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Featuring a multi-faceted collection of images and words, this book is a lavishly produced companion to a major traveling exhibition documenting America just before the 21st century. 162 photos, 80 in color.
The paintings, murals, and graphics of Ben Shahn (1898-1969) have made him one of the most heralded American artists of the twentieth century, but during the 1930s he was also among the nation's premier photographers. Much of his photographic work was sponsored by the New Deal's Farm Security Administration, where his colleagues included Dorothea Lange and Walker Evans. Ben Shahn's American Scene: Photographs, 1938 presents one hundred superb photographs from his most ambitious FSA project, a survey of small-town life in the Depression. John Raeburn's accompanying text illuminates the thematic and formal significance of individual photographs and reveals how, taken together, they address key cultural and political issues of the years leading up to World War II. Shahn's photographs highlight conflicts between traditional values and the newer ones introduced by modernity as represented by the movies, chain stores, and the tantalizing allure of consumer goods, and they are particularly rich in observation about the changes brought about by Americans' universal reliance on the automobile. They also explore the small town's standing as the nation's symbol of democratic community and expose the discriminatory social and racial practices that subverted this ideal in 1930s America.
"A long-overdue consideration of the life and work of Joe Jones (1909-1963), an American scene painter and social realist from St. Louis"--From publisher description.
This beautiful and informative photographic history includes images from 1900 to 1999. Many are often seen (bullet piercing the apple, splashing crown of milk, Sophia Loren looking askance at Jayne Mansfield's plunging decollete, and Dorothea Lange's Migrant Mother); but most are probably unknown, because the photos were selected not only for their visual and cognitive qualities but also for their importance to the history and development of photographic technique and usage. The century is divided into thirds for explanation's sake, and there is at least one photograph for every year. While this is a picture book, the accompanying text provides informative introductions to the uses and abuses of perhaps the century's most important medium. The book is companion to the PBS series. Oversize: 12.5x9.5". Annotation copyrighted by Book News Inc., Portland, OR
Each year, former residents of Spanish Harlem return for "Old Timer's Day," a celebration of the flamboyance and the gritty self-reliance of the neighborhood.".
A study of Ben Shahn’s New Deal murals (1933–43) in the context of American Jewish history, labor history, and public discourse. Lithuanian-born artist Ben Shahn learned fresco painting as an assistant to Diego Rivera in the 1930s and created his own visually powerful, technically sophisticated, and stylistically innovative artworks as part of the New Deal Arts Project’s national mural program. InBen Shahn’s New Deal Murals: Jewish Identity in the American Scene author Diana L. Linden demonstrates that Shahn mined his Jewish heritage and left-leaning politics for his style and subject matter, offering insight into his murals’ creation and their sometimes complicated reception by officials, the public, and the press. In four chapters, Linden presents case studies of select Shahn murals that were created from 1933 to 1943 and are located in public buildings in New York, New Jersey, and Missouri. She studies Shahn’s famous untitled fresco for the Jersey Homesteads—a utopian socialist cooperative community populated with former Jewish garment workers and funded under the New Deal—Shahn’s mural for the Bronx Central Post Office, a fresco Shahn proposed to the post office in St. Louis, and a related one-panel easel painting titled The First Amendment located in a Queens, New York, post office. By investigating the role of Jewish identity in Shahn’s works, Linden considers the artist’s responses to important issues of the era, such as President Roosevelt’s opposition to open immigration to the United States, New York’s bustling garment industry and its labor unions, ideological concerns about freedom and liberty that had signifcant meaning to Jews, and the encroachment of censorship into American art. Linden shows that throughout his public murals, Shahn literally painted Jews into the American scene with his subjects, themes, and compositions. Readers interested in Jewish American history, art history, and Depression-era American culture will enjoy this insightful volume.
A master of American fashion and art photography turns his artistry to capturing--in a series of photograph portraits--the cowboys, roustabouts, drifters, gamblers, bar girls, and others who characterize the modern Western experience
Candid and personal, dazzling with color and immediacy, this first and only monograph of a rising star of the photography scene features work from major labels and magazines, outtakes from shoots, and newly commissioned texts by Edward Enninful and Ekow Eshun on the importance of authentic diversity behind and in front of the camera. From major portraits of the likes of Kendall Jenner, FKA Twigs, and Tyler, the Creator to cover shoots for leading magazines such as Time, Rolling Stone, and Garage, Campbell Addy has quickly become one of the most in-demand photographers of his generation. The book opens with a foreword by British Vogue’s editor-in-chief, Edward Enninful, discussing the powerful intersection of photography, race, beauty, and representation. This is followed by a broad selection of Addy’s striking photographs, which range from prominent fashion and magazine commissions to candid portraiture. Featuring recognizable cover shots alongside unpublished outtakes and unseen photography, viewers are afforded insight into Addy’s creative process on set. Quotes from leading Black figures including Naomi Campbell and Nadine Ijewere are woven between Addy’s striking imagery, in which these trailblazing Black creatives reflect on the first time they felt seen in their industry. The book closes with a deeper exploration of Addy’s more personal imagery and influences, paying tribute to the heritage of Black photographers through the work of Ajamu and James Barnor. In conversation with curator and writer Ekow Eshun, Addy balances his own experiences as a queer, Black photographer who left his Jehovah’s Witness family home at sixteen with broader questions of identity, intimacy, and art which face many creatives today. Charged with energy, compassion and authenticity, this inaugural monograph signals a major talent whose influence and stature will only grow with time.