In this visually stunning work, anthropologist Michèle Coquet presents the power and the brilliance of African court arts. Grounding her analysis in the social and historical context of traditional royalty systems, Coquet examines the diverse roles played by artisans, nobles, and kings in the production and use of royal objects. From the precolonial kingdoms of the Edo and the Yoruba, the Ashanti and the Igbo, Coquet reconstructs from a comparativist view the essential cultural connections between art, representation, and the king.

More than ornamentation, royal objects embodied the strength and status of African rulers. The gold-plated stools of the Ashanti, the delicately carved ivory bracelets of the Edo-these objects were meant not simply to adorn but to affirm and enhance the power and prestige of the wearer. Unlike the abstract style frequently seen in African ritual art, realism became manifest in courtly arts. Realism directly linked the symbolic value of the object-a portrait or relief-with the physical person of the king. The contours of the monarch's face, his political and military exploits rendered on palace walls, became visual histories, the work of art in essence corroborating the ruler's sovereign might.

Richly illustrated and wonderfully detailed, Coquet's influential volume offers both a splendid visual presentation and an authoritative analysis of African royal arts.

"[This] beautiful and exciting book emphasizes the skillful court art of the Benin, Dahomey, and the Kongo. A very interesting and unusual approach to the art of the continent that has been too easily situated 'outside of history.'"—Le Figaro

There’s nothing quite like a relationship with an aged pet—a dog or cat who has been at our side for years, forming an ineffable bond. Pampered pets, however, are a rarity among animals who have been domesticated. Farm animals, for example, are usually slaughtered before their first birthday. We never stop to think about it, but the typical images we see of cows, chickens, pigs, and the like are of young animals. What would we see if they were allowed to grow old?

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.
 

American Congregations, Volume 1: Portraits of Twelve Religious Communities chronicles the founding, growth, and development of congregations that represent the diverse and complex reality of American local religious cultures. Some, like Center Church in New Haven, trace their stories back to colonial times. Others, like the Swaminarayan Hindu temple in suburban Chicago, are recent attempts to create local religious worlds. Ranging from congregations of Lebanese Muslims in Northern Canada to Latter-day Saints in Salt Lake City, the essays convey the distinctive character of each congregation and provide vivid evidence of the importance of congregations in daily life.

"This study refreshingly illuminates [congregations'] strengths as places where the public and private lives of their members meet in dynamic creativity and as havens of religious meaning and comfort in the midst of a secular world."—Choice

"A major contribution to how debates about American religion will be framed in the years ahead. . . . In giving us these case histories and a set of excellent interpretive essays, Wind and Lewis have reminded us that American religion must be understood in its particular, local, gathered, human forms. They remind us that congregations matter."—Nancy T. Ammerman, First Things

"Well-presented and engaging essays, by some of the foremost religious scholars working today, examining the histories of twelve diverse religious institutions. . . . A fascinating and important social history of religion."—Kirkus Reviews

"Scholarship and the religious traditions have been enriched by the labors of the Congregational History Project. Theologically, its pioneering research invites us to examine ourselves."—Gabriel Fackre, Christian Century

Portraits. We know what they are, but why do we make them? Americans have been celebrating themselves in portraits since the arrival of the first itinerant portrait painters to the colonies. They created images to commemorate loved ones, glorify the famous, establish our national myths, and honor our shared heroes. Whether painting in oil, carving in stone, casting in bronze, capturing on film, or calculating in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. In this sumptuously illustrated book, Richard H. Saunders explores our collective understanding of portraiture, its history in America, how it shapes our individual and national identity, and why we make portraits—whether for propaganda and public influence or for personal and private appreciation. American Faces is a rich and fascinating view of ourselves.

Baltimore Portraits is a unique presentation of photographs by Amos Badertscher. These portraits—many accompanied by poignantly revealing, hand-written narratives about their subjects—represent a sector of Baltimore that has gone largely unnoticed and rarely has been documented. In this volume, the assemblage of images of bar and street people—transvestites, strippers, drug addicts, drag queens, and hustlers—spans a twenty-year period from the mid-1970s to the mid-1990s. Badertscher’s arresting and melancholy photographs document a culture that has virtually disappeared due to substance abuse, AIDS, and, often, societal or family neglect.

The photographer’s focus on content rather than on elaborate technique reveals the intensely personal—and, indeed, autobiographical—nature of his portraits. Their simplicity along with the text’s intimacy affects the viewer in ways not easily forgotten. An introduction by Tyler Curtain contextualizes the photographs both within the history of Baltimore and its queer subculture and in relationship to contemporaneous work by photographers Nan Goldin, Robert Mapplethorpe, Cindy Sherman, Duane Michaels, and others. Curtain also positions the underlying concerns of Bardertscher’s art in relation to gay and lesbian cultural politics.

This striking collection of portraits, along with the photographer’s moving text, will impact not only a general audience of photographers and enthusiasts of the art but also those engaged with gay and lesbian studies, queer theory, and cultural studies in general. It is published in association with the Duke University Museum of Art.

Around the turn of the twentieth century, most photographs of Indians pandered to shameless, insensitive stereotypes. In contrast, photographic portraits made by Frank A. Rinehart conveyed the dignity and pride of Native peoples. More than 545 Native Americans representing tribes from all over the country attended the Trans-Mississippi and International Exposition in Omaha in 1898 to be part of an event known as the Indian Congress. Rinehart, the exposition’s official photographer, and his assistant Adolph Muhr made more than 500 glass-plate negatives depicting Native Americans in their traditional dress, now housed at Haskell Indian Nations University and regarded as one of the best photographic documentations of Indian leaders from this era.

This book provides an unusual perspective on the Rinehart collection. It features one hundred outstanding images printed from the original negatives made by Rinehart and Muhr at the Congress and over the course of the next two years. It also includes 14 essays by modern Native American writers, artists, and educators—some of them descendants of the individuals photographed—reflecting on the place of these images in their heritage.

Beyond the Reach of Time and Change is not another coffee-table book of historical Indian photographs but rather a conversation between Indian people of a century ago and today. Just as the Rinehart collection offers today's Native Americans a unique connection to the past, this book offers all readers a positive understanding of continuity and endurance within the American Indian community.

For the first time in print, rich, provocative first-hand stories of life in the Bronx in the twentieth century
 
In Bronx Faces and Voices, sixteen men and women tell their personal, uncensored stories of the New York City borough—before, during, and after the troubled years of arson, crime, abandonment, and flight in the 1970s and 1980s. The voices in this volume are as eclectic as the Bronx itself: elected officials, religious leaders, and activists who were determined to preserve the beauty of their parks and stability of their community. They had the courage to stay and fight against drug dealers, absent and indifferent landlords, banks that red-lined entire neighborhoods, and a voracious media that made of the Bronx an international symbol of urban disaster. Some are no longer alive. But each of the sixteen played a positive role in a pivotal time, and they all deserve to be remembered and to have their voices heard.
        Portraits in this volume by noted photographers Georgeen Comerford and Walter Rosenblum document the Bronx "faces" in their beauty and diversity: young and old, witnesses to the history they lived and created.

 

Eschewing the idea of film reviewer-as-solitary-expert, Jonathan Rosenbaum continues to advance his belief that a critic's ideal role is to mediate and facilitate our public discussion of cinema. Portraits and Polemics presents debate as an important form of cinematic encounter whether one argues with filmmakers themselves, on behalf of their work, or with one's self. Rosenbaum takes on filmmakers like Chantal Akerman, Richard Linklater, Manoel De Oliveira, Mark Rappaport, Elaine May, and Béla Tarr. He also engages, implicitly and explicitly, with other writers, arguing with Pauline Kael--and Wikipedia--over Jacques Demy, with the Hollywood Reporter and Variety reviewers of Jarmusch’s The Limits of Control, with David Thomson about James L. Brooks, and with many American and English film critics about misrepresented figures from Jerry Lewis to Yasujiro Ozu to Orson Welles. Throughout, Rosenbaum mines insights, pursues pet notions, and invites readers to join the fray.

Community In-Between / Urur Dhex Dhexad Ah: Portraits of Somali-Americans in Columbus by Qorsho Hassan and Ruth M. Smith is a collection of stories and portraits of fifteen young Somali Americans involved in community building in Columbus, Ohio. By using their unique skills, these individuals balance their identities, build bridges, and create spaces for success. The rich, multifaceted stories in this book represent the heterogeneous experiences of the participants and show the deep connection to the diaspora and the interconnectedness of individual experiences.
 
A combination of storytelling and research connect each narrative to another, creating a strong framework for capturing the roles of young Somali Americans in community building through innovative initiatives such as designing a mixer bottle, beginning charitable programs, and educating the Somali community on voter rights. Two community artists help to capture the participants in their natural spaces, and their journey, aided by their empowering mentor, Riya Jama, bridges the gap of Somali females and their access to photography.
 
 
The portraits, stories, and artifacts throughout the book create a modicum of belonging. This new generation resiliently overcomes challenges such as racism, xenophobia, and Islamophobia while still maintaining their hope in the future. Community In-Between captures their spirit and unwavering faith.
 
 
The portraits, stories, and artifacts throughout the book create a modicum of belonging. This new generation resiliently overcomes challenges such as racism, xenophobia, and Islamophobia while still maintaining their hope in the future. Community In-Between captures their spirit and unwavering faith.
 

Teenage pregnancy has attracted the attention of sociologists, psychologists, social workers, teachers, politicians, taxpayers, and parents. But in the midst of gathering statistics and designing programs, few people have stopped long enough to pay close attention to the young people themselves—to try to understand who they are and what they feel about their lives. In this book, Daniel B. Frank has drawn a series of sensitive and revealing portraits of adolescents confronted with the fact of parenthood.

For two years Frank worked as a tutor at Our Place, a Family Focus center for black teenagers in Evanston, Illinois, listening to them talk about their lives, their feelings, and their private dreams. The power of this volume lies in the voices of these young people describing the pleasures as well as the shocks and bruises of thier new role.

Hope, disillusion, fortitude, loneliness: these themes occur and recur as each story unfolds. Readers will be drawn into the lives of these teenagers and will emerge with fresh insight and understanding about teenage parenthood.

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In 1987 photographer Sandra Dyas moved to Iowa City and began documenting the area’s vibrant live music scene, with its distinctive combination of folk, blues, roots/Americana, and rock sounds. The sixty photos in Down to the River capture her twenty years of photographing live music venues and shooting portraits of musicians in and around the city, resulting in a collection of images as compassionate and honest as the music itself.

Dyas’s photographs present both the sweaty intensity of live performances and the more contemplative moments of individual portraits. They are complemented by Chris Offutt’s empathetic essay, which also encapsulates the experience of connecting with a new home through its music. A companion CD with eighteen tracks by Iowa’s finest singer/songwriters, including Dave Moore, Greg Brown, Bo Ramsey, David Zollo, and Pieta Brown, add up to an unmatched perspective on Iowa music and musicians.

CD Tracks
1.     Iowa Crawl, Joe Price
2.     Poor Back Slider, Greg Brown
3.     Parnell, David Zollo
4.     #807, Pieta Brown
5.     Wheels of Steel, Radoslav Lorkovic
6.     Down to the River, Dave Moore
7.     Lucy and Andy Drive to Arkansas, Kevin Gordon
8.     Chuck Brown, Mike and Amy Finders
9.    Nobody But You, Joe Price
10.     Earleton, BeJae Fleming
11.     Ceremonial Child, High and Lonesome
12.     Sidetrack Lounge, Bo Ramsey
13.     On the Edge, Pieta Brown
14.     One Wrong Turn, Greg Brown
15.     Not in Iowa, Kelly Pardekooper
16.     Living in a Cornfield, Bo Ramsey
17.     ’57 Chevy, Tom Jessen’s Dimestore Outfit
18.     Roll on John, the Pines

Drawing on Anger: Portraits of U.S. Hypocrisy is a collection of Eric J. García’s most unabashed political cartoons about U.S. history and politics from 2004 to the present. They offer a scathing indictment of Republicans, Democrats, and the self-proclaimed greatest country on earth. Garcia reconstructs pivotal moments in history—such as U.S. complicity in the disappearance of forty-three Mexican students, genocide and torture in Iraq, and femicide along the U.S.—Mexico border—and reflects on the larger themes of anti-immigration laws, global imperialism, veterans affairs, and the conquest of the Americas. His cartoons are equally critical of both political parties and of both the United States and Mexico–lobbing criticism and satire in every direction.
 
For over a decade García has been serving up inked visuals with the sharpest of political critiques through a Chicano lens. If you’re looking for funny punch lines, these aren’t the cartoons for you. But if you want to pull down Uncle Sam’s pants and see what’s really going on, this is your book.
 

Runaway slave Sojourner Truth gained fame in the nineteenth century as an abolitionist, feminist, and orator and earned a living partly by selling photographic carte de visite portraits of herself at lectures and by mail. Cartes de visite, similar in format to calling cards, were relatively inexpensive collectibles that quickly became a new mode of mass communication. Despite being illiterate, Truth copyrighted her photographs in her name and added the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.”

Featuring the largest collection of Truth’s photographs ever published, Enduring Truths is the first book to explore how she used her image, the press, the postal service, and copyright laws to support her activism and herself. Darcy Grimaldo Grigsby establishes a range of important contexts for Truth’s portraits, including the strategic role of photography and copyright for an illiterate former slave; the shared politics of Truth’s cartes de visite and federal banknotes, which were both created to fund the Union cause; and the ways that photochemical limitations complicated the portrayal of different skin tones. Insightful and powerful, Enduring Truths shows how Truth made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.

The Emancipation Proclamation is one of the most important documents in American history. As we commemorate its 150th anniversary, what do we really know about those who experienced slavery?

In their pioneering book, Envisioning Emancipation, renowned photographic historian Deborah Willis and historian of slavery Barbara Krauthamer have amassed 150 photographs—some never before published—from the antebellum days of the 1850s through the New Deal era of the 1930s. The authors vividly display the seismic impact of emancipation on African Americans born before and after the Proclamation, providing a perspective on freedom and slavery and a way to understand the photos as documents of engagement, action, struggle, and aspiration.

Envisioning Emancipation illustrates what freedom looked like for black Americans in the Civil War era. From photos of the enslaved on plantations and African American soldiers and camp workers in the Union Army to Juneteenth celebrations, slave reunions, and portraits of black families and workers in the American South, the images in this book challenge perceptions of slavery. They show not only what the subjects emphasized about themselves but also the ways Americans of all colors and genders opposed slavery and marked its end.

Filled with powerful images of lives too often ignored or erased from historical records, Envisioning Emancipation provides a new perspective on American culture.

In his follow-up to Tavern League: Portraits of Wisconsin Bars, Carl Corey turns his camera on Wisconsin family-owned businesses in existence fifty years or longer. The businesses portrayed here—bakeries and barbecue joints, funeral homes and furniture builders, cheesemakers, fishermen, ferry boat drivers—have survived against all the odds, weathering tough economic times and big-business competition. The owners are loyal to their employees, their families, and themselves. And they are integral to their local economies and social fabric. The services and goods they provide are usually for neighbors and friends. Generations serve generations, creating lasting relationships and strong, vibrant neighborhoods and rural communities. In For Love and Money, Carl Corey provides indelible glimpses of an increasingly endangered way of life. The Museum of Wisconsin Art’s Graham Reid has said, “As current and future generations come and go, these pictures will survive in the hands of the subjects, collectors, museums, and galleries. Will the businesses featured enjoy a similar longevity? Only time will tell, and we can only watch and hope, but Carl Corey has ensured that they will not be forgotten.”

Carl Van Vechten (1880-1964) was perhaps the most notorious white patron of the arts of black America, particularly during the Harlem Renaissance. In 1932, he gave up a career as a theater critic and a novelist of light fiction to become a full-time amateur photographer. His photographs of the era's celebrated African American cultural figures are well-known, but until recently his private, homoerotic interracial photographs were sealed in an archive. Author James Smalls considers how these images relate to Van Vechten's public persona and private desires. He discusses the interracial photographs in the context of white privilege and exotic tourism, primitivism's relation to modernism, camp sensibility and theatricality, and the vibrancy of underground gay visual culture during periods of political oppression. He also considers contemporary viewers' conflicting responses to the eroticized black male body in Van Vechten's and later twentieth-century photography. This original and provocative book embraces transracial voyeuristic pleasure while acknowledging the negative political implications of that pleasure. Amply illustrated with 60 pioneering duotones, The Homoerotic Photography of Carl Van Vechten celebrates the sensual nude male form with both candor and reverence, offering a rare glimpse into the private domain of the master photographer and his handsome subjects.

Best known for their ritual use of peyote, the Huichol people of west-central Mexico carried much of their original belief system into the twentieth century unadulterated by the influence of Christian missionaries. Among the Huichol, reciting myths and performing rituals pleases the ancestors and helps maintain a world in which abundant subsistence and good health are assured.

This volume is a collection of myths recorded by Robert Zingg in 1934 in the village of Tuxpan and is the most comprehensive record of Huichol mythology ever published. Zingg was the first professional anthropologist to study the Huichol, and his generosity toward them and political advocacy on their behalf allowed him to overcome tribal sanctions against divulging secrets to outsiders. He is fondly remembered today by some Huichols who were children when he lived among them. Zingg recognized that the alternation between dry and wet seasons pervades Huichol myth and ritual as it does their subsistence activities, and his arrangement of the texts sheds much light on Huichol tradition. The volume contains both aboriginal myths that attest to the abiding Huichol obligation to serve ancestors who control nature and its processes, and Christian-inspired myths that document the traumatic effect that silver mining and Franciscan missions had on Huichol society.

First published in 1998 in a Spanish-language edition, Huichol Mythology is presented here for the first time in English, with more than 40 original photographs by Zingg accompanying the text. For this volume, the editors provide a meticulous historical account of Huichol society from about 200 A.D. through the colonial era, enabling readers to fully grasp the significance of the myths free of the sensationalized interpretations found in popular accounts of the Huichol. Zingg’s compilation is a landmark work, indispensable to the study of mythology, Mexican Indians, and comparative religion.

Photographer and filmmaker Victor Masayesva, Jr., was raised in the Hopi village of Hotevilla and was educated at the Horace Mann School in New York, Princeton University, and the University of Arizona. His immersion in photographic experimentation embraces a projection of stories and symbols, natural objects, and locations both at Hopi and worldwide. His work has been exhibited internationally, and he is perhaps best known for his feature-length film Imagining Indians. For Masayesva, photography is a discipline that he approaches in a manner similar to the way that he was taught about himself and his clan identity. As he navigates his personal associations with Hopi subject matter in varied investigations of biology, ecology, humanity, history, planetary energy, places remembered, and musings on things broken and whole, he has created an extraordinary visual cosmography. In this compilation of his photographic journey, Masayesva presents some of the most important and vibrant images of that visual quest and reflects on them in provocative essays.

I Can't Remember is an intimate photo essay of four families and their process of coping with Alzheimer's disease -- a process of coming to terms with the practical and emotional consequences of a disease that changes the entire family dynamic. Family members tell their stories of first denying that their loved one cold be suffering from Alzheimer's, then dealing with the changing relationships among family members and the intensifying emotions, as old family troubles are stirred up and new feelings of despair and love appear.

Photographs and  personal narratives are woven together to show both the unpleasant and the beautiful sides of the struggle for connection between spouses and across generations. Smoller has a gift for capturing people as they interact, whether it's arguing around the kitchen table or dancing cheek to cheek.

Each family's story is different, but all four families share common pain and frustration. A highway patrolman who has early onset Alzheimer's describes what it is like to have Alzheimer's. His wife tells a parallel story of life together after hearing the diagnosis. A daughter gives the following account of her mother: "I though that it would be helpful if mother spent time in my home in Colorado. Before this visit, I was in denial, convinced that she suffered from depression and not Alzheimer's disease. ... On the plane trip to Colorado, I was brought into the stark, cold reality that Mom had Alzheimer's. She did not know where she was or where she was going. Upon arrival, she did not recognize my home, although she had visited me numerous times in the past. She tried sleeping in the bathtub the first night."

Another daughter relates that she was unaware of the onset of Alzheimer's in her mother, because her mother was such a "wonderful actress." Eventually the memory problems were no longer confined to where things belonged in the kitchen, but extended into driving off at random, driving in circles in a parking lot in the middle of the night or as much as 75 miles away from home.

I Can't Remember gives an intimate glimpse into the hearts and minds of caregivers and patients. Supportive social networks are essential for healthy life. This book provides the impetus caregivers need to develop contacts that can provide support. Smoller offers a glimpse of the frustration and losses faced by those who deal with Alzheimer's, as well as the potential to transcend those losses -- even is only for a time -- through love and hope.

Though photographers Dorothea Lange and Ansel Adams were contemporaries and longtime friends, most of their work portrays contrasting subject matter. Lange’s artistic photodocumentation set a new aesthetic standard for social commentary; Adams lit up nature’s wonders with an unfailing eye and preeminent technical skill. That they joined together to photograph Mormons in Utah in the early 1950s for Life magazine may come as a surprise.

In a Rugged Land examines the history and content of the two photographers’ forgotten collaboration Three Mormon Towns. Looking at Adams’s and Lange’s photographs, extant letters, and personal memories, the book provides a window into an important moment in their careers and seeks to understand why a project that once held such promise ended in disillusionment and is now little more than a footnote in their illustrative biographies. Swensen’s in-depth research and interpretation help make sense of what they did and place them alongside others who were also exploring the particular qualities of the Mormon village at that time. 

Interview with Tom Williams at Access Utah

Chairman Yang Ho Cho, head of Korean Air and Hanjin, talks of Los Angeles as a “microcosm of the United States—a land built of immigrants who want to do one thing: improve their lives.”

In The Korean-American Dream, respected and distinguished business journalist James Flanigan uncovers the struggles and contributions of the people who have made Los Angeles the largest Korean city outside of Seoul.

This intimate account illustrates how Korean immigrants have preserved their culture and history as well as adapted to the American culture of E Pluribus Unum, the radical promise of “out of many, one.” Flanigan shows how Los Angeles emerged as a capital of the Asia Pacific region.
At less than 2 million, Korean Americans are a relatively small group compared to new Americans from China, the Philippines, and India. But with energy and drive, they are building landmarks in New York as well as L.A., lobbying for causes in Washington, founding businesses, heading universities and hospitals, and holding public office in all parts of the U.S.

Flanigan’s compelling narrative told largely through personal interviews provides a front-row seat to the economic, business, and cultural developments of the Korean American Community. At a time of spirited debate about immigration, their energy and ambition serve as a ringing reminder of the promise of the American mosaic.

In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.

Kiriwina, the largest of the Trobriand Islands in eastern Papua New Guinea, is anthropology's "sacred place." It was here that Bronislaw Malinowski conducted the path-breaking fieldwork that enabled him to revolutionize British social anthropology. And it was here that he developed one of anthropology's most important tools: photography.

Malinowski's Kiriwina presents nearly two hundred of Malinowski's previously unpublished photographs, taken between 1915 and 1918, of the Trobriand Islanders. The images are more than embellishments of his ethnography; they are a recreation in striking detail of a distant world. Michael Young, an anthropologist and Malinowski's authorized biographer, has selected the photographs based on one of Malinowski's unpublished studies of the region, and the plan of that abandoned project has helped structure this book.

Divided into fourteen sections, Malinowski's Kiriwina is a series of linked photo-essays based on Trobriand institutions and cultural themes as described by Malinowski. The introductory essay by Young appraises the founding anthropologist's photographic oeuvre, explains the historical circumstances and technical aspects of the images, and puts them in their colonial context. Young illuminates the photographs with quotations from Malinowski's diaries, letters, and field notes, thereby giving a biographical dimension to the collection. Commentaries on the images by contemporary Trobrianders add a further layer of interpretation. The result is a stunning record not only of a fascinating place, but of the mutual relationship between ethnography and the visual.

You see them as faceless shapes on the median or in city parks. You recognize them by their cardboard signs, their bags of aluminum cans, or their weathered skin. But you do not know them.



In Nomads of a Desert City Barbara Seyda meets the gazes of our homeless neighbors and, with an open heart and the eye of an accomplished photographer, uncovers their compelling stories of life on the edge.



Byrdy is a teenager from Alaska who left a violent husband and misses the young daughter her mother now cares for. Her eyes show a wisdom that belies her youth. Samuel is 95 and collects cans for cash. His face shows a lifetime of living outside while his eyes hint at the countless stories he could tell. Lamanda worked as an accountant before an act of desperation landed her in prison. Now she struggles to raise the seven children of a woman she met there. Dorothy—whose earliest memories are of physical and sexual abuse—lives in a shelter, paycheck to paycheck, reciting affirmations so she may continue “to grace the world with my presence.”



They live on the streets or in shelters. They are women and men, young and old, Native or Anglo or Black or Hispanic. Their faces reflect the forces that have shaped their lives: alcoholism, poverty, racism, mental illness, and abuse. But like desert survivors, they draw strength from some hidden reservoir.



Few recent studies on homelessness offer such a revealing collection of oral history narratives and compelling portraits. Thirteen homeless women and men open a rare window to enrich our understanding of the complex personal struggles and triumphs of their lives. Nomads of a Desert City sheds a glaring light on the shadow side of the American Dream—and takes us to the crossroads of despair and hope where the human spirit survives.

A bestselling, up-to-date evaluation of a legendary Indian leader. Named Outstanding Book by the Gustavus Myers Center for the  Study of Human Rights. "Osceola's Legacy is significant for its geneology and archaeological study of this Native American and his interaction with the federal government during the 1800s. The catalog of photographs of Osceola portraits and his personal possessions makes this a worthwhile reference book as well." --Georgia Historical Quarterly

The original essays in this comprehensive collection examine the lives and sports of famous and not-so-famous African American male and female athletes from the nineteenth century to today. Here are twenty insightful biographies that furnish perspectives on the changing status of these athletes and how these changes mirrored the transformation of sports, American society, and civil rights legislation. Some of the athletes discussed include Marshall Taylor (bicycling), William Henry Lewis (football), Jack Johnson, Satchel Paige, Jesse Owens, Joe Lewis, Alice Coachman (track and field), Althea Gibson (tennis), Wilma Rudolph, Bill Russell, Jim Brown, Arthur Ashe, Michael Jordan, Tiger Woods, and Venus and Serena Williams.

People of the Big Voice tells the visual history of Ho-Chunk families at the turn of the twentieth century and beyond as depicted through the lens of Black River Falls, Wisconsin studio photographer, Charles Van Schaick. The family relationships between those who “sat for the photographer” are clearly visible in these images—sisters, friends, families, young couples—who appear and reappear to fill in a chronicle spanning from 1879 to 1942. Also included are candid shots of Ho-Chunk on the streets of Black River Falls, outside family dwellings, and at powwows. As author and Ho-Chunk tribal member Amy Lonetree writes, “A significant number of the images were taken just a few short years after the darkest, most devastating period for the Ho-Chunk. Invasion, diseases, warfare, forced assimilation, loss of land, and repeated forced removals from our beloved homelands left the Ho-Chunk people in a fight for their culture and their lives.”

For more than forty years Bruce Jackson has been documenting—in books, photographs, audio recording, and film—inmates’ lives in American prisons. In November, 1975, he acquired a collection of old ID photos while he was visiting the Cummins Unit, a state prison farm in Arkansas. They are published together for the first time in this remarkable book.

The 121 images that appear here were likely taken between 1915 and 1940. As Jackson describes in an absorbing introduction, the function of these photos was not portraiture—their function was to “fold a person into the controlled space of a dossier.” Here, freed from their prison “jackets,” and printed at sizes far larger than their originals, these one-time ID photos have now become portraits. Jackson’s restoration transforms what were small bureaucratic artifacts into moving images of real men and women.

Pictures from a Drawer also contains an extraordinary description of everyday life at Cummins prison in the 1950s, written originally by hand and presented to Jackson in 1973 by its author, a long-time inmate.

In these vivid portraits of prominent twentieth-century intellectuals, Edward Shils couples the sensitivity of a biographer with the profound knowledge of a highly respected scholar. Ranging as widely across various disciplines as Shils himself did, the essays gathered here share a distaste for faddists who "run with the intellectual mob" and a deep respect for intellectuals who maintain their integrity under great pressure.

Highlights include an affectionate treatment of Leo Szilard, the physicist whose involvement with the development of the atomic bomb led him to work ceaselessly to address its social consequences; a discussion of the educational philosophy of Robert Maynard Hutchins, the University of Chicago's fifth and most controversial president; an appreciative account of the Polish emigré Leopold Labedz's well-informed and outspoken resistance to Communism; and an essay about the extraordinary Indian writer Nirad Chaudhuri.

Many of these essays have appeared in The American Scholar, edited by Joseph Epstein, who introduces this volume with his own portrait of Edward Shils.

"Though professionally a sociologist, Edward Shils was a man of wide cosmopolitan culture and experience, greatly concerned with the public problems of his time: in particular with those created by the rise of new and dangerous ideologies, the frightening possibilities of science, and the apparent abrogation of public responsibility by many Western intellectuals."—Hugh Trevor-Roper

The late Edward Shils was a member of the University of Chicago's Committee on Social Thought for forty-five years and a fellow of Peterhouse, Cambridge University. His many books include The Calling of Sociology and The Intellectuals and the Powers, both published by the University of Chicago Press.

Portraits in the Andes examines indigenous and mestizo self-representation through the medium of photography from the early to mid twentieth century. As Jorge Coronado reveals, these images offer a powerful counterpoint to the often-slanted, predominant view of indigenismo produced by the intellectual elite.
            Photography offered an inexpensive and readily available technology for producing portraits and other images that allowed lower- and middle-class racialized subjects to create their own distinct rhetoric and vision of their culture. The powerful identity-marking vehicle that photography provided to the masses has been overlooked in much of Latin American cultural studies—which have focused primarily on the elite’s visual arts. Coronado's study offers close readings of Andean photographic archives from the early- to mid-twentieth century, to show the development of a consumer culture and the agency of marginalized groups in creating a visual document of their personal interpretations of modernity.

A collection of new essays on notable historic and contemporary Basques of America's Far West that offers a perceptive and lively examination of the lives of one of the West's most resilient and successful ethnic minorities. It is essential reading for anyone interested in the Basque people or those interested in the process of immigration and assimilation: these profiles illustrate how America's Basque immigrants have achieved success in mainstream society while retaining strong ties to their ancient Old World culture.

Not long ago, pottery was a lost art in Chihuahua, Mexico. But in the 1970s, near the ruins of Casas Grandes, an art revolution was born. Inspired by ancient pottery fragments from a tradition that had disappeared before the arrival of the first Europeans, a self-taught woodcutter-turned-artist reinvented an entire ceramic technology. Today Casas Grandes pottery, made by hand from local clays and mineral colors by a handful of artists, claims high prices and sets the standard for contemporary pottery. Photographer Sandra Smith traveled to Mata Ortíz to photograph the potters and to record their reflections on their work. Her portraits document their techniques—collecting and preparing the clay, forming by hand, sanding, and painting. They also capture intimate moments between artists and their art. For anyone who has ever admired Casas Grandes pottery, Portraits of Clay is a beautiful introduction to the potters and their work.

Portraits of Conflict: A Photographic History of Alabama in the Civil War is the tenth volume in this acclaimed series showing the human side of the country's great national conflict. Over 230 photographs of soldiers and civilians from Alabama, many never seen before, are accompanied by their personal stories and woven into the larger narrative of the war both on the battlefield and the home front. Alabama is unusual among the Rebel states in that, while its people saw little fighting inside its boundaries, nearly one hundred thousand Alabamians served with Confederate units throughout the South. This volume chronicles their experiences in almost every battle east of the Mississippi River--especially at Sharpsburg, Chancellorsville, and Gettysburg under the legendary Robert E. Lee; at Murfreesboro and Chickamauga as part of the ill-fated Army of Tennessee; and at the famous siege of Vicksburg. Ultimately Union soldiers did invade the state, and Alabamians defended their homeland against enemy cavalry raiders at Selma and against Federal warships in the fight for Mobile Bay. The volume also includes accounts of some of Alabama's leading politicians as well as several of its more ordinary citizens. This new volume contains the same quality of photography and storytelling that has attracted Civil War enthusiasts since the first volume was published in 1987, making it another welcome addition to the series Civil War History called "a sensibly priced, beautifully produced photographic history."

A deeply divided border state, heir to the “Bleeding Kansas” era, Missouri became the third most fought-over state in the war, following Virginia and Tennessee. Rich in resources and manpower, critical politically to both the Union and the Confederacy, it was the scene of conventional battles, river warfare, and cavalry raids. It saw the first combat by organized units of Native Americans and African Americans. It was also marked by guerrilla warfare of unparalleled viciousness. This volume, the ninth in the series, includes hundreds of photographs, many of them never before published. The authors provide text and commentary, organizing the photographs into chapters covering the origins of the war, its conventional and guerrilla phases, the war on the rivers, medicine (Sweeny’s medical knowledge adds a great deal to this chapter and expands our knowledge of its practice in the west), the experiences of Missourians who served out of state, and the process of reunion in the postwar years.

This volume--a collection of essays dedicated to one of this century's most distinguished medieval historians, David Herlihy--introduces the general reader to the new social history of the Middle Ages and the Renaissance. The essays address three themes: sex and the family, power and patronage in local history, and society in town and countryside. The authors use current research to illustrate how Herlihy's ideas continue to shape work about the lives of powerful and ordinary people in this long and important period of Western history.

Portraits of Medieval and Renaissance Living opens with Herlihy's final summary of his views on family history, followed by a reminiscence by his most important collaborator, Christiane Klapisch-Zuber. The first group of essays takes us inside specific familial settings, using recent methods in anthropological, legal, and women's studies to uncover new dimensions of medieval and Renaissance family life. A second group of studies focuses on the question of authority in medieval society and advances new theses about politics and society in Florence and other local settings. The final group of authors considers the special circumstances of town and countryside in Italy, England, and Spain and draws insightful generalizations across territorial and national boundaries.

Like Herlihy's own work, these essays present innovative and challenging hypotheses about significant problems in the history of medieval and Renaissance Europe. Important new material on Florence, family history, religion, the Inquisition, and taxation is presented for the first time, but the essays are not simply technical exercises focused on small or isolated pieces of research. Thus the volume will go beyond the interest of specialists in medieval and Renaissance social history and will attract a wide audience of students and scholars.

Samuel K. Cohn, Jr., is Professor of History, Brandeis University. Steven Epstein is Professor of History, University of Colorado.

As women entered the field of cultural production in unprecedented numbers in nineteenth-century France and Britain, they gradually forged a place for themselves, however tenuous, in artistic movements and exhibitions, in academies and salons, and finally in the public imagination. Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800–1860 focuses on a decisive period in that process of professional self-invention and maps out the concrete and symbolic roles played by women painters, real and fictional, in the construction of female artistic identity in the aesthetic and the public spheres. Alexandra K. Wettlaufer examines the diverse and complex ways canonical and non-canonical women painters and novelists—including Anne Brontë, Sydney Owenson, Margaret Gillies, Marceline Desbordes-Valmore, George Sand, and Hortense Haudebourt-Lescot—figured and brought forth the radical image of a female subject representing the world.

 

Wettlaufer brings to light a rich and nearly forgotten culture of women’s artistic production, allowing us to understand the nineteenth-century in more complex and nuanced ways across the borders of gender, genre, and nation. In her close readings of paintings by women and novels about women painting, she charts the political and cultural resonances of this artistic self-representation, tracing its evolution through themes of “The Studio” (Part I), “Cosmopolitan Visions” (Part II), and “The Portrait” (Part III). By pairing painting and literature in a single study that also considers works from two distinct but closely related cultures, Portraits of the Artist as a Young Woman locates the interpretation of these works in the dialogic context in which they were created and consumed, highlighting aesthetic and political intersections between nineteenth-century British and French art, literature, and feminism that are too often elided by the disciplinary boundaries of scholarship.

Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.

In this engaging narrative, Cherene Sherrard-Johnson uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.

For more than eleven hundred years, the Vestal Virgins dedicated their lives to the goddess Vesta, protector of the Roman state. Though supervised by a male priest, the Pontifex Maximus, they had privileges beyond those of most women; like Roman men, they dispensed favors and influence on behalf of their clients and relatives. In 1883, Rodolfo Lanciani, Director of Antiquities for Rome, discovered the first Vestal statues. The recovery of the Vestals’ house, and the objects contained therein, was an exciting moment in Roman archaeology. Newspapers were filled with details about the huge numbers of sculptures, inscriptions, jewelry, coins, and terracotta figures.

Molly M. Lindner examines the sculptural presentation of the Vestal Virgins and investigates what images of long-dead women tell us about their lives. She addresses why these portraits were created, and why they only began to appear in the late first or second century CE—much later than portraits of other Roman priestesses and nonimperial women. Lindner sheds light on the distinctions between a Vestal portrait and portraits of other priestesses, and considers why Vestal portraits do not copy each other’s headdresses and hairstyles. In addition to the extensive illustrations that complement the text, a catalog of all known Vestal portraits displays historical clues embedded in the hairstyles and facial features of the Vestals and other women of their day. In Portraits of the Vestal Virgins, Priestesses of Ancient Rome, Lindner has given a voice to the long-silent women of these extraordinary marble portraits.

 

Portraits of Violence explores the image and idea of facial disfigurement in one of its most troubling modern formations, as a symbol and consequence of war. It opens with Nina Berman’s iconic photograph Marine Wedding, which provoked a debate about the medical, military, and psychological response to serious combat injuries. While these issues remain urgent, it is equally crucial to interrogate the representation of war and injury. The concepts of valor, heroism, patriotism, and courage assume visible form and do their cultural work when they are personified and embodied. The mutilated or disabled veteran’s body can connote the brutalizing, dehumanizing potential of modern combat.
 
Suzannah Biernoff draws on a wide variety of sources mainly from WWI but also contemporary photography and computer games. Each chapter revolves around particular images: Marine Wedding is discussed alongside Stuart Griffiths’ portraits of British veterans; Henry Tonks’ drawings of WWI facial casualties are compared to the medical photographs in the Gillies Archives; the production of portrait masks for the severely disfigured is approached through the lens of documentary film and photography; and finally the haunting image of one of Tonks’s patients reappears in BioShock, a highly successful computer game. The book simultaneously addresses a neglected area in disability studies; puts disfigurement on the agenda for art history and visual studies; and makes a timely and provocative contribution to the literature on the First World War.

We are surrounded with portraits: from the cipher-like portrait of a president on a bank note to security pass photos; from images of politicians in the media to Facebook; from galleries exhibiting Titian or Leonardo to contemporary art deploying the self-image, as with Jeff Koons or Cindy Sherman. In antiquity portraiture was of major importance in the exercise of power. Today it remains not only a part of everyday life, but also a crucial way for artists to define themselves in relation to their environment and their contemporaries. 

 

In Portrayal and the Search for Identity, Marcia Pointon investigates how we view and understand portraiture as a genre and how portraits function as artworks within social and political networks. Likeness is never a straightforward matter, as we rarely have the subject of a portrait as a point of comparison. Featuring familiar canonical works and little-known portraits, Portrayal seeks to unsettle notions of portraiture as an art of convention, a reassuring reflection of social realities. Pointon invites readers to consider how identity is produced pictorially and where likeness is registered apart from in a face. In exploring these issues, she addresses wide-ranging problems such as the construction of masculinity in dress, representations of slaves, and self-portraiture in relation to mortality.

In 1999, Noelani Goodyear-Ka‘ōpua was among a group of young educators and parents who founded Hālau Kū Māna, a secondary school that remains one of the only Hawaiian culture-based charter schools in urban Honolulu. The Seeds We Planted tells the story of Hālau Kū Māna against the backdrop of the Hawaiian struggle for self-determination and the U.S. charter school movement, revealing a critical tension: the successes of a school celebrating indigenous culture are measured by the standards of settler colonialism.

How, Goodyear-Ka‘ōpua asks, does an indigenous people use schooling to maintain and transform a common sense of purpose and interconnection of nationhood in the face of forces of imperialism and colonialism? What roles do race, gender, and place play in these processes? Her book, with its richly descriptive portrait of indigenous education in one community, offers practical answers steeped in the remarkable—and largely suppressed—history of Hawaiian popular learning and literacy.

This uniquely Hawaiian experience addresses broader concerns about what it means to enact indigenous cultural–political resurgence while working within and against settler colonial structures. Ultimately, The Seeds We Planted shows that indigenous education can foster collective renewal and continuity.

"A wonderful book that tells you the basic truths of our city." —Studs Terkel

Few people know Chicago as do Rick Kogan and Charles Osgood, and their "Sidewalks" column for the Chicago Tribune Sunday Magazine is a tour of the city like no other, taking readers to the off-beat and quintessential spots that give Chicago its character—that make its inhabitants feel at home and tell its visitors that they have arrived.

Accompanied by evocative color photographs by Charles Osgood, Kogan's pieces revisit the lost places and people of Chicago, and take readers down the quiet byways and thriving thoroughfares, pointing out the characters and cornerstones, the oddities and institutions that make the city what it is. In this collection you will find an elegy for Maxwell Street, the marketplace that pulsed with city life for more than 100 years; a remembrance of a disturbing advertisement ("Are you a slave to housework?") on the side of a building on Irving Park Road; a cross marking a deadly intersection; a magical miniature golf course; as well as ballad singer Fred Holstein, the denizens of the World Gym and memories of Bensinger's pool hall, the day-camp kids of summer, bike couriers, the creatures of the beach, and much, much more. Here is Chicago, past, present, and—let's hope—future, captured in the unique archive of Sidewalks.

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.

Now little recognized by their neighbors, Southern Paiutes once had homelands that included much of the vast Colorado Plateau, Great Basin, and Mojave Desert. From the Four Corners’ San Juan River to California’s lower Colorado, from Death Valley to Canyonlands, from Capitol Reef to the Grand Canyon, Paiutes lived in many small, widespread communities. They still do, but the communities are fewer, smaller, and mostly deprived of the lands and resources that sustained traditional lives.

To portray a people and the individuals who comprise it, William Logan Hebner and Michael L. Plyler relay Paiute voices and reveal Paiute faces, creating a space for them to tell their stories and stake claim to who they once were and now are.

In nineteenth-century Spain, the education of deaf students took shape through various contradictory philosophies and practices. Susan Plann depicts this ambivalence by profiling a select group of teachers and students in her detailed history The Spanish National Deaf School: Portraits from the Nineteenth Century.

Plann’s subjects reveal the political, financial, and identity issues that dominated the operation of the National School for Deaf-Mutes and the Blind in Madrid from 1805 to1899. Roberto Francisco Prádez y Gautier, the first deaf teacher in Spain, taught art from 1805–36; he also was the last deaf teacher for the next 50 years. Juan Manuel Ballesteros, the hearing director from 1835 to1868, enacted an “ableist” policy that barred deaf professors. At the same time, another hearing teacher, Francisco Fernández Villabrille, wrote the first Spanish Sign Language dictionary. In the 1870s, two deaf students, Manuel Tinoco and Patricio García, resisted the physical abuse they received and set the stage for the growth of a Deaf identity that opposed the deprecating medical model of deafness. Marcelina Ruiz Ricote y Fernández a hearing female teacher who taught from 1869 to 1897, combated the school’s sexist polices. The Spanish National Deaf School concludes with Martín de Martín y Ruiz, the most famous deaf-blind student from the Madrid school. Through these portraits, Plann has brought life to the major issues that defined education in nineteenth-century Spain, themes that have influenced the status of deaf Spaniards today.

Stars in My Eyes is a revealing and entertaining collection of celebrity portraits, rendered both in acute drawings and in finely observed prose. In the 1970s and 1980s, internationally known artist Don Bachardy made portraits from life, depicting the actors, writers, artists, composers, directors, and Hollywood elite that he and his partner Christopher Isherwood knew. He then made detailed notes about these portrait sittings in the journal he has kept for more than forty years. The result is a unique document: we enter the mind of the artist as he records the images and behavior of his celebrity subjects—from Ruby Keeler and Barbara Stanwyck to Jack Nicholson and Linda Ronstadt—during their often intense collaboration with him.

Finalist, Lambda Book Award
 

Challenging prevailing theories regarding the birth of the subject, Catherine M. Soussloff argues that the modern subject did not emerge from psychoanalysis or existential philosophy but rather in the theory and practice of portraiture in early-twentieth-century Vienna. Soussloff traces the development in Vienna of an ethics of representation that emphasized subjects as socially and historically constructed selves who could only be understood—and understand themselves—in relation to others, including the portrait painters and the viewers. In this beautifully illustrated book, she demonstrates both how portrait painters began to focus on the interior lives of their subjects and how the discipline of art history developed around the genre of portraiture.

Soussloff combines a historically grounded examination of art and art historical thinking in Vienna with subsequent theories of portraiture and a careful historiography of philosophical and psychoanalytic approaches to human consciousness from Hegel to Sartre and from Freud to Lacan. She chronicles the emergence of a social theory of art among the art historians of the Vienna School, demonstrates how the Expressionist painter Oskar Kokoschka depicted the Jewish subject, and explores the development of pictorialist photography. Reflecting on the implications of the visualized, modern subject for textual and linguistic analyses of subjectivity, Soussloff concludes that the Viennese art historians, photographers, and painters will henceforth have to be recognized as precursors to such better-known theorists of the subject as Sartre, Foucault, and Lacan.

In Tavern League, photographer Carl Corey documents a unique and important segment of the Wisconsin community. Our bars are unique micro-communities, offering patrons a sense of belonging. Many of these bars are the only public gathering place in the rural communities they serve. These simple taverns offer the individual the valuable opportunity for face to face conversation and camaraderie, particularly as people become more physically isolated through the accelerated use of the internet’s social networking, mobile texting, gaming, and the rapid-fire of email.

This collection of 60 pictures captures the Wisconsin tavern as it is today. Carl Corey’s view is both familiar and undeniably unique, his pictures resonant with anyone who has set foot in a Wisconsin tavern. As the Milwaukee Journal Sentinel’s Mary Louise Schumacher has written, “Carl Corey’s photographs . . . document iconic American places that are taken for granted. . . . They are comforting images, places we know, but also eerie and remote, presented with a sense of romance and nostalgia that suggests they are already past.”

Telling Young Lives presents more than a dozen fascinating, ethnograph-ically informed portraits of young people facing rapid changes in society and politics from different parts of the world. From a young woman engaged in agricultural labor in the High Himalayas to a youth activist based in Tanzania, the distinctive voices from the U.K., India, Germany, Sierra Leone, South Africa and Bosnia Herzegovina, provide insights into the active and creative ways these youths are addressing social and political challenges such as war, hunger and homelessness.

Telling Young Lives has great appeal for classroom use in geography courses and makes a welcome contribution to the growing field of “young geographies,” as well as to politics and political geography. Its focus on individual portraits gives readers a fuller, more vivid picture of the ways in which global changes are reshaping the actual experiences and strategies of young people around the world.

For two years, Philip Gambone traveled the length and breadth of the United States, talking candidly with LGBTQ people about their lives. In addition to interviews from David Sedaris, George Takei, Barney Frank, and Tammy Baldwin, Travels in a Gay Nation brings us lesser-known voices—a retired Naval officer, a transgender scholar and “drag king,” a Princeton philosopher, two opera sopranos who happen to be lovers, an indie rock musician, the founder of a gay frat house, and a pair of Vermont garden designers.
    In this age when contemporary gay America is still coming under attack, Gambone captures the humanity of each individual. For some, their identity as a sexual minority is crucial to their life’s work; for others, it has been less so, perhaps even irrelevant. But, whether splashy or quiet, center-stage or behind the scenes, Gambone’s subjects have managed—despite facing ignorance, fear, hatred, intolerance, injustice, violence, ridicule, or just plain indifference—to construct passionate, inspiring lives.

 

What does it mean to look like a lesbian? Though it remains impossible to conjure a definitive image that captures the breadth of this highly nuanced term, today at least we are able to consider an array of visual representations that have been put into circulation by lesbians themselves over the last six or seven decades. In the early twentieth century, though, no notion of lesbianism as a coherent social or cultural identity yet existed.

In Women Together/Women Apart, Tirza True Latimer explores the revolutionary period between World War I and World War II when lesbian artists working in Paris began to shape the first visual models that gave lesbians a collective sense of identity and allowed them to recognize each other. Flocking to Paris from around the world, artists and performers such as Romaine Brooks, Claude Cahun, Marcel Moore, and Suzy Solidor used portraiture to theorize and visualize a "new breed" of feminine subject. The book focuses on problems of feminine and lesbian self-representation at a time and place where the rights of women to political, professional, economic, domestic, and sexual autonomy had yet to be acknowledged by the law. Under such circumstances, same-sex solidarity and relative independence from men held important political implications.

Combining gender theory with visual, cultural, and historical analysis, Latimer draws a vivid picture of the impact of sexual politics on the cultural life of Paris during this key period. The book also illuminates the far-reaching consequences of lesbian portraiture on contemporary constructions of lesbian identity.

Twelve inches by twelve inches by twelve inches, the cubic foot is a relatively tiny unit of measure compared to the whole world. With every step, we disturb and move through cubic foot after cubic foot. But behold the cubic foot in nature—from coral reefs to cloud forests to tidal pools—even in that finite space you can see the multitude of creatures that make up a vibrant ecosystem.

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.