A SCHOLARLY BOOK REPOSITORY22 start with W start with W
“NO POLITICS whatever.” Walker Evans made this emphatic declaration in 1935, the year he began work for FDR’s Resettlement Administration. Evans insisted that his photographs of tenant farmers and their homes, breadlines, and the unemployed should be treated as “pure record.” The American photographer’s statements have often been dismissed. In Walker Evans: No Politics, Stephanie Schwartz challenges us to engage with what it might mean, in the 1930s and at the height of the Great Depression, to refuse to work politically.
Offering close readings of Evans’s numerous commissions, including his contribution to Carleton Beals’s anti-imperialist tract, The Crime of Cuba (1933), this book is a major departure from the standard accounts of Evans’s work and American documentary. Documentary, Schwartz reveals, is not a means of being present—or being “political.” It is a practice of record making designed to distance its maker from the “scene of the crime.” That crime, Schwartz argues, is not just the Depression; it is the processes of Americanization reshaping both photography and politics in the 1930s. Historicizing documentary, this book reimagines Evans and his legacy—the complexities of claiming “no politics.”
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.
Looking at their photo of railroad tracks, a group of preteen students in South Central Los Angeles see either "a way out of the ghetto," or a "dirty, bad environment." Such are the impressions expressed in the poignant "We Live in the Shadow": Inner-City Kids Tell Their Stories through Photographs.
In Elaine Bell Kaplan's perceptive book, at-risk youth were given five-dollar cameras to tell stories about their world. Their photos and stories show us their response to negative inner-city teen images. We follow them into their schools, and we hear about their creative coping strategies. While these kids see South Central as dangerous, they also see themselves as confident enough to not let the inner city take them down. They refuse to be labeled as "ghetto thugs," as outsiders sometimes do. These outsiders include police, teachers, and other groups representing the institutional voices governing their daily lives.
The kids in "We Live in the Shadow": Inner-City Kids Tell Their Stories through Photographs have developed a multilayered view of society. This impressive book gives voice to their resilience.
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.
Winner of the John Collier Jr. Award for Still Photography
Where the Roads All End tells the remarkable story of an American family’s eight anthropological expeditions to the remote Kalahari Desert in South-West Africa (Namibia) during the 1950s. Raytheon co-founder Laurence Marshall, his wife Lorna, and children John and Elizabeth recorded the lives of some of the last remaining hunter-gatherers, the so-called Bushmen, in what is now recognized as one of the most important ventures in the anthropology of Africa. Largely self-taught as ethnographers, the family supplemented their research with motion picture film and still photography to create an unparalleled archive that documents the Ju/’hoansi and the /Gwi just as they were being settled by the government onto a “Bushman Preserve.” The Marshalls’ films and publications popularized a strong counternarrative to existing negative stereotypes of the “Bushman” and revitalized academic studies of these southern African hunter-gatherers.
This vivid and multilayered account of a unique family enterprise focuses on 25,000 still photographs in the archives of Harvard’s Peabody Museum of Archaeology and Ethnology. Illustrated with over 300 images, Where the Roads All End reflects on the enduring ethnographic record established by the Marshalls and the influential pathways they charted in anthropological fieldwork, visual anthropology, ethnographic film, and documentary photography.
Whiskey Tango Foxtrot gathers the best of Gilbertson’s photographs, chronicling America’s early battles in Iraq, the initial occupation of Baghdad, the insurgency that erupted shortly afterward, the dramatic battle to overtake Falluja, and ultimately, the country’s first national elections. No Western photojournalist has done as much sustained work in occupied Iraq as Gilbertson, and this wide-ranging treatment of the war from the viewpoint of a photographer is the first of its kind. Accompanying each section of the book is a personal account of Gilbertson’s experiences covering the conflict. Throughout, he conveys the exhilaration and terror of photographing war, as well as the challenges of photojournalism in our age of embedded reporting. But ultimately, and just as importantly, Whiskey Tango Foxtrot tells the story of Gilbertson’s own journey from hard-drinking bravado to the grave realism of a scarred survivor. Here he struggles with guilt over the death of a marine escort, tells candidly of his own experience with post-traumatic stress, and grapples with the reality that Iraq—despite the sacrifice in Iraqi and American lives—has descended into a civil war with no end in sight.
A searing account of the American experience in Iraq, Whiskey Tango Foxtrot is sure to become one of the classic war photography books of our time.
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.
To celebrate the acquisition of the archive of distinguished artist Tom Phillips, the Bodleian Library asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, ordinary people could afford to own portraits of themselves. Each of the books in the series contains two hundred images chosen from a visually rich vein of social history. Their covers also feature thematically linked paintings, specially created for each title, from Phillips’s signature work, A Humument.
Women & Hats explores the remarkable range found in the world of millinery, from outrageous Edwardian creations to the inventive austerities of World War II. Each of these unique and visually stunning books give a rich glimpse of forgotten times and will be greatly valued by art and history lovers alike.
Fulkerson and Mantle, longtime artists and residents of the Great Basin themselves, offer a behind-the-scenes intimate glimpse into these women’s lives and artwork—showing not only what they create, but why they create it. Too often overlooked, the women covered here prove there is much richness, life, and creativity in what has often been dismissed as a barren desert. Their stories of overcoming great obstacles unfold right alongside images of their art. Many circle outside the conventional world of galleries, museums, and art publications and have created varied paths to their success. They are indeed true originals, rooted in a land of unique geography, a stew of cultures, and stories like no other.
Women’s Camera Work ranges from American women’s photographic practices during the nineteenth and early twentieth centuries to a study of landscape photography. Using contemporary cultural studies discourse to critique influential male-centered historiography and the male-dominated art world, Davidov exhibits the work of these women; tells their absorbing stories; and discusses representations of North American Indians, African Americans, Asian Americans, and the migrant poor. Evaluating these photographers’ distinct contributions to constructions of Americanness and otherness, she helps us to discover the power of reading images closely, and to learn to see through these women’s eyes.
In presenting one of the most important strands of American photography, this richly illustrated book will interest students of American visual culture, women’s studies, and general readers alike.
In this remarkable book, Melody Davis analyzes the underexamined genre of narrative stereoviews and their audiences. Because stereoviews were created for and marketed primarily to middle-class women in domestic settings, Davis argues that they represent one of the best sources for addressing the flow of historical change in women's lives. By analyzing dozens of stereoviews—including depictions of gender stereotypes, power dynamics, comical or sentimental situations, and scenes of both serious and playful innuendo—Davis energetically spins a broad history of the real social, sexual, and economic changes in the lives of American women. Her close reading and rich contextualization of these compelling vernacular objects bridge the gaps between the private viewing that took place within the home and the outside world of consumption and power that women were gradually entering.
Illustrated with more than one hundred stereographs and including a three-dimensional viewer, this book will appeal to readers with an interest in U.S. women's history, the history of photography, visual and cultural studies, and American studies.
For A World in One Cubic Foot, esteemed nature photographer David Liittschwager took a bright green metal cube—measuring precisely one cubic foot—and set it in various ecosystems around the world, from Costa Rica to Central Park. Working with local scientists, he measured what moved through that small space in a period of twenty-four hours. He then photographed the cube’s setting and the plant, animal, and insect life inside it—anything visible to the naked eye. The result is a stunning portrait of the amazing diversity that can be found in ecosystems around the globe. Many organisms captured in Liittschwager’s photographs have rarely, if ever, been presented in their full splendor to the general reader, and the singular beauty of these images evocatively conveys the richness of life around us and the essential need for its conservation. The breathtaking images are accompanied by equally engaging essays that speak to both the landscapes and the worlds contained within them, from distinguished contributors such as Elizabeth Kolbert and Alan Huffman, in addition to an introduction by E. O. Wilson. After encountering this book, you will never look at the tiniest sliver of your own backyard or neighborhood park the same way; instead, you will be stunned by the unexpected variety of species found in an area so small.
A World in One Cubic Foot puts the world accessibly in our hands and allows us to behold the magic of an ecosystem in miniature. Liittschwager’s awe-inspiring photographs take us to places both familiar and exotic and instill new awareness of the life that abounds all around.
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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