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Text by Richard B. Woodward.
William Christenberry is firmly established as a contemporary American master photographer, but no comprehensive overview of his diverse talents is currently in print. This 260-page volume--the largest Christenberry overview yet published--corrects this lacuna, offering a thematic survey of his half-century-long career. It is composed of 13 sections, each devoted to a particular series or theme: the wooden sculptures of Southern houses, cafes and shops; the early, black-and-white, Walker Evans-influenced photographs of Southern interiors, taken in Alabama and Mississippi in the early 60s; documentations of Ku Klux Klan meeting houses and rallies, from the mid-1960s; color photographs of tenant houses in Alabama, from 1961 to 1978; signs in landscapes, ranging from handwritten gas station signs to Klan and corporate signs; graves (which, through Christenberry's lens, emerge as a kind of folk art); churches in Alabama, Delaware and Mississippi, taken between the mid-1960s and the 80s; Alabama street scenes, in towns such as Demopolis, Marion and Greensboro; street scenes in Tennessee (mostly Memphis); Southern landscapes; gas stations, trucks and cars in Alabama; and a selection from Christenberry's famous series of buildings to which he returns annually, photographing them over several decades-the palmist building, the Underground Nite Club, Coleman's Cafe, the Bar-B-Q Inn, the Green Warehouse and the Christenberry family home, near Stewart, Alabama. William Christenberry (born 1936) has been a professor at the Corcoran College of Art and Design, Washington, D.C., since 1968. His work has been the subject of numerous solo exhibitions over the last 40 years, and can be found in numerous permanent collections, including those of the Smithsonian American Art Museum, Washington, D.C.; The Museum of Modern Art and Whitney Museum of American Art, New York; San Francisco Museum of Modern Art; and the Center for Creative Photography, Tucson. His work was the subject of a major year-long solo exhibition at the Smithsonian American Art Museum in 2006.
In an accessible yet complex way, Rebekah Modrak and Bill Anthes explore photographic theory, history, and technique to bring photographic education up to date with contemporary photographic practice. --
Pictures that are made, not taken, are the focus of this exciting collection of worksby 90 American artists who are using appropriation, computer technology, performance, and numerousother sources of inspiration to stretch the limits and expand the possibilities of photographicart.
This memoir of Michelle Dunn Marsh's life and work as a book designer, cultural producer, and publisher unfolds through photographs drawn from the author's collection (featuring many prints gifted to her from projects, or obtained through trade), and notes on her formative encounters with some of American photography's master practitioners over the last twenty-five years.Portraits of her by Stephen Shore, Larry Fink, Sylvia Plachy, Will Wilson, and others punctuate a loosely chronological narrative exploring the author's evolution of seeing, the influences of family, education, geographies, mentors, and photography itself on that process, and her commitment to the printed book as a vessel of future histories.
This is a collection of more than 150 images from the Bruce and Nancy Berman Collection of contempory photographs. These images concentrate on the American landsape and the people and structures to be found in it.
Isabelle Storey's memoir of her 10-year marriage to Walker Evans. The story of an elegant young woman's infatuation with a great American artist - with the man himself, with what he stood for aesthetically and with his artistic and social circle and how her initial passion gradually cooled into disenchantment. In candid, poignant narrative, which draws on the couple's correspondence, Isabelle describes how their marriage grew more formal, cooler and eventually failed altogether as Isabelle felt compelled to move on.
the tides unbroken. the hidden rocks knowing nothing of battlements. the mind its own white room washed by a confluent prayer... "To enter into Dear Excavator," says American Book Award winner Ed Bok Lee, "is to wade into an epic river-part sour dream mash, part metaphysical disquisition, part tinker's time machine, all lifeline to the jugular sublime austral light in the tradition of William Christenberry, James Agee, Whitman, and Chagall." This debut full-length collection from prose-poet Evan D. Williams comprises two dozen pieces selected from literary journals-including Borderlands and The Mud Season Review-and a further two dozen pieces that appear here for the first time. The volume is divided into seven abstractly thematic parts-starting with Maps of the World in Its Becoming and concluding with The Crocodiles Who Look Back Into an Abyss of Time-which are introduced with striking ink drawings by Southwestern outsider artist JC McCarthy. "Somewhere in the middle of this singularly post-Gothic landscape," Lee continues, "you'll awaken to find yourself soaring through an Inner Americana exhumed back to miraculous life by the sheer forces of love and lyricism."
Vivid, clear-sighted images of American vernacular signage and architecture encountered along old US highways showcase the early black-and-white work of the acclaimed photographer Jim Dow The American photographer Jim Dow (b. 1942) is renowned for photographs that depict the built environment--he first gained attention for his panoramic triptychs of baseball stadiums--and for his skill at conveying the "human ingenuity and spirit" that suffuse the spaces. This book is the first to focus on Dow's early black-and-white pictures, featuring more than 60 photographs made between 1967 and 1977, a majority of which have never before been published. Indebted to the work of Walker Evans, a key mentor of Dow's, these photographs depict time-worn signage taken from billboards, diners, gas stations, drive-ins, and other small businesses. While still recognizable as icons of commercial Americana, without their context Dow's signs impart ambiguous messages, often situated between documentation and abstraction. Including a new essay by Dow that reveals his own perspective on the development of the work, Signs suggests how these formative years honed the artist's sensibility and conceptual approach.