This second edition of Sedges: Cyperus to Scleria brings up to date the identification of species of sedges in Illinois (except Carex) since publication of the first edition in 1976.
During the intervening years, several additions to the sedge flora of Illinois have been made, and many new distributional records have been added. Also, a large number of nomenclatural changes have taken place, resulting in several alterations of scientific names. New illustrations have been provided for all of the additions.
In his introductory material, Robert H. Mohlenbrock discusses the morphology of sedges and the habitats where they can be found. Although the semitechnical keys and descriptions are familiar to experienced botanists, he has simplified them as much as possible to accommodate the novice in sedge identification. He has also included a new key to the sedges and to each genus in which additional species have been added.
For each species, Mohlenbrock has provided a description, statement of habitat and range, Illinois distribution map, discussion, synonymy, and line illustrations showing its diagnostic features. Sedges: Cyperus to Scleria contains 128 illustrations.
2023 Honorable Mention, Brazil Section Humanities Book Prize, Latin American Studies Association (LASA)
This book explores visual portrayals of blackness in Brazil to reveal the integral role of visual culture in crafting race and nation across Latin America.
In the early twentieth century, Brazil shifted from a nation intent on whitening its population to one billing itself as a racial democracy. Anadelia Romo shows that this shift centered in Salvador, Bahia, where throughout the 1950s, modernist artists and intellectuals forged critical alliances with Afro-Brazilian religious communities of Candomblé to promote their culture and their city. These efforts combined with a growing promotion of tourism to transform what had been one of the busiest slaving depots in the Americas into a popular tourist enclave celebrated for its rich Afro-Brazilian culture. Vibrant illustrations and texts by the likes of Jorge Amado, Pierre Verger, and others contributed to a distinctive iconography of the city, with Afro-Bahians at its center. But these optimistic visions of inclusion, Romo reveals, concealed deep racial inequalities. Illustrating how these visual archetypes laid the foundation for Salvador’s modern racial landscape, this book unveils the ways ethnic and racial populations have been both included and excluded not only in Brazil but in Latin America as a whole.
Winner of the John Collier Jr. Award for Still Photography
As a young Fulbright scholar in Bogotá determined to democratize the photographic gaze and bring new visions and voices to public debate about Colombia’s armed conflict, Alexander L. Fattal founded Disparando Cámaras para la Paz (Shooting Cameras for Peace). The project taught photography to young people in El Progreso, a neighborhood on the city’s outskirts that was home to families displaced by violence in the countryside. Cameras in hand, the youth had a chance to record and reimagine their daily existence.
Shooting Cameras for Peace / Disparando Cámaras para la Paz is a penetrating look at one of Latin America’s most dynamic participatory media projects. The haunting and exuberant photographs made under its auspices testify to young people’s will to play, to dream, and to survive. The images bear witness to the resilience and creativity of lives marked by a war that refuses to die.
With text in English and Spanish, Shooting Cameras for Peace / Disparando Cámaras para la Paz makes vital contributions to studies of collaborative media, photographic activism, and peace and conflict in Colombia. Fattal’s insightful text offers critical reflection on the genre of participatory photography and the structural challenges faced by similar media projects.
Through detailed analyses of documentary photography and radical literature, Silent Witnesses explores how working-class identity has been repressed and manipulated to fit the expectations of liberal politicians, radical authors, Marxist historians, feminist academics, and contemporary cultural theorists.
Silver Screens traces the rich history of Milwaukee's movie theaters, from 1890s nickelodeons to the grand palaces of the Roaring Twenties to the shopping mall outlets of today. And the story doesn't end there: in the past two decades, the revival of interest in preservation and restoration of theaters has confirmed that there's still life in these beloved old structures. With the publication of Silver Screens, authors Larry Widen and Judi Anderson help ensure that our old theaters, those being restored and those long since vanished, will remain forever embedded in our collective memory.
In this revised edition of their book Milwaukee Movie Palaces, the authors present new findings on film innovations, drive-in theaters, projection booths, movie promotions, noted theater personalities, recent restoration efforts, and much more. Illuminated with more than a hundred photographs, including many never before published, Silver Screens is a stunning tribute to the legacy of the movie theater.
This pictorial classic is a valuable ethnological record of southeastern Indians that also showcases the work of early photographers and artists.
A collection of over 350 photographs, paintings, drawings,and woodcuts, Life Portraits offers us an important visual representation of southeastern Indians—at work, at play, in rituals, and in death—when they first encountered Europeans.
Studied by historians and archaeologists, as well as museum exhibit designers and costumers, these illustrations provide a wealth of information on native dress and jewelry, house construction, agricultural techniques, warfare, and other aspects of American Indian life. Among the tribes illustrated are Natchez, Choctaw, Creek, Chickasaw, Cherokee, Seminole, Chitimacha, Timucua, Powhatan, Tuscarora, Caddo, Yuchi, and Shawnee.
A special section of the book quotes historic narratives and comments on the life and work of the artists, lithographers, photographers, and engravers who made the originals. Included among these are Jacques le Moyne, John White, Theodore De Bry, Francis Parsons, Joshua Reynolds, John Trumball, George Catlin, John Mix Stanley, Thomas McKenney, and Samuel Waugh.
Life Portraits has been a classic title in southeastern archaeology and a staple of bookstores and museum shops around the country since its original publication in 1958. Because the carefully identified illustrations were secured from a wide variety of sources, including the British Museum, the Charleston Museum, the New York Public Library, and the Oklahoma Historical Society, this volume represents the most comprehensiveand widely available record of Indian images. Designed for Americana collections, it will appeal to general readers as well as professional historians and archaeologists.
The coal mining photographs of C. William Horrell, taken across the southern Illinois Coal Belt over a twenty-year period from 1966 to 1986, are extraordinary examples of documentary photography—so stark and striking that captions often seem superfluous.
Horrell’s photographs capture the varied phenomena of twentieth-century coal mining technology: the awesome scale of surface mining machines and their impact on the land; massive machines forced into narrow passageways with inches to spare as they carry coal from the face to conveyer belts; and, more significant, the advent of continuous miners, machines that can handle four previously separate processes and which have been a fixture in underground or “deep” mines since the mid-1960s.
Horrell was also intrigued by the related activities of mining, including coal’s processing, cleaning, and transportation, as well as the daily, behind-the-scenes operations that keep mines and miners working. His photographs reflect the beauty of the commonplace—the clothes of the miners, their dinner pails, and their tools—and reveal the picturesque remnants of closed mines: the weathered boards of company houses, the imposing iron beauty of an ancient tipple, and an abandoned building against the lowering sky of an approaching storm. Finally, his portraits of coal minersshow the strength, dignity, and enduring spirit of the men and women who work the southern Illinois coal mines.
While other studies of thirties photography have concentrated on the documentary work of the Farm Security Administration (FSA), no previous book has considered it alongside so many of the decade's other important photographic projects. A Staggering Revolution includes individual chapters on Edward Steichen's celebrity portraiture; Berenice Abbott's Changing New York project; the Photo League's ethnography of Harlem; and Edward Weston's western landscapes, made under the auspices of the first Guggenheim Fellowship awarded to a photographer. It also examines Margaret Bourke-White's industrial and documentary pictures, the collective undertakings by California's Group f.64, and the fashion magazine specialists, as well as the activities of the FSA and the Photo League.
In The State of Southern Illinois: An Illustrated History, Herbert K. Russell offers fresh interpretations of a number of important aspects of Southern Illinois history. Focusing on the area known as “Egypt,” the region south of U.S. Route 50 from Salem south to Cairo, he begins his book with the earliest geologic formations and follows Southern Illinois’s history into the twenty-first century. The volume is richly illustrated with maps and photographs, mostly in color, that highlight the informative and straightforward text.
Perhaps most notable is the author’s use of dozens of heretofore neglected sources to dispel the myth that Southern Illinois is merely an extension of Dixie. He corrects the popular impressions that slavery was introduced by early settlers from the South and that a majority of Southern Illinoisans wished to secede. Furthermore, he presents the first in-depth discussion of twelve pre–Civil War, free black communities located in the region. He also identifies the roles coal mining, labor violence, gangsters, and the media played in establishing the area’s image. He concludes optimistically, unveiling a twenty-first-century Southern Illinois filled with myriad attractions and opportunities for citizens and tourists alike.
The State of Southern Illinois is the most accurate all-encompassing volume of history on this unique area that often regards itself as a state within a state. It offers an entirely new perspective on race relations, provides insightful information on the cultural divide between north and south in Illinois, and pays tribute to an often neglected and misunderstood region of this multidimensional state, all against a stunning visual backdrop.
Superior Achievement from the Illinois State Historical Society, 2013
For nearly seventy years, John J. Young Jr. photographed railroads. With unparalleled scope and span, he documented the impact and beauty of railways in American life from 1936 to 2004.
As a child during the Great Depression, J. J. Young Jr. began to photograph railroads in Wheeling, West Virginia. This book collects over one hundred fifty of those images—some unpublished until now—documenting the railroads of Wheeling and the surrounding area from the 1930s until the 1960s.
The photographs within this book highlight the major railroads of Wheeling: the Baltimore & Ohio, the Pennsylvania, the Wheeling & Lake Erie, the Pittsburgh & West Virginia, the New York Central, and the industrial and interurban rail lines that crisscrossed the region. These images capture the routine activities of trains that carried passengers and freight to and from the city and its industries, as well as more unusual traffic, such as a circus-advertising car, the General Motors Train of Tomorrow, and the 1947 American Freedom Train.
This is a book about Philadelphia and about photography, but it is not the usual book about either. On one level, this is the pictorial story of a great industrial metropolis in transition. It is the story of a railroad city, a city of trolleys and subways and horse-drawn vehicles, as it gradually succumbed to the automobile. It is the story of a city filled with neighborhood industry giving way to suburbs, to commuter travel, and to a change in the very nature of work. It is the story of a city spreading out, expanding and doubling in population in fifty years. It is the story of urban exuberance and vitality where ethnic groups mixed and mingled, but it is also the story of slums and poverty, crime and conflict. A Philadelphia family album, filled with pictures of ordinary people, Still Philadelphia focuses on the city of immigrants and industry, not on the lives and houses of the wealthy.
Still Points is a collection of remarkable and evocative still photographs taken by award-winning nonfiction filmmaker and author Robert Gardner during his anthropological and filming expeditions around the world. Thousands of his original photographic transparencies and negatives from the Kalahari Desert, New Guinea, Colombia, India, Ethiopia, Niger, and other remote locations are now housed in the Photographic Archives of Harvard’s Peabody Museum of Archaeology and Ethnology. This elegantly produced volume presents a curated selection of more than 70 color and black-and-white images made by Gardner between the 1950s and the 1980s. Edited by Adele Pressman, Gardner's wife and literary executor, and with a foreword by Eliot Weinberger, Still Points both honors an important and influential artist and reveals new dimensions in his work.
“There at the end of the endless cycles of time and the loops of film is stillness, and these still photos.”—From the foreword by Eliot Weinberger
A staff photographer for the Ketchikan Daily News, Hall Anderson counted among his early influences photographers like Robert Frank and Henri Cartier-Bresson, who understood the visual bounty to be found in photographing the candid side of life. For more than twenty-five years, Anderson has brought this perspective to his photographic endeavors, both personal and professional, in the small town of Ketchikan in southeast Alaska.
Still Rainin' Still Dreamin' showcasesone hundred of Anderson's prize-winning black-and-white images, which collectively chronicle three decades of life in Ketchikan, spanning its transition from a timber- and fishing-based economy to one built on a booming tourism industry. From timber carnivals to election coverage to Fourth of July parades, Still Rainin' Still Dreamin' is a poignant celebration of the uncanny juxtapositions found in everyday life.
The urge to ride a wave, the search for the next perfect swell, is an enduring preoccupation that draws people to coastlines around the world. In recent decades, surfing has grown into a multimillion-dollar industry with over three million surfers in the United States alone and an international competitive circuit that draws top surfers to legendary beaches in Hawaii, California, and Australia. But away from the crowds and the hype, dedicated surfers catch waves in places like the Texas Gulf Coast for the pure pleasure of being in harmony with life, their sport, and the ocean. Kenny Braun knows that primal pleasure, as both a longtime Texas surfer and a fine art photographer who has devoted years to capturing the surf culture on Texas beaches. In Surf Texas, he presents an eloquent photo essay that portrays the enduring fascination of surfing, as well as the singular and sometimes unexpected beauty of the coast.
Texas is one of the top six surfing states in America, and Braun uses evocative black-and-white photography to reveal the essence of the surfers’ world from Galveston to South Padre. His images catch the drama of shooting the waves, those moments of skill and daring as riders rip across the breaking face, as well as the downtime of bobbing on swells like seabirds and hanging out on the beach with friends. Braun also photographs the place—beaches and dunes, skies and storms, surf shops, motels, and parking lots—with a native’s knowing eye for defining details. Elegant and timeless, this vision of the Texas Coast is redolent of sea breezes and salt air and the memories and dreams they evoke. Surfer or not, everyone who feels the primeval attraction of wind and waves will enjoy Surf Texas.
In late prehistory, the ancestors of the present-day Hopi in Arizona created a unique and spectacular painted pottery tradition referred to as Hopi Yellow Ware. This ceramic tradition, which includes Sikyatki Polychrome pottery, inspired Hopi potter Nampeyo’s revival pottery at the turn of the twentieth century.
How did such a unique and unprecedented painting style develop? The authors compiled a corpus of almost 2,000 images of Hopi Yellow Ware bowls from the Peabody Museum’s collection and other museums. Focusing their work on the exterior, glyphlike painted designs of these bowls, they found that the “glyphs” could be placed into sets and apparently acted as a kind of signature.
The authors argue that part-time specialists were engaged in making this pottery and that relatively few households manufactured Hopi Yellow Ware during the more than 300 years of its production.Extending the Peabody’s influential Awatovi project of the 1930s, Symbols in Clay calls into question deep-seated assumptions about pottery production and specialization in the precontact American Southwest.
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