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Whether at UFW picket lines in California’s Central Valley or capturing summertime street life in East Harlem Latinx photographers have documented fights for dignity and justice as well as the daily lives of ordinary people. Their powerful, innovative photographic art touches on family, identity, protest, borders, and other themes, including the experiences of immigration and marginalization common to many of their communities. Yet the work of these artists has largely been excluded from the documented history of photography in the United States. Through individual profiles of more than eighty photographers from the early history of the photographic medium to the present, Elizabeth Ferrer introduces readers to Latinx portraitists, photojournalists, and documentarians and their legacies. She traces the rise of a Latinx consciousness in photography in the 1960s and '70s and the growth of identity-based approaches in the 1980s and '90s. Ferrer argues that in many cases a shared sense of struggle has motivated photographers to work purposefully, driven by a deep sense of resistance, social and political commitments, and cultural affirmation, and she highlights the significance of family photos to their approaches and outlooks. Works range from documentary and street photography to narrative series to conceptual projects. Latinx Photography in the United States is the first book to offer a parallel history of photography, one that no longer lies at the margins but rather plays a crucial role in imagining and creating a broader, more inclusive American visual history.
Explores American photography from a variety of angles: portrait, landscape, photojournalism, documentary, creative digital photography, and postmodern critique of the image. -- Back cover.
Analyse: Contributions de Barbara MacAndless, Keith F. Davis, Peter Bacon Hales, Sarah Greenhough.
Historical photographs taken in Latin America have now become key sites for memory politics, ethnographic imagination, and the negotiation of identity. This volume opens up a set of questions relating to the contemporaneous agency of images as well as their current appropriation via new technologies. Case studies of pictures taken in Mexico, Colombia, Peru and Brazil analyze these processes by tracing how the images have been resignified over time and space. The contributions examine photographs that have been recently rediscovered by such diverse actors as European museums, human rights organizations, anthropologists, shamans, local historians, and communities of internet users.
Gruesome photographs document the victims of lynchings and the society that allowed mob violence.
Whether exploring the reclusive communities of the Amish and Hutterites, probing the gritty existence of the American cowboy, or revealing the quiet beauty of the Minnesota lakes, William Albert Allard has helped define America in all its diversity. From rodeos to blues singers, from William Faulkner’s Mississippi to minor league baseball, Allard has turned his camera toward parts of our heritage that are often overlooked. His other award-winning books include The Vanishing Breed and A Time We Knew. Portraits of America features 165 of Allard’s finest photographs. Presented in chronological order, with incisive introductions to each section written by Allard himself, these photographs show the creative development of a remarkably gifted artist. Pulitzer Prize­winning author Richard Ford contributes a foreword that places Allard’s photography within the context of the American experience. Art aficionados and lovers of Americana alike delight in this beautifully designed and thoughtful collection from a man who has become a legend in the world photographic community.
Alexander Gardner is best known for his innovative photographic history of the Civil War. What is less known is the extent to which he was involved in the international workers’ rights movement. Tying Gardner’s photographic storytelling to his transatlantic reform activities, this book expands our understanding of Gardner’s career and the work of his studio in Washington, DC, by situating his photographic production within the era’s discourse on social and political reform. Drawing on previously unknown primary sources and original close readings, Makeda Best reveals how Gardner’s activism in Scotland and photography in the United States shared an ideological foundation. She reads his Photographic Sketch Book of the War as a politically motivated project, rooted in Gardner’s Chartist and Owenite beliefs, and illuminates how its treatment of slavery is primarily concerned with the harm that the institution posed to the United States’ reputation as a model democracy. Best shows how, in his portraiture, Gardner celebrated Northern labor communities and elevated white immigrant workers, despite the industrialization that degraded them. She concludes with a discussion of Gardner’s promotion of an American national infrastructure in which photographers and photography played an integral role. Original and compelling, this reconsideration of Gardner’s work expands the contribution of Civil War photography beyond the immediate narrative of the war to comprehend its relation to the vigorous international debates about democracy, industrialization, and the rights of citizens. Scholars working at the intersection of photography, cultural history, and social reform in the nineteenth century on both sides of the Atlantic will find Best’s work invaluable to their own research.
A stunningly photographed examination of the roadside icons that dot America's landscape. Lost America celebrates the boom-to-bust towns, aircraft bone yards, and filling stations of days past that were sacrificed at the altars of speed and technology and relegated to windswept desert plains and abandoned fields. The eye-catching and memorable photography is complemented with a succinct text history that details the rise and fall of each subject. The result is an impressive tour of an America still standing, yet largely forgotten.
Contains color and black and white photographs taken over a twenty-four hour period in the United States.