In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her “Sociological Record”: photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The images include faces, interiors, furnishings, and more. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show.

Object Lessons, a new volume of essays inspired by an exhibition at the Museum of Modern Art in Warsaw, helps to dispel the myths that have formed around the project in recent years and introduces the photographer to a new global audience. The essays here contextualize and interpret “Sociological Record” from different perspectives, opening up the work to further inquiry as both an object of interpretation and a subject of theoretical interest. Rydet herself remained unresolved over the question of how to define her work, leaving the viewer to ponder whether her magnum opus is a piece of art or science. What does remain undisputed is that “Sociological Record” is a striking testimony of its time.

A fascinating celebration of Rydet’s work that is sure to spur on fresh debate about art as a social practice and a tool of knowledge, Object Lessons reminds us of photography’s incredible power to provide a visual way of thinking and a provocative method for archiving the world.
 

The Oldest Living Things in the World is an epic journey through time and space. Over the past decade, artist Rachel Sussman has researched, worked with biologists, and traveled the world to photograph continuously living organisms that are 2,000 years old and older. Spanning from Antarctica to Greenland, the Mojave Desert to the Australian Outback, the result is a stunning and unique visual collection of ancient organisms unlike anything that has been created in the arts or sciences before, insightfully and accessibly narrated by Sussman along the way.
 
Her work is both timeless and timely, and spans disciplines, continents, and millennia. It is underscored by an innate environmentalism and driven by Sussman’s relentless curiosity. She begins at “year zero,” and looks back from there, photographing the past in the present.  These ancient individuals live on every continent and range from Greenlandic lichens that grow only one centimeter a century, to unique desert shrubs in Africa and South America, a predatory fungus in Oregon, Caribbean brain coral, to an 80,000-year-old colony of aspen in Utah. Sussman journeyed to Antarctica to photograph 5,500-year-old moss; Australia for stromatolites, primeval organisms tied to the oxygenation of the planet and the beginnings of life on Earth; and to Tasmania to capture a 43,600-year-old self-propagating shrub that’s the last individual of its kind. Her portraits reveal the living history of our planet—and what we stand to lose in the future. These ancient survivors have weathered millennia in some of the world’s most extreme environments, yet climate change and human encroachment have put many of them in danger. Two of her subjects have already met with untimely deaths by human hands.
 
Alongside the photographs, Sussman relays fascinating – and sometimes harrowing – tales of her global adventures tracking down her subjects and shares insights from the scientists who research them. The oldest living things in the world are a record and celebration of the past, a call to action in the present, and a barometer of our future.

A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's On European Ground considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can still observe in them today. By walking these sites and photographing the very ground in which their history has dissolved, Cohen opens a space for reflection on their complex gravity and legacy.

Cohen's images achieve a solemn beauty even as they engage history at its most topical. Pictures of trenches and bunkers at the battlefields of Somme and Verdun explore the tension between the violence of the past and the inscrutability of its remnants. Photographs from the grounds of Dachau and Auschwitz solicit a provocative dialogue between the ordinariness of these sites today and their haunting memory. They teach us, as the New Art Examiner notes, "that the living perceptual connection to the Holocaust is vanishing." Images of the Berlin Wall show only the footprint of the barricade that once separated two hostile ideologies. They record the physical erosion and looming disappearance of the Wall while capturing its reappearance as a memorialized abstraction.

Accompanying the photographs in On European Ground are essays by Sander Gilman and Jonathan Bordo, as well as an interview with Cohen by critic Roberta Smith of the New York Times. The essays present both an introduction to and aesthetic analysis of Cohen's work, while the interview discusses the intractable problems of history and memory that his photographs so uniquely capture.

Inaugural Winner
The Center for Documentary Studies/Honickman
First Book Prize in Photography

A startling, mesmerizing series of photographs of prairie fires, On Fire transports us from moments of almost apocalyptic splendor to the stillness of near abstraction. For over a decade Kansas-based photographer Larry Schwarm has been making extraordinary color photographs of the dramatic prairie fires that sweep across the vast grasslands of his native state each spring. Based on this stunning and extensive body of work, Schwarm was chosen from over 500 submissions as the inaugural winner of the CDS/Honickman Foundation First Book Prize in Photography. With publication of On Fire, Duke University Press, in association with the Center for Documentary Studies and The Honickman Foundation, launches this major biennial book prize for American photographers.

Fire is an essential element of the ecosystem. Every spring, the expanses of tallgrass prairie in the Flint Hills of east-central Kansas undergo controlled burning. For photographer Larry Schwarm, documenting these fires has become a passion. He captures the essence of the fires and their distinct personalities—ranging from calm and lyrical to angry and raging. His photos allow us to see the redemptive power of fire and to remove ourselves from its tragic elements. Through Schwarm’s lens, the horizon takes on new meaning as we view the sublime, mystical, and sensual character of the burning landscape. Schwarm connects the enormous power and devastation of fire to what can only be identified as another kind of creation—the creation of beauty.

Published by Duke University Press in association with Lyndhurst Books of the Center for Documentary Studies

To view images from the book, please visit http://cds.aas.duke.edu/books/fire.html

The Center for Documentary Studies/Honickman First Book Prize in Photography is open to American photographers who use their cameras for creative exploration, whether it be of places, people, or communities; of the natural or social world; of beauty at large or the lack of it; of objective or subjective realities. Information and guidelines about the prize are available at http://cds.aas.duke.edu/grants

Walter Benjamin’s 1931 essay “A Short History of Photography” is a landmark in the understanding and criticism of the medium, offering surprising new takes on such photographic pioneers as David Octavius Hill and Nicéphore Niépce and their aesthetic and technical achievements.
           
On Photography presents a new translation of that essay along with a number of other writings by Benjamin, some of them presented in English for the first time. Translator and editor Esther Leslie sets Benjamin’s work in context with prefaces to each piece and contributes a substantial introduction that considers Benjamin’s engagement with photography in all its forms, including early commercial studio photography, the uses of photography in science, and much more. 

“People’s lives are written on the fields of old farms. The rows of the fields are like lines on a page, blank and white in winter, filled in with each year’s story of happiness, disappointment, drought, rain, sun, scarcity, plenty. The chapters accumulate, and people enter and leave the narrative. Only the farm goes on.”—From the Introduction

In One Small Farm, Craig Schreiner’s evocative color photographs capture one family as they maintain the rhythms and routines of small farm life near Pine Bluff, Wisconsin. “Milk in the morning and milk at night. Feed the cows and calves. Plant crops. Grind feed. Chop and bale hay. Cut wood. Clean the barn. Spread manure on the fields. Plow snow and split wood in winter. In spring, pick rocks from the fields. Cultivate corn. Pick corn. Harvest oats and barley. Help calves be born. Milk in the morning and milk at night.”
There’s much more to life on the farm than just chores, of course, and Schreiner captures the rhythms and richness of everyday life on the farm in all seasons, evoking both the challenges and the joys and providing viewers a window into a world that is quickly fading. In documenting the Lamberty family’s daily work and life, these thoughtful photos explore larger questions concerning the future of small farm agriculture, Wisconsin cultural traditions, and the rural way of life.

When Melissa Clark purchased a box of old scrapbooks online, she knew only that she had bought something relating to the University of Utah and Zion Park.  What came in the mail was much more than she had expected.  Instead of random mementos, two albums arrived full of photographs and newspaper clippings dating to 1920 that document a trip made by six young women from the University of Utah into the newly formed Zion National Park.  Part of a promotional campaign developed by the Los Angeles and Salt Lake Railroad to advertise its national park shuttle service, the women entered Zion Canyon as its first offical tourists.  When Melissa bought those timeworn scrapbooks she found a forgotten treasure: the opening of Zion.

With text by John Clark, the scrapbooks are now the basis of a one-of-a-kind publication.  Part fashion spread, part adventure guide, and all Utah cultural treasure, Opening Zion is a stunning visual record of the park.  Remarkably detailed black-and-white photographs show the young adventurers scrambling over rocky outcrops, pondering the dizzying height of Zion's sheer walls, and singing camp songs by the campfire.  We are introduced anew to the "gigantic grandeur" of Zion National Park.  As one of the women wrote, "One can think only beautiful thoughts amid such splendor."

An in-depth look into the transformation of visual culture and digital aesthetics

 

First introduced by the German filmmaker Harun Farocki, the term operational images defines the expanding field of machine vision. In this study, media theorist Jussi Parikka develops Farocki’s initial concept by considering the extent to which operational images have pervaded today’s visual culture, outlining how data technologies continue to develop and disrupt our understanding of images beyond representation.

Charting the ways that operational images have been employed throughout a variety of fields and historical epochs, Parikka details their many roles as technologies of analysis, capture, measurement, diagramming, laboring, (machine) learning, identification, tracking, and destruction. He demonstrates how, though inextricable from issues of power and control, operational images extend their reach far beyond militaristic and colonial violence and into the realms of artificial intelligence, data, and numerous aspects of art, media, and everyday visual culture.

Serving as an extensive guide to a key concept in contemporary art, design, and media theory, Operational Images explores the implications of machine vision and the limits of human agency. Through a wealth of case studies highlighting the areas where imagery and data intersect, this book gives us unprecedented insight into the ever-evolving world of posthuman visuality.

Cover alt text: Satellite photo on which white title words appear in yellow boxes. Yellow lines connect the boxes.

Honored with the 1990 American Institute of Architects Gold Medal for a lifetime of outstanding achievement, Fay Jones is an Arkansas original. In receiving the medal from Prince Charles of Great Britain, Jones was hailed as a “powerful and special genius who embodies nearly all the qualities we admire in an architect” and as an artist who used his vision to craft “mysterious and magical places” not only in Arkansas but all over the world.

This book accompanied a special museum exhibit of Jones’s life and work at the Old State House in Little Rock. It traces Jones’s development from his early years as a student of Frank Lloyd Wright and Bruce Goff, to the culmination of his ability in such arresting structures as Pinecote Pavilion in Picayune, Mississippi; Thorncrown Chapel in Eureka Springs, Arkansas; and Chapman University Chapel in Orange, California. Through the black-and-white photographs of the homes, chapels, and other buildings that Jones has created and the accompanying captions and interviews of the architect, the reader is allowed a view into this man’s remarkable talent.

Designing structures that fuse architecture and landscape, the organic and the man-made, Jones has created special places which touch their viewers with the power and subtlety of poetry. Herein we learn why.

From the Foreword by Robert Adams Ivy Jr.:

“Fay Jones’s architecture begins in order and ends in mystery. . . . His role can perhaps best be understood as mediator, a human consciousness that has arisen from the Arkansas soil and scoured the cosmos, then spoken through the voices of stone and wood, steel and glass. Art, philosophy, craft, and human aspiration coalesce in his masterworks, transformed from acts of will into harmonies: Jones lets space sing.”