A SCHOLARLY BOOK REPOSITORY32 start with A start with A
A towering figure in the history of photography, Albert Renger-Patzsch (1897–1966) has come to epitomize New Objectivity, the neorealist movement in modernist literature, film, and the visual arts recognized as the signature artistic style of Germany’s Weimar Republic. Today, his images are regularly exhibited and widely considered key influences on contemporary photographers. Whether they capture geometrically intricate cacti, flooded tidal landscapes, stacks of raw materials, or imposing blast furnace towers, Renger-Patzsch’s photographs embody what his peer Hugo Sieker termed “absolute realism,” an approach predicated upon the idea that photographers have one task: to exploit the camera’s unique capacity to document with uncompromising detail.
Not only a photographer, Renger-Patzsch was also an influential and lucid writer who advocated his unique brand of uncompromising realism in almost a half century’s worth of articles, essays, lectures, brochures, and unpublished manuscripts addressing photography, technology, and modernity. Drawing on his papers at the Getty Research Institute and other archives, The Absolute Realist unites in one volume this skillful photographer’s ideas about the defining visual medium of modernity.
Copublished with the Utah State Historical Society. Affiliated with the Utah Division of State History, Utah Department of Heritage & Arts
Andrew J. Russell is primarily known as the man who photographed the famous “East and West Shaking Hands” image of the Golden Spike ceremony on May 10, 1869. He also took nearly one thousand other images that document almost every aspect of the construction of the Union Pacific Railroad. Across the Continent is the most detailed study to date of the life and work of an often-overlooked but prolific artist who contributed immensely not only to documentation of the railroad but also to the nation’s visualization of the American West and, earlier, the Civil War.
The central focus in the book is on the large body of work Russell produced primarily to satisfy the needs of the Union Pacific. Daniel Davis posits that this set of Russell’s photos is best understood not through one or a handful of individual images, but as a photographic archive. Taken as a whole, that archive shows that Russell intended for viewers never to forget who built the Union Pacific. His images celebrate working people—masons working on bridge foundations, freighters and their wagons, surveyors with their transits, engine crews posed on their engines, as well as tracklayers, laborers, cooks, machinists, carpenters, graders, teamsters, and clerks pushing paper.
Russell contributed to a golden age of Western photography that visually introduced the American West to the nation, changing its public image from that of a Great American Desert to a place of apparently unlimited economic potential.
Liam Kennedy here maps the evolving relations between the American way of war and photographic coverage of it. Organized in its first section around key US military actions over the last fifty years, the book then moves on to examine how photographers engaged with these conflicts on wider ethical and political grounds, and finally on to the genre of photojournalism itself. Illustrated throughout with examples of the photographs being considered, Afterimages argues that photographs are important means for critical reflection on war, violence, and human rights. It goes on to analyze the high ethical, sociopolitical, and legalistic value we place on the still image’s ability to bear witness and stimulate action.
Alabama artists have been an integral part of the story of the state, reflecting a wide-ranging and multihued sense of place through images of the land and its people. Quilts, pottery, visionary paintings, sculpture, photography, folk art, and abstract art have all contributed to diverse visions of Alabama’s culture and environment. The works of art included in this volume have all emerged from a distinctive milieu that has nourished the creation of powerful visual expressions, statements that are both universal and indigenous.
Published to coincide with the state’s bicentennial, Alabama Creates: 200 Years of Art and Artists features ninety-four of Alabama’s most accomplished, noteworthy, and influential practitioners of the fine arts from 1819 to the present. The book highlights a broad spectrum of artists who worked in the state, from its early days to its current and contemporary scene, exhibiting the full scope and breadth of Alabama art.
This retrospective volume features biographical sketches and representative examples of each artist’s most masterful works. Alabamians like Gay Burke, William Christenberry, Roger Brown, Thornton Dial, Frank Fleming, the Gee’s Bend Quilters, Lonnie Holley, Dale Kennington, Charlie Lucas, Kerry James Marshall, David Parrish, and Bill Traylor are compared and considered with other nationally significant artists.
Alabama Creates is divided into four historical periods, each spanning roughly fifty years and introduced by editor Elliot A. Knight. Knight contextualizes each era with information about the development of Alabama art museums and institutions and the evolution of college and university art departments. The book also contains an overview of the state’s artistic heritage by Gail C. Andrews, director emerita of the Birmingham Museum of Art. Alabama Creates conveys in a sweeping and captivating way the depth of talent, the range of creativity, and the lasting contributions these artists have made to Alabama’s extraordinarily rich visual and artistic heritage.
Alfredo Boulton (1908–1995) is considered one of the most important champions of modern art in Venezuela and a key intellectual of twentieth-century modernism. He was a pioneer of modern photography, an art critic, a researcher and historian of Venezuelan art, a friend to many of the great artists and architects of the twentieth century, and an expert on the imagery of the heroes of his country’s independence.
Yet, Boulton is shockingly underrecognized outside of his native land. The few exhibitions related to his work have focused exclusively on his photographic production; never has there been a project that looks at the full range of Boulton’s efforts, foregrounding his influence on the shaping of Venezuelan art. This volume addresses these lacunae by analyzing Boulton’s groundbreaking photographic practice, his central role in the construction of a modern national artistic canon, and his influence in formalizing and developing art history and criticism in Venezuela. Based on the extensive materials held in Boulton’s archive at the Getty Research Institute, Alfredo Boulton brings together essays by leading scholars in the field to offer a commanding, original perspective on his contributions to the formation of a distinctive modernity at home and beyond.
This volume is published to accompany an exhibition on view at the Getty Research Institute at the Getty Center from August 29, 2023, to January 21, 2024.
Isa Leshko shows us, brilliantly, with this collection of portraits. To create these portraits, she spent hours with her subjects, gaining their trust and putting them at ease. The resulting images reveal the unique personality of each animal. It’s impossible to look away from the animals in these images as they unforgettably meet our gaze, simultaneously calm and challenging. In these photographs we see the cumulative effects of the hardships of industrialized farm life, but also the healing that time can bring, and the dignity that can emerge when farm animals are allowed to age on their own terms.
Each portrait is accompanied by a brief biographical note about its subject, and the book is rounded out with essays that explore the history of animal photography, the place of beauty in activist art, and much more. Open this book to any page. Meet Teresa, a thirteen-year-old Yorkshire Pig, or Melvin, an eleven-year-old Angora Goat, or Tom, a seven-year-old Broad Breasted White Turkey. You’ll never forget them.
After contextualizing the postwar use of shadow imagery in the wake of the atomic bomb, Ambiguous Borderlands looks at shadows in print works, detailing the reemergence of the pulp fiction crime fighter the Shadow in the late-1950s writings of Sylvia Plath, Amiri Baraka, and Jack Kerouac. Using Freudian and Jungian conceptions of the unconscious, Mortenson then discusses Kerouac’s and Allen Ginsberg’s shared dream of a “shrouded stranger” and how it shaped their Beat aesthetic. Turning to the visual, Mortenson examines the dehumanizing effect of shadow imagery in the Cold War photography of Robert Frank, William Klein, and Ralph Eugene Meatyard. Mortenson concludes with an investigation of the use of chiaroscuro in 1950s film noir and the popular television series The Twilight Zone, further detailing how the complexities of Cold War society were mirrored across these media in the ubiquitous imagery of light and dark.
From comics to movies, Beats to bombs, Ambiguous Borderlands provides a novel understanding of the Cold War cultural context through its analysis of the image of the shadow in midcentury media. Its interdisciplinary approach, ambitious subject matter, and diverse theoretical framing make it essential reading for anyone interested in American literary and popular culture during the fifties and sixties.
Going beyond photography as an isolated medium to engage larger questions and interlocking forms of expression and historical analysis, Ambivalent gathers a new generation of scholars based on the continent to offer an expansive frame for thinking about questions of photography and visibility in Africa. The volume presents African relationships with photography—and with visibility more generally—in ways that engage and disrupt the easy categories and genres that have characterized the field to date. Contributors pose new questions concerning the instability of the identity photograph in South Africa; ethnographic photographs as potential history; humanitarian discourse from the perspective of photographic survivors of atrocity photojournalism; the nuanced passage from studio to screen in postcolonial digital portraiture; and the burgeoning visual activism in West Africa.
As the contributors show, photography is itself a historical subject: it involves arrangement, financing, posture, positioning, and other kinds of work that are otherwise invisible. By moving us outside the frame of the photograph itself, by refusing to accept the photograph as the last word, this book makes photography an engaging and important subject of historical investigation. Ambivalent‘s contributors bring photography into conversation with orality, travel writing, ritual, psychoanalysis, and politics, with new approaches to questions of race, time, and postcolonial and decolonial histories.
Contributors: George Emeka Agbo, Isabelle de Rezende, Jung Ran Forte, Ingrid Masondo, Phindi Mnyaka, Okechukwu Nwafor, Vilho Shigwedha, Napandulwe Shiweda, Drew Thompson
It all started in 1965 with a guy riding a whale. The guy was Flip Nicklin’s father, Chuck, and the whale was an unlucky Bryde’s Whale that had gotten caught up in some anchor line. Hoping to free the whale, Chuck and some friends took their boat as near as they could, and, just before they cut it loose, Chuck posed astride it for a photo.
That image, carried on wire services nationwide, became a sensation and ultimately changed the life of Chuck’s young son, Flip. In the decades since that day, Flip Nicklin has made himself into the world’s premier cetacean photographer. It’s no exaggeration to say that his photos, published in such venues as National Geographic and distributed worldwide, have virtually defined these graceful, powerful creatures in the mind of the general public—even as they helped open new ground in the field of marine mammalogy.
Among Giants tells the story of Nicklin’s life and career on the high seas, from his first ill-equipped shoots in the mid-1970s through his long association with the National Geographic Society to the present, when he is one of the founders of Whale Trust, a nonprofit conservation and research group. Nicklin is equal parts photographer, adventurer, self-trained scientist, and raconteur, and Among Giants reflects all those sides, matching breathtaking images to firsthand accounts of their making, and highlighting throughout the importance of conservation and new advances in our understanding of whale behavior. With Nicklin as our guide, we see not just whales but also our slowly growing understanding of their hidden lives, as well as the evolution of underwater photography—and the stunning clarity and drama that can be captured when a determined, daring diver is behind the lens.
Humpbacks, narwhals, sperm whales, orcas—these and countless other giants of the ocean parade through these pages, spouting, breaching, singing, and raising their young. Nicklin’s photographs bring us so completely into the underwater world of whales that we can’t help but feel awe, while winning, personal accounts of his adventures remind us of what it’s like to be a lone diver sharing their sea.
For anyone who has marveled at the majesty of whales in the wild, Among Giants is guaranteed to be inspiring, even moving—its unmatched images of these glorious beings an inescapable reminder of our responsibility as stewards of the ocean.
John Hirsch chronicles the research, scientists, and ephemera of the Harvard Forest—a 3,750-acre research forest in Petersham, Massachusetts. Essays by David Foster, Clarisse Hart, and Margot Anne Kelley expand the scope of this photographic exploration at the nexus of science and art.
Hirsch is attentive to both the quixotic and the beautiful, and has created a body of work that is about a desire to understand, describe, and predict the evolution of our surroundings, while showing reverence for the possibility of sublime moments in a place. The forest is here a microcosm for the world in which we live, and this work helps us envision the future we may inhabit, making the book a useful and engaging vantage from which to consider pressing issues of climate change, ecosystem resilience, and land and water use.
In June 1964, college student Joel Katz boarded a Greyhound bus in Hartford, Connecticut, for Jackson, Mississippi. He carried few possessions—a small bag of clothes, a written invitation to call on Frank Barber, who was special assistant to Governor Paul Johnson, and a Honeywell Pentax H1-A camera with three lenses.
A few days after his arrival in Jackson, the city’s Daily News ran on its front page an FBI alert seeking Andrew Goodman, James Chaney, and Michael Schwerner, three field workers from the Congress of Racial Equality (CORE) who’d gone missing while investigating a church burning in Neshoba County. In the uneasy silence of their disappearance, Katz began a seven-week journey across the state. Along the way, he met the people of Mississippi, black and white, of all ages and classes, from the humble to the grand. These Mississippians encouraged or obstructed change in their traditional culture or simply observed the edifice of that culture tremble and fall.
During 1964’s Freedom Summer, Katz met ministers making history and journalists writing it. He photographed Martin Luther King Jr. and James Abernathy, taught at a freedom school, interviewed a leader of the White Citizens Councils, was harassed by Jackson police, and escaped death in Vicksburg. Six weeks after Katz arrived in Mississippi, the FBI found the bodies of Goodman, Chaney, and Schwerner in an earthen dam.
Inspired by the social documentary photographs of Walker Evans and Robert Frank, Katz snapped hauntingly quotidian photos on his Pentax camera. Amid acts of brutal savagery and transcendent courage that transfixed the nation, Katz discovered resilient individuals living quiet lives worthy of witness. And I Said No Lord is a moving and luminous record of Americans in evolution.
The architectural masterpieces Brumfield photographed are diverse: they range from humble chapels to grand cathedrals, buildings that are either dilapidated or well cared for, and structures repurposed during the Soviet era. Included are onion-domed wooden churches such as the Church of the Dormition, built in 1674 in Varzuga; the massive walled Transfiguration Monastery on Great Solovetsky Island, which dates to the mid-1550s; the Ferapontov-Nativity Monastery's frescoes, painted in 1502 by Dionisy, one of Russia's greatest medieval painters; nineteenth-century log houses, both rustic and ornate; and the Cathedral of St. Sophia in Vologda, which was commissioned by Ivan the Terrible in the 1560s. The text that introduces the photographs outlines the region's significance to Russian history and culture.
Brumfield is challenged by the immense difficulty of accessing the Russian North, and recounts traversing sketchy roads, crossing silt-clogged rivers on barges and ferries, improvising travel arrangements, being delayed by severe snowstorms, and seeing the region from the air aboard the small planes he needs to reach remote areas.
The buildings Brumfield photographed, some of which lie in near ruin, are at constant risk due to local indifference and vandalism, a lack of maintenance funds, clumsy restorations, or changes in local and national priorities. Brumfield is concerned with their futures and hopes that the region's beautiful and vulnerable achievements of master Russian carpenters will be preserved. Architecture at the End of the Earth is at once an art book, a travel guide, and a personal document about the discovery of this bleak but beautiful region of Russia that most readers will see here for the first time.
Mies van der Rohe once commented, “Only skyscrapers under construction reveal their bold constructive thoughts, and then the impression made by their soaring skeletal frames is overwhelming.” Never has this statement resonated more than in recent years, when architectural design has undergone a radical transformation, and when powerful computers allow architects and engineers to design and construct buildings that were impossible just a few years ago. At the same time, what lies underneath these surfaces is more mysterious than ever before.
In Architecture under Construction, photographer Stanley Greenberg explores the anatomy and engineering of some of our most unusual new buildings, helping us to understand our own fascination with what makes buildings stand up, and what makes them fall down. As designs for new constructions are revealed and the public watches closely as architects and engineers challenge each other with provocative new forms and equally audacious ideas, Greenberg captures penetrating images that reveal the complex mystery—and beauty—found in the transitory moments before the skin of a building covers up the structures that hold it together.
Framed by a historical and critical essay by Joseph Rosa and including an afterword by the author, the eighty captivating and thought-provoking images collected here—which focus on some of the most high-profile design projects of the past decade, including buildings designed by Norman Foster, Frank Gehry, Steven Holl, Daniel Libeskind, Thom Mayne, and Renzo Piano, among others —are not to be missed by anyone with an eye for the almost invisible mechanisms that continue to define our relationship with the built world.
Winner, Waldo Gifford Leland Award, Society of American Archivists
Longlist, ICAS Book Prize, International Convention of Asia Scholars
One of the important cultural responses to political and sociohistorical events in Latin America is a resurgence of urban photography, which typically blends high art and social documentary. But unlike other forms of cultural production in Latin America, photography has received relatively little sustained critical analysis. This pioneering book offers one of the first in-depth investigations of the complex and extensive history of gendered perspectives in Latin American photography through studies of works from Argentina, Mexico, and Guatemala.
David William Foster examines the work of photographers ranging from the internationally acclaimed artists Graciela Iturbide, Pedro Meyer, and Marcos López to significant photographers whose work is largely unknown to English-speaking audiences. He grounds his essays in four interlocking areas of research: the experience of human life in urban environments, the feminist matrix and gendered cultural production, Jewish cultural production, and the ideological principles of cultural works and the connections between the works and the sociopolitical and historical contexts in which they were created. Foster reveals how gender-marked photography has contributed to the discourse surrounding the project of redemocratization in Argentina and Guatemala, as well as how it has illuminated human rights abuses in both countries. He also traces photography’s contributions to the evolution away from the masculinist-dominated post–1910 Revolution ideology in Mexico. This research convincingly demonstrates that Latin American photography merits the high level of respect that is routinely accorded to more canonical forms of cultural production.
A driven perfectionist with inexhaustible curiosity about people, Arnold Newman was one of the twentieth century’s greatest and most prolific photographers. In a career that spanned nearly seven decades and produced many iconic works, Newman became renowned for making “pictures of people” (he objected to the term “portraits”) in the places where they worked and lived—the spaces that were most expressive of their inner lives. Refusing the label of “art photographer,” Newman also accepted magazine and advertising commissions and executed them to the same exacting standards that characterized all of his work. He spent countless hours training aspiring photographers, sharing his own vast experience, but allowing them the freedom to experiment and discover.
Rich with materials from Newman’s extensive archive in the Harry Ransom Center at the University of Texas at Austin, Arnold Newman offers unprecedented, firsthand insights into the evolution of the photographer’s creativity. Reproduced here are not only many of Newman’s signature images, but also contact sheets, Polaroids, and work prints with his handwritten notes, which allow us to see the process by which he produced the images. Pages from his copious notebooks and calendars reveal Newman’s meticulous preparation and exhausting schedule. Adsheets and magazine covers from Holiday, LIFE, Newsweek, Look, Esquire, Seventeen, Time, and Sports Illustrated show the range of Newman’s largely unknown editorial work. Roy Flukinger provides a contextual overview of the archive, and Marianne Fulton’s introduction highlights the essential moments in the development of Newman’s life and work.
The Art of Mechanical Reproduction weaves a rich history of the experimental networks in which artists as diverse as Paul Klee, Hans Bellmer, Ellsworth Kelly, Robert Smithson, Gerhard Richter, Chris Marker, and Tacita Dean have worked, and it shows for the first time how extensively technological innovations of the moment have affected their work. Original and broad-ranging, The Art of Mechanical Reproduction challenges some of the most respected and entrenched criticism of the past several decades—and allows us to think about these artists anew.
Arthur Tress (b. 1940) is a singular figure in the landscape of postwar American photography. His seminal series, The Dream Collector, depicts Tress’s interests in dreams, nightmares, fantasies, and the unconscious and established him as one of the foremost proponents of magical realism at a time when few others were doing staged photography.
This volume presents the first critical look at Tress’s early career, contextualizing the highly imaginative, fantastic work he became known for while also examining his other interrelated series: Appalachia: People and Places; Open Space in the Inner City; Shadow; and Theater of the Mind. James A. Ganz, Mazie M. Harris, and Paul Martineau plumb Tress’s work and archives, studying ephemera, personal correspondence, unpublished notes, diaries, contact sheets, and more to uncover how he went from earning his living as a social documentarian in Appalachia to producing surreal work of “imaginative fiction.” This abundantly illustrated volume imparts a fuller understanding of Tress’s career and the New York photographic scene of the 1960s and 1970s.
This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 31, 2023, to February 18, 2024.
In exploring how artificial darkness shaped modern art, film, and media, Noam M. Elcott addresses seminal and obscure works alongside their sites of production—such as photography darkrooms, film studios, and laboratories—and their sites of reception, including theaters, cinemas, and exhibitions. He argues that artists, scientists, and entertainers like Étienne-Jules Marey, Richard Wagner, Georges Méliès, and Oskar Schlemmer revolutionized not only images but also everything surrounding them: the screen, the darkness, and the experience of bodies and space. At the heart of the book is “the black screen,” a technology of darkness that spawned today’s blue and green screens and has undergirded numerous advanced art and film practices to this day.
Turning familiar art and film narratives on their heads, Artificial Darkness is a revolutionary treatment of an elusive, yet fundamental, aspect of art and media history.
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