When photographer and film director Larry Clark published his first photobook in 1971, it wasn’t Tulsa’s frank depiction of drug-use, sexuality, and violence that caused a stir. Photography had long looked at the disaffected. It was the collapse of any objective distance. Clark wasn’t an passive observer, he was one of them. There’s also a way in which Clark’s private art collection, which began sometime in the 1960s, reflects a deeply personal attachment to art and images.