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Traveling the Shore of the Spanish Sea Cover

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Traveling the Shore of the Spanish Sea

The Gulf Coast of Texas and Mexico

By Geoff Winningham

In a work of sweeping breadth and beauty, Geoff Winningham has created a profusely illustrated, contemplative travel journal that showcases his talent as both a photographer and a writer and reveals his affection and respect for the two countries he calls home. In 2003, photographer Geoff Winningham saw for the first time both the southern coast of Veracruz, with its volcanoes, rain forests, and steep mountains, and the Texas coast near High Island, where the land seems to stretch endlessly, covered by a sea of salt grass. He decided that these two visually striking areas could be the beginning and end points of a photographic study that would also engage the two cultures in which he had lived for twenty years, the U.S. and Mexico. Now, seven years and more than a hundred trips later, Traveling the Shore of the Spanish Sea: The Gulf Coast of Texas and Mexico is the result. In this beautifully illustrated and engagingly written book, Winningham also considers the role that the Gulf of Mexico played in the discovery and exploration of the New World. Winningham's journey begins east of High Island, in Port Arthur, where the images suggest a cautionary tale relating to the oil industry and the land. It ends twelve hundred miles down the coast at the end of an old, stone road in tropical terrain of almost indescribable beauty, overlooking the sea. In between, more than two hundred photographs include natural landscapes (ranging from unspoiled to completely despoiled), roadside architecture and signage, and images of people Winningham met. As he attempts to come to terms with the disturbing changes he witnessed to the coastal environment, the book also contains elements of a poignant, personal lament for what is being lost. Traveling the Shore of the Spanish Sea: The Gulf Coast of Texas and Mexico will delight and enchant readers with its deeply felt personal narrative and the power and beauty of its images.

True Places Cover

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True Places

A Lowcountry Preacher, His Church, and His People

Stanley F. Lanzano

True Places is an emotionally charged photographic documentary of the lives of evangelical pastor Floyd Knowlin and his close-knit African American congregations who live, work, and worship in a rural stretch of coastal South Carolina. For more than a decade photographer Stanley F. Lanzano has immersed himself in the daily practices of this community in Williamsburg and Georgetown counties, befriending Reverend Knowlin and becoming a welcomed part of his extended church family. The respectful relationship that Lanzano has forged with his subjects and the trust that they have extended to him shines through in the eighty-three black-and-white and eight color photographs included here, illustrating a vibrant coastal subculture rarely witnessed by outsiders. Many of Lanzano's photographs document services and church revivals, conveying the great joy, sorrow, and fervor of these meetings while highlighting Knowlin's captivating persona. Lanzano also grants us glimpses into baptisms in the murky, still waters of lowcountry South Carolina rivers. Beyond the church he takes us into the private homes and lives of Knowlin's flock, many of whom are of Gullah descent and keep elements of this heritage alive in their daily practices. Collectively these images show a society in transition, where pain and grief are juxtaposed with redemption and bliss. Lanzano's narrative of his meeting Reverend Knowlin and his continuing relationship with Knowlin's community is a tale of self-discovery. It is also a testament to the power of faith in the lives of often forgotten South Carolinians. It is a rarity for a photographer to be granted such unlimited access into these communities. Through these images Lanzano creates with the utmost reverence and respect a powerful record of the hardships and hopes he witnessed among Knowlin's congregations to preserve their legacy and to share their inspirational attitude toward life in these true places.

¡Viva! Cover

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¡Viva!

Community Arts and Popular Education in the Americas

Compelling case studies of groups in Panama, Nicaragua, Mexico, the United States, and Canada using the arts for education, community development, and social movement building. This compelling collection of inspiring case studies from community arts projects in five countries will inform and inspire students, artists, and activists. ¡Viva! is the product of a five-year transnational research project that integrates place, politics, passion, and praxis. Framed by postcolonial theories of decolonization, the pedagogy of the oppressed articulated by Brazilian educator Paulo Freire, and the burgeoning field of community arts, this collection not only analyzes the dynamic integration of the critical and the creative in social justice movements, it embodies such a praxis. Learn from Central America: Kuna children’s art workshops, a community television station in Nicaragua, a cultural marketplace in Guadalajara, Mexico, community mural production in Chiapas; and from North America: arts education in Los Angeles inner-city schools, theatre probing ancestral memory, community plays with over one hundred participants, and training programs for young artists in Canada. These practices offer critical hope for movements hungry for new ways of knowing and expressing histories, identities, and aspirations, as well as mobilizing communities for social transformation. Beautifully illustrated with more than one hundred color photographs, the book also includes a DVD with videos that bring the projects to life.

War Culture and the Contest of Images Cover

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War Culture and the Contest of Images

Dora Apel

War Culture and the Contest of Images analyzes the relationships among contemporary war, documentary practices, and democratic ideals. Dora Apel examines a wide variety of images and cultural representations of war in the United States and the Middle East, including photography, performance art, video games, reenactment, and social media images. Simultaneously, she explores the merging of photojournalism and artistic practices, the effects of visual framing, and the construction of both sanctioned and counter-hegemonic narratives in a global contest of images. As a result of the global visual culture in which anyone may produce as well as consume public imagery, the wide variety of visual and documentary practices present realities that would otherwise be invisible or officially off-limits. In our digital era, the prohibition and control of images has become nearly impossible to maintain. Using carefully chosen case studies—such as Krzysztof Wodiczko’s video projections and public works in response to 9/11 and the wars in Iraq and Afghanistan, the performance works of Coco Fusco and Regina Galindo, and the practices of Israeli and Palestinian artists—Apel posits that contemporary war images serve as mediating agents in social relations and as a source of protection or refuge for those robbed of formal or state-sanctioned citizenship. While never suggesting that documentary practices are objective translations of reality, Apel shows that they are powerful polemical tools both for legitimizing war and for making its devastating effects visible. In modern warfare and in the accompanying culture of war that capitalism produces as a permanent feature of modern society, she asserts that the contest of images is as critical as the war on the ground.TEST XYZ

A Year of Iowa Nature Cover

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A Year of Iowa Nature

Discovering Where We Live

Carl Kurtz

Every Sunday evening for almost ten years, Iowa photographer and naturalist Carl Kurtz has e-mailed a photo and an extended caption to hundreds of outdoor enthusiasts. Engaging and informative, the photos focus on the world around and away from his tallgrass prairie homeplace: snow buntings in a blizzard, maple leaves in fall, migrating snow geese and red-winged blackbirds and monarchs, prairie spiderworts in spring bloom, leopard frogs loafing on waterlily leaves, northern flickers feeding young, and all the inhabitants and moods of the passing seasons. Now, in A Year of Iowa Nature, he presents fifty-five of his favorite photos along with an evocative introduction that urges us to go forth and discover the beauty in our own backyards.

Concentrating on Iowa’s tallgrass prairie, Kurtz also points his viewfinder toward the great variety of natural habitats in the eastern United States. Arranged chronologically throughout the year, the fifty-five color photos and their accompanying narratives rotate through the seasons like a nature film. The winter months showcase a frost-covered white-tailed deer, cedar waxwings feeding on winter apples, a muskrat on the surface of an icy pond, and dune-like snowdrifts. Kurtz’s palette warms up in springtime with stunning photos of Virginia bluebells, fox cubs, juvenile chipmunks, and ruddy ducks. Summer brings a host of butterflies, frogs, and goldfinches as well as blooming prairie plants. The colors become more subdued in fall with the change in light, revealing the rich hues of Indian grass and big bluestem and the subtle plumage of migrating warblers.

Just as Kurtz’s Practical Guide to Prairie Reconstruction offers an indispensable manual for individuals and land managers working to create a diverse prairie community, so does A Year of Iowa Nature point the way toward a sincere, month-by-month appreciation of the natural world around us.

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