Their first hand intensity, recollects the work of Danny Lyon and Bruce Davidson, but Clark's raw voyeurism and insistent exposure of detail results in a somberness that differentiates his work from that of others in the early 1970s. With an extensive collection of more than 106,000 rare and unique volumes relating to the history of art, the Jean Outland Chrysler Art Library is one of the most significant art libraries in the South.

It has been claimed that thanks to Gene Pitney's 1960 song " Twenty Four Hours from Tulsa", Tulsa then represented "young love and family values"; [3] Clark's book challenged this with scenes of young people having sex, shooting up drugs, and playing with guns. Clark learned photography early (his mother was a photographer of babies) and there’s a great deal of darkroom technique behind these pictures. But they still disturb viewers today because of that – and because they depict suburban America; this wasn't a blighted inner-city picture, but the kids next door. His large-scale retrospective “Kiss The Past Hello” was exhibited at the Musée d’Art Moderne de la Ville de Paris in 2010, and he has been the subject of solo exhibitions at the Galerie Urbi et Orbi in Paris, the Taka Ishii Gallery in Tokyo, and at the International Center of Photography in New York. The Groninger Museum ( Groningen) bought the series of prints in 1998 and exhibited them in January–April 2005.This is the title as given on the title page; the front cover and spine both read Photography from 1839 to Today: George Eastman House, Rochester, NY. I shot with my friends every day for three years and then left town, but I've gone back through the years.

During the 1960s, Clark documented the culture of drug use and illicit activity of his friends in Tulsa, and his photographs from those years were published as Tulsa (1971). This series of photographs contains drug use, nudity and guns, yet still manages to present a touching sense of humanity. His recent photography addresses similar subjects, but with the distance of an observer, and a more prominent formal sensibility.Its publication in 1971 "caused a sensation within the photographic community", leading to a new interest in autobiographical work. There was no judgment, no moral point of view in his early work: these kids all look like they're simply having a good time, as they shoot up or point guns at one another. Next week, Foam in Amsterdam pairs images from Tulsa with photographs from Clark's follow-up, Teenage Lust, for a show that reminds us just how unsettling Clark's early vision of the teenage "outlaw life" was, and remains. Although this book predates his iconic films by at least two decades, Tulsa is quintessential Clark.

Covers heavily rubbed at the edges with additional wear and chipping to the spine, light cover creasing and other wear, first two leaves have some general shallow creasing, detached pages have some edgewear, the page with David Roper has some light soil to the margins. Clark's crisp, haunting black-and-white photos, staying remarkably true to their original American iteration. The International Center of Photography (New York) has shown the prints, together with others not included in the book. Some chipping, rubbing and wear to the dustcover edge with several one inch tears along the head and base of the spine now protected with a Mylar cover.But the subsequent publication of the book and his reputation as a groundbreaker did nothing to appease his demons. His work has been included in group and solo exhibitions since the early 1970s, and he was the recipient of a National Endowment for the Arts Photographers' Fellowship in 1973 and a Creative Arts Public Service photographers' grant in 1980.

Clark has also produced films; Kids (1994), based on his experiences with New York City teenagers and their culture of drugs, alcohol, and sex, and Another Day in Paradise (1999). After Tulsa, he produced Teenage Lust (1983), a series of photographs depicting adolescent sexuality, Larry Clark (1992), and The Perfect Childhood (1993). Cover image from Tulsa made into a 23" x 18" poster from an exhibition at the Robert Freidus Gallery. Kids was followed by such works as Another Day in Paradise (1998), Bully (2001), Ken Park (2003), WASSUP ROCKERS (2005), and the autobiographical installation and publication punk Picasso (2003).Its graphic depictions of sex, violence, and drug abuse in the youth culture of Oklahoma were acclaimed by critics for stripping bare the myth that Middle America had been immune to the social convulsions that rocked America in the 1960s. I remember thinking, 'I have either got to burn all the negatives and shoot myself, or go down to LA and try and get it published.