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David Godlis captures the grit and grandeur of 1970s-'80s New York City in his street photography When he is on the street armed with his camera, photographer David Godlis (born 1951) describes himself as "a gunslinger and a guitar picker all in one." Ever since he bought his first 35mm camera in 1970, Godlis has made it his mission to capture the world on film just as it appears to him in reality. Godlis is most famous for his images of the city's punk scene and serving as the unofficial official photographer for the Film Society of Lincoln Center. For 40 years, his practice has also consisted of walking around the streets of New York City and shooting whatever catches his eye: midnight diner patrons, stoop loiterers, commuters en route to the nearest subway station. With an acute sense of both humor and pathos, Godlis frames everyday events in a truly arresting manner. This publication presents Godlis' best street photography from the 1970s and '80s in a succinct celebration of New York's past. The book is introduced by an essay written by cultural critic Luc Sante and closes with an afterword written by Blondie cofounder and guitarist Chris Stein.
"Barrio collects ninety of these striking color images along with D'Amato's fascinating account of his time photographing Mexican Chicago and his acceptance - often grudging, after threatened violence - into the heart of the city's Mexican community."--Jacket.
Ten years ago one of America's most important public figures, First Lady Hillary Rodham Clinton, chronicled her quest both deeply personal and, in the truest sense, public to help make our society into the kind of village that enables children to become able, caring resilient adults. IT TAKES A VILLAGE is a textbook for caring, filled with truths that are worth a read, and a reread. In her substantial new introduction, Senator Clinton reflects on how our village has changed over the last decade, from the internet to education, and on how her own understanding of children has deepened as she has watched Chelsea grow up and take on challenges new to her generation, from a first job to living through a terrorist attack. She discusses how the work she is doing in the Senate is helping children and looks at where America has been successful, improvements in the foster care system and support for adoption, and where there is still work to be done, providing pre-school programmes and universal health care to all our children. This new edition elucidates how the choices we make about how we raise our children, and how we support families, will determine how all nations will face the challenges of this century.
In the early 1960s, architect and visionary Clarence Kettler and his brothers, Milton and Charles, dreamed of building a unique new town modeled after a European planned community. This town would be family oriented and would emphasize recreation with open space and a sense of community. With careful planning, their vision, which included schools, places of worship, a golf course, shopping areas, and recreational amenities, was realized--Montgomery Village. Over time, as the Village grew, farms were replaced by well-manicured residential areas and mature trees. Each community adheres to architectural standards and community covenants set by the developers to help maintain continuity and home values. Today, more than 40,000 people call Montgomery Village home. Montgomery Village takes pride in its active volunteers, parks, and recreational facilities and its commitment to maintain and enhance the natural environment and coexist with our many species of wildlife. Though no longer a new town, the Village continues to serve as an admirable and viable model for communities everywhere. The year 2011 marks Montgomery Village's 45th anniversary.
A personal search for belonging, as well as a commentary on the rural small towns in the U.S.
African photography has emerged as a significant focus of research and scholarship over the last twenty years, the result of a growing interest in postcolonial societies and cultures and a turn towards visual evidence across the humanities and social sciences. At the same time, many rich and fascinating photographic collections have come to light. This volume explores the complex theoretical and practical issues involved in the study of African photographic archives, based on case studies drawn from across the continent dating from the 19th century to the present day. Chapters consider what constitutes an archive, from the familiar mission and state archives to more local, vernacular and personal accumulations of photographs; the importance of a critical and reflexive engagement with photographic collections; and the question of where and what is ‘Africa’, as constructed in the photographic archive. Essential reading for all researchers working with photographic archives, this book consolidates current thinking on the topic and sets the agenda for future research in this field.
Eschewing the limiting idea that nineteenth-century architecture photography merely reflects functionality, the objective of this collection is to reflect the aesthetic, intellectual, and cultural concerns of the time. The essays hold appeal for social and cultural historians, as well as those with an interest in the fields of art history, urban geography, history of travel and tourism. Nineteenth-century photographers captured what could be seen and what they wanted to be seen. Their images informed of exploration, progress, heritage, and destruction. Architecture was a staple subject for the first generation of photographers as it patiently tolerated the long exposures of the early processes. During its formative decades photography responded to evolutionary cultural forces of market and artistic production. Photographs of architecture reflected a specific political or social context modulated through individual points of view. For this reason, the examination of each photographic image as a primary visual document and an aesthetic object rather than a technical milestone on a chronological trajectory affords a richer multi-faceted approach to the extensive and complex corpus of photographs taken by photographers all over the world. This project acknowledges the importance of technique in the early decades of photography but focuses on the thematic content of the material. It places the photography of architecture in an international context under the contemporary critical lens sharpened by theoretical and cultural examinations of the topic.
The Haida of the Queen Charlotte Islands in British Columbia constructed some of the most magnificent houses and erected some of the most beautifully carved totem poles on the Northwest Coast. During the last quarter of the nineteenth-century, images of the Haida's immense cedar houses and soaring totem poles were captured, first on glass plates and later on film, by photographers who travelled to then-remote villages such as Masset and Skidegate to marvel at, and record, what they saw there. Haida Monumental Art, initially published as a limited edition hardcover and finally available in paperback, includes a large number of these remarkable photographs, selected from a collection of over 10,000 original prints and photographic plates. They depict the Haida villages at the height of their glory and record their tragic deterioration only a few decades later. As well, this edition contains the complete text from the first edition, including site plans and detailed descriptions of fifteen major villages and several smaller sites, which are catalogued by house and pole. By combining archeology and ethnohistory, George MacDonald presents an integrated framework for understanding the physical structure of a Haida village. He explains how the houses and poles are part of a fascinating web of myth, family history and Haida cosmology, which provides a unique insight into Haida culture.