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Walker Evans
A magisterial study of celebrated photographer Walker Evans Walker Evans (1903–75) was a great American artist photographing people and places in the United States in unforgettable ways. He is known for his work for the Farm Security Administration, addressing the Great Depression, but what he actually saw was the diversity of people and the damage of the long Civil War. In Walker Evans, renowned art historian Svetlana Alpers explores how Evans made his distinctive photographs. Delving into a lavish selection of Evans’s work, Alpers uncovers rich parallels between his creative approach and those of numerous literary and cultural figures, locating Evans within the wide context of a truly ...
First Doubt
Many photographers have been intrigued with the baffling distortions--both subtle and disquieting--that can occur when the camera "captures" the real world. Not always intentional, some images dazzle with impossible juxtapositions or disorienting spatial orders, while others confound the viewer's belief in the documentary promise of photography. Drawn from the highly respected collection of Allan Chasanoff, the photographs in this intriguing volume confront viewers with the challenge of doubt and confusion in so-called "straight" pictures. Featured are perceptually provocative images by Manuel Alvarez Bravo, Clarence John Laughlin, Imogen Cunningham, and Lee Friedlander, among others. The book's essays raise awareness of the interpretive nature of the lens and the interpolative nature of the medium. Distributed for the Yale University Art Gallery Exhibition Schedule: Yale University Art Gallery (October 7, 2008 - January 4, 2009)
Judith Joy Ross: Photographs 1978-2015
Judith Joy Ross: Photographs 1978-2015 is an illuminating retrospective that explores the life and career of a revered American photographer, illustrated by two hundred of her images, many never before seen or published. The work of Judith Joy Ross marks a watershed in the lineage of the photographic portrait. Her pictures--unpretentious, quietly penetrating, startling in their transparency--consistently achieve the capacity to glimpse the past, present, and perhaps even the future of the individuals who stand before her lens. Adolescents swim at a local municipal park, ordinary people are at work and play. From immigrants and refugees, to tech workers and students, military reservists and civilians--all are incisively rendered with equal tenderness in Ross's black-and-white, large-format portraits. Published alongside the largest exhibition to feature Ross's work to date, and drawn from her extensive archive of photographs made over the span of more than thirty-five years, Judith Joy Ross: Photographs 1978-2015 encompasses the best work of this influential photographer.
The Color of a Flea's Eye
Taryn Simon?s 'The Color of a Flea?s Eye' presents a history of the New York Public Library?s Picture Collection?a legendary trove of more than one million prints, photographs, postcards, posters and images from disused books and periodicals. Since its inception in 1915, the Picture Collection has been a vital resource for writers, historians, artists, filmmakers, fashion designers and advertising agencies.0In her work 'The Picture Collection' (2012-20), Simon (born 1975) highlighted the impulse to organize visual information, and pointed to the invisible hands behind seemingly neutral systems of image gathering. Each of Simon?s photographs is made up of an array of images selected from a gi...
Anna Atkins: Photographs of British Algæ
Shortly after William Henry Fox Talbot announced his invention of photography in 1839, the dedicated amateur botanist Anna Atkins, daughter of a prominent British scientist, began to experiment with the new medium. In 1843 she turned to her friend Sir John Herschel's recently discovered cyanotype process to publish her growing collection of native seaweeds--a daring way to introduce photography into book illustration. At regular intervals over the next decade, Atkins printed and issued these bracingly modern, deeply-hued photograms to her "botanical friends" in the form of hand-stitched fascicles of a book she entitled Photographs of British Algæ: Cyanotype Impressions . The fi rst book to ...
Monumental Journey
In 1842, the pioneering French photographer Joseph-Philibert Girault de Prangey (1804–1892) set out eastward across the Mediterranean, daguerreotype equipment in tow. He spent the next three years documenting lands that were then largely unknown to the West, including Greece, Egypt, Turkey, Syria, and Lebanon, in some of the earliest surviving photographic images of these places. Monumental Journey, the first monograph in English on this brilliant yet enigmatic artist, explores the hundreds of daguerreotypes Girault made during his unprecedented trip, offering a rare, early look at sites and cities that have since been altered—sometimes irrevocably—by urban, environmental, and politica...
The Colors of Photography
The Colors of Photography aims to provide a deeper understanding of what color is in the field of photography. Until today, color photography has marked the "here and now," while black and white photographs have been linked to our image of history and have formed our collective memory. However, such general dichotomies start to crumble when considering the aesthetic, cultural, and political complexity of color in photography. With essays by Charlotte Cotton, Bettina Gockel, Tanya Sheehan, Blake Stimson, Kim Timby, Kelley Wilder, Deborah Willis. Photographic contributions by Hans Danuser and Raymond Meier.
To Make it Home
Published to accompany exhibition held at thw Philadelphia Museum of Art, 19/2 - 16/4 1989.
The New West
Originally published in 1974, this book is now regarded as a classic book of photography in the pantheon of landmark projects exploring American culture and society.
Littoral Drift
"This work stems from the artist's fascination with the nature of our relationships to the landscape, the sublime, time, and impermanence. Both series consist of cyanotypes made directly in the landscape, where elements like precipitation, waves, wind, and sediment physically etch into the photo chemistry; the prints simultaneously expose in sunlight and wash in the water around them. Littoral Drift, a geologic term describing the action of wind-driven waves transporting sand and gravel, consists of camera-less cyanotypes made in collaboration with the landscape and the ocean, at the edge of both. The elements employed in the process -- waves, rain, wind, and sediment -- leave physical inscr...
