . . [T]he effect Coleman produces is like that of an old friendship. He is comfortable and honest with his audience, he shares reference points if not opinions with them. [H]is rapport with his audience is key to maintaining a warm, trusting correspondence. . . . Coleman's essays from a decade ago, like some Dickensian phantom, shake their head at our current state, showing us how little we have changed through the eighties, how much worse things have become. They seem to have known all along that things would deteriorate, and, glancing at their watch, know that time is running out."

-- Elva Ramirez, Photo Metro, Volume 14, Issue 138, May l996

Rating: 5
Summary: From a review by John Stathatos, European Photography
Comment: "A. D. Coleman's Light Readings (1979) has long been a classic of the genre, and is now joined by two further collections: Tarnished Silver, including texts and lectures from 1979 to 1989, and Critical Focus, which covers the last few years to 1993. . . . Coleman is an intelligent, well-informed and often maliciously witty observer. . . . Not that it's possible, or even desirable, to agree with all of Coleman's opinions. . . . Never mind; it is never less than a pleasure even to disagree with the erudite Mr. Coleman."

-- John Stathatos, European Photography (Germany), Fall/Winter 1996

Rating: 5
Summary: From a Review by Rod Slemmons, Blackflash magazine (Canada)
Comment: "Even if you read these essays when they first appeared . . . , it is very useful to have them here as a meta-review of an important transition period in the history of photography practice and criticism. . . . Coleman's writing -- open, rather folksy, but with a vocabulary that keeps the dictionary close, and full of references to other art forms -- [is] an antidote to the turgid critiques of his contemporaries . . . Another element of Coleman's criticism that I appreciate is his readiness to draw his examples from the works of obscure as well as famous photographers. . . . I was able to track down [Pierre] Molinier's work, which was new to me, and it has added insights to my long attempts to figure out Hans Bellmer's disturbing photographs of recombinant dolls. Coleman's inclusiveness, combined with his recent extensive explorations of both new and historical European photography . . . has the intended effect of breaking down the notion of an immutable canon of photo-based art. And this, in turn, helps Coleman's readers begin their escape -- it is a long way out -- from whatever corner of taste they may have been written into, Bernard Berensen-style, by Stieglitz, Newhall and Szarkowski. . . . His essays serve as a reality check, even a null set, for those of us in museums and universities."

-- Rod Slemmons, Blackflash (Canada), Fall 1996