In the early decades of the twentieth century, Iowans all across the Hawkeye State succumbed to the nationwide craze for exchanging photographic postcards, mailing each other thousands of images—serious and whimsical—of Uncle Bob and Baby Dora, the Sunday school outing, train wrecks, the Fourth of July celebration, the merchants' carnival, the record-setting blizzard following the bin-busting harvest, the new courthouse, Ackley's Sauer-Kraut Band. Now, thanks to the generosity of David A. Wilson, whose ample collection of photographic cards would be the envy of those early Iowans, Lyell Henry has organized more than two hundred postcards into eight reflective chapters that create a beguiling collective portrait of Iowa life and culture from 1905 to 1919.
The power of these photographs lies in part in Smith’s unusual knowledge of the places he portrays. Raised in Utah, Smith has worked on construction crews, and he was a contractor in California after living on the East Coast for a few years. When he moved to Los Angeles in 1991, he writes, “I was so astounded by what I saw happening to the landscape as it was being developed that I started photographing it immediately. The landscapes I saw were scraped bare, re-sculpted, sealed, and then covered so as not to erode away before the building process could be completed.”
Smith’s photographs offer a disturbing vision of the future of our planet, where the desire for home ownership is pitted against the costs of development in epic proportions. These altered landscapes force us to consider the consequences of human design battling natural forces across great expanses, a fragile balancing act and a contorted equation in which nature becomes both inspiration and invisible adversary. Smith’s elegant photographs of this constructed universe confront us with the beauty of images as images, yet push us to reflect on the devastation possible in the simple act of choosing a place to live.
Best of Show Award, Society for Technical Communication International
From the East Texas swamps and forests to the Edwards Plateau canyons and the Trans-Pecos mountains, Texas hosts a surprising number of native orchids. Their exquisite beauty endears them to everyone from wildflower lovers to professional botanists and conservationists.
This beautifully illustrated book presents all 54 wild orchids of Texas. The species descriptions that accompany Joe Liggio's lovely color photos discuss the plant's flowers, blooming season, pollinators, typical habitats, and range (also shown by map), including its distribution within and beyond Texas. The species are grouped by genus and also listed by color, county, and habitat for easy reference.
In addition to the species accounts, the authors offer a general natural history of Texas orchids that discusses such topics as pollination and reproduction, special growing requirements, and threats to orchids from loss of habitats and careless collecting. They also describe the many orchid habitats in Texas and the species that grow in each. This wide variety of information, which has never before been collected in one volume for a general readership, makes this book the essential guide to Texas' wild orchids.
Winner, Carroll Abbott Memorial Award, Native Plant Society of Texas, 2002
Many visitors to Texas beaches see only the sands between the surf and the first low dunes. Because few plants grow there, it's easy to get the impression that Texas beaches consist mostly of barren sand—while just the opposite is true. Beyond the dunes grow an amazing variety and abundance of native plants. Many of them, like Indian Blanket, Goldenrod, and Seaside Gerardia, produce great splashes of flowering color. Others display more modest flowers or are interesting for their growing habits. In all, over seven hundred species of flowering plants grow on Texas beaches and islands.
This handy field guide will aid you in identifying some 275 common and/or noteworthy flowering plants of the Texas beaches and islands from the Rio Grande to the Louisiana border. Each plant is illustrated by a color photograph, accompanied by a description of its appearance, habitat, and blooming time. The plants are grouped by families, which in turn are arranged according to relationships and similarities for easy reference. An introduction to beach habitats and plant life, references for further reading, and a glossary of terms make this book fully useful for everyone who wants a good, general understanding of beach plant life and wildflowers.
Many recreational hikers have stopped along the trail to admire a wildflower only to wonder what, exactly, they are looking at. Wildflowers of the Mountain West is a useful field guide that makes flower identification easy for the general outdoor enthusiast.
Many available plant guides are too technical or cumbersome for non-specialists to embrace. Covering New Mexico, Colorado, Wyoming, Idaho, Utah, Nevada and Oregon, this book is perfect for the enthusiasts who has little botanical knowledge but would like to know more about the wildflowers they are seeing. Organized by flower color for easy reference, plant records include the common and scientific names, a description of typical characteristics, habitat information and distribution maps, look-alike species, color photographs, and informative commentary. In addition, the book provides a useful introduction to the Mountain West region, along with line drawings to illustrate basic flower parts, shapes, and arrangements; a glossary of common botanical terms; a quick search key; and an index.
The book is spiral-bound, making it easy to bring along while hiking, backpacking, or biking, and stunning full color photographs make visual confirmation of flower type simple and straightforward.
Take an intimate journey through the family, history, and architecture of 20 residential treasures in Wisconsin’s Own by M. Caren Connolly and Louis Wasserman. Richly illustrated with the photography of Zane Williams and complemented by historical images and watercolors and line drawings, Wisconsin’s Own profiles the architectural history of state’s most remarkable residences built between 1854 and 1939. The houses are a mix of public and private homes that are representative of varied architectural styles, from an Italianate along the Mississippi River and an interpretation of a sixteenth-century northern Italian villa overlooking Lake Michigan to an Adirondack-style camp in the North Woods and a fourteen-bedroom Georgian Revival mansion on Lake Geneva. Frank Lloyd Wright’s Prairie School is, of course, represented as well with examples by Wright and his mentor Louis Sullivan.
Wisconsin’s Own tells the story of the considerable contribution that each of these historic homes have made to American residential architecture. It also answers the questions who built the house, what brought them to Wisconsin, why they selected that particular style, and how it is that this historic home still stands—and shines—today.
A comprehensive guide that includes a vast range of species and plant communities and employs thorough, original keys. Based primarily on vegetative characteristics, the keys don't require that flowers or other reproductive features be present, like many plant guides. And this guide's attention to woody plants as a whole allows one to identify a much greater variety of plants. That especially suits an arid region such as Utah with less diverse native trees. Woody plants are those that have stems that persist above ground even through seasons that don't favor growth, due to low precipitation or temperatures.
Woody Plants of Utah employs dichotomous identification keys that are comparable to a game of twenty questions. They work through a process of elimination by choosing sequential alternatives.
Detailed, illustrated plant descriptions complement the keys and provide additional botanical and environmental information in relation to a useful introductory categorization of Utah plant communities. Supplementary tools include photos, distribution maps, and an illustrated glossary.
For some women writers and photographers during the two world wars—Edith Wharton, Mildred Aldrich, Martha Gellhorn, Lee Miller, H.D., and Gertrude Stein—the construction of the female subject as an observer of combat became a vital concern. Their explorations of vision took place against the backdrop of a larger shift in Western culture's understanding of what "seeing" meant in common practice and philosophical discourse alike. The role of visuality in their lives was massively transformed not only by the rigid gender roles of war but by the introduction of new combat practices and technologies such as aerial surveillance, trench warfare, and civilian bombardment.
In The World Wars Through the Female Gaze, Jean Gallagher maps one portion of the historicized, gendered territory of what Nancy K. Miller calls the "gaze in representation." Expanding the notion of the gaze in critical discourse, Gallagher situates a number of visual acts within specific historic contexts to reconstruct the wartime female subject. She looks at both the female observer's physical act of seeing—and the refusal to see—for example, a battlefield, a wounded soldier, a torture victim, a national flag, a fashion model, a bombed city, or a wartime hallucination.
The book begins with two instances of wartime propaganda written by American women in France in 1915. Both Edith Wharton's Fighting France and Mildred Aldrich's A Hilltop on the Marne offer a complex and often contradictory sense of a woman writer's struggles with authority, resistance, and killing. In the process, Gallagher teases out the role of specular vision and the impossibility of "directly" seeing the war.
Gallagher then turns to literary and visual texts produced by two female journalists between 1940 and 1945. Martha Gellhorn's 1940 novel A Stricken Field exhibits a range of gendered seeing positions within and in opposition to the visual ideologies of fascism during the Nazi occupation of Czechoslovakia. Lee Miller's war correspondence and photography for Vogue show how Miller constructed herself and her predominantly female American audience as antifascist observers of war by working with and against some of the conventions of surrealist fashion photography.
Gallagher concludes by focusing on the experimental autobiographical prose of H.D. and Gertrude Stein to explore the functions of vision on two World War II "homefronts"—London during the Blitz and Vichy France.
The 117 locations feature street views of Wyoming towns and cities, as well as views from the state's famous natural landmarks like Yellowstone National Park, Grand Teton National Park, Devil's Tower National Monument, Hot Springs State Park, and Big Horn and Shoshone National Forests. In addition, Amundson provides six in-depth essays that explore the life of Joseph E. Stimson, the rephotographic process and how it has evolved, and how repeat photography can be used to understand history, landscape, historic preservation, and globalization.
Wyoming Revisited highlights the historic evolution of the American West over the past century and showcases the significant changes that have occurred over the past twenty-five years. This book will appeal to photographers, historians of the American West, and anyone interested in Wyoming's history or landscape.
The publication of this book is supported in part by the Wyoming Cultural Trust Fund.
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