Photography and photographs Books

Book SynopsisSpectrum of Fashion accompanies the eponymous exhibition at the Maryland Historical Society (Oct 2019 - Dec 2020): it contains four essays on Maryland fashion history, over 200 full-color fashion images illustrating about 100 garments and accessories, and a list of over 100 exhibition objects.

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Book SynopsisThis anthology offers a fresh approach to the philosophical aspects of photography. The essays, written by contemporary philosophers in a thorough and engaging manner, explore the far-reaching ethical dimensions of photography as it is used today. A first-of-its-kind anthology exploring the link between the art of photography and the theoretical questions it raises Written in a thorough and engaging manner Essayists are all contemporary philosophers who bring with them an exceptional understanding of the broader metaphysical issues pertaining to photography Takes a fresh look at some familiar issues - photographic truth, objectivity, and realism Introduces newer issues such as the ethical use of photography or the effect of digital-imaging technology on how we appreciate images Trade Review"As a whole,Walden's collection is a valuable addition to the philosophical literature on photography. It is well organized and contains a sustained discussion of many of the more provocative claims that philosophers have made about photography. It is still an open question whether any of these claims are true, but rather than simply dwelling upon the banal truths that we all already agree upon, it is a lot more interesting." (The Journal of Aesthetics and Art Criticism, Summer 2010) "This is a very valuable collection that gathers together a set of articles and issues that should be of general interest to philosophers of art." (Notre Dame Philosophical Reviews, February 2009) "How does one accept or deny 'reality' in photographic excursions? This is the central issue in this extraordinary compilation of 13 essays by contemporary philosophers who argue back and forth (in editor Walden's clever arrangement) so that readers must engage their own minds within the constantly conflicting (theoretical and personal) propositions/explanations. This is a rich, provocative, intelligent, challenging, and important compilation. Highly recommended." (Choice, November 2008) "Many of the essays are well written and indeed groundbreaking … .Given its overall depth, the anthology is worth reading by any critic, curator or student of the arts." (Prefix Photo, 2008) "Will enlighten the student and refresh the informed. Contributes greatly to the literature and will occupy a favorite spot on the book shelves." (Metapsychology)Table of ContentsAcknowledgments. List of Figures. Contributors. Introduction (Scott Walden, New York University). 1. Transparent Pictures: On the Nature of Photographic Realism (Kendall L. Walton, University of Michigan). 2. Photographs and Icons (Cynthia Freeland, University of Houston). 3. Photographs as Evidence (Aaron Meskin, University of Leeds and Jonathan Cohen, University of California, San Diego). 4. Truth in Photography (Scott Walden, New York University). 5. Documentary Authority and the Art of Photography (Barbara Savedoff, City University of New York). 6. Photography and Representation (Roger Scruton, University of Buckingham). 7. How Photographs "Signify": Cartier-Bresson’s "Reply" to Scruton (David Davies, McGill University). 8. Scales of Space and Time in Photography: "Perception Points Two Ways" (Patrick Maynard, University of Western Ontario). 9. True Appreciation (Dominic Lopes, University of British Columbia). 10. Landscape and Still Life: Static Representations of Static Scenes (Kendall Walton, University of Michigan). 11. The Problem with Movie Stars (Noël Carroll, Temple University). 12. Pictures of King Arthur: Photography and the Power of Narrative (Gregory Currie, University of Nottingham). 13. The Naked Truth (Arthur C. Danto, Columbia University). Epilogue. Bibliography. Index.

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Book SynopsisA Companion to Photography presents a comprehensive collection of original essays that explore a variety of key areas of current debate relating to the state of photography. Essays are written by both established and emerging photographers and scholars, as well as various experts in their respective areas. .Table of ContentsList of Figures ix Notes on Contributors xi Acknowledgments xvii 1 Introduction: Photography in the Twenty‐first Century 1Stephen Bull Part I Themes 9 2 Histories 11Sabine T. Kriebel 3 Locating Photography 29Christopher Pinney 4 The Participation of Time in Photography 49Anthony Luvera 5 Photographic Acts and Arts of Memory 61Martha Langford 6 The Indexical Imagination 85David Bate 7 The Thingness of Photographs 97Elizabeth Edwards 8 Beyond Representation?: The Database‐driven Image and the Non‐human Spectator 113Katrina SluisPart II Interpretation 131 9 Semiotics 133Paul Cobley and David Machin 10 A Culture of Texts 155Matthew Lindsey 11 Psychoanalysis and Photography: Mary Kelly and Cindy Sherman 173Kathy Kubicki 12 Reviewing the Gaze 189Roberta McGrath Part III Markets 209 13 Marketing Photography: Selling Popular Photography on the British High Street 211Annebella Pollen 14 Advertising and Photography: Rhetoric and Representation 237Malcolm Barnard 15 Fashion’s Image: The Complex World of the Fashion Photograph 253Karen de Perthuis 16 Value Systems in Photography 275Francis Hodgson Part IV Popular Photography 289 17 Snapshot Photography: History, Theory, Practice, and Esthetics 291Catherine Zuromskis 18 Mobile Photography 307Rachel K. Gillies 19 Famous for a Fifteenth of a Second: Andy Warhol, Celebrity, and Fan Photography 329Stephen Bull 20 Boring Pictures: Photography as Art of the Everyday 351Clare Gallagher Part V Documents 369 21 “Things as they are”: The Problematic Possibilities of Documentary 371Ian Walker 22 Citizens’ Photojournalism: History’s New First Draft 393David Brittain 23 Seeing is not Believing: On the Irrelevance of Looking in the Age of Operational Images 411Edward Dowsett 24 Travel Books, Photography, and National Identity in the 1950s and 1960s, Seen Through the Prism of the LIFE World Library 429Val Williams Part VI Art 437 25 Photography’s Conflicting Modernisms and Modernities 439Sarah E. James 26 Spectacle and Anti‐spectacle: American Art Photography and Consumer Culture 465David Campbell and Mark Durden 27 What Can Photography Do?: Considerations on Photography’s Potential as Contemporary Art 483Hilde Van Gelder 28 Practicing Desires: Authorship in Contemporary Photographic Art 501Fergus Heron Index 527

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Book SynopsisHershberger is the winner of a 2015 Insight Award from the Society for Photographic Education for his work on this book and for his overall contributions to the field! Photographic Theory: An Historical Anthology presents a compendium of readings spanning ancient times to the digital age that are related to the history, nature, and current status of debates in photographic theory. Offers an authoritative and academically up-to-date compendium of the history of photographic theory Represents the only collection to include ancient, Renaissance, and 19th-, 20th-, and 21st-century writings related to the subject Stresses the drama of historical and contemporary debates within theoretical circles Features comprehensive coverage of recent trends in digital photography Fills a much-needed gap in the existing literature Trade Review"There can be no question that those of us who teach the history of photography – and our students – have been put most deeply in Hershberger’s debt." (History of Photography Online, 1 June 2015) "This chronologically (and, to a lesser extent, thematically) organized selection of key contributions to photographic theory display both the highly exciting diversity of theoretical questions raised by the emergence, development, triumph, and eventual metamorphosis of photography and the amazing possibility to organize the sometimes savage heterogenity of this material along unobtrusive and simple art-historical lines." - Leonardo Online (1 February 2014)Table of ContentsIntroduction 1 1 Before Photography to Invention: c. 380 B.C.E.–1839 9 Camera/Vision 11 1.1 Excerpts from the Allegory of the Cave. In The Republic 12Plato, c. 380 B.C.E. 1.2 The Function of the Eye, As Explained by the Camera Obscura 17Leonardo da Vinci, c. 1520 1.3 Description of the Camera Lucida 19William H. Wollaston, 1807 Art/History 23 1.4 Excerpts on Linear Perspective. In On Painting 24Leon Battista Alberti, 1540 1.5 Account of the late Mr. [Robert] Barker 29Anonymous, 1806 1.6 Description of the Process of Painting and Effects of Light Invented by Daguerre, and Applied by Him to the Pictures of the Diorama 31Louis-Jacques-Mandé Daguerre, 1839 2 Invention to Pictorialism: 1839–c. 1880 35 What is Photography? 37 2.1 Some Account of the Art of Photogenic Drawing 38William Henry Fox Talbot, 1839 [March] 2.2 The Pencil of Nature. A New Discovery 44Nathaniel Parker Willis and Timothy O. Porter, eds., 1839 [April] 2.3 Report [on the Daguerreotype to the Chamber of Deputies] 48François Arago, 1839 [July] Art/History 55 2.4 Upon Photography in an Artistic View, and in Its Relations to the Arts 56Sir William J. Newton, 1853 2.5 La Photographie 59Antoine Joseph Wiertz, 1855 2.6 Photography 61Eastlake, Lady (Elizabeth) 1857 Camera/Vision 67 2.7 The Stereoscope and the Stereograph 68Oliver Wendell Holmes, 1859 2.8 Combination Printing. In Pictorial Effect in Photography 72Henry Peach Robinson, 1869 2.9 Annals of My Glass House 76Julia Margaret Cameron, 1874 3 Pictorialism to/and/vs. Modernism: c. 1880–c. 1920 81 Camera/Vision 83 3.1 Focussing. In Naturalistic Photography for Students of the Art 84Peter Henry Emerson, 1890 3.2 The Death of Naturalistic Photography 88Peter Henry Emerson, 1890 3.3 The Hand Camera — Its Present Importance 91Alfred Stieglitz, 1896 Interdisciplinary Approaches 95 3.4 Photo-Chemical Investigations and a New Method of Determination of the Sensitiveness of Photographic Plates 96Ferdinand Hurter and Vero C. Driffield, 1890 3.5 Logic as Semiotic: The Theory of Signs 100Charles Sanders Peirce, c. 1900 3.6 Intuition and Art. In Æsthetic: As Science of Expression and General Linguistic 105Benedetto Croce, 1902 3.7 The Cinematographical Mechanism of Thought and the Mechanistic Illusion…. In Creative Evolution 108Henri Bergson, 1907 What Should Photographs Look Like? 113 3.8 On the Straight Print 114Robert Demachy, 1907 3.9 What is a “Straight Print”? 118Frederick H. Evans, 1907 3.10 Photography and Artistic-Photography 121Marius de Zayas, 1913 4 Modernism to Postmodernism: c. 1920–c. 1960 123 Camera/Vision 125 4.1 Photography and the New God 126Paul Strand, 1922 4.2 Light: A Medium of Plastic Expression 130László Moholy-Nagy, 1923 4.3 Seeing Photographically 132Edward Weston, 1943 4.4 The Camera’s Glass Eye 136Clement Greenberg, 1946 What Should Photographs Look Like? 139 4.5 Aims 140Albert Renger-Patzsch, 1927 4.6 A Personal Credo 142Ansel Adams, 1943 4.7 Our Illustrations 147Frank R. Fraprie, 1943 4.8 Photography at the Crossroads 150Berenice Abbott, 1951 Art/History 155 4.9 Excerpts from Perspective as Symbolic Form 156Erwin Panofsky, 1927 4.10 The Age of the World Picture 161Martin Heidegger, 1938/52 4.11 Excerpts from Museum Without Walls 164André Malraux, 1947 Interdisciplinary Approaches 169 4.12 Photography and Typography 170Jan Tschichold, 1928 4.13 The Making of a Film. In Film as Art 174Rudolph Arnheim, 1932 4.14 The Ontology of the Photographic Image. In What Is Cinema? 176André Bazin, 1945 What is Photography? 181 4.15 Mechanism and Expression, the Essence and Value of Photography 182Franz Roh, 1929 4.16 Introduction to The Decisive Moment 188Henri Cartier-Bresson, 1952 4.17 Photography 192Siegfried Kracauer, 1960 5 Modernism and Postmodernism to Digital Imaging: c. 1960–c. 1990 199 Art/History 201 5.1 Equivalence: The Perennial Trend 202Minor White, 1963 5.2 Perspective. In Languages of Art 207Nelson Goodman, 1968 5.3 Can There Ever Again Be a History of Photography? 211Peter C. Bunnell, 1975 5.4 Introduction to Before Photography: Painting and the Invention of Photography 214Peter Galassi, 1981 5.5 New Metaphorics: Spirit and Symbol in Contemporary Landscape Photography 219Gretchen Garner, 1988 Camera/Vision 225 5.6 Introduction to The Photographer’s Eye 226John Szarkowski, 1966 5.7 Post-Visualization 232Jerry Uelsmann, 1967 5.8 Introduction to New Topographics 235William Jenkins, 1975 Interdisciplinary Approaches 239 5.9 Excerpts from The World Viewed 240Stanley Cavell, 1971 5.10 Notes on the Index: Seventies Art in America 246Rosalind Krauss, 1977 5.11 Photography and Fetish 251Christian Metz, 1985 5.12 Film, Photography, and Fetish: The Analyses of Christian Metz 256Ben Singer, 1988 What is Photography? 263 5.13 On the Nature of Photography 264Rudolf Arnheim, 1974 5.14 Photography, Vision, and Representation 269Joel Snyder and Neil Walsh Allen, 1975 5.15 The Directorial Mode: Notes Toward a Definition 276A. D. Coleman, 1976 5.16 Selections from Transparent Pictures: On the Nature of Photographic Realism 284Kendall L.Walton, 1984 5.17 The Photograph as Post-Industrial Object: An Essay on the Ontological Standing of Photographs 290Vilém Flusser, 1986 Identity/Politics 295 5.18 The Traffic in Photographs 296Allan Sekula, 1981 5.19 Of Mother Nature and Marlboro Men: An Inquiry into the Cultural Meanings of Landscape Photography 302Deborah Bright, 1985 5.20 Excerpts from Right of Inspection 310Jacques Derrida, 1985 5.21 Fetal Images: The Power of Visual Culture in the Politics of Reproduction 315Rosalind Pollack Petchesky, 1987 6 Postmodernism and Digital Imaging (Return to Pictorialism?): c. 1990–c. 2010 319 What is Digital Photography? 321 6.1 The Transcendental Machine? A Comparison of Digital Photography and Nineteenth-Century Modes of Photographic Representation 322Diana Emery Hulick, 1990 6.2 Photojournalism in the Age of Computers 329Fred Ritchin, 1990 6.3 Phantasm: Digital Imaging and the Death of Photography. In Metamorphoses 334Geoffrey Batchen, 1994 6.4 Escaping Reality: Digital Imagery and the Resources of Photography 338Barbara E. Savedoff, 1997 6.5 Fixing the Art of Digital Photography: Electronic Shadows 344Ellen Handy, 1998 6.6 Digital Ontologies: The Ideality of Form in/and Code Storage — or — Can Graphesis Challenge Mathesis? 350Johanna Drucker, 2001 Identity/Politics 355 6.7 Do Not Doubt the Dangerousness of the 12-Inch-Tall Politician 356David Wojnarowicz, 1991 6.8 The Politics of Focus: Feminism and Photography Theory 359Lindsay Smith, 1992 6.9 Re-Picturing Photography: A Language in the Making 365Aphrodite Désirée Navab, 2001 6.10 A Painful Labour: Responsibility and Photography 370Sharon Sliwinski, 2004 Camera/Vision 377 6.11 Clement Greenberg and Walker Evans: Transparency and Transcendence 378Mike Weaver, 1991 6.12 The Shadows on the Wall. In The Reconfigured Eye: Visual Truth in the Post-Photographic Era 382William J. Mitchell, 1992 6.13 Of Fish, Birds, Cats, Mice, Spiders, Flies, Pigs, and Chimpanzees: How Chance Casts the Historic Action Photograph into Doubt 384Robin Kelsey, 2009 Art/History 389 6.14 The Invisible Dragon: On Beauty I 390Dave Hickey, 1991 6.15 The Idiom in Photography as the Truth in Painting 394Rosemary Hawker, 2002 6.16 “Impressed by Nature’s Hand”: Photography and Authorship 399Douglas R. Nickel, 2009 Photography and Memory 407 6.17 Surviving Images: Holocaust Photographs and the Work of Postmemory 408Marianne Hirsch, 2001 6.18 Visualizing Memory: Photographs and the Art of Biography 412Deborah Willis, 2003 6.19 Remembering September 11: Photography as Cultural Diplomacy 415Liam Kennedy, 2003 6.20 Through a Glass, Darkly: Photography and Cultural Memory 421Alan Trachtenberg, 2008 Interdisciplinary Approaches 425 6.21 Curiosity and Conjecture: Mathematics, Photography, and the Imagination 426David Travis, 2003 6.22 Image as Trace: Speculations about an Undead Paradigm 429Peter Geimer, 2007 6.23 The Photographic Argument of Philosophy 436Alexander Sekatskiy, 2010 Works Cited and Further Reading 440 Credits, Sources, and Acknowledgments 449 Acknowledgments 454 Index 456

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Book SynopsisAfrican American Faces of the Civil War makes an important contribution to a comparatively understudied aspect of the war and provides a fascinating look into lives that helped shape America.Trade ReviewCoddington's use of African American-owned newspapers and pension records is groundbreaking. It does nothing to diminish the depth and precision of Coddington's research to say that each compelling vignette prompts the reader to hurriedly flip to the next one. Publishers Weekly (starred review) An engaging look at a neglected part of the history of the American Civil War. -- Vanessa Bush Booklist African American Faces of the Civil War: An Album serves us well to remind us of those who came before and honor them. -- Sara Rosen Le Journal de la Photographie With the plethora of Civil War books that focus on battles, regiments, and the famous, this volume's subject matter and format are a welcome counterpoint. Library Journal A stunning album of 77 portrait photographs-cartes de visite, ambrotypes and tintypes... African American Faces of the Civil War provides a unique visual record, quite literally documenting the faces of war at a transitional moment in U.S. history. Lincoln's black warriors helped to overthrow slavery and to restore the Union. Their descendants spent the next century fighting new battles for true equality. -- John David Smith Charlotte Observer Coddington's thoughtfully crafted and cogently written study, replete with an insightful foreword by J. Matthew Gallman on the African-American experience, will appeal to readers interested in the efforts of African Americans and the war's larger military, social and global consequences. -- Jonathan A. Noyalas Civil War News Coddington highlights the bravery of African American soldiers at a time when many considered them to be cowards, and shows the Civil War from the perspective of African Americans fighting for freedom, dignity, respect, and equality. Choice A fascinating work that captures the soldiers at a moment when they proudly served a country that was only just then beginning to reassess their citizenship rights. Because they risked everything to fight for emancipation and the Union, the Civil War's African-American soldiers deserve to never be forgotten. Coddington's work will help to ensure that that no one will ever need to be reminded that 'there were men of color who... fought.' -- Glenn David Brasher Civil War Monitor The sesquicentennial observance of the Civil War era will be marked by numerous publications of works. Few book will be as fascinating and informative as African American Faces of the Civil War... This third book on soldiers in the Civil War, African American Faces of the Civil War, is a well-documented and a valuable work, It is an outstanding contribution to the scholarship on the Civil War and African American History in general. Civil War Book Review African American Faces of the Civil War, like the photographs it presents, captures the moment when black men in America transitioned from slaves to soldiers and the Civil War became about more than merely preserving the Union. Unlike any single photograph, however, Coddington's book depicts this moment from a diverse variety of perspectives -- Kelly Erby Kansas History Coddington exposes the good and the bad... The book is a must-read for all Civil War buffs and contains important historical data to complete a full circumference of Civil War history. Daguerrian Society All those who are fascinated by Civil war photography or black history in general will find this volume to be a most enjoyable read. The book helps us to remember that during the Civil War a significant number of black men were willing to fight for their freedom or to help secure freedom for their fellow African Americans. -- Roger D. Cunningham Journal of America's Military Past In developing parallels between the control of one's image in narratives and the use of the photograph as biography, Coddington makes a compelling argument for the reader to rethink the place of photography in telling history. His use of photographs as visual text allows the reader to reimagine history through the photographer's leans. This book maps new methodologies for researching and writing about photographs and plumbs the hidden history of the Civil War narrative. -- Deborah Willis Indiana Magazine of History African American Faces of the Civil War is just lovely. The prose is fast-paced but personal, and readers will feel as if these soldiers are telling their stories in their own words. Mr. Coddington's research is stunning, his details are meticulous, and he even went the next step and thoughtfully enlarged the pictures in his rare collection so that they are alive with power and detail. The Black History ChannelTable of ContentsForeword, by J. Matthew GallmanPrefaceThe ProfilesNotesReferencesAcknowledgmentsIndex

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Book SynopsisTaken collectively, these snapshots remind us that the history of war is not merely a chronicle of campaigns won and lost, it is the collective personal odysseys of thousands of individual life stories.Trade ReviewAn engaging look at a neglected part of the history of the American Civil War. Booklist Coddington has hit upon a unique and fascinating niche in the seemingly endless march of Civil War books. C&RL News A lavishly produced visual record of southern Civil War soldiers... will appeal to serious photography enthusiasts and collectors, as well as those readers captivated by the personal stories of Civil War soldiers. Civil War Books and Authors Coddington's prose is as unpretentious as the faces he shares, yet authoritative. It resurrects details that broaden our understanding of those sad times and sheds valuable light on the shape of modern culture. Atlanta Constitution Even at a distance of over a hundred years, the faces staring out of these pages create an undeniable emotional connection with the reader. This book is highly recommended. H-CivWar, H-Net Reviews A fascinating window into the war's impact on the individual soldier... well researched and engagingly written. Any teacher of the Civil War would do well to consult this volume and incorporate some of the captivating tales into lectures and readings. Journal of Military History Faces of the Civil War Navies is a notable addition to anyone's Civil War library - whether they are interested in the War's naval history or social aspects. Coddington does a worthy job providing scholarly biographies that are both interesting to read and informative. The scholarly nature of this work can be appreciated through the thoroughly cited entries, and extensive bibliography. In the end Faces of the Civil War Navies does accomplish Coddington's goal of adding the human story of the war at sea. Civil War Book ReviewTable of ContentsForeword by Craig L. SymondsPrefaceCartes de VisiteNotesReferencesAcknowledgmentsIndex

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Book SynopsisHighlighting the emotional resonance of film and the loyalty of Baltimoreans to their neighborhoods, Flickering Treasures is a profound story of change, loss, and rebirth.Trade ReviewJuxtaposing current conditions with historical photos, Davis shows how much time has altered the face of our city. Her book is a comment on this transition, and a reminder that change is the only constant.—Baltimore MagazineFlickering Treasures is not only a collection of beautiful and evocative photos, but a sociological journey through twentieth-century America. Having Baltimore-bred filmmaker Barry Levinson contribute a foreword is icing on the cake.—Leonard Maltin, film critic, author of Leonard Maltin’s Movie GuideThis is the finest coffee table book about a local subject that I've seen . . . This is amazing.—Marty Bass, WJZ-TV. . . [Flickering Treasures] would make a nice gift for anyone who loves movies, architecture, or the city of Baltimore.—Saving PlacesAmy Davis, a photojournalist for the Baltimore Sun, combines vintage with modern color image contrasts to document these urban wonders, considering the social, economic, technological, and political influences on their rise and fall as she crafts a beautiful, iconic collection that will appear to readers far beyond Baltimore City's borders.—Donovan's Literary ServicesThis book belongs in the library of every Baltimorean that loves movies and their city’s history. I’m giving “Flickering Treasures” Five Stars and the highest recommendation.—Media Mentors NetworkFlickering Treasures is not only a collection of beautiful and evocative photos, but a sociological journey through 20th century America—Leonard MaltinJuxtaposing current conditions with historical photos, Davis shows how much time has altered the face of our city. Her book is a comment on this transition, and a reminder that change is the only constant.—Baltimore MagazineThe book is an engaging, often fun and frequently nostalgically joyful combination of historical images and theater "biographies" that are tied to conversational memories as expressed by those with the greatest familiarity with the theaters.—New York-Pennsylvania CollectorThe strength of Flickering Treasures lies in the numerous photographs that take center stage in this book in which [Davis] juxtaposes numerous vintage with her own artful photographs in order to procure a "dialogue with the past, not its replication". Consequently, her book does not merely document how numerous movie theaters became stores, office buildings, churches or were taken over by nature. Instead, the photographs create a compelling story that highlights that the history of Baltimore's forgotten movie theaters is also about transformations, opportunity, loss and lack of (architectural) preservation or neglect.—Susana Rocha Teixeira, Universität Bielefeld, SehepunkteBetween the pages of this book lies a deep dive into the colourful and rich moviegoing history of Baltimore (US). Davis' meticulously researched, beautifully photographed, and professionally presented title is a proverbial treasure trove.—Marc Zimmerman, Cinema Heritage GroupTable of ContentsForeward, by Barry LevinsonPreface1. 1896–19092. 1910–19143. 1915–19194. 1920–19245. 1925–19296. 1930–19397. 1940–19498. 1950–2017AfterwordAcknowledgmentsMap and TimelineNotes on ResearchCreditsIndex of ContributorsIndex of Theaters

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Book SynopsisThe gripping biography of a man and his passion for art. In 1857, George A. Lucas, a young Baltimorean who was fluent in French and enamored of French art, arrived in Paris. There, he established an extensive personal network of celebrated artists and art dealers, becoming the quintessential French connection for American collectors. The most remarkable thing about Lucas was not the art that he acquired for his clients (who included William and Henry Walters, the founders of the Walters Art Museum, and John Taylor Johnston, the founding president of the Metropolitan Museum of Art) but the massive collection of 18,000 paintings, drawings, sculptures, and etchings, as well as 1,500 books, journals, and other sources about French artists, that he acquired for himself. Paintings by Cabanel, Corot, and Daubigny, prints by Whistler, Manet, and Cassatt, and portfolios of information about hundreds of French artists filled his apartment and spilled into the adjacent flat of his mistress. BTrade ReviewWith rich period detail and a genuine warmth towards its subject, it is eminently readable. Written for scholars and a general audience alike A Paris Life, a Baltimore Treasure amplifies Lucas's vital role in linking collectors in the United States and French artists during the highpoint of American buying power, from the Civil War until the mid 1880s, a story that, to date, has only been told in temporary exhibitions of Lucas's collection.—Nineteenth-Century Art WorldwideMazaroff details three decades of uncertainty over the ownership and importance of Lucas's gift. This story is greatly enhanced by the fact that most of the actors in the legal drama, which played out from the 1960s to the 1990s, gave interviews to the author; this oral history is the kind of vital inside information that scholars in future decades will relish. The book raises questions about art and money, personal enthusiasms and institutional priorities, and the grey areas in between, which make the process of shepherding gifts of art so political and complex.—Jo Briggs, The Art NewspaperTable of ContentsList of IllustrationsAcknowledgmentsPrologue1. The Cultivation of Lucas2. The Wandering Road to Paris3. Lucas and Paris in a Time of Transition4. Lucas and Whistler5. The Links to Lucas6. From Ecouen to Barbizon7. M, Eugene, and Maud8. When Money Is No Object9. The Lucas Collection10. The Final Years11. The Terms of Lucas's Will12. A Collection in Search of a Home13. The Shot across the Bow14. The Glorification of Lucas15. In Judge Kaplan's Court16. Lucas SavedPostscriptAppendixNotesBibliographyIndex

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Book SynopsisA collection of rare archival images and biographical sketches of the dauntless women who served as nurses and caregivers during the Civil War. During the American Civil War, women on both sides of the conflict, radiating patriotic fervor equal to their male counterparts, contributed to the war effort in countless ways: forming charitable societies, becoming nurses, or even marching off to war as vivandières, unofficial attachés to the regiments. In Faces of Civil War Nurses, Ronald S. Coddington turns his attention to the experiences of 77 women of all ages and walks of life who provided care during the war as nurses, aid workers, and vivandières. Their personal narratives are as unique as fingerprints: each provides a distinct entry point into the larger social history of the brutal and bloody conflict. Coddington tells these determined women's stories through letters, diaries, pension files, and newspaper and government reports. Using identified tintypes and cartes de visite of Table of ContentsPrefaceAcknowledgmentsThe ProfilesNotesReferencesIndex

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Book SynopsisFull of original plans and historic photographs, this beautifully illustrated collection is the first comprehensive presentation of Olmsted's design concepts for communities and private estates. Silver Winner of the 2021 IBPA Benjamin Franklin Award for Best Coffee Table BookMaster landscape architect Frederick Law Olmsted (18221903) is renowned for his public parks, but few know the extent of his accomplishment in meeting other needs of society. Lavishly illustrated with over 500 images, this book presents Olmsted's design commissions for a wide range of projects. The rich collection of studies, lithographs, paintings, and historical photographs depicts Olmsted's planning for residential communities, regional and town plans, academic campuses, grounds of public buildings, zoos, arboreta, and cemeteries. Focusing on living spaces designed to promote physical and mental well-being, the book showcases more than seventy of Olmsted's designs, including the community of Riverside, IL; theTable of ContentsAcknowledgments Introduction Chapter One. Residential CommunitiesChapter Two. Industrial AreasChapter Three. Regional and Town PlanningChapter Four. Private EstatesChapter Five. Academic CampusesChapter Six. Residential InstitutionsChapter Seven. Grounds of Government and Public BuildingsChapter Eight. ExpositionsChapter Nine. Summer CommunitiesChapter Ten. Resorts and HotelsChapter Eleven. Zoos and Arboreta Chapter Twelve. Cemeteries and MemorialsList of IllustrationsList of RepositoriesIndex

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Book SynopsisHow images portraying Asians as civil subjects contribute to debates on Asian American citizenshipTrade Review"This book concerns the appearance of Asians in nineteenth- and twentieth-century photographs as related, first, to civility and, secondarily, to issues of citizenship...Thy Phu is deeply interested in probing the symbolic meanings behind the photographs as they relate to Asians as the 'model minority.'... Phu makes some interesting points."--Pacific Historical Review , August 2013 "Picturing Model Citizens presents a compelling, original, and timely contribution to the nascent field of Asian American visual studies, productively drawing together a set of photographic archives and contexts that have, for too long, been arbitrarily imagined as discrete and disconnected... Phu's Picturing Model Citizens is itself a model of engaged and innovative scholarship, charting new directions for Asian American studies, visual studies, citizenship studies, and the emergent combinations therein."--caa.reviews, June 26, 2013Table of ContentsAcknowledgments; Preface; Introduction: Clasped Hands and Clenched Fists; Spectacles of Intimacy and the Aesthetics of Domestication; Cultivating Citizenship: Internment Landscapes and Still Lifes; A Manner of Apology: Transpacifism and the Scars of Reparation; Racial Hygiene: SARS, Surgical Masks, and the Civility of Surveillance; Postscript: The Inhospitable Politics of Repatriation; Bibliography.

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Book SynopsisHow images portraying Asians as civil subjects contribute to debates on Asian American citizenshipTrade Review"This book concerns the appearance of Asians in nineteenth- and twentieth-century photographs as related, first, to civility and, secondarily, to issues of citizenship...Thy Phu is deeply interested in probing the symbolic meanings behind the photographs as they relate to Asians as the 'model minority.'... Phu makes some interesting points."--Pacific Historical Review , August 2013 "Picturing Model Citizens presents a compelling, original, and timely contribution to the nascent field of Asian American visual studies, productively drawing together a set of photographic archives and contexts that have, for too long, been arbitrarily imagined as discrete and disconnected... Phu's Picturing Model Citizens is itself a model of engaged and innovative scholarship, charting new directions for Asian American studies, visual studies, citizenship studies, and the emergent combinations therein."--caa.reviews, June 26, 2013Table of ContentsAcknowledgments; Preface; Introduction: Clasped Hands and Clenched Fists; Spectacles of Intimacy and the Aesthetics of Domestication; Cultivating Citizenship: Internment Landscapes and Still Lifes; A Manner of Apology: Transpacifism and the Scars of Reparation; Racial Hygiene: SARS, Surgical Masks, and the Civility of Surveillance; Postscript: The Inhospitable Politics of Repatriation; Bibliography.

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Book SynopsisWhat freedom looked like for black Americans in the Civil War eraTrade Review"Envisioning Emancipation offers an illuminating and inspiring look at the men and women who enabled, lived through, and were affected by the landmark event of emancipation. With a stunning collection of photographs accompanied by engaging new scholarship, this book is sure to have a vital and important impact on the way Americans see our nation and ourselves."-Thelma Golden, Director and Chief Curator of the Studio Museum of Harlem"When Frederick Douglass observed that 'Negroes can never have impartial portraits at the hands of white artists,' he virtually predicted a century of derogation and invisibility for African Americans. Images of African Americans under slavery or even later during Reconstruction are notoriously rare, and there has never been a comprehensive survey of these always illuminating photographs. In Envisioning Emancipation, Deborah Willis and Barbara Krauthamer have painstakingly filled in many of the missing pieces, compiling an extraordinary photograph album of African American vernacular life that will be treasured as much for its historical insights as for its powerful aesthetic impact."-Brian Wallis, Chief Curator, International Center of Photography"Envisioning Emancipation is a rare publication that is both intellectually innovative and emotionally enriching. Willis and Krauthamer have transformed the way scholars will look at abolitionism and the transition from enslavement to freedom by carefully recasting and reassessing black imagery to better understand and explore the intersection of race, gender, propaganda, and identity. The authors remind us that photography was a valuable and effective weapon in the struggle over the future of slavery in America, a weapon that was used, fought over, and manipulated by all involved."-Lonnie Bunch is the Founding Director of the National Museum of African American History and Culture "[A] stunning range of images that 'allow us to contemplate not only the history of slavery and emancipation but also our continued ties to that history and its legacies.' The result is a gem: haunting, touching, troubling, inspiring, and informative....Particularly noteworthy is the attention given to women, especially their role in the Civil War.... Though it does not purport to be a photographic history of African-Americans, one will certainly see the course of history leading to emancipation." —Publishers WeeklyTable of ContentsPreface and AcknowledgmentsThe Emancipation ProclamationIntroduction1 Representing the Appeal 2 A Collective Portrait of the Civil War3 Legacies of EmancipationNotesIndex

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Book SynopsisWhat freedom looked like for black Americans in the Civil War eraTrade Review"Envisioning Emancipation offers an illuminating and inspiring look at the men and women who enabled, lived through, and were affected by the landmark event of emancipation. With a stunning collection of photographs accompanied by engaging new scholarship, this book is sure to have a vital and important impact on the way Americans see our nation and ourselves."-Thelma Golden, Director and Chief Curator of the Studio Museum of Harlem"When Frederick Douglass observed that 'Negroes can never have impartial portraits at the hands of white artists,' he virtually predicted a century of derogation and invisibility for African Americans. Images of African Americans under slavery or even later during Reconstruction are notoriously rare, and there has never been a comprehensive survey of these always illuminating photographs. In Envisioning Emancipation, Deborah Willis and Barbara Krauthamer have painstakingly filled in many of the missing pieces, compiling an extraordinary photograph album of African American vernacular life that will be treasured as much for its historical insights as for its powerful aesthetic impact."-Brian Wallis, Chief Curator, International Center of Photography"Envisioning Emancipation is a rare publication that is both intellectually innovative and emotionally enriching. Willis and Krauthamer have transformed the way scholars will look at abolitionism and the transition from enslavement to freedom by carefully recasting and reassessing black imagery to better understand and explore the intersection of race, gender, propaganda, and identity. The authors remind us that photography was a valuable and effective weapon in the struggle over the future of slavery in America, a weapon that was used, fought over, and manipulated by all involved."-Lonnie Bunch is the Founding Director of the National Museum of African American History and Culture "[A] stunning range of images that 'allow us to contemplate not only the history of slavery and emancipation but also our continued ties to that history and its legacies.' The result is a gem: haunting, touching, troubling, inspiring, and informative....Particularly noteworthy is the attention given to women, especially their role in the Civil War.... Though it does not purport to be a photographic history of African-Americans, one will certainly see the course of history leading to emancipation." —Publishers WeeklyTable of ContentsPreface and AcknowledgmentsThe Emancipation ProclamationIntroduction1 Representing the Appeal 2 A Collective Portrait of the Civil War3 Legacies of EmancipationNotesIndex

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Book SynopsisMikael Karlsson's revision of Rohn Engh's classic text covers everything from choosing a subject to marketing photos the right way to the right people. Readers will benefit from up-to-date advice and brand new interviews with industry experts.

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Book SynopsisThis Separated Isle explores how concepts of Britishness' reveal an inclusive range of understandings about our national character. Featuring a diverse range of photographic portraits and narrative stories from across the UK, this landmark book examines the relationship between identity and nationhood, revealing the ties that bind us together.Table of ContentsForeword ~ Kit de Waal; Introduction; 1-40 Portraits of a Diverse Britain.

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Book SynopsisAt first glance, Jessica Ingram's landscape photographs could have been made nearly anywhere in the American South. These seemingly ordinary places, however, were the sites of pivotal events during the civil rights era, though often there is not a plaque with dates and names to mark their importance.

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Book SynopsisIn this major reappraisal of Edward Curtis's work, Shamoon Zamir argues that Curtis's photography engages meaningfully with the crisis of culture and selfhood brought on by the dramatic transformations of Native societies. This crisis is captured profoundly, and with remarkable empathy, in Curtis's images of the human face.Trade ReviewBrilliant analyses. . . . A more nuanced pathway to reassessing Curtis's monumental achievement . . . in the history of intercultural interpretation." - Dialectical Anthropology"Bold and original." - Journal of the Royal Anthropological Institute"[Zamir's] analysis is often novel and compelling." - Journal of American History"An important and significant new contribution to the scholarship of Native American studies, and also to anthropology, American history, photography, and the study of visual culture." -ARLIS/NA Reviews"Insightful and persuasive…a valuable contribution to several disciplines." - Native American and Indigenous Studies

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Book SynopsisViewing the work of twelve prominent photographers, including Graciela Iturbide, Pedro Meyer, and Marcos López, this first far-ranging analysis of gendered perspectives in Latin American photography demonstrates the importance of this art form within Latin American cultural production.Table of ContentsPrefaceChapter 1. Dreaming in Feminine: Grete Stern's Photomontages and the Parody of PsychoanalysisChapter 2. Annemarie Heinrich: Photography, Women's Bodies, and Semiotic ExcessChapter 3. Woman, Prostitution, and Modernity in Fin-de-siècle MexicoChapter 4. Buenos Aires and Women in Crisis: The Photography of Silvina FrydlewskyChapter 5. Girls Will Be Girls: Daniela Rossell's Ricas y famosasChapter 6. Pedro Meyer: Constructing Masculinities, Constructing PhotographyChapter 7. Discovering the Male Body: Marcos Zimmermann's Desnudos sudamericanos Chapter 8. Queering Gender in Graciela Iturbide's Juchitán de las mujeres Chapter 9. Guille and Belinda: A Protolesbian Arcadian RomanceChapter 10. Homosocialism \D Homoeroticism in the Photography of Marcos LópezChapter 11. Performing Masculine Heterosexuality in Stefan Ruiz's Photography of Mexican Soap OperasChapter 12. Helen Zout's Desapariciones: Shooting DeathChapter 13. Documentary Photography as Gender Testimony: Daniel Hernández-Salazar's So That All Shall KnowNotesWorks CitedIndex

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Book SynopsisCreated across thirteen years, forty-eight states, and eighty thousand miles, this startlingly fresh photographic portrait of the American landscape shares artistic affinities with the works of such American masters as Edward Hopper, Grant Wood, Mark Rothko, and Albert Bierstadt.Trade Review"'Bang!' went my heart when I opened the photographer Jack Spencer’s powerful This Land: An American Portrait." * New York Times Book Review *"Spencer dazzles us with his visual poetry while at the same time guiding us to look beyond his images. He explores the delicate balance struck with what our culture demands and what truly is important to lead a fulfilling life." * Great Plains Quarterly *"Spencer has given us a great gift." * Garden & Gun *

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Book SynopsisElspeth H. Brown traces modeling's history from the advent of photographic modeling in the early twentieth century to the rise of the supermodel in the 1980s, showing how it is both the quintessential occupation of a modern consumer economy and a practice that has been shaped by queer sensibilities.Trade Review"Whether it’s the showgirls of the 1920s, fashion photographer George Platt Lynes spearheading 'queer glamour' in the 1930s, or the groundbreaking Black models of the 1950s and ’60s, Brown’s book will reshape our understanding of the modeling industry." -- Evette Dionne * Bitch *"Modelling is a queer business in every sense of that word. Brown’s exploration of it is fascinating: intelligent and unexpected in the turns that its analysis takes. This is no glib foray into celebrity culture, no superficial survey of supermodels. . . . A strikingly original, non-normative telling of 20th-century culture." -- Shahidha Bari * Times Higher Education *"Everyone from armchair fashionistas to modeling industry executives will find something to ponder in this original, creative, and beautifully queer examination of the international fashion machine and the role of the human model." -- Jim Piechota * Bay Area Reporter *"Work! is a deep dive into the history of a profession that is often regarded by many with surface-level thought. Modeling is often tasked to help create an image worth a thousand words, but Brown successfully uses more than that to show how the vocation and its inherent queerness pervades multiple aspects of America’s culture." -- Alex Tunney * Lambda Literary Review *"Exploring both fashion stills and the history of live modelling that eventually shaped black drag, Brown’s Work! is revelatory because it is intersectional and, arguably, the first comprehensive historical treatment of this lucrative industry, where various forms of influential queerness have been hiding in plain sight." -- Nathalie Atkinson * Globe and Mail *"A necessary addition to the fields of LGBTQ and fashion scholarship. . . . Brown’s book is a study in strength and courage inside a system predicated upon inequality, injustice, and harm—a beacon of light in a time of darkness and a reminder that there is far more to an image than meets the eye." -- Miss Rosen * Feature Shoot *"The book is a pleasure to read, full of interesting anecdotes about celebrated photographers like Richard Avedon, Cecil Beaton, Adolph de Meyer, Horst P. Horst, George Platt Lynes, and Edward Steichen. It is also illustrated with color photographs from the world of fine art and the pages of magazines like Vogue, Ebony, and Jet. This is a book for scholars and enthusiasts of fashion. . . . Recommended. All readers." -- T. Nygard * Choice *"Richly detailed and meticulously researched, Elspeth Brown’s Work! offers an intersectional framework through which the reader is able to consider the history of capitalism, queerness, and studies of affect and emotion through the lens of fashion, advertising, and the model. … Brown’s work is unique in that it offers a narrative that sits uncomfortably between celebratory firsts for black models and gay photographers and the stereotyped messages inherently and, at times, unintentionally embedded within the fashion and advertising images." -- Jennie Woodard * History *"Across the book’s five chapters—each vividly illustrated—Brown looks at the proliferation of ways that female bodies could be displayed: in couture houses, on stage, in print advertisements, as part of Hollywood’s creation of glamour and in high-end fashion publications. At each juncture she explores the shifting relationship between desire and commerce, observing the 'de-eroticised, public sexuality embodied by those selling clothes, goods and ideals. Describing those models who performed a kind of 'material seduction'—one existing at a distance, alluring in its intangibility—Brown traces the subversive potential in the business of visual fantasy." -- Rosalind Jana * TLS *“The unique contribution of the book is the way the author weaves the narrative through the lens of affect theory while also engaging the history of capitalism.... The book is a breath of fresh air ... and I offer much applause to the author for undertaking this rigorous project.” -- Kelly L. Reddy-Best * Dress *“I would highly recommend Work! to anyone interested in fashion studies, identity studies, queer studies, feminism, African American studies, black studies, history of photography, or art history and visual culture.... Work! is a superbly crafted, refreshingly clear and indispensable new history of modelling.” -- Joy Sperling * Fashion, Style & Popular Culture *“With Work!, Elspeth H. Brown. . . has tied together the different strands of her intellectual expertise––queer and trans studies as well as affect theory––to take the reader on a mesmerizing journey through an until now uninvestigated queer history of fashion modeling.” -- Roberto Filippello * Fashion Theory *“Work! is a groundbreaking contribution to the study of histories of sexuality, gender, race, and the market.... Brown’s book is a fascinating must read because it provides a history for an industry that is ever present but also somehow discursively invisible.” -- Stefanie K. Dunning * Journal of African American History *Table of ContentsAcknowledgments ix Illustrations xiii Introduction 1 1. From the Artist's Model to the Photographic Model: Containing Sexuality in the Early Twentieth Century 25 2. Race, Sexuality, and the 1920s Stage Model 69 3. Queering Interwar Fashion: Photographers, Models, and the Queer Production of the "Look" 103 4. Black Models and the Invention of the US: "Negro Market," 1945-1960 163 5. "You've Got to Be Real": Constructing Femininity in the Long 1970s 211 Epilogue 271 Notes 277 Bibliography 313 Index 337

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Book SynopsisThe contributors to Visualizing Fascism examine the imagery and visual rhetoric of interwar fascism in East Asia, southern Africa, and Europe to explore how fascism was visualized as a global and aesthetic phenomenon.Trade Review“In a volume of instructive and newly timely essays, we learn about the key role played by the circulation of people and the visual culture they made in constructing fascism's global imaginary of interconnectedness. From the 1920s to the 1950s, fascist visuality in Asia and Europe brought the intimacies of everyday life and the realm of mass spectacle together in a variety of forms. Moving beyond the usual subjects of futurism and Leni Riefenstahl, the volume expands the visual repertoire of the period's politicized visual field as it reintroduces readers to its contested grounds.” -- Vanessa R. Schwartz, Director, Visual Studies Research Institute, University of Southern California“Unlike so many works that relegate the phenomenon of fascism to a few moments in the past and to an isolated number of usual suspects, this wide-ranging volume focuses on the visual but goes way beyond it to demonstrate that fascism has come in varied but contiguous forms throughout the world—and perhaps as important, threatens to do so again in our time. An absolutely stunning and pathbreaking intervention by leading scholars of fascism and modernity.” -- Takashi Fujitani, author of * Race for Empire: Koreans as Japanese and Japanese as Americans during WWII *"The book highlights the saliency of bridging the written and the visual and urges historians not to restrain from enriching their 'historians's craft' by listening to, reading and looking at the silence of images." -- Elena Maria Rita Rizzi * European Review of History *"The volume has much to offer due to the geographical scope of its case studies.… Visualizing Fascism is a welcome addition to the literature, calling for an understanding of fascism as a transnational phenomenon typified by the fluid circulation of fascist ideology and imagery." -- Mark Antliff * Journal of Visual Culture *Table of ContentsIntroduction: A Portable Concept of Fascism / Julia Adeney Thomas 1 1. Subjects of a New Visual Order: Fascist Media in 1930s China / Maggie Clinton 21 2. Fascism Carved in Stone: Monuments to Loyal Spirits in Wartime Manchukuo / Paul D. Barclay 44 3. Nazism, Everydayness, and Spectacle: The Mass Form in Metropolitan Modernity / Geoff Eley 69 4. Five Faces of Fascism / Ruth Ben-Ghiat 94 5. Face Time with Hitler / Lutz Koepnick 111 6. Seeing through Whiteness: Late 1930s Settler Photography in Namibia under South African Rule / Lorena Rizzo 134 7. Japan's War without Pictures: Normalizing Fascism / Julia Adeney Thomas 160 8. Fascisms Seen and Unseen: The Netherlands, Japan, Indonesia, and the Relationalities of Imperial Crisis / Ethan Mark 183 9. Youth Movements, Nazism, and War: Photography and the Making of a Slovak Future in World War II (1939–1944) / Bertrand Metton 211 10. From Antifascism to Humanism: The Legacies of Robert Capa's Spanish Civil War Photography / Nadya Bair 236 11. Heedless Oblivion: Curating Architecture after World War II / Claire Zimmerman 258 Conclusion / Geoff Eley 284 Bibliography 293 Contributors 317 Index 321

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Book SynopsisThe contributors to Visualizing Fascism examine the imagery and visual rhetoric of interwar fascism in East Asia, southern Africa, and Europe to explore how fascism was visualized as a global and aesthetic phenomenon.Trade Review“In a volume of instructive and newly timely essays, we learn about the key role played by the circulation of people and the visual culture they made in constructing fascism's global imaginary of interconnectedness. From the 1920s to the 1950s, fascist visuality in Asia and Europe brought the intimacies of everyday life and the realm of mass spectacle together in a variety of forms. Moving beyond the usual subjects of futurism and Leni Riefenstahl, the volume expands the visual repertoire of the period's politicized visual field as it reintroduces readers to its contested grounds.” -- Vanessa R. Schwartz, Director, Visual Studies Research Institute, University of Southern California“Unlike so many works that relegate the phenomenon of fascism to a few moments in the past and to an isolated number of usual suspects, this wide-ranging volume focuses on the visual but goes way beyond it to demonstrate that fascism has come in varied but contiguous forms throughout the world—and perhaps as important, threatens to do so again in our time. An absolutely stunning and pathbreaking intervention by leading scholars of fascism and modernity.” -- Takashi Fujitani, author of * Race for Empire: Koreans as Japanese and Japanese as Americans during WWII *"The book highlights the saliency of bridging the written and the visual and urges historians not to restrain from enriching their 'historians's craft' by listening to, reading and looking at the silence of images." -- Elena Maria Rita Rizzi * European Review of History *"The volume has much to offer due to the geographical scope of its case studies.… Visualizing Fascism is a welcome addition to the literature, calling for an understanding of fascism as a transnational phenomenon typified by the fluid circulation of fascist ideology and imagery." -- Mark Antliff * Journal of Visual Culture *Table of ContentsIntroduction: A Portable Concept of Fascism / Julia Adeney Thomas 1 1. Subjects of a New Visual Order: Fascist Media in 1930s China / Maggie Clinton 21 2. Fascism Carved in Stone: Monuments to Loyal Spirits in Wartime Manchukuo / Paul D. Barclay 44 3. Nazism, Everydayness, and Spectacle: The Mass Form in Metropolitan Modernity / Geoff Eley 69 4. Five Faces of Fascism / Ruth Ben-Ghiat 94 5. Face Time with Hitler / Lutz Koepnick 111 6. Seeing through Whiteness: Late 1930s Settler Photography in Namibia under South African Rule / Lorena Rizzo 134 7. Japan's War without Pictures: Normalizing Fascism / Julia Adeney Thomas 160 8. Fascisms Seen and Unseen: The Netherlands, Japan, Indonesia, and the Relationalities of Imperial Crisis / Ethan Mark 183 9. Youth Movements, Nazism, and War: Photography and the Making of a Slovak Future in World War II (1939–1944) / Bertrand Metton 211 10. From Antifascism to Humanism: The Legacies of Robert Capa's Spanish Civil War Photography / Nadya Bair 236 11. Heedless Oblivion: Curating Architecture after World War II / Claire Zimmerman 258 Conclusion / Geoff Eley 284 Bibliography 293 Contributors 317 Index 321

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Book SynopsisIn Photographic Returns Shawn Michelle Smith traces how historical moments of racial crisis come to be known photographically and how the past continues to inhabit, punctuate, and transform the present through the photographic medium in contemporary art. Smith engages photographs by Rashid Johnson, Sally Mann, Deborah Luster, Lorna Simpson, Jason Lazarus, Carrie Mae Weems, Taryn Simon, and Dawoud Bey, among others. Each of these artists turns to the past—whether by using nineteenth-century techniques to produce images or by re-creating iconic historic photographs—as a way to use history to negotiate the present and to call attention to the unfinished political project of racial justice in the United States. By interrogating their use of photography to recall, revise, and amplify the relationship between racial politics of the past and present, Smith locates a temporal recursivity that is intrinsic to photography, in which images return to haunt the viewer and prompt Trade Review“Offering a major contribution to how we think about the relationship between time and photography, Shawn Michelle Smith stuns the reader into seeing familiar texts in new ways. Her scholarship is a model of careful thinking, close reading, clear writing, and historical sensibility. I learned so much from reading this book! It is a spectacular accomplishment.” -- Elspeth H. Brown, author of * Work! A Queer History of Modeling *“Photographic Returns is nothing less than a revelation. Shawn Michelle Smith takes us on a deep dive into the telescoping temporality of photography and, in doing so, fundamentally shifts our understanding of how photographic images register backward and forward in time. The hinge point of her study is its sumptuous reading of contemporary artists' use of photography as a critical apparatus that bends time in ways that connect us to the deeper affects of history. Her haunting, subtle, and truly sensuous analysis of the aftereffects of historical photography fundamentally re-visions our conception of the relationship between photography, history, memory, and temporality.” -- Tina M. Campt, author of * Listening to Images *"The charm in Smith’s writing lies in its ability to pair images (archival, vintage, popular) with reinterpretations by contemporary artists. These visitations—or, as she calls them, returns—magnify the persistent terror of white supremacy in the United States. Her chapters all bring readers to see the obvious and forgotten aspects of antiblack racism. The book positions these photographs as reminders that justice in the United States has not yet arrived." -- Yasmine Espert * Public Books *"Seen through their photographic eyes, racial historical events resurface to inspire, challenge, provoke, and provide metaphoric opportunities that reveal and expand conversations in an attempt to energize the social justice movement in the US. A much-needed addition to the literature on the pressing subject of race, representation, and photography, the book includes extensive and informative notes for each chapter and a 16-page insert of color plates." -- J. Natal * Choice *“Smith’s lucid prose and her focus on contemporary artists’ engagements with pressing social issues will make Photographic Returns appealing to advanced undergraduate students. Her implicit and explicit engagements with key concerns in the history of photography, visual culture studies, American studies, and African American studies will be of interest to graduate students and specialists in these fields.” -- Darius Bost * American Literary History *Table of ContentsAcknowledgments vii Introduction: Photographic Returns 1 1. Looking Forward and Looking Back: Rashid Johnson and Frederick Douglass on Photography 16 2. Photographic Remains: Sally Mann at Antietam 34 3. The Scene of the Crime: Deborah Luster 61 4. Photographic Referrals: Lorna Simpson's 9 Props 93 5. Afterimages: Jason Lazarus 112 6. Photographic Reenactments: Carrie Mae Weems's Constructing History 133 7. False Returns: Taryn Simon's The Innocents 152 Coda. A Glimpse Forward: Dawoud Bey's The Birmingham Project 170 Notes 175 Bibliography 213 Index 229

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Book SynopsisIn Unseeing Empire Bakirathi Mani examines how empire continues to haunt South Asian American visual cultures. Weaving close readings of fine art together with archival research and ethnographic fieldwork at museums and galleries across South Asia and North America, Mani outlines the visual and affective relationships between South Asian diasporic artists, their photographic work, and their viewers. She notes that the desire for South Asian Americans to see visual representations of themselves is rooted in the use of photography as a form of colonial documentation and surveillance. She examines fine art photography by South Asian diasporic artists who employ aesthetic strategies such as duplication and alteration that run counter to viewers'' demands for greater visibility. These works fail to deliver on viewers'' desires to see themselves, producing instead feelings of alienation, estrangement, and loss. These feelings, Mani contends, allow viewers to question their own visibilTrade Review“Bakirathi Mani demands that we expand the geographic and temporal frame through which to grasp South Asian American representation so that we can engage with the processes of U.S. settler colonialism and racialization. Unseeing Empire makes an outstanding contribution to Asian American and South Asian diaspora and visual culture studies.” -- Gayatri Gopinath, author of * Unruly Visions: The Aesthetic Practices of Queer Diaspora *“Beautifully written, meticulously crafted, and combining powerful personal reflection with rigorous scholarship, Unseeing Empire brings various sets of photographic archives and practices of the early twenty-first century into conversation, from fine art photography and vernacular images to ethnographic pictures. This impressive book makes a vital contribution to several fields, including contemporary art and visual culture studies, museum and curatorial studies, postcolonial theory, and Asian American and American studies.” -- Nicole R. Fleetwood, author of * Marking Time: Art in the Age of Mass Incarceration *“Unseeing Empire joins an exciting body of scholarship that examines the intersections of visual culture, racial formation, and affect.... [It] implores us to remember the colonial legacies of documentation, surveillance, and display that continue to haunt the images we hope to see.” -- Manan Desai * Journal of American Studies *Table of ContentsList of Illustrations ix Acknowledgments xi Introduction. The Work of Seeing: Photography and Representation in Diaspora 1 1. Uncanny Feelings: Diasporic Mimesis in Seher Shah's Geometric Landscapes and the Spectacle of Force 33 2. Representation in the Colonial Archive: Annu Palakunnathu Matthew's An Indian from India 70 3. Exhibiting Immigrants: Visuality, Visibility, and Representation at Beyond Bollywood 119 4. Archives of Diaspora: Gauri Gill's The Americans 159 Epilogue. Curating Photography Seeing Community Notes 215 Bibliography 245 Index 261

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Book SynopsisIn Warring Visions, Thy Phu explores photography from dispersed communities throughout Vietnam and the Vietnamese diaspora, both during and after the Vietnam War, to complicate narratives of conflict and memory. While the visual history of the Vietnam War has been dominated by American documentaries and war photography, Phu turns to photographs circulated by the Vietnamese themselves, capturing a range of subjects, occasions, and perspectives. Phu''s concept of warring visions refers to contrasts in the use of war photos in North Vietnam, which highlighted national liberation and aligned themselves with an international audience, and those in South Vietnam, which focused on family and everyday survival. Phu also uses warring visions to enlarge the category of war photography, a genre that usually consists of images illustrating the immediacy of combat and the spectacle of violence, pain, and wounded bodies. She pushes this genre beyond such definitions by analyzing pictures of fTrade Review“Thy Phu presents a searing and moving lesson in unlearning US imperialism and its entanglement with photography. Through diverse visual archives, she brilliantly shakes core assumptions about photography and war, including the ‘Vietnam War’—actually an ‘American war’ in Vietnam—and what came to be its iconic photographs and overlooked images. Phu's careful work of upsetting imperial geographies and imaginaries of the Cold War (such as North/South) brings that war back home to the South Vietnamese diaspora in a way that presciently speaks to the current moment.” -- Ariella Aïsha Azoulay, author of * Potential History: Unlearning Imperialism *"In this elegant and insightful study, Thy Phu turns to Vietnamese photographers, considering journalistic work, personal and family photos, reenactments, and artistic uses, all with the intent of exploring how Vietnamese people saw themselves and each other through the lens. From the homeland to the diaspora and back, she shows the power of photography to mobilize nations and communities, commemorate loss and absence, and provoke solidarity. What Phu finally shows, so powerfully and persuasively, is that Vietnamese people have always seen and been seen by themselves if not by others.” -- Viet Thanh Nguyen, author of * The Sympathizer *"Intriguing. . . . [Phu] is an elegant, accomplished writer. . . ." -- Thomas A. Bass * Mekong Review *"Warring Visions ... provokes a reevaluation of war photography, of socialist visuality, of memory, loss and diaspora. Reading it has not displaced the lasting power of the image of Kim Phuc from my visual memory, but it has made me think anew about what the stubborn persistence of this image has rendered invisible." -- Hirsch, Marianne * Canadian Literature *"Warring Visions is an effective examination of the multifarious ways that the tool of photography signifies. . . . Valuable for anyone interested in visual culture, archival studies, and diasporic identity against the grain of Western visions of imperialism." -- Collin Hawley * Lateral *"Phu’s book . . . has tremendous importance as a pioneering study of the visual archive produced through national struggle in North and South Vietnam. In fact, I contend that Warring Visions is essential reading for anyone interested in the war and its influence on visual culture." -- Meghan Tibbits-Lamirande * Pacific Affairs *Table of ContentsAcknowledgments vii Note on Language ix Warring Visions: Introduction 1 Part I. Socialist Ways of Seeing Vietnam 1. Aesthetic Form, Political Content 31 2. Revolutionary Vietnamese Women, Symbols of Solidarity 83 Part II. Refractions 3. Reenactment and Remembrance 121 4. Unhomed: Domestic Images and the Diasporic Art of Recollection 147 Epilogue: Visual Reunion 187 Notes 195 Bibliography 213 Index 227

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Book SynopsisIn Unseeing Empire Bakirathi Mani examines how empire continues to haunt South Asian American visual cultures. Weaving close readings of fine art together with archival research and ethnographic fieldwork at museums and galleries across South Asia and North America, Mani outlines the visual and affective relationships between South Asian diasporic artists, their photographic work, and their viewers. She notes that the desire for South Asian Americans to see visual representations of themselves is rooted in the use of photography as a form of colonial documentation and surveillance. She examines fine art photography by South Asian diasporic artists who employ aesthetic strategies such as duplication and alteration that run counter to viewers'' demands for greater visibility. These works fail to deliver on viewers'' desires to see themselves, producing instead feelings of alienation, estrangement, and loss. These feelings, Mani contends, allow viewers to question their own visibilTrade Review“Bakirathi Mani demands that we expand the geographic and temporal frame through which to grasp South Asian American representation so that we can engage with the processes of U.S. settler colonialism and racialization. Unseeing Empire makes an outstanding contribution to Asian American and South Asian diaspora and visual culture studies.” -- Gayatri Gopinath, author of * Unruly Visions: The Aesthetic Practices of Queer Diaspora *“Beautifully written, meticulously crafted, and combining powerful personal reflection with rigorous scholarship, Unseeing Empire brings various sets of photographic archives and practices of the early twenty-first century into conversation, from fine art photography and vernacular images to ethnographic pictures. This impressive book makes a vital contribution to several fields, including contemporary art and visual culture studies, museum and curatorial studies, postcolonial theory, and Asian American and American studies.” -- Nicole R. Fleetwood, author of * Marking Time: Art in the Age of Mass Incarceration *“Unseeing Empire joins an exciting body of scholarship that examines the intersections of visual culture, racial formation, and affect.... [It] implores us to remember the colonial legacies of documentation, surveillance, and display that continue to haunt the images we hope to see.” -- Manan Desai * Journal of American Studies *Table of ContentsList of Illustrations ix Acknowledgments xi Introduction. The Work of Seeing: Photography and Representation in Diaspora 1 1. Uncanny Feelings: Diasporic Mimesis in Seher Shah's Geometric Landscapes and the Spectacle of Force 33 2. Representation in the Colonial Archive: Annu Palakunnathu Matthew's An Indian from India 70 3. Exhibiting Immigrants: Visuality, Visibility, and Representation at Beyond Bollywood 119 4. Archives of Diaspora: Gauri Gill's The Americans 159 Epilogue. Curating Photography Seeing Community Notes 215 Bibliography 245 Index 261

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Book SynopsisExamining a wide range of photography from across the global South, the contributors to Cold War Camera explore the visual mediation of the Cold War, illuminating how photography shaped how it was prosecuted and experienced.Trade Review"Cold War Camera takes readers from South Africa to Ethiopia, Vietnam to Palestine and Iran, from Chile to China, the Arctic Circle, and beyond. Its reach is sweeping, revealing a world entirely, if differentially, impacted as its most powerful quarreled to suture their place at the top. Just as it sheds light on this rich and storied past, Cold War Camera illuminates the present, proving that the tension and violence associated with the 'official' Cold War-era never ceased but only took on different forms." -- Liz Hallgren * International Journal of Communication *Table of ContentsList of Illustrations ix Acknowledgments xv Cold War Camera: An Introduction / Thy Phu, Andrea Noble, and Erina Duganne 1 Visual Alliances 1. Ernest Cole's House of Bondage, the United States Information Agency, and the Cultural Politics of the World War / Darren Newbury 33 2. Icon of Solidarity: The Revolutionary Vietnamese Woman in Vietnam, Palestine, and Iran / Thy Phu, Evyn Lê Espiritu Gandi, and Donya Ziaee 67 3. Group Material's "Art for the Future": Visualizing Transnational Solidarity at the End of the Global Cold War / Erina Duganne 113 4. Interrogating the Cold War's Geo-Politics from Down South: Chile from Within (1990) and the Construction of a Situated Visuality / Ángeles Donoso Macaya 143 5. Decolonization and Nonalignment: African Futures, Lost and Found / Jennifer Bajorek 167 Photo Essays 6. Bifurcated and Parallel Histories / Tong Lam 195 7. Preservation of Terror / Eric Gottesman 203 Structures of Seeing 8. Ending World War II: The Visual Literacy Class in Cold War Human Rights / Ariella Aïsha Azoulay 213 9. “Planted There Like Human Flags”: Photographs of the High Arctic and Cold War Anxiety, 1951–1956 / Sarah Parsons 239 10. Urban Albums, Village Forms: Chinese Family Photographs and the Cold War / Laura Wexler, Karintha Lowe, and Guigui Yao 263 11. Travel, Space, and Belonging in Soviet Domestic Photo Collections of the Cold War Era / Oksana Sarkosova and Olga Shevchenko 293 12. Exhibiting Ethnic Minorities, Democratizing History: Cold War Legacies and the Jews in Poland's Visible Sphere / Gil Pasternak and Marta Ziętkiewicz 327 Bibliography 359 Contributors 389 Index 395

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Book SynopsisChérie N. Rivers shows how colonial systems of normalized violence condition the way we see and, through collaboration with contemporary Congolese artists, imagines ways we might learn to see differently.Table of ContentsPreface xvi 1. Elegy of Nsala 1 2. To See Nsala's Daughter 3 3. To Decompose 9 4. To Replicate 29 5. To Contradict 47 6. To Create 65 7. To Love Nsala's Daughter 81 Gratitude 89 Notes 93 Bibliography 99 Index 101 Illustration Credits 105

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Book SynopsisCold War Camera explores the visual mediation of the Cold War and illuminates photography’s role in shaping the ways it was prosecuted and experienced. The contributors show how the camera stretched the parameters of the Cold War beyond dominant East-West and US-USSR binaries and highlight the significance of photography from across the global South. Among other topics, the contributors examine the production and circulation of the iconic figure of the “revolutionary Vietnamese woman” in the 1960s and 1970s; photographs connected with the coming of independence and decolonization in West Africa; family photograph archives in China and travel snapshots by Soviet citizens; photographs of apartheid in South Africa; and the circulation of photographs of Inuit Canadians who were relocated to the extreme Arctic in the 1950s. Highlighting the camera’s capacity to envision possible decolonialized futures, establish visual affinities and solidarities, and advance Trade Review"Cold War Camera takes readers from South Africa to Ethiopia, Vietnam to Palestine and Iran, from Chile to China, the Arctic Circle, and beyond. Its reach is sweeping, revealing a world entirely, if differentially, impacted as its most powerful quarreled to suture their place at the top. Just as it sheds light on this rich and storied past, Cold War Camera illuminates the present, proving that the tension and violence associated with the 'official' Cold War-era never ceased but only took on different forms." -- Liz Hallgren * International Journal of Communication *Table of ContentsList of Illustrations ix Acknowledgments xv Cold War Camera: An Introduction / Thy Phu, Andrea Noble, and Erina Duganne 1 Visual Alliances 1. Ernest Cole's House of Bondage, the United States Information Agency, and the Cultural Politics of the World War / Darren Newbury 33 2. Icon of Solidarity: The Revolutionary Vietnamese Woman in Vietnam, Palestine, and Iran / Thy Phu, Evyn Lê Espiritu Gandi, and Donya Ziaee 67 3. Group Material's "Art for the Future": Visualizing Transnational Solidarity at the End of the Global Cold War / Erina Duganne 113 4. Interrogating the Cold War's Geo-Politics from Down South: Chile from Within (1990) and the Construction of a Situated Visuality / Ángeles Donoso Macaya 143 5. Decolonization and Nonalignment: African Futures, Lost and Found / Jennifer Bajorek 167 Photo Essays 6. Bifurcated and Parallel Histories / Tong Lam 195 7. Preservation of Terror / Eric Gottesman 203 Structures of Seeing 8. Ending World War II: The Visual Literacy Class in Cold War Human Rights / Ariella Aïsha Azoulay 213 9. “Planted There Like Human Flags”: Photographs of the High Arctic and Cold War Anxiety, 1951–1956 / Sarah Parsons 239 10. Urban Albums, Village Forms: Chinese Family Photographs and the Cold War / Laura Wexler, Karintha Lowe, and Guigui Yao 263 11. Travel, Space, and Belonging in Soviet Domestic Photo Collections of the Cold War Era / Oksana Sarkosova and Olga Shevchenko 293 12. Exhibiting Ethnic Minorities, Democratizing History: Cold War Legacies and the Jews in Poland's Visible Sphere / Gil Pasternak and Marta Ziętkiewicz 327 Bibliography 359 Contributors 389 Index 395

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Book SynopsisChérie N. Rivers shows how colonial systems of normalized violence condition the way we see and, through collaboration with contemporary Congolese artists, imagines ways we might learn to see differently.Table of ContentsPreface xvi 1. Elegy of Nsala 1 2. To See Nsala's Daughter 3 3. To Decompose 9 4. To Replicate 29 5. To Contradict 47 6. To Create 65 7. To Love Nsala's Daughter 81 Gratitude 89 Notes 93 Bibliography 99 Index 101 Illustration Credits 105

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Book SynopsisCitizens of Photography explores how photography offers access to forms of citizenship beyond those available through ordinary politics. Through contemporary ethnographic investigations of photographic practice in Nicaragua, Nigeria, Greece, India, Nepal, Sri Lanka, Bangladesh, and Cambodia, the PhotoDemos Collective traces the resonances between political representation and photographic representation. The authors emphasize photography as lived practice and how photography’s performative, transformative, and transgressive possibilities facilitate the articulation of new identities. They analyze photography ranging from family albums and social media to state and public archives, showing how it points to new destinations in the context of social movements, the aftermath of atrocity and civil war, and the legacies of past injustices. By foregrounding photography’s open-ended and contingent nature and its ability to subvert and reconfigure conventional political identiTrade Review“Ambitious in its theoretical and ethnographic reach, this vital volume robustly explores the unruly political potentialities of photography while laying out multiple directions for a future anthropology of photography. Citizens of Photography is a landmark book.” -- Karen Strassler, author of * Demanding Images: Democracy, Mediation, and the Image-Event in Indonesia *Table of ContentsAcknowledgments vii Introduction. Photographing; or, the Future of the Image / Christopher Pinney 1 1. “The Truth Is in the Soil”—The Political Work of Photography in Northern Sri Lanka / Vidhya Buthpitiya 63 2. Visual Citizenship in Cambodia—From Apocalypse to Visual “Political Emancipation” / Sokphea Young 111 3. Photography, Citizenship, and Accusatory Memory in the Greek Crisis / Konstantinos Kalantzis 150 4. Insurgent Archive—The Photographic Making and Unmaking of the Nicaraguan Revolutionary State / Ileana L. Selejan 192 5. “We Are Moving with Technology”—Photographing Voice and Belonging in Nigeria / Naluwembe Binaisa 234 6. Citizenship, Contingency, and Futurity—Photographic Ethnographies from Nepal, India, and Bangladesh / Christopher Pinney 273 Bibliography 319 Contributors 337 Index 339

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Book SynopsisA stunning collection of stoic portraits and intimate ephemera from the lives of Black Civil War soldiersThough both the Union and Confederate armies excluded African American men from their initial calls to arms, many of the men who eventually served were black. Simultaneously, photography culture blossomedmarking the Civil War as the first conflict to be extensively documented through photographs. In The Black Civil War Soldier, Deb Willis explores the crucial role of photography in (re)telling and shaping African American narratives of the Civil War, pulling from a dynamic visual archive that has largely gone unacknowledged.With over seventy images, The Black Civil War Soldier contains a huge breadth of primary and archival materials, many of which are rarely reproduced. The photographs are supplemented with handwritten captions, letters, and other personal materials; Willis not only dives into the lives of black Union soldiers, but also includes Trade ReviewIn a troubled age, when the past is increasingly called into question, we are all history buffs now. To that end, this remarkable book fills an enormous gap in our collective understanding of the past, a page-turner that will break your heart. Willis, professor and chair of the Department of Photography and Imaging at Tisch School of the Arts, centers extraordinary and largely unknown images of Black Civil War soldiers within a reported narrative that highlights the enormous hardships they faced and the contributions they made. She makes history feel like a family album. * Fortune Magazine, named one of the "Best Books of 2021, so far" *The book aims to bring these stoic portraits of black soldiers to life – with personal stories, to family members back home, and interviews with historians and personal observations from a skilled photography expert. It’s what Willis calls the African American experience, as well as resilience. * The Guardian *The scholar, author, curator, and photographer Deborah Willis makes a fascinating contribution to that conversation with The Black Civil War Soldier, her new book from NYU Press. In it, Willis gives a face and a story to some of the war’s most overlooked figures, from the Black men fighting for their freedom from slavery to the women who educated and tended to those men on the battlefield. * Vogue.com *Memorable images abound in [this] historical catalog of American photography. Essential...a book that invites rereading. * STARRED Kirkus Review *[S]heds light on the experience of black Civil War soldier through never-seen-before photographs from the 19th century. * Daily Mail *The book reminds us that even the ultimate fight for freedom — when Blacks and some whites were on the same side — equality even then was barely a notion. * New York Daily News *Willis, department chair for photography and imaging at New York University’s Tisch School of the Arts, had noticed a dearth of images of Black servicemen from the era. For The Black Civil War Soldier, she pulled together photographs, letters, and diary entries to shed light on not only what Black servicemen were experiencing, but also what Black teachers, Black doctors, Black children, and other members of the community were. * Philadelphia Inquirer *Together, this narrative and the photographs make an astounding book that show an often-little-told human side of the War Between the States. * Goshen News *At a time when victory in the Civil War was anything but assured, the great abolitionist Frederick Douglass urged the North to arm African American soldiers to fight against the forces that had enslaved them in the Confederate South. In doing so, he recognized the vital visual argument for citizenship that a uniformed Black man would make with ‘the brass letter, US’ on his belt and an ‘eagle on his button.’ Now, in this breathtaking volume, the scholar Deborah Willis reveals to us the fullness of their humanity through a photographic record she interprets through the paper trail they left behind. At once intimate and panoramic, The Black Civil War Soldier is both a major contribution to Civil War studies and an album of our ancestors’ journey at the critical hour of American history that belongs to all of us as the descendants of their sacrifice. * Henry Louis Gates, Jr., Alphonse Fletcher University Professor at Harvard University *In the unmatched research presented in The Black Civil War Soldier, a wealth of lush images, majestic fashion, narrative elements, and crucial pictorial details—books, uniforms, guns among them—perform for the camera a telling contradiction to the underlying horror embedded in the text, and points to the formidable role of photography that Dr. Deborah Willis has long championed. Through the lives of these soldiers, sailors, doctors, and nurses as well as the stories of cooks, teachers, wives, and lovers, Dr. Willis weaves a compelling narrative through the photographic record where courage and activism, or what she has called ‘difficulty and desire,’ shines through * Kellie Jones, author of South of Pico: African American Artists in Los Angeles in the 1960s and 1970s. *Deborah Willis’s vivid accounts of Black soldiers’ sacrifices on the battlefield and their compassion for those on the home front make this book a must read for all Americans. Skillfully employing photographs and other printed materials as equal sources of history, Willis’s nuanced depictions capture the urgent desire for freedom and full citizenship of more than 190,000 Black soldiers and sailors who volunteered for the Union. In The Black Civil War Soldier: A Visual History of Conflict and Citizenship, Deborah Willis once again gives us a deeply researched, visually arresting, and textured chronicle of Black people at a crucial turning point in US history. * Francille Rusan Wilson, author of The Segregated Scholars: Black Social Scientists and the Creation of Black Labor Studies, 1890–1950 *The legendary photographer, curator, and historian Deb Willis has been shifting the way I see and think of images and historical representation for decades. The Black Civil War Soldier: A Visual History of Conflict, her gorgeous and meticulously researched photobook, is expansive, yet it also manages to convey the intimacy of a beloved family heirloom. It is an impassioned tribute to America’s Black soldiers and their families during the Civil War. It is also an insistence that we consider the many ramifications of conflict and racism. This is a monumental work, as well as a monument to the undying quest for freedom. * Maaza Mengiste, author of The Shadow King, shortlisted for the Booker Prize *Enacts a visual curation of black Civil War history as few besides Willis are so expertly capable of. As deeply reflective about the telling of African American history using images, and given to a conception of African American men and women as “soldiers” within a strenuous physical and moral campaign against slavery, The Black Civil War Soldier is the handsomest picture book and more. * Civil War Book Review *The Black Civil War Soldier’s rich assemblage of tangible evidence and memory provides both material culture readers and general audiences an expanded resource for absorbing and reflecting upon this history. * Winterthur Portfolio *Combining period images, selections from the letters, diaries, memoirs, and other writings of men and women from the period, and a well-written narrative text, Prof. Willis has produced an excellent look at the Civil War and its aftermath, concentrating on the role of African Americans in military and naval service. * The NYMAS Review *

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Book SynopsisReimagines photography through the long history of ideas of expressionThe end of the nineteenth century saw massive developments and innovations in photography at a time when the forces of Western modernityindustrialization, racialization, and capitalismwere quickly reshaping the world. The Unintended slows down the moment in which the technology of photography seemed to speed itselfand so the history of racial capitalismup. It follows the substantial shifts in the markets, mediums, and forms of photography during a legally murky period at the end of the nineteenth century. Monica Huerta traces the subtle and paradoxical ways legal thinking through photographic lenses reinscribed a particular aesthetics of whiteness in the very conceptions of property ownership. The book pulls together an archive that encompasses the histories of performance and portraiture alongside the legal, pursuing the logics by which property rights involving photographs are affirmed Trade ReviewWhen you look at a photograph, whose expression do you see? This is a question of perception, but it is also a question of property rights. The Unintended considers ‘stories about photography’s history as property’ and shows how much is at stake when someone claims to own an image. Expression gives way to possession, and matters of law, credit, identity, and aesthetics all hang in the balance. Monica Huerta seems to deliver a surprising analytic turn on every page. This book made my head spin. -- Caleb Smith, author of Thoreau’s Axe: Distraction and Discipline in American CultureWholly original and exciting. Tracking photography’s intersection with property law in the late nineteenth century U.S., The Unintended evolves genuinely new possibilities for thinking about the medium’s role in the construction of race. Monica Huerta addresses the workings of capital in relation to the medium—not only photography’s status as a commercial practice, but also how it took up and redefined the ways bodies could be regarded as property. Closely historicized yet wide-ranging in its implications, Huerta’s book models a profoundly ethical attention to what the photographic archive can reveal. -- Dana Luciano, Rutgers University

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Book SynopsisReimagines photography through the long history of ideas of expressionThe end of the nineteenth century saw massive developments and innovations in photography at a time when the forces of Western modernityindustrialization, racialization, and capitalismwere quickly reshaping the world. The Unintended slows down the moment in which the technology of photography seemed to speed itselfand so the history of racial capitalismup. It follows the substantial shifts in the markets, mediums, and forms of photography during a legally murky period at the end of the nineteenth century. Monica Huerta traces the subtle and paradoxical ways legal thinking through photographic lenses reinscribed a particular aesthetics of whiteness in the very conceptions of property ownership. The book pulls together an archive that encompasses the histories of performance and portraiture alongside the legal, pursuing the logics by which property rights involving photographs are affirmed Trade ReviewWhen you look at a photograph, whose expression do you see? This is a question of perception, but it is also a question of property rights. The Unintended considers ‘stories about photography’s history as property’ and shows how much is at stake when someone claims to own an image. Expression gives way to possession, and matters of law, credit, identity, and aesthetics all hang in the balance. Monica Huerta seems to deliver a surprising analytic turn on every page. This book made my head spin. -- Caleb Smith, author of Thoreau’s Axe: Distraction and Discipline in American CultureWholly original and exciting. Tracking photography’s intersection with property law in the late nineteenth century U.S., The Unintended evolves genuinely new possibilities for thinking about the medium’s role in the construction of race. Monica Huerta addresses the workings of capital in relation to the medium—not only photography’s status as a commercial practice, but also how it took up and redefined the ways bodies could be regarded as property. Closely historicized yet wide-ranging in its implications, Huerta’s book models a profoundly ethical attention to what the photographic archive can reveal. -- Dana Luciano, Rutgers University

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Book SynopsisAs the definitive resource on the architectural history of New York City, The Landmarks of New York documents and illustrates the 1,352 individual landmarks and 135 historic districts that have been accorded landmark status by the New York City Landmarks Preservation Commission since its establishment in 1965. Arranged chronologically by date of construction, the book offers a sequential overview of the city's architectural history and richness, presenting a broad range of styles and building types: colonial farmhouses, Gilded Age mansions, churches, schools, libraries, museums, and the great twentieth-century skyscrapers that are recognized throughout the world. That so many of these structures have endured is due, in large measure, to the efforts of the New York City Landmarks Preservation Commission and hundreds of private sector preservation organizations, large and small. Since the commission was established, New York City has become the leader of the preservation movement in the Trade Review"A spectacular book.Diamonstein-Spielvogel has proven that New York City cares deeply about its past and its connections to the present and future." * Gotham Magazine *"To read this book from cover to cover is to reread the past 400 years of New York history.Highly recommended." * Library Journal *

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Book SynopsisThis bilingual photography book investigates the complexities of today's war on drugs by examining the art and architecture of Guatemala City's Pentecostal drug rehabilitation centers.Table of ContentsList of Images / Lista de imagenes Acknowledgments / Agradecimientos Introduction / Introducción 1. Façade / Fachada 2. Captivity / Cautiverio 3. Freedom / Libertad 4. Art / Arte Conclusion / Conclusión Works Consulted / Obras consultados

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Book SynopsisThis bilingual photography book investigates the complexities of today’s war on drugs by examining the art and architecture of Guatemala City’s Pentecostal drug rehabilitation centers.Table of ContentsList of Images / Lista de imagenes Acknowledgments / Agradecimientos Introduction / Introducción 1. Façade / Fachada 2. Captivity / Cautiverio 3. Freedom / Libertad 4. Art / Arte Conclusion / Conclusión Works Consulted / Obras consultados

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Book SynopsisThomas J. Lyon Book Award from the Western Literature AssociationA Planetary Lens delves into the history of the photo-book, the materiality of the photographic image on the page, and the cultural significance of landscape to reassess the value of print, to locate the sites where stories resonate, and to listen to western women’s voices. From foundational California photographers Anne Brigman and Alma Lavenson to contemporary Native poets and writers Leslie Marmon Silko and Joy Harjo, women artists have used photographs to generate stories and to map routes across time and place. A Planetary Lens illuminates the richness and theoretical sophistication of such composite texts. Looking beyond the ideologies of wilderness, migration, and progress that have shaped settler and popular conceptions of the region, A Planetary Lens shows how many artists gather and assemble images and texts to reimagine landscape, identity, and history in the UTrade Review"A fine addition to the University of Nebraska Press 'Postwestern Horizons' series, this book will be valuable for students of US literature and photography and of feminist and gender studies."—B. Wallenstein, Choice"Goodman's study provides a well-researched and accessible model for producing interdisciplinary scholarly writing for the humanities, environmental studies, and antiracist projects. . . . A Planetary Lens is an invitation for future scholars to further engage the important relations between regionality and planetary citizenship, meditative text and snapshot, adaptation and revision, as well as change and belonging."—Susan Kollin, American Literary History“A Planetary Lens demonstrates a new reading strategy that will serve us well as we consider the deep and ongoing effects of patriarchy and colonization on the way women and others produce creative texts and understand place. . . . Goodman’s beautiful book reveals how re-storying colonized spaces is crucial for bodies and land.”—Gioia Woods, editor of Left in the West: Literature, Culture, and Progressive Politics in the American West“A Planetary Lens advances several important scholarly conversations including environmental justice, feminist critical regionalism, local and global Indigenous studies, western American literary studies, and material ecocriticism. Goodman’s elegantly written study draws together texts from a broad array of perspectives to interrogate how artists combine image and written texts in ways that revise and reorient conceptions of region, self, and storytelling. . . . Lucid and persuasive.”—Amy T. Hamilton, author of Peregrinations: Walking in American LiteratureTable of ContentsList of Illustrations Acknowledgments Introduction: Taking Pictures, Making Books 1. Photographers and Storytellers in the U.S. West: Toward a Regional Photo-Poetics 2. Western Women’s Camera Work: Reassembling California Photo-Books 3. Joan Didion’s White Albums: Notes and Snapshots from a “Native” Daughter 4. Visual Passageways: Restorying Native Portraits 5. Circling Out from Laguna: Leslie Silko’s Planetary Storytelling 6. Apertures into the Next World: Joy Harjo’s Visionary Poetics Conclusion: Open Archives, Unbound Books Notes Bibliography Index

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Book SynopsisOutside of Merigold, Mississippi, off an unmarked dirt road, stands Po' Monkey's, perhaps the most famous house in Mississippi and the last rural juke joint in the state, now closed to the public. In Po' Monkey's: Portrait of a Juke Joint, photographer Will Jacks captures the juke joint he spent a decade patronizing.

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Book SynopsisInstead of encyclopedic lists and articles focused on botanical gardens or someone else's landscape, author and host of Southern Gardening Gary R. Bachman connects with his audience through personal stories that share his expertise gained over decades of planting, all told in an easily digestible format.

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Book SynopsisFeaturing four hundred beautiful colour photographs and a complete index of included species, Mississippi’s Natural Heritage is the first book of its kind dedicated to Mississippi’s natural world.Trade ReviewWesley Shoop’s knowledge of native Mississippi taxa is immense, rivaled only by his skill with a camera. It has been a joy to watch his photographic collection of our state’s flora and fauna grow, and I’m sure this publication will be a tremendous aid to both the professional and amateur naturalist alike." - Chris King, education chair and former president of the Jackson, Mississippi Audubon Society"Through outstanding photographs and field guide-like narratives, Mississippi’s Natural Heritage shines a spotlight on the biota of LeFleur’s Bluff State Park, a beautiful, well-known urban natural area and wildlife corridor in Mississippi’s state capital. This book will surely foster a greater awareness of and appreciation for the diversity of plant and animal life in Mississippi." - Libby Hartfield, director emerita of the Mississippi Museum of Natural Science"An excellent addition to the growing literature about nature in Mississippi!" - Frank R. Hensley, professor of biology at Mississippi College

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Book SynopsisFor thirty years, Margo Cooper has been documenting the lives of blues musicians, their families and homes, neighbourhoods, festivals, and gigs. Deep Inside the Blues collects thirty-four of Margo Cooper's interviews with blues artists, illustrated with over 160 of her photographs.Trade ReviewPRAISE FOR THE AUTHOR: "The urgent need to preserve a cornerstone of American culture led folklorists like John Lomax to travel the country documenting early blues recordings and writers like Amiri Baraka to publish Blues People: Negro Music in White America. Although Margo Cooper did not know it when she began more than twenty years ago, she has followed that tradition and produced a documentary project that archives the oral and visual histories of blues musicians, their families, and communities in northern Mississippi and the Delta." - ayemi shakur, New York TimesPRAISE FOR THE AUTHOR: "Cooper's images remind us that the blues is as much attitude or way of life as art form. . . . She sees herself as an advocate for the music, a celebrant, but not an apologist. Clearly, her photographs are a labor of love." - Mark Feeney, Boston Globe"Deep Inside the Blues avoids the culture-wide tendency to romanticize and elegize its subjects as ‘the last surviving bluesmen’ or view them solely as conduits for the pain of racial oppression. Instead, Cooper’s interviews offer a nuanced celebration of the musicians she has come to know—indomitable individuals, storytellers and healers both, who have etched themselves into the world’s imagination." - Adam Gussow, author of Whose Blues? Facing Up to Race and the Future of the Music"Deep Inside the Blues is truly historic. It is a stunning tribute to the musicians and to Cooper for her vision and persistence in gathering their photographs and oral histories." - William R. Ferris, author of I AM A MAN: Photographs of the Civil Rights Movement, 1960-1970

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Book SynopsisPresents the Civil Rights Movement through the work of nine photographers who participated in the movement as activists with SNCC, SCLC, and CORE. Unlike images produced by photojournalists, these photographers lived within the movement and documented its activities by focusing on student activists and local people.Trade ReviewThis book of photographs, interviews, and biographies pays homage to nine activist photographers associated with the Student Nonviolent Coordinating Committee who advanced the US civil rights cause by documenting movement actions and backlashes. The photographs poignantly and brilliantly capture key events in the southern movement in the 1960s—protests, memorials for murdered activists and innocent children, exuberant songfests, marches, and bloody encounters. . . . A must-read. Summing Up: Essential." - CHOICE"This Light of Ours offers insightful commentary and a treasure trove of stunning images gleaned from the files of nine activist photographers, seven of whom were connected to the Student Nonviolent Coordinating Committee. Based on a traveling exhibit designed by the Center for Documentary Expression & Art, this beautifully produced book highlights the understudied and often underappreciated visual dimension of the 1960s civil rights struggle. Confronting the artists and historical dimension of these photographs fifty years after their creation was an unforgettable and moving experience that I hope thousands of individuals will ultimately share." - Raymond Arsenault, author of Freedom Riders: 1961 and the Struggle for Racial Justice and The Sound of Freedom: Marian Anderson, the Lincoln Memorial, and the Concert That Awakened America"Movement photographers created a striking visual history of the black freedom struggle of the 1950s and 1960s. This superb collection of their best work will evoke powerful memories among those who lived through those turbulent times, while introducing a new generation to the courage and tenacity of local people determined to take charge of their destiny. This Light of Ours should be required reading for all who believe in the possibilities of democracy." - John Dittmer, professor emeritus at DePauw University and author of Local People: The Struggle for Civil Rights in Mississippi"This remarkable collection is as inspiring as it is instructive. A few iconic images are represented but most of these photos will be new to most readers. Collectively, they make palpable a moment of possibility, not fully realized but not fully missed either. Perhaps what is most striking is the way these photos capture the sheer determination of ‘ordinary’ people to be free. One caption says it best: ‘Strength where you might least expect it was often encountered . . . reflecting vitality and dignity in a society trying to strip it away." - Charles M. Payne, Frank P. Hixon Distinguished Professor in the School of Social Service Administration, University of Chicago, and coeditor of Teach Freedom: Education for Liberation in the African American Tradition

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Book SynopsisPhotography, introduced to Russia in 1839, was nothing short of a sensation. Its rapid proliferation challenged the other arts, including painting and literature, as well as the very integrity of the self. If Leo Tolstoy and Fyodor Dostoevsky greeted the camera with skepticism in the nineteenth century, numerous twentieth-century authors welcomed it with a warm embrace. As Katherine M. H. Reischl shows in Photographic Literacy, authors as varied as Leonid Andreev, Ilya Ehrenburg, and Alexander Solzhenitsyn picked up the camera and reshaped not only their writing practices but also the sphere of literacy itself.For these authors, a single photograph or a photograph as illustration is never an endpoint; their authorial practices continually transform and animate the frozen moment. But just as authors used images to shape the reception of their work and selves, Russian photographersincluding Sergei Prokudin-Gorsky and Alexander Rodchenkoused text to shape the reception ofTrade ReviewA superb, erudite account, which will be of value to literary scholars, cultural historians, and anyone interested in the intricate relationship between text and image. * The Russian Review *The monograph is incredibly well-written and meticulously researched. * Canadian-American Slavic Studies *Table of ContentsList of Illustrations Acknowledgments Note on Transliteration and Translation Introduction: Chasing Pushkin's Photograph 1. Tolstoy in the Age of His Technological Reproducibility 2. The Diffusion of Domesticated Photography 3. Microgeography, Macroworld 4. Look Left, Young Man! The International Exchangeof Photo-Narratives Conclusion: Nabokov, Solzhenitsyn, and the Anxiety of Photographic Authorship Notes Index

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Book SynopsisCosta Rica is much more than a verdant paradise. It''s a land of diverse landscapes and cultures. This collection of regional guides reveals unknown facets of Costa Rica and helps travelers understand what makes this country so unique.This volume introduces the Caribbean coast, which offers an embarrassment of riches. Pristine rainforests, waterways, and turtle nesting sites attract tourists to Tortuguero in the north, while tropical waters, charming hotels, and Afro-Caribbean culture draw visitors to the south.Includes a colorful fold-out map of key tourist destinations.Table of ContentsBetween Two Waters The Land of Sibö The Railroad Index Credits

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