DÉJÀ-VU NO. 13 – LARRY CLARK
- Regular price
- $ 3,200.00 MXN
- Regular price
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- Sale price
- $ 3,200.00 MXN
Photographs: Larry Clark
Publisher: Photo-planète, Tokyo
Collection: Déjà-vu
Year: 1993
Edition: No. 13
Format: Softcover
Dimensions: 29.8 × 22.8 cm
Pages: 162
Language: Japanese / English
Condition: Very Good
Déjà-vu No. 13 is a special issue devoted to Larry Clark, published as part of the influential Japanese photography quarterly Déjà-vu. Emerging in the early 1990s, the publication established itself as an important platform for contemporary photography, moving beyond the technical orientation of conventional photography magazines toward an artist-focused and curatorial approach.
This issue presents an extensive selection of Clark’s work across approximately 90 pages, bringing together photographs from Tulsa, Teenage Lust, and works made during the early 1990s. Together, the images trace the development of Clark’s photographic language and his sustained engagement with youth, sexuality, violence, intimacy, and subcultural life.
Clark’s photographs reject the distance traditionally associated with documentary practice. His proximity to his subjects produces images that are raw, intimate, and psychologically charged, blurring the boundaries between observation and participation. The photographs become records not only of individual lives but of the social environments and underground cultures in which those lives unfold.
The extensive presentation of Clark’s work within a Japanese photography publication is particularly significant. Accompanied by essays in Japanese and English, the issue places his photography within an international photographic discourse while simultaneously introducing his work to the Japanese photographic community. In this sense, Déjà-vu functioned as a bridge between photographic cultures, connecting Japan’s radical postwar tradition with important voices in Western contemporary photography.
Published in 1993, Déjà-vu No. 13 remains an important editorial document of Clark’s photographic career and of the international photographic dialogue developing during the early 1990s.
A highly collectible issue for collectors of Larry Clark, Déjà-vu, Japanese photography magazines, and twentieth-century documentary and youth photography.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
If you still have any questions, feel free to contact us.
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