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In National Camera, Roberto Tejada offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and in the borderlands where the two nations and cultures intersect—a place Tejada calls the shared image environment.

The “problem” of photography in Mexico, Tejada shows, reveals cross-cultural episodes that are rife with contradictions, especially in the complex terms of cultural and sexual difference. Analyzing such topics as territory, sexuality, and social and ethnic relations in image making, Tejada delves into the work of key figures including Manuel Alvarez Bravo, Edward Weston, Tina Modotti, Marius de Zayas, and Julien Levy, as well as the Agustín Víctor Casasola Archive, the Boystown photographs, and contemporary Mexican and Latina photo-based artists.

From the Mexican Revolution of 1910–1920 to the U.S.–Mexico borderlands of today, Tejada traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production and, in doing so, defines both nations.

Walden Pond. The Grand Canyon.Yosemite National Park. Throughout the twentieth century, photographers and filmmakers created unforgettable images of these and other American natural treasures. Many of these images, including the work of Ansel Adams, continue to occupy a prominent place in the American imagination. Making these representations, though, was more than a purely aesthetic project. In fact, portraying majestic scenes and threatened places galvanized concern for the environment and its protection. Natural Visions documents through images the history of environmental reform from the Progressive era to the first Earth Day celebration in 1970, showing the crucial role the camera played in the development of the conservation movement.

In Natural Visions, Finis Dunaway tells the story of how visual imagery—such as wilderness photographs, New Deal documentary films, and Sierra Club coffee-table books—shaped modern perceptions of the natural world. By examining the relationship between the camera and environmental politics through detailed studies of key artists and activists, Dunaway captures the emotional and spiritual meaning that became associated with the American landscape. Throughout the book, he reveals how photographers and filmmakers adapted longstanding traditions in American culture—the Puritan jeremiad, the romantic sublime, and the frontier myth—to literally picture nature as a place of grace for the individual and the nation.

Beautifully illustrated with photographs by Ansel Adams, Eliot Porter, and a host of other artists, Natural Visions will appeal to a wide range of readers interested in American cultural history, the visual arts, and environmentalism.

Upon entering the White House in 1933, President Franklin D. Roosevelt faced an ailing economy in the throes of the Great Depression and rushed to transform the country through recovery programs and legislative reform. By 1934, he began to send professional photographers to the state of West Virginia to document living conditions and the effects of his New Deal programs. The photographs from the Farm Security Administration Project not only introduced “America to Americans,” exposing a continued need for government intervention, but also captured powerful images of life in rural and small town America.

New Deal Photographs of West Virginia, 1934-1943 presents images of the state’s northern and southern coalfields, the subsistence homestead projects of Arthurdale, Eleanor, and Tygart Valley, and various communities from Charleston to Clarksburg and Parkersburg to Elkins. With over one hundred and fifty images by ten FSA photographers, including Walker Evans, Marion Post Wolcott, Arthur Rothstein, and Ben Shahn, this collection is a remarkable proclamation of hardship, hope, endurance, and, above all, community. These photographs provide a glimpse into the everyday lives of West Virginians during the Great Depression and beyond.

Northwestern University: A History is a resplendent guide to the origins and development of this university. Writer and critic Jay Pridmore offers the definitive chronicle of Northwestern’s establishment—from its founders’ struggle to erect a campus in the wilderness on Lake Michigan’s western shore to its contemporary status as “an institution of the highest order” with three thriving campuses, esteemed faculty and students, and a leading endowment.

Accompanied by a wealth of color photographs, ephemera, and archival material, Northwestern University: A History brings to the fore the storied traditions and contributions of the administrators, faculty, and alumni who built Northwestern into the world-class institution it is today. 

Originally penned to commemorate the university’s sesquicentennial, this new edition charts Northwestern’s evolution in the years of Henry Bienen’s presidency (1995–2009) and offers a new foreword by current president Morton O. Schapiro. Northwestern University: A History captures the rich panoply of the institution’s rise to the first ranks of scholastic excellence and will delight students, their families, and alumni alike. 

At the turn of the twentieth century, Swedish artist Hilma af Klint (1862–1944) created a body of work that left visible reality behind, exploring the radical possibilities of abstraction years before Vasily Kandinsky, Kazimir Malevich, or Piet Mondrian. Many consider her the first trained artist to create abstract paintings. With Hilma af Klint: Notes and Methods, we get to experience the arc of af Klint’s artistic investigation in her own words.

Hilma af Klint studied at the Royal Swedish Academy in Stockholm where she was part of the first generation of female students.  Up until the beginning of the century, she painted mainly landscapes and detailed botanical studies. Her work from this period was that of a young artist of her time who meticulously observed the world around her. But, like many of her contemporaries, af Klint was also interested in the invisible relationships that shape our world, believing strongly in a spiritual dimension. She joined the Theosophical Society, and, with four fellow female members who together called themselves “The Five,” began to study mediumship.  Between 1906 and 1915, purportedly guided by a higher power, af Klint created 193 individual works that, in both scale and scope of imagery, are like no other art created at that time.  Botanically inspired images and mystical symbols, diagrams, words, and geometric series, all form part of af Klint’s abstract language. These abstract techniques would not be seen again until years later.

Notes and Methods presents facsimile reproductions of a wide array of af Klint’s early notebooks accompanied by the first English translation of af Klint’s extensive writings. It contains the rarely seen “Blue Notebooks,” hand-painted and annotated catalogues af Klint created of her most famous series “Paintings for the Temple,” and a dictionary compiled by af Klint of the words and letters found in her work. This extraordinary collection is edited by and copublished with Christine Burgin, and features an introduction by Iris Müller-Westermann. It will stand as an important and timely contribution to the legacy of Hilma af Klint.

Daniel Meadows is a pioneer of contemporary British documentary practice. His photographs and audio recordings, made over the course of forty-five years, uniquely capture the life of England’s “great ordinary.” He has fashioned from his many encounters a nation’s story, challenging the status quo by working collaboratively.

This book includes important work from Meadows’s groundbreaking projects, drawing on the archives now held at the Bodleian Library. It follows the maverick documentarian as he ran a free portrait studio in Manchester’s Moss Side in 1972 and then traveled 10,000 miles to make a national portrait from his converted double-decker, the Free Photographic Omnibus, a project he revisited a quarter-of-a-century later. The book goes on to show how, at the turn of the millennium, Meadows adopted new “kitchen table” technologies to make digital stories, which he dubbed “multimedia sonnets from the people.” Through the unique voices of his subjects, Meadows has made and continues to make moving and insightful commentaries on life in Britain.

For years, tour guide Daniel Lum has brought visitors as well as his children out to the remote corners of Barrow, Alaska, one of the northernmost cities in the world, to witness polar bears and walrus on the dark, sandy beaches. Over time, snapping pictures for tourists and shooting photographs of his own, he has been a first-hand witness to the profound environmental changes taking place as his homeland shifts and disappears before his eyes. 

As arguments over climate change rage in more temperate locales, Nuvuk, the Northernmost is a poignant snapshot of life in a town where these changes are impossible to overlook. Lum’s vivid photographs of wildlife, such as whales, polar bears, and birds, offer rare close-ups of animals few ever see. In addition, Lum provides vivid descriptions and pictures of daily life in and around Barrow, offering a compelling insider’s introduction to living on the tip of the world. With Lum as a capable guide, Nuvuk, the Northernmost is a chance to see a rare world before it changes forever.