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Gathers Hine's photographs showing the devastation of World War I in France, Italy, Greece, and Serbia, and explains how he developed the photo essay.
This is the first full-length examination of Lewis H. Hine (1874-1940), the intellectual and aesthetic father of social documentary photography. Kate Sampsell-Willmann assesses Hine's output through the lens of his photographs, his political and philosophical ideologies, and his social and aesthetic commitments to the dignity of labor and workers. Using Hine's images, published articles, and private correspondence, Lewis Hine as Social Critic places the artist within the context of the Progressive Era and its associated movements and periodicals, such as the Works Progress Administration, Tennessee Valley Authority, the Chicago School of Social Work, and Rex Tugwell's American Economic Life and the Means of Its Improvement. This intellectual history, heavily illustrated with HIne's photography, compares his career and concerns with other prominent photographers of the day--Jacob Riis, Alfred Stieglitz, Paul Strand, Walker Evans, Dorothea Lange, and Margaret Bourke-White. Through detailed analysis of how Hine's images and texts intersected with concepts of urban history and social democracy, this volume reestablishes the artist's intellectual preeminence in the development of American photography as socially conscious art.
Nearly 80 years after his death, Lewis Hine's name is revered in the world of photography and practically synonymous with the labor reforms of the Progressive Era. His body of work--much of it a century old or more--remains vital as both aesthetic statement and social document. Drawing on a range of sources, including information from surviving family members, this first full-length illustrated biography presents a detailed and personal portrait of the sociologist and photographer whose haunting images of children at work in cotton mills and coal mines sparked the movement to end child labor, culminating with the Fair Labor Standards Act of 1938. There are 62 of his penetrating photographs included.
Between 1908 and 1917, the American photographer and sociologist Lewis Hine (1874–1940) took some of the most memorable pictures of child workers ever made. Traveling around the United States while working for the National Child Labor Committee, he photographed children in textile mills, coal mines, and factories from Vermont and Massachusetts to Georgia, Tennessee, and Missouri. Using his camera as a tool of social activism, Hine had a major influence on the development of documentary photography. But many of his pictures transcend their original purpose. Concentrating on these photographs, Alexander Nemerov reveals the special eeriness of Hine's beautiful and disturbing work as never before. Richly illustrated, the book also includes arresting contemporary photographs by Jason Francisco of the places Hine documented. Soulmaker is a striking new meditation on Hine's photographs. It explores how Hine's children lived in time, even how they might continue to live for all time. Thinking about what the mill would be like after he was gone, after the children were gone, Hine intuited what lives and dies in the second a photograph is made. His photographs seek the beauty, fragility, and terror of moments on earth.
Hine, widely known for his photographs of immigrants arriving at Ellis Island and his studies of child labor, brings enormous technical ability and sensitivity to these images of construction workers, railroad and factory workers, miners, foundation men, welders, and the builders of the Empire State Building.
An Aperture Monograph Photographs by Lewis Hine Foreword by Walter Rosenblum Biographical notes by Naomi Rosenblum Essay by Alan Trachtenberg Lewis Hine followed immigrants into their new neighborhoods, to the swarming streets of the Lower East Side, to slums and tenements, sweatshops and run-down factories. This book is an invaluable resource both as a record of the times in which he lived and as a definitive exploration of a great photographer's work.
Lewis Wickes Hines documentary photography helped promote the cause of the National Child Labor Committee, which published there declaration in 1913. This text is a collection of photographs showing children at work from 1910 to 1935 as Hines travelled across America.
Considers five documentary sequences or narratives: the antebellum portraits of Mathew Brady and others; the Civil War albums of Alexander Gardner, George Barnard and A.J. Russell; the Western survey and landscape photographs of Timothy O'Sullivan, A.J. Russell, and Carleton Watkins; and social photographs and texts by Alfred Stieglitz and Lewis Hine; as well as documentaries inspired by the Depression, esp. Walker Evans's American Photographs.
When restrictive immigration laws were introduced in the late-nineteenth and early-twentieth centuries, they involved new requirements for photographing and documenting immigrants--regulations for visually inspecting race and health. This work is the first to take a comprehensive look at the history of immigration policy in the United States through the prism of visual culture. Including many previously unpublished images, and taking a new look at Lewis Hine's photographs, Anna Pegler-Gordon considers the role and uses of visual documentation at Angel Island for Chinese immigrants, at Ellis Island for European immigrants, and on the U.S.-Mexico border. Including fascinating close visual analysis and detailed histories of immigrants in addition to the perspectives of officials, this richly illustrated book traces how visual regulations became central in the early development of U.S. immigration policy and in the introduction of racial immigration restrictions. In so doing, it provides the historical context for understanding more recent developments in immigration policy and, at the same time, sheds new light on the cultural history of American photography.
A documentary account of child labor in America during the early 1900s and the role Lewis Hine played in the crusade against it.