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. But the subsequent publication of the book and his reputation as a groundbreaker did nothing to appease his demons.

Clark learned photography early (his mother was a photographer of babies) and there’s a great deal of darkroom technique behind these pictures. In 2010, a retrospective of Clark's work, Kiss the past hello, was held at the Musée d'Art Moderne de la Ville de Paris.

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.

And in case you’re wondering, Clark had such intimate access to his subjects because he was shooting up the drugs right along with them. But Clark went there first, and Tulsa remains a template for all that followed, a blurring of the lines between voyeurism and intimate reportage, between honesty and exploitation.

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. When Larry Clark published Tulsa in 1971 it created a sensation that went beyond the subject matter. Quarto; Unpaginated; VG/VG;Black spine with white lettering; Jacket protected by mylar cover; Jacket has minimal shelf wear; Black cloth boards have slight wear at the upper edge; Binding tight; Interior clean.