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Yucatán Through Her Eyes
The biography and photographs of this talented and adventurous woman are accompanied here by her previously unpublished diary.
Scholars in Dark Glasses- Photos of MMARP Symposia, 1982 To 1994
Photos selected for this book "Scholars in Dark Glasses. Photos of MMARP Symposia 1982 to 1994," are from the Lawrence Gustave Desmond Mesoamerican Archive and Research Project photographic collection archived by the Getty Research Institute in Los Angeles (GRI Special Collections). The Introduction discusses the founding of the Moses Mesoamerican Archive and Research Project (MMARP) by Professor David Carrasco at the University of Colorado-Boulder around 1980, symposia photos, and the development of the Templo Mayor archaeological site documentary photographic archive from photo donations and documentary photos taken by Desmond of the Templo Mayor archaeological site in Mexico City in the 1980s The photos of symposia are documentary in style, and are of the archaeologists, anthropologists, ethnographers, historians of religions, art historians, historians, archaeo-astronomers, and many other scholars from Mexico, the US, Japan, UK, and Europe who contributed to the development of a new direction in the study of the life and religious practices of the Aztecs, Maya, and other ancient peoples who civilized Mesoamerica before the European invasion.
A Catalog of the 19th Century Photographs of Alice Dixon and Augustus Le Plongeon
This book is a catalog of 1,034 photographs taken by Alice Dixon and Augustus Le Plongeon in Yucatan, Mexico, and Belize from 1873 to 1885. The subjects photographed are: landscapes and cityscapes, colonial and ancient Maya architecture, bas-reliefs, birds, mammals, portraits, and ethnographic photos. The original photos are archived at: The American Museum of Natural History, the Donald Dixon album in London, the Getty Research Institute, the Peabody Museum at Harvard University, and the Philosophical Research Society in Los Angeles. Duplicates of the photos were made with funding from the National Endowment for the Humanities (Grant RT-20746), and the duplicate photos can be viewed at the Wilson Library of the University of North Carolina-Chapel Hill in the "Lawrence G. Desmond collection of Augustus Le Plongeon and Alice Dixon Le Plongeon Photographs." Collection ID number: 5268.
A Dream of Maya
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Blue Water and Rocky Lights
Blue Water and Rocky Lights takes you back to a Coast Guard that would hardly be recognizable today with officer candidate school at the Coast Guard Academy, and cutters of World War II or older vintage. Lawrence G. Desmond, a junior officer aboard the cutters Mclane and Avoyel, tells a historic story sprinkled with anecdotes and good humor. It's illustrated with color and B-W photos of shipboard life, crew members, rescues, and photographic documentation of the exceptional seamanship required to supply St. George Reef lighthouse in the often treacherous seas off the coast of northern California.
Growing Up in California, 1947-1959
This book is about my first years of photography that began in 1947 in the small town of San Carlos, California on the "San Francisco Peninsula." In 1939, my parents bought a lot and built our house there. Hay fields spread out in all directions, the population was 3,000, and from the hills you could see all the way to San Francisco. Across the street from our house there was a seasonal creek where we caught pollywogs in the spring, and Poison Oak in the summer! I did all the things kids do growing up in that environment, but it was also where I first became interested in photography, and learned how to use a camera. This book is organized into two parts. The first part has photos taken from...
An Unintentional Photographer, 1968-1970
This book came about when I was selecting photos for my previously published Blurb photo book, "Growing up in California, 1947-1959." I discovered I had taken ten times more photos during the years 1968 to 1970 than in the previous 20 years, and decided I should publish the best. I also realized that before 1968 I had received no formal training in photography. But, I was drawn to the photos of Cartier-Bresson, Ansel Adams, Imogen Cunningham, Edward Steichen, Danny Lyon, Pirkle Jones, Dorothea Lange, and Alfred Stieglitz, and imitated their work. So, during those years, by observation and trial-and-error, I slowly improved photographing people and landscapes. Around 1969 I saw advertisements...
Romancing the Maya
During Mexico's first century of independence, European and American explorers rediscovered its pre-Hispanic past. Finding the jungle-covered ruins of lost cities and artifacts inscribed with unintelligible hieroglyphs—and having no idea of the age, authorship, or purpose of these antiquities—amateur archaeologists, artists, photographers, and religious writers set about claiming Mexico's pre-Hispanic patrimony as a rightful part of the United States' cultural heritage. In this insightful work, Tripp Evans explores why nineteenth-century Americans felt entitled to appropriate Mexico's cultural heritage as the United States' own. He focuses in particular on five well-known figures—Ameri...
Santo Tomás Jalieza, Oaxaca, Mexico
It was during my second year of graduate studies in anthropology at the Universidad de las Américas in Cholula, Mexico that I began to plan fieldwork for my master's thesis. I had come to the university in 1970 to study the ancient civilizations of Mesoamerica and learn archaeology, but the chairman of the department of anthropology was a cultural anthropologist, and he had other ideas for my thesis. His plan was that I should carry out an ethnographic study of a small farming community in one of the valleys south of Oaxaca City rather than an archaeological study. So, with the help of my family, Gail and her son Chris, I began research at Santo Tomás Jalieza in 1973 that lasted around fou...
A Comparative Study of 1870s and 1980s Photographs of Maya Architecture at Chichén Itzá and Uxmal, Yucatán, Mexico
After evaluating Alice Dixon and Augustus Le Plongeon's 1870s photos of ancient Maya architecture at Chichén Itzá and Uxmal it seemed imperative to initiate a project to compare them to my 1980s photos, and in that way make them available to historians of architecture, art historians, archaeologists, conservators, and anyone with an interest in the ancient Maya. To take comparative photos of the architecture required that photographic prints of the Le Plongeon photos at Chichén Itzá and Uxmal from archives be assembled, and brought to the sites for replication by photographing from the same distance, direction, and elevation. This book compares 26 photos of Chichén Itzá and 18 photos of Uxmal in Yucatán, Mexico to photos the author of the same architectural subjects in 1980.
