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A revealing look at the work and life of an exceptional 20th-century photographer, based on his own archive of photographs and papers John Gutmann (1905-1998) was one of America's most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an outsider--a Jew in Germany, a naturalized citizen in the United States--informed his focus on individuals from the Asian-American, African-American, and gay communities, as well as his photography in India, Burma, and China during World War II. This handsome book acknowledges Gutmann's place in the history of photography. Drawing on his archive of photographs and papers at the Center for Creative Photography, it presents both unfamiliar works and little-known contexts for his imagery, linking his photography to his passionate interest in painting and filmmaking, his collections of non-Western art and artifacts, and his pedagogy. In addition to a major essay by Sally Stein, the volume includes an introduction by Douglas R. Nickel, and an overview of the Gutmann archive by Amy Rule. Published in association with the Center for Creative Photography Exhibition Schedule: Center for Creative Photography, Tucson (October 2009 - January 2010) Milwaukee Art Museum (dates tbd) Mapfre Foundation, Madrid06/22/10-09/19/10
"The Great Depression, that restless decade of the 1930s, is known to most Americans today through familiar images of the rural South, of migrant workers, sharecroppers, and dust-bowl small holdings. Now, a new view of the period has come to light in the photographs of John Gutmann, who focused mainly on cities and captured there a vitality and energy--what he calls the 'extravagance of life'--that persisted even in the depth of the Depression."--Jacket.
The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.
'It's not just the body that changes: Fashions and hairstyles evolve; pets come and go; typewriters, analog clocks, and telephones with cords disappear; and finally, film gives way to digital and the computer replaces the darkroom. While Weathering Time is a personal archive, and I am mining the archive to address issues of the female body, the family snapshot and loss, I am also interested in producing images that suggest some of the experiences of my generation. Indeed, the photographs underscore the cultural, technological, and physical changes that have occurred over the past thirty-five years--from my youth to the dawn of my old age.' Nancy Floyd
OBJECT:PHOTO shifts the dialogue about modernist photography from an emphasis on the subject and the image to the actual photographic object, created by a certain artist at a particular time and present today in its unique physicality. This shift is especially significant for a study of the period during which photography developed a distinctive formal language. A growing awareness of the rarity of images made between the two world wars has altered historians' considerations, encouraging new approaches privileging the originality of each work and the density of references each contains. This richly illustrated publication culminates a four-year collaborative research endeavor between The Museum of Modern Art's Departments of Photography and Conservation, and nearly 30 visiting scholars, on the material and aesthetic evolution of avant-garde photography in the early twentieth century. The 341 modernist photographs known as The Thomas Walther Collection, a major museum acquisition made in 2001, is presented in its entirety, establishing a new standard of depth for the medium. Essays by curators, researchers, and conservators consider the history of collecting from this era to the present and how deepening knowledge has shifted the perspective on the medium; the material facts of the Walther pictures as a baseline for understanding the development of photographic materials in this era; and how the intellectual formation of the writers of critical photographic publications of the era and the societal and cultural pressures of that historical moment inflected the photography's sense of its own history. Together with thematic, object-based case studies of groups of pictures that demonstrate new approaches in specific, divergent examples, these contributions reanimate the dialogue on this formative era in photography.
Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.
In 2010, photographer McNair Evans returned to his childhood home in Laurinburg, North Carolina to retrace his father's life and legacy after his death nine years earlier. His father's passing had exposed the looming insolvency of their family businesses, ending five generations of family and financial stability. The economic impact on the family was immediate but the emotional impact lingered with Evans.Seeking to comprehend how the man he admired could have hidden the impending disaster from those he loved, McNair Evans delved into his family origins and his father's history to create a multi-layered photographic narrative about love and loss. The artist's poignant and lyrical photographs are presented in his first monograph, Confessions for a Son (Owl & Tiger Books, October 15, 2014). The book's themes are universal--the complex relationship between fathers and sons, the strength of family bonds and the disappearance of an American agrarian way of life.Visiting the farms where he and his father hunted, his father's college dorm rooms, and his oldest friends, Evans photographed family members and businesses while researching his father's character and actions. Through this personal and photographic journey Evans moved from anger to empathy, and grew to love his father again. Evans' photographs are documentary and ethnographic, using light and evocative symbolism to convey the metaphorical in the abandoned businesses, totemic objects, and portraits of family and friends.