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An in-depth look at the influential Photo League, whose blend of aesthetics and social activism advanced modern photography Artists in the Photo League, active from 1936 to 1951, were known for capturing sharply revealing, compelling moments from everyday life. Their focus centered on New York City and its vibrant streets--a newsboy at work, a brass band on a bustling corner, a crowded beach at Coney Island. Though beautiful, the images harbor strong social commentary on issues of class, child labor, and opportunity. The Radical Camera explores the fascinating blend of aesthetics and social activism at the heart of the Photo League, tracing the group's left-leaning roots and idealism to the worker-photography movement in Europe. Influenced by mentors Lewis Hine, Berenice Abbott, and Paul Strand, artists in the Photo League worked within a unique complex comprising a school, a darkroom, a gallery, and a salon, in which photography was discussed as both a means for social change and an art form. The influence of the Photo League artists on modern photography was enormous, ushering in the New York School. Presenting 150 works of the members of the Photo League alongside complementary essays that offer new interpretations of the League's work, ideas, and pedagogy, this beautifully illustrated book features artists including Margaret Bourke-White, Sid Grossman, Morris Engel, Lisette Model, Ruth Orkin, Walter Rosenblum, Aaron Siskind, W. Eugene Smith, and Weegee, among many others. Published in association with The Jewish Museum, New York, and Columbus Museum of Art Exhibition Schedule: The Jewish Museum, New York (11/06/11-03/25/12) Columbus Museum of Art (04/19/12-09/09/12) Contemporary Jewish Museum, San Francisco (10/11/12-01/21/13) Norton Museum of Art, Palm Beach (03/15/13-06/16/13)
2019 Reprint of 1941 Edition. The Negro Motorist Green Book was an annual guidebook for African American road trippers. It was originated and published by African American, New York City mailman Victor Hugo Green from 1936 to 1966, during the era of Jim Crow laws, when open and often legally prescribed discrimination against African Americans especially and other non-whites was widespread. Although pervasive racial discrimination and poverty limited black car ownership, the emerging African American middle class bought automobiles as soon as they could, though they faced a variety of dangers and inconveniences along the road, from refusal of food and lodging to arbitrary arrest. In response, Green wrote his guide to services and places relatively friendly to African Americans, eventually expanding its coverage from the New York area to much of North America, as well as founding a travel agency. Many Black Americans took to driving, in part to avoid segregation on public transportation. As the writer George Schuyler put it in 1930, "all Negroes who can do so purchase an automobile as soon as possible in order to be free of discomfort, discrimination, segregation and insult." Black Americans employed as athletes, entertainers, and salesmen also traveled frequently for work purposes. Shortly after passage of the Civil Rights Act of 1964, which outlawed the types of racial discrimination that had made the Green Book necessary, publication ceased, and it fell into obscurity. There has been a revived interest in it in the early 21st century in connection with studies of black travel during the Jim Crow era.
Ford Frick is best known as the baseball commissioner who put the "asterisk" next to Roger Maris's record. But his tenure as commissioner carried the game through pivotal changes--television, continued integration, West Coast expansion and labor unrest. During those 14 years, and 17 more as National League president, he witnessed baseball history from the perspective of a man who began as a sportswriter. This biography of Frick, whose tenure sparked lively debate about the commissioner's role, provides a detailed narrative of his career and the events and characters of mid-20th century baseball.