Download Free Ernest Cole Book in PDF and EPUB Free Download. You can read online Ernest Cole and write the review.

One of the frankest books ever done on South Africa. -Robert Cromie, Chicago Tribune First published in the US in 1967 and in Britain in 1968, House of Bondage presented images from South Africa that shocked the world. The young African photographer Ernest Cole had left his country at 26 to find an audience for his stunning exposure of the system of racial dominance known as apartheid. In 185 photographs, Cole's book showed from the vantage point of the oppressed how the system closely regulated and controlled the lives of the black majority. He saw every aspect of this oppression with a searching eye and a passionate heart. House of Bondage is a milestone in the history of documentary photography, even though it was immediately banned in South Africa. In a Chicago Tribune review, Robert Cromie described it as "one of the frankest books ever done on South Africa--with photographs by a native of that country who would be most unwise to attempt to return for some years." Cole died in exile in 1990 as the regime was collapsing, never knowing when his portrait of his homeland would finally find its way home. Not until the Apartheid Museum in Johannesburg mounted enlarged pages of the book on its walls in 2001 were his people able to view these pictures, which are as powerful and provocative today as they were 50 years ago. Ernest Cole was born near Pretoria, South Africa, in 1940. Leaving school at 17 to become a photographer, he secured staff jobs and freelance assignments for newspapers and magazines for black people--honing his skills with a correspondence course from the New York Institute of Photography. Inspired by Henri Cartier-Bresson's book The People of Moscow, in 1960 Cole embarked on a project to document the lives of his people, which resulted in House of Bondage.
"Ernest Cole (1940-1990) believed passionately in his mission to tell the world in photographs what it was like and what it meant to be black under apartheid. He identified intimately with his own people in photographs of unsurpassed strength and gravitas. With imaginative daring, courage and compassion, he portrayed the full range of experience of black people as they negotiated their lives through the insanity of apartheid and its racist laws and oppression. In order to publish his book, House of Bondage, Cole went into exile. Immediately after it came out in 1967, it was banned in South Africa and this major critique of apartheid has hardly been seen in his own country since. Cole died in New York in 1990 after more than 23 years of painful exile, never having returned to South Africa and leaving no known negatives and few prints of his monumental work. Tio fotografer, an association of photographers with whom Cole worked from 1969 to 1975 when his place of residence was Stockholm, received a collection of his prints and these were later donated to the Hasselblad Foundation. These extremely rare prints, most of them made by Cole himself and most never previously exhibited, form the core of this exhibition and book. This book tells the story of Ernest Cole's life, both in his own words and through the reminiscences and writings of those people who knew him personally and professionally." -- Back cover.
Among Others: Blackness at MoMA begins with an essay that provides a rigorous and in-depth analysis of MoMA's history regarding racial issues. It also calls for further developments, leaving space for other scholars to draw on particular moments of that history. It takes an integrated approach to the study of racial blackness and its representation: the book stresses inclusion and, as such, the plate section, rather than isolating black artists, features works by non-black artists dealing with race and race- related subjects. As a collection book, the volume provides scholars and curators with information about the Museum's holdings, at times disclosing works that have been little documented or exhibited. The numerous and high-quality illustrations will appeal to anyone interested in art made by black artists, or in modern art in general.
A collection of sixty-six Old English fairy tales, fables, romances, poems, and nursery rhymes.
Exploring issues of disability culture, activism, and policy across the African continent, this volume argues for the recognition of African disability studies as an important and emerging interdisciplinary field.
"Photography is often believed to witness history or reflect society, but such perspectives fail to account for the complex ways in which photographs get made and seen, and the variety of motivations and social and political factors that shape the vision of the world that photographs provide. This book develops a critical historical method for engaging with photographers to try and understand how they viewed the work they were doing, and examines the place of photography in a post-apartheid era. Based on interviews with photographers, editors and curators, and through the analysis of photographs held in collections and displayed in museums, this research addresses the significance of photography in South Africa during the second half of the twentieth century"--Cover
Fairy Gold: A Book of Old English Fairy Tales was compiled by Ernest Rhys (1859 – 1946) and illustrated by Herbert Cole (1867 – 1930). Rhys was a famed writer and editor – best known for his role as founder of the ‘Everyman’s Library’, a series of affordable classics. Rhys was passionate about English folkloric tradition, and making such wonderful works of literature accessible to the common people. The book starts with a quotation from Shakespeare’s A Winter’s Tale, informing the reader that: ‘This is fairy Gold boy; and t’will prove so...’ From here on in, it is a text to amuse, delight, scare and inform – all in equal measures – for young and old alike. Fairy Gold contains a set of wonderful black and white illustrations by Herbert Cole, as well as such well-known tales as ‘The Three Bears’, ‘Tom Thumb’, ‘Jack and the Beanstalk’ and ‘The Mermaid’ as well as other, near-forgotten English stories such as ‘The Fairy Fair’, ‘Mr and Mrs Vinegar’, ‘The King and the Vipers’ and ‘Queen Mab’s Good Grace.’ The text appears in its original translation, ensuring that none of the work’s initial brilliance is lost. Pook Press celebrates the great ‘Golden Age of Illustration‘ in children’s literature – a period of unparalleled excellence in book illustration from the 1880s to the 1930s. Our collection showcases classic fairy tales, children’s stories, and the work of some of the most celebrated artists, illustrators and authors.
Affective Images examines both canonical and lesser-known photographs and films that address the struggle against apartheid and the new struggles that came into being in post-apartheid times. Marietta Kesting argues for a way of embodied seeing and complements this with feminist and queer film studies, history of photography, media theory, and cultural studies. Featuring in-depth discussions of photographs, films, and other visual documents, Kesting then situates them in broader historical contexts, such as cultural history and the history of black subjectivity and revolves the images around the intersection of race and gender. In its interdisciplinary approach, this book explores the recurrence of affective images of the past in a different way, including flashbacks, trauma, "white noise," and the return of the repressed. It draws its materials from photographers, filmmakers, and artists such as Ernest Cole, Simphiwe Nkwali, Terry Kurgan, Thenjiwe Niki Nkosi, Adze Ugah, and the Center for Historical Reenactments. This book is freely available in an open access edition thanks to Knowledge Unlatched—an initiative that provides libraries and institutions with a centralized platform to support OA collections and from leading publishing houses and OA initiatives. Learn more at the Knowledge Unlatched website at: https://www.knowledgeunlatched.org/, and access the book online at the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/7134 .
Award-winning photographer Matt Black traveled over 100,000 miles to chronicle the reality of today’s unseen and forgotten America. When Magnum photographer Matt Black began exploring his hometown in California’s rural Central Valley—dubbed “the other California,” where one-third of the population lives in poverty—he knew what his next project had to be. Black was inspired to create a vivid portrait of an unknown America, to photograph some of the poorest communities across the US. Traveling across forty-six states and Puerto Rico, Black visited designated “poverty areas,” places with a poverty rate above 20 percent, and found that poverty areas are so numerous that they’re never more than a two-hour’s drive apart, woven through the fabric of the country but cut off from “the land of opportunity.” American Geography is a visual record of this five-year, 100,000-mile road trip, which chronicles the vulnerable conditions faced by America’s poor. This compelling compilation of black-and-white photographs is accompanied by Black’s own travelogue—a collection of observations, overheard conversations in cafe´s and public transportation, diner menus, bus timetables, historical facts, and snippets from daily news reports. A future classic of photography, this monograph is supported by an international touring exhibition and is a must-have for anyone with an interest in witnessing the reality of an America that’s been excluded from the American Dream.
None but those who resided in the South during the time of slavery can realize the terrible punishments that were visited upon the slaves. Virtue and self-respect were denied them.-Octavia Albert in The House of BondageWith a fiery, righteous rage, former slave Octavia Albert set about, after Emancipation, collecting the true stories of those that "terrible institution" affected most. That raw material gave rise to The House of Bondage, a refutation to Uncle Tom's Cabin, and an answer to other works of literature of the period that purported to show the horror of slavery even though their authors had never set foot in the South. First published in 1890, this is an important example of a sadly small genre: 19th-century literature by African-American women.With its straightforward and heartbreaking litany of cruelty at the hands of slaveowners, families forever divided, and the harsh effects of particularly hard labor, this is an unforgettable work that should be read by every American who thinks he knows his nation's history.Teacher and social activist OCTAVIA V. ROGERS ALBERT (1853-c.1890) was born into slavery in Georgia; after Emancipation, she studied at Atlanta University.