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A Cultural History of Thirties Photography
During the 1930s, the world of photography was unsettled, exciting, and boisterous. John Raeburn's A Staggering Revolution recreates the energy of the era by surveying photography's rich variety of innovation, exploring the aesthetic and cultural achievements of its leading figures, and mapping the paths their pictures blazed public's imagination. _x000B_While other studies of thirties photography have concentrated on the documentary work of the Farm Security Administration (FSA), no previous book has considered it alongside so many of the decade's other important photographic projects. A Staggering Revolution includes individual chapters on Edward Steichen's celebrity portraiture; Berenice Abbott's Changing New York project; the Photo League's ethnography of Harlem; and Edward Weston's western landscapes, made under the auspices of the first Guggenheim Fellowship awarded to a photographer. It also examines Margaret Bourke_White's industrial and documentary pictures, the collective undertakings by California's Group f.64, and the fashion magazine specialists, as well as the activities of the FSA and the Photo League. _x000B_Raeburn's expansive study explains how the democratic atmosphere of thirties photography nourished innovation and encouraged new heights of artistic achievement. It also produced the circumstances that permitted artful photography to become such a thriving public enterprise during the decade. A Staggering Revolution offers an illuminating analysis of the sociology of photography's art world and its galleries and exhibitions, but also demonstrates the importance of the novel venues created by impresarios and others that proved essential to photography's extraordinary dissemination. These new channels, including camera magazines and annuals, volumes of pictures enhanced by text, and omnibus exhibitions in unconventional spaces, greatly expanded photography's cultural visibility. They also made its enthusiastic audience larger and more heterogeneous than ever before - or since.
An Illustrated History
In The State of Southern Illinois: An Illustrated History, Herbert K. Russell offers fresh interpretations of a number of important aspects of Southern Illinois history. Focusing on the area known as “Egypt,” the region south of U.S. Route 50 from Salem south to Cairo, he begins his book with the earliest geologic formations and follows Southern Illinois’s history into the twenty-first century. The volume is richly illustrated with maps and photographs, mostly in color, that highlight the informative and straightforward text.
Perhaps most notable is the author’s use of dozens of heretofore neglected sources to dispel the myth that Southern Illinois is merely an extension of Dixie. He corrects the popular impressions that slavery was introduced by early settlers from the South and that a majority of Southern Illinoisans wished to secede. Furthermore, he presents the first in-depth discussion of twelve pre–Civil War, free black communities located in the region. He also identifies the roles coal mining, labor violence, gangsters, and the media played in establishing the area’s image. He concludes optimistically, unveiling a twenty-first-century Southern Illinois filled with myriad attractions and opportunities for citizens and tourists alike.
The State of Southern Illinois is the most accurate all-encompassing volume of history on this unique area that often regards itself as a state within a state. It offers an entirely new perspective on race relations, provides insightful information on the cultural divide between north and south in Illinois, and pays tribute to an often neglected and misunderstood region of this multidimensional state, all against a stunning visual backdrop.
The Silent Eloquence of Shaker Architecture
Shaker buildings have long been admired for their simplicity of design and sturdy craftsmanship, with form always following function. Over the years, their distinctive physical characteristics have invited as much study as imitation. Their clean, unadorned lines have been said to reflect core Shaker beliefs such as honesty, integrity, purity, and perfection. In this book, Henry Plummer focuses on the use of natural light in Shaker architecture, noting that Shaker builders manipulated light not only for practical reasons of illumination but also to sculpt a deliberately spiritual, visual presence within their space. Stillness and Light celebrates this subtly beautiful aspect of Shaker innovation and construction, captured in more than 100 stunning photographs.
The Lost Postcard Photographs of the Texas High Plains
A postcard craze gripped the nation from 1905 to 1920, as the rise of outdoor photography coincided with a wave of settlement and prosperity in Texas. Hundreds of people took up cameras, and photographers of note chose some of their best work for duplication as photo postcards—sold for a nickel and mailed for a penny to distant friends and relatives. These postcards, which now enjoy another kind of craze in the collecting world, left what author John Miller Morris calls a "significant visual legacy" of the history and social geography of Texas. For more than a decade, Morris has been finding and studying the photographers and methodically gathering their postcards. In Taming the Land, he shares those finds with readers, introducing each photographer and providing interpretive descriptions of the places, people, or events depicted in the photographs. The stories the cards tell—in the images captured and the messages carried—add an exceptional dimension to our understanding of life in rural Texas a century ago. Taming the Land presents postcards from twenty-four counties in the booming Texas Panhandle. This is the first book in a set called Plains of Light, which will collect and document turn-of-the-twentieth-century photo postcards from all over West Texas.
Philip Perkis, the accomplished photographer and educator, now presents the second edition of Teaching Photography, Notes Assembled—the slim, unassuming book that has been an unexpected hit in photography circles. This expanded edition features an additional chapter and is co-published by OB Press and RIT Cary Graphic Arts Press, both affiliated with Rochester Institute of Technology. RIT offers one of the nation’s oldest and most-respected degree programs in photographic arts and sciences. In Teaching Photography…, Perkis draws from four decades of teaching experience at such institutions as Pratt Institute, and Cooper Union, as well as School of Visual Arts in New York. He has distilled his knowledge into this volume of thoughts on visual perception, successful photo lesson exercises, and practical teaching advice for photography instructors. Perkis expresses his acute observations as a means of provoking discussion and inspiring the younger generation of photography students and educators. Carefully typeset with ample margins and devoid of photographic images, the reader is encouraged to exercise the mind’s capacity to visualize—a vital tool for the art of making photographs.
Just one hundred and ten miles south of the Texas-Louisiana border, beneath the waters of the Gulf of Mexico, lie two coral reefs, together called the Flower Garden Banks. This coral community, the northernmost reef system in the United States and a national marine sanctuary, is home to hundreds of kinds of fish and other tropical sea life. Manta rays and turtles visit regularly, as do whale sharks and schools of hammerhead sharks. Other wonders include the annual mass coral spawns and a briny depression called Gollum Lake. Nearby are two other reefs. Stetson Bank, its top spotted with hard corals, mollusks, and sponges, is known for its diversity—from black sea hares to golden smooth trunkfish. At Geyer Bank, thousands of butterfly fish dominate a huge population of tropical fish whose density rivals that of the coral reefs in the South Pacific. Protruding from the flat, muddy continental shelf, these and thirty other natural reefs support an exceptional amount and variety of sea life in Texas waters. They sit amid hundreds of oil and gas platforms, which create their own special reef ecosystems. These reefs, equal in their profusion of life and color to the storied reefs of Florida and Hawaii, have not been widely known to Texans outside of a small group of scientists and divers. With extraordinary photographs and a knowledgeable first-person narrative, author Jesse Cancelmo instills an appreciation for the beauty and fragility of one of the state’s least-known natural environments. Texas Coral Reefs will inspire adventurers—both the underwater and armchair varieties—to enjoy these spectacular but little-known sites that lie so close to home.
Activist Photographers of the Civil Rights Movement
This Light of Ours: Activist Photographers of the Civil Rights Movement is a paradigm-shifting publication that presents the Civil Rights Movement through the work of nine activist photographers-men and women who chose to document the national struggle against segregation and other forms of race-based disenfranchisement from within the movement. Unlike images produced by photojournalists, who covered breaking news events, these photographers lived within the movement-primarily within the Student Nonviolent Coordinating Committee (SNCC) framework-and documented its activities by focusing on the student activists and local people who together made it happen.
The core of the book is a selection of 150 black-and-white photographs, representing the work of photographers Bob Adelman, George Ballis, Bob Fitch, Bob Fletcher, Matt Herron, David Prince, Herbert Randall, Maria Varela, and Tamio Wakayama. Images are grouped around four movement themes and convey SNCC's organizing strategies, resolve in the face of violence, impact on local and national politics, and influence on the nation's consciousness. The photographs and texts of This Light of Ours remind us that the movement was a battleground, that the battle was successfully fought by thousands of "ordinary" Americans among whom were the nation's courageous youth, and that the movement's moral vision and impact continue to shape our lives.
Film and Photography in Nazi Germany
We have seen the films of professionals and propagandists celebrate Adolf Hitler, his SS henchmen, and the Nazi Party. But what of the documentary films and photographs of amateurs, soldiers, and others involved in the war effort who were simply going about their lives amid death and destruction? And what of the films and photographs that want us to believe there was no death and destruction? This book asks how such images have shaped our memories and our memorialization of World War II and the Holocaust. Frances Guerin considers the implications of amateur films and photographs taken by soldiers, bystanders, resistance workers, and others in Nazi Germany.
Her book explores how photographs taken by soldiers and bystanders on the Eastern Front, depictions of everyday life in the Lódz ghetto, and home movies and family albums of Hitler’s mistress Eva Braun, among others, can challenge the conventional idea that such images reflect Nazi ideology because they are taken by perpetrators and sympathizers. Through Amateur Eyes upsets our expectations and demonstrates how these images can be understood as chillingly unrehearsed images of war, trauma, and loss.
Many of these images have been reused—often unacknowledged—in contemporary narratives memorializing World War II: museum exhibitions, made-for-television documentaries, documentary films, and the Internet. Guerin shows how modern uses of these images often reinforce well-rehearsed narratives of cultural memory. She offers a critical new perspective on how we can incorporate such still and moving images into processes of witnessing the traumas of the past in the present moment.
In the 1930s and 1940s, as the United States moved from a rural to an urban nation, the pull of the city was irrepressible. It was so strong that even a photographic mission designed to record the essence of rural America could not help but capture the energy of urbanization too. To the City showcases over 100 photographs from the Farm Security Administration (FSA) project along with extracts from the Works Progress Administration (WPA) guidebooks and oral histories, to convey the detail and dimensions of that transformation.
This artfully grouped collection of photographs includes magnificent images by notable photographers Dorothea Lange, Walker Evans and Gordon Parks, among many others. Foulkes organizes this history of Americana into five themes: Intersection; Traffic; High Life and Low Life; The City in the Country; and Citizens to illuminate the changes in habits, landscapes, and aspirations that the march to cities encompassed.
As the rural past holds symbolic sway and the suburb presents demographic force, the urban portion of our history—why and how cities have been a destination for hope—recedes from view. To the City is a thoughtful, engaging reminder.
On the Road and Behind the Scenes with Bob Seger
Tom Weschler spent more than ten years from the late 1960s through the 1970s in the Bob Seger camp, working as tour manager and photographer during Seger’s hard-gigging, heavy-traveling, reputation-making early days. Weschler’s behind-the-scenes photographs document the frustrations and triumphs of recording, performing, songwriting, and building the Seger empire before the breakthroughs of Live Bullet and Night Moves. Travelin’ Man collects Weschler’s early photos with additional images leading into the present. Weschler and award-winning music journalist Gary Graff annotate the images with Weschler’s recollections of the events and Graff provides additional background on Seger’s career in an introduction, timeline, and cast of characters section. Weschler’s photographs and stories pull back the curtain on seldom-seen aspects of Seger’s career, including time in the studio recording Mongrel, early struggles to get radio airplay, and small shows at schools and shopping malls. Weschler captures Seger’s personality on stage and at home and reveals the colorful personalities of those people he worked and performed with, including Alice Cooper, Bruce Springsteen, Glenn Frey, and KISS. He takes readers inside Seger headquarters in Birmingham, Michigan, and practice space in Rochester, Michigan, introducing them to renowned manager Punch Andrews and the various members of Seger’s bands. Weschler’s photos feature highlights like Seger’s show at the Pontiac Silverdome in 1976, his first gold record in 1977, the first meeting between Seger and Bruce Springsteen in 1978, and Seger’s induction to the Rock and Roll Hall of Fame in 2004. Travelin’ Man also contains art from eight Seger album covers that Weschler designed, a foreword by John Mellencamp, an afterword by Kid Rock, and a comprehensive discography. Seger fans and readers interested in music and biography will enjoy the one of a kind story in Travelin’ Man.