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Now Is Then
Deceptive in their ease of creation, diminutive size, and sheer abundance, snapshots are often thought of as the most innocent type of photography. But snapshots are complex and willful pictures—premeditated, fussed over, and often predetermined. The postures we adopt, the gestures we pantomime, the exaggerated facial expressions we compose and try to hold for a split second are all meant to express the emotional weight of a certain moment. In a time when digital cameras make photography all too easy, it is fascinating to look back on a day when image making was more deliberate. Now is Then features images from the 1920s through the 1960s, the golden age of snapshot photography. The photos—quirky, elegant, heartbreaking, and heart-warming—both celebrate and question the conventions of snapshot photography. Texts by well known visual culture critics offer fresh perspectives on the snapshots and their power over us. Unlike previous explorations of vernacular photography, Now Is Then takes a step forward to look at the broader cultural impact of snapshots—why we make them, how we use them, why they become relics, and, most importantly, what they reveal about us.
Let it Shine
During 1996 and 1997, T. Marshall Hahn donated a substantial portion of his collection of contemporary folk art to the High Museum of Art in Atlanta. His gift was the first major collection of self-taught art primarily from the South to be given to a general interest American museum. The Hahn Collection comprises more than 140 paintings, works on paper, and sculptures created by more than forty artists and is particularly strong in work by African American self-taught artists. The three essays in this book provide a context for this extraordinary gift. An interview with Hahn by Lynne E. Spriggs, the High's Curator of Folk Art, traces his personal collecting history. An essay by Joanne Cubbs, the High's first curator of folk art, explores conceptual and aesthetic themes common to Southern folk art, and an essay by Lynda Roscoe Hartigan, Chief Curator at the Smithsonian American Art Museum, presents an overview of the developing awareness of and market for Southern folk art. The catalogue section features color reproductions and short essays on eighty-five of the most significant objects in the Collection.
A Soldier's Odyssey
How the author adapted to his new surroundings. The drama wrapped around the six hour pass obtained at Shanks to go home to see his folks. The trip across the tempestuous North Atlantic, and the nine days sick at sea! Time spent in a dingy campsite on a bleak coast of Wales, UK. Suffered from a nameless fear aboard the ill fated Leopoldville. Transported in 40/8s. In Lieges railyards was attacked by Buzz Bombs. Slept in a private home for the night. Marched nearly all of the next day. His company was hit by its own artillery (friendly fire) with devastating consequences.
Deep Blues
Bill Traylor, born into slavery in 1854, began to draw at the age of 82 in 1939 when he moved from the plantation where he was born to Montgomery, Alabama. He has become an almost mythical figure in the history of American folk art.
William Hawkins
The first book of paintings--122 reproductions--by a brilliant twentieth-century folk artist: a self-taught master, who began to paint when he was ten years old and won national recognition at the age of eighty-five. William Hawkins was born and raised on a small Kentucky farm. Needing to express himself, he used whatever materials were at hand--glossy enamels (ordinary house paints), large pieces of Masonite, heavy paper or cardboard rescued from trash heaps. He painted continuously, earning his living as a truck driver, among other things. His intense, wondrous, quirky paintings are filled with images--startling and playful--that derive from an unruly but inspired sense of freedom and humor. Here are wild animals--an elephant with a striped tusk and trunk...a stag, wide-eyed and startled, looking out from a masklike face; cityscapes; historical and modern landmark architecture; images made from photographs; a red Ferris wheel; a short humpbacked creature with a cone hat, a beak, and a single, pasted-on eye. Handsomely designed and produced, William Hawkins chronicles the life and work of one of our most important folk artists.
American Primitive
Contains photos of over 400 pieces of American primitive sculpture.
AASHTO Quarterly
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