Photography and photographs Books

Book SynopsisTrade ReviewOne of the delights of this monograph is its omnivorous intermediality. Those interested in the interweaving of literary, artistic, and cultural disciplines through modernism will find this study interesting not only for its scope, but for the questions it throws up about a future of modernist studies which attends equally to the different strains of criticism that have shaped the field. * The Modernist Review *Table of ContentsIntroduction: Reformulating Modernism 1. Plastic Form: Henry James's Sculptural Aesthetics and Reading in the Round 2. Mortal Form: Still Life and Virginia Woolf 's Other Elegiac Shapes 3. Protean Form: Erotic Abstraction and Ardent Futurity in the Poetry of Mina Loy 4. Bad Formalism: Evelyn Waugh's Film Fictions and the Work of Art in the Age of Cinemechanics 5. Surface Forms: Photography and Gertrude Stein's Contact History of Modernism Epilogue: The Consolations of Form

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Book SynopsisTrade ReviewThe book includes a bountiful selection of photographs closely related to the text. Highly recommended. * Choice *Blasing's work demonstrates an amazing knowledge of an array of archival evidence, from photographs to literary manuscripts, spread across the United States, Europe, and the Russian Federation. * The Russian Review *Table of ContentsIntroduction. Poetry and Photography: Encounters, Connections, and Change 1. Illuminating Consciousness: Pasternak's Poetics of Photography 2. Through the Lens of Loss: Tsvetaeva's Elegiac Photo-Poetics 3. Framing Memory: Brodskyand Photographic Time 4. Poetic Mothers in the Photo Frame: Akhmadulina's Lyric Dialogue with Silver Age Snapshots 5. Darkroom of Dreams: Poetry, Photography, and the Optical Unconscious Coda. Digital Denied: Poetry and Photography after 1999

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Book SynopsisTrade ReviewThe beauty of this book is the often larger than life photographs of subtly colored antbirds, wood- creepers, furnariids (''ovenbirds''), hummingbirds, flycatchers, and other birds that, for the average birder, often take considerable effort and luck to see well. * The Wilson Journal of Ornithology *Table of ContentsIntroduction, by John W. Fitzpatrick and Jeffrey D. Brawn Challenges to Biodiversity Conservation in Panama, by Samuel Valdés Díaz Portraits in Words and Pictures Ruddy Quail-Dove, by Scott K. Robinson White-tipped Sicklebill, by Christoph Hinkelmann Band-tailed Barbthroat, by Christoph Hinkelmann Green Hermit, by Christoph Hinkelmann Long-billed Hermit, by Jay J. Falk White-whiskered Puffbird, by John P. Whitelaw Golden-olive Woodpecker, by John P. Whitelaw Black-crowned Antshrike, by Corey Tarwater Russet Antshrike, by Phred M. Benham Checker-throated Stipplethroat, by John W. Fitzpatrick White-flanked Antwren, by Scott K. Robinson Chestnut-backed Antbird, by Thomas W. Sherry Bicolored Antbird, by Jeffrey D. Brawn Spotted Antbird, by Jonathan Patrick Kelley Ocellated Antbird, by Henry S. Pollock Black-faced Antthrush, by Henry S. Pollock Black-faced Antthrush, by Henry S. Pollock and Jeffrey D. Brawn Cocoa Woodcreeper, by Jeffrey D. Brawn Plain Xenops, by Phred M. Benham Buff-throated Foliage-gleaner, by Jared D. Wolfe Ruddy-tailed Flycatcher, by Thomas W. Sherry Ants and Ant Followers, by John P. Whitelaw Sulphur-rumped Flycatcher, by Thomas W. Sherry Golden-crowned Spadebill, by John P. Whitelaw and Alexander F. Skutch Flycatcher, by Scott K. Robinson Ochre-bellied Flycatcher, by John W. Fitzpatrick Avian Malaria in the Forest Understory, by Emma I. Young Scale-crested Pygmy-Tyrant, by John W. Fitzpatrick Eye-ringed Flatbill, by Jared D. Wolfe Olivaceous Flatbill, by Jonathan Patrick Kelley Yellow-breasted Flycatcher, by John P. Whitelaw Southern Bentbill, by Thomas W. Sherry Ectoparasites on Panamanian Birds, by Sergio E. Bermúdez Castillero Mountain Elaenia, by Peter A. Hosner Long-billed Gnatwren, by Jeffrey D. Brawn and Henry S. Pollock Scaly-breasted Wren, by Henry S. Pollock and John P. Whitelaw White-breasted Wood-Wren, by Jeffrey D. Brawn and Henry S. Pollock Gray-breasted Wood-Wren, by Caroline Dingle Song Wren, by Henry S. Pollock Black-faced Solitaire, by K. Greg Murray Hummingbird Tongues: An Ingenious Adaptation, by John P. Whitelaw Ruddy-capped Nightingale-Thrush, by Scott K. Robinson Slate-throated Redstart, by Ronald L. Mumme Rictal Bristles, by John W. Fitzpatrick Blue-black Grosbeak, by Henry S. Pollock Gray-headed Tanager, by Jeffrey D. Brawn

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Book SynopsisIn Developing Mission, Joseph W. Ho offers a transnational cultural history of US and Chinese communities framed by missionary lenses through time and spacetracing the lives and afterlives of images, cameras, and visual imaginations from before the Second Sino-Japanese War through the first years of the People''s Republic of China. When American Protestant and Catholic missionaries entered interwar China, they did so with cameras in hand. Missions principally aimed at the conversion of souls and the modernization of East Asia, became, by virtue of the still and moving images recorded, quasi-anthropological ventures that shaped popular understandings of and formal foreign policy toward China. Portable photographic technologies changed the very nature of missionary experience, while images that missionaries circulated between China and the United States affected cross-cultural encounters in times of peace and war. Ho illuminates the centralityTrade ReviewThis book is an accomplishment deserving scholarly attention. It is well researched with a plethora of sources in both English and Chinese and does a marvelous job in helping us understand the centrality of image-making in missionary experiences. * Church History *Joseph W. Ho provides a cross-cultural history of American missionary visual practices. Focusing on the American missionaries' images and image making in China from the 1920s to the early 1950s, the book explores how missionaries employed the camera as an agent that facilitated the translations of missionary experiences and the shaping of cross-cultural identities. * Journal of Asian Studies *Ho's examinations of missionary photographs offer a compelling perspective on noncombatant photography during times of war. [He] succeeds in making missionaries and their photographs visible once more and showing how they continue to connect some of their members across the communities they imaged. * Los Angeles Review of Books *Developing Mission is a nuanced study of a deserving topic. Ho's prose is well crafted and his analysis reflects depth and engagement with a number of fields. The book should attract interest from scholars of modern Chinese history, global Christianity and missions, and historians of technology. * Fides et Historia *Developing Mission is a groundbreaking contribution to the historiography of Chinese Christianity. Joseph Ho not only offers us a new and exciting methodology to incorporate photographic evidence into the study of mission history but also preserves the ever-receding memory of China's missionary era. * International Bulletin of Mission Research *Developing Mission is an extremely well-written, lyrical book that speaks to multiple disciplines. Ho draws upon film theory in meaningful and clear terms and without recourse to much jargon. He frames his story within a historical context that is accessible, and he has a penchant for including anecdotes that are moving and meaningful. This book should be extremely popular among a wide range of audiences inside and outside the academy. * Review of Religion and Chinese Society *The book's distinguishing characteristics include its ingenious, informative title[.] It is of great value to graduate students and historians of Chinese Christianity, Sino-US cultural interactions, and photography and film. * Christian Study Centre on Chinese Religion and Culture *Ho's multi-faceted analysis effectively underscores the seminal historic relationship of missionaries as photographers. This is accomplished with rich prose alongside well-researched biographical narratives that enliven the many Protestant, Catholic, and Chinese actors; pertinent references that combine Chinese and American religious and secular history; and finally, precise—yet inviting—technical writing about cameras. All aspects engage the reader to be both positively surprised and challenged as to unpack the interdisciplinary components, stories and theoretical content, in each chapter. * American Catholic Studies *Ho offers a rich, layered, and inspiring history of missionary visual practices. With a diverse range of subjects and a wealth of detail, the vernacular photographs and films offer a provocative alternative to modern visualizations of China. * Journal of Asian Studies *Table of ContentsIntroduction: All Things Visible and Invisible 1. New Lives, New Optics: Missionary Modernity and Visual Practices in Interwar Republican China 2. Converting Visions: Photographic Mediations of Catholic Identity in West Hunan, 1921–1929 3. The Movie Camera and the Mission: Vernacular Filmmaking as China-US Bridge, 1931–1936 4. Chaos in Three Frames: Fragmented Imaging and the Second Sino-Japanese War, 1937–1945 5. Memento Mori: Loss, Nostalgia, and the Future in Postwar Missionary Visuality Epilogue: Latent Images

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Book SynopsisIn Developing Mission, Joseph W. Ho offers a transnational cultural history of US and Chinese communities framed by missionary lenses through time and spacetracing the lives and afterlives of images, cameras, and visual imaginations from before the Second Sino-Japanese War through the first years of the People''s Republic of China. When American Protestant and Catholic missionaries entered interwar China, they did so with cameras in hand. Missions principally aimed at the conversion of souls and the modernization of East Asia, became, by virtue of the still and moving images recorded, quasi-anthropological ventures that shaped popular understandings of and formal foreign policy toward China. Portable photographic technologies changed the very nature of missionary experience, while images that missionaries circulated between China and the United States affected cross-cultural encounters in times of peace and war. Ho illuminates the centralityTrade ReviewThis book is an accomplishment deserving scholarly attention. It is well researched with a plethora of sources in both English and Chinese and does a marvelous job in helping us understand the centrality of image-making in missionary experiences. * Church History *Joseph W. Ho provides a cross-cultural history of American missionary visual practices. Focusing on the American missionaries' images and image making in China from the 1920s to the early 1950s, the book explores how missionaries employed the camera as an agent that facilitated the translations of missionary experiences and the shaping of cross-cultural identities. * Journal of Asian Studies *Ho's examinations of missionary photographs offer a compelling perspective on noncombatant photography during times of war. [He] succeeds in making missionaries and their photographs visible once more and showing how they continue to connect some of their members across the communities they imaged. * Los Angeles Review of Books *Developing Mission is a nuanced study of a deserving topic. Ho's prose is well crafted and his analysis reflects depth and engagement with a number of fields. The book should attract interest from scholars of modern Chinese history, global Christianity and missions, and historians of technology. * Fides et Historia *Developing Mission is a groundbreaking contribution to the historiography of Chinese Christianity. Joseph Ho not only offers us a new and exciting methodology to incorporate photographic evidence into the study of mission history but also preserves the ever-receding memory of China's missionary era. * International Bulletin of Mission Research *Developing Mission is an extremely well-written, lyrical book that speaks to multiple disciplines. Ho draws upon film theory in meaningful and clear terms and without recourse to much jargon. He frames his story within a historical context that is accessible, and he has a penchant for including anecdotes that are moving and meaningful. This book should be extremely popular among a wide range of audiences inside and outside the academy. * Review of Religion and Chinese Society *The book's distinguishing characteristics include its ingenious, informative title[.] It is of great value to graduate students and historians of Chinese Christianity, Sino-US cultural interactions, and photography and film. * Christian Study Centre on Chinese Religion and Culture *Ho's multi-faceted analysis effectively underscores the seminal historic relationship of missionaries as photographers. This is accomplished with rich prose alongside well-researched biographical narratives that enliven the many Protestant, Catholic, and Chinese actors; pertinent references that combine Chinese and American religious and secular history; and finally, precise—yet inviting—technical writing about cameras. All aspects engage the reader to be both positively surprised and challenged as to unpack the interdisciplinary components, stories and theoretical content, in each chapter. * American Catholic Studies *Ho offers a rich, layered, and inspiring history of missionary visual practices. With a diverse range of subjects and a wealth of detail, the vernacular photographs and films offer a provocative alternative to modern visualizations of China. * Journal of Asian Studies *Table of ContentsIntroduction: All Things Visible and Invisible 1. New Lives, New Optics: Missionary Modernity and Visual Practices in Interwar Republican China 2. Converting Visions: Photographic Mediations of Catholic Identity in West Hunan, 1921–1929 3. The Movie Camera and the Mission: Vernacular Filmmaking as China-US Bridge, 1931–1936 4. Chaos in Three Frames: Fragmented Imaging and the Second Sino-Japanese War, 1937–1945 5. Memento Mori: Loss, Nostalgia, and the Future in Postwar Missionary Visuality Epilogue: Latent Images

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Book SynopsisI Try Not to Think of Afghanistan includes photographs and commentaries from Lithuanian veterans of the Soviet War in Afghanistan (197989), addressing the lasting realities of war and its effects on those conscripted to fight. Unflinching first-person accounts give details of training, combat, and the often difficult return to society for military conscripts within the Soviet system. Anna Reich gives insight into the experiences of not only the Lithuanian veterans from the Soviet War in Afghanistan but also veterans from all countries who face similar struggles and challenges.For three months, Reich interacted with twenty-two veterans in their homes and meeting halls and throughout their daily routines to produce portraits that provide intimate and unvarnished portrayals of their lives and the lasting effects of forced military service in the Soviet army. Often ostracized socially because of their involvement with the Soviet army, the veterans frequently

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Book SynopsisLatin American and Latino artists have used photography to engage with modern media landscapes and critique globalized economies since the 1960s. But rarely are these artists considered leaders in discussions about the theory and scholarship of photography or included in conversations about the radical transformations of photography in the digital era. The Matter of Photography in the Americas presents the work of more than eighty artists working in Mexico, the Caribbean, Central America, South America, and Latino communities in the United States who all have played key roles in transforming the medium and critiquing its uses. Artists like Alfredo Jaar, Oscar Muñoz, Ana Mendieta, and Teresa Margolles highlight photography's ability to move beyond the impulse simply to document the world at large. Instead, their work questions the relationship between representation and visibility. With nearly 200 full-color images, this book brings together drawings, prints, installations, photocopies, and three-dimensional objects in an investigation and critique of the development and artistic function of photography. Essays on key works and artists shed new light on the ways photographs are made and consumed. Pressing at the boundaries of what defines culturally specific, photography-centric artwork, this book looks at how artists from across the Americas work with and through photography as a critical tool.Trade Review"[T]he book is valuable. The catalogue includes 140 excellent reproductions of works by 70 artists from Central and South America, the Caribbean, and Puerto Rico, accompanied by 20 framing essays that provide important access to this underappreciated community of artists."—W.S. Johnson, Choice

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Book SynopsisHow photography and a modernizing Berlin informed an urban image—and one another—in the late nineteenth and early twentieth centuries Since the fall of the Berlin Wall, the city that once visually epitomized a divided Europe has thrived in the international spotlight as an image of reunified statehood and urbanity. Yet research on Berlin’s past has focused on the interwar years of the Weimar Republic or the Cold War era, with much less attention to the crucial Imperial years between 1871 and 1918. Constructing Imperial Berlin is the first book to critically assess, contextualize, and frame urban and architectural photographs of that era. Berlin, as it was pronounced Germany’s capital in 1871, was fraught with questions that had previously beset Paris and London. How was urban expansion and transformation to be absorbed? What was the city’s understanding of its comparably short history? Given this short history, how did it embody the idea of a capital? A key theme of this book is the close interrelation of the city’s rapid physical metamorphosis with repercussions on promotional and critical narratives, the emergence of groundbreaking photographic technologies, and novel forms of mass distribution. Providing a rare analysis of this significant formative era, Miriam Paeslack shows a city far more complex than the common clichés as a historical and aspiring place suggest. Imperial Berlin emerges as a modern metropolis, only half-heartedly inhibited by urban preservationist concerns and rather more akin to North American cities in their bold industrialization and competing urban expansions than to European counterparts.Trade Review"A late starter among European capitals, Imperial Berlin was eager to be recognized as a Weltstadt (‘World City’). Miriam Paeslack has carefully analyzed a trove of rarely seen images that perfectly document the city’s feverish development at the end of the nineteenth century and the parallel evolution of its self-conscious imagery. Taken together, the photographs present a compelling psychogram of the city on its way to becoming the 'Capital of the Twentieth Century'—the place where the dramatic tides of modernity and its traumatic conflicts would leave their most visible scars."—Dietrich Neumann, Brown University"Miriam Paeslack has written a compelling account of the multifarious ways in which photographers mediated in the construction of Berlin’s urban imaginary. She brilliantly demonstrates photography’s potency as Berlin contended with modernity by simultaneously promoting progress and inventing the past."—Nancy Stieber, University of Massachusetts, BostonTable of ContentsContentsIntroduction1. Crafting the Metropolis: Photo-Panoramas in the Illustrated Journal Berliner Leben2. Framing Progress: Ludwig Hoffmann, Ernst von Brauchitsch, and Berlin Architectural Photography 1902–19123. Tracing Transformation: Berlin’s Urban Palimpsest in Photogrammetry and “Rubble Photography”4. Inventing Tradition: Berlin’s Märkische Museum and Its Photo Survey Picturesque BerlinConclusionAcknowledgmentsNotesIndex

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Book SynopsisHow photography and a modernizing Berlin informed an urban image—and one another—in the late nineteenth and early twentieth centuries Since the fall of the Berlin Wall, the city that once visually epitomized a divided Europe has thrived in the international spotlight as an image of reunified statehood and urbanity. Yet research on Berlin’s past has focused on the interwar years of the Weimar Republic or the Cold War era, with much less attention to the crucial Imperial years between 1871 and 1918. Constructing Imperial Berlin is the first book to critically assess, contextualize, and frame urban and architectural photographs of that era. Berlin, as it was pronounced Germany’s capital in 1871, was fraught with questions that had previously beset Paris and London. How was urban expansion and transformation to be absorbed? What was the city’s understanding of its comparably short history? Given this short history, how did it embody the idea of a capital? A key theme of this book is the close interrelation of the city’s rapid physical metamorphosis with repercussions on promotional and critical narratives, the emergence of groundbreaking photographic technologies, and novel forms of mass distribution. Providing a rare analysis of this significant formative era, Miriam Paeslack shows a city far more complex than the common clichés as a historical and aspiring place suggest. Imperial Berlin emerges as a modern metropolis, only half-heartedly inhibited by urban preservationist concerns and rather more akin to North American cities in their bold industrialization and competing urban expansions than to European counterparts.Trade Review"A late starter among European capitals, Imperial Berlin was eager to be recognized as a Weltstadt (‘World City’). Miriam Paeslack has carefully analyzed a trove of rarely seen images that perfectly document the city’s feverish development at the end of the nineteenth century and the parallel evolution of its self-conscious imagery. Taken together, the photographs present a compelling psychogram of the city on its way to becoming the 'Capital of the Twentieth Century'—the place where the dramatic tides of modernity and its traumatic conflicts would leave their most visible scars."—Dietrich Neumann, Brown University"Miriam Paeslack has written a compelling account of the multifarious ways in which photographers mediated in the construction of Berlin’s urban imaginary. She brilliantly demonstrates photography’s potency as Berlin contended with modernity by simultaneously promoting progress and inventing the past."—Nancy Stieber, University of Massachusetts, BostonTable of ContentsContentsIntroduction1. Crafting the Metropolis: Photo-Panoramas in the Illustrated Journal Berliner Leben2. Framing Progress: Ludwig Hoffmann, Ernst von Brauchitsch, and Berlin Architectural Photography 1902–19123. Tracing Transformation: Berlin’s Urban Palimpsest in Photogrammetry and “Rubble Photography”4. Inventing Tradition: Berlin’s Märkische Museum and Its Photo Survey Picturesque BerlinConclusionAcknowledgmentsNotesIndex

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Book SynopsisA powerhouse in photographic theory—updated and with a new essay Every day, photographic images are relied upon as documents, evidence, and records in courtrooms, hospitals, and police work. But how did such usages come to be established, and when? What agencies and institutions had the power to give them this status? And what are the consequences of photographic representation? Drawing on semiotics, cultural theory, and the work of Foucault and Althusser, John Tagg rejects the idea of photography as a record of reality and traces a history that has profound implications not only for the theory of photography but also for understanding the role of new means of representation in modern social regulation. Now with a new essay situating this volume in the changed horizon of cultural politics, The Burden of Representation argues for a rigorous analysis of the meaning, status, and effects of photographs, rooted in a historical grasp of the growth of the modern state.Trade Review"A probing, compassionate, and lucid account of the institutionalization of the photographic process and its social and political consequences."—Albert Boime"An important and impressive collection of essays."—Art History"An exemplary piece of counterhegemonic history writing."—Media, Culture, and SocietyTable of ContentsContentsThe Burden of Recollection: Thinking Photography after FoucaultAcknowledgmentsIntroduction1. A Democracy of the Image: Photographic Portraiture and Commodity Production2. Evidence, Truth and Order: Photographic Records and the Growth of the State3. A Means of Surveillance: The Photograph as Evidence in Law4. A Legal Reality: The Photograph as Property in Law5. God’s Sanitary Law: Slum Clearance and Photography in Late Nineteenth-Century Leeds6. The Currency of the Photograph: New Deal Reformism and Documentary Rhetoric7. Contacts/Worksheets: Notes on Photography, History and RepresentationNotes and ReferencesBibliographyIndex

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Book SynopsisChronicles grassroots efforts to recover, rebuild, and enjoy architecturally iconic but economically obsolete places in the American Rust Belt. A pioneering Detroit automobile factory. A legendary iron mill at the edge of Pittsburgh. A campus of concrete grain elevators in Buffalo. Two monumental train stations, one in Buffalo, the other in Detroit. These once-noble sites have since fallen from their towering grace. As local elected leaders did everything they could to destroy what was left of these places, citizens saw beauty and utility in these industrial ruins and felt compelled to act. Postindustrial DIY tells their stories. The culmination of more than a dozen years of on-the-ground investigation, ethnography, and historical analysis, author and urbanist Daniel Campo immerses the reader in this postindustrial landscape, weaving the perspectives of dozens of DIY protagonists as well as architects, planners, and preservationists. Working without capital, expertise, and sometimes permission in a milieu dominated by powerful political and economic interests, these do-it-yourself actors are driven by passion and a sense of civic duty rather than by profit or political expediency. They have craftily remade these sites into collective preservation projects and democratic grounds for arts and culture, environmental engagement, regional celebrations, itinerant play, and in-the-moment constructions. Their projects are generating excitement about the prospect of Rust Belt life, even as they often remain invisible to the uninformed passerby and fall short of professional preservation or environmental reclamation standards. Demonstrating that there is no such thing as a site that is “too far gone” to save or reuse, Postindustrial DIY is rich with case studies that demonstrate how great architecture is not simply for the elites or the wealthy. The citizen preservationists and urbanists described in this book offer looser, more playful, and often more publicly satisfying alternatives to the development practices that have transformed iconic sites into expensive real estate or a clean slate for the next profitable endeavor. Transcending the disciplinary boundaries of architecture, historic preservation, city planning, and landscape architecture, Postindustrial DIY suggests new ways to engage, adapt, and preserve architecturally compelling sites and bottom-up strategies for Rust Belt revival.Table of ContentsPrologue: A Postindustrial View from the Northeast Corridor | 3 1. Recovering Postindustrial Places | 25 2. Buffalo’s Central Terminal | 63 3. Silo City | 119 4. The Carrie Blast Furnaces | 177 5. The Packard Automotive Factory | 231 6. Michigan Central Station | 295 7. The Beginning or End of Postindustrial DIY? | 361 Acknowledgments | 383 Notes | 385 Index | 419

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Book SynopsisTextual Exposures examines how twentieth-century Spanish American literature has registered photography's powers and limitations, and the creative ways in which writers of this region of the Americas have elaborated in fictional form the conventions and assumptions of this medium. While the book is essentially a study of literary criticism, it also aims to show how texts critically reflect upon the media environment in which they were created.The writings analyzed enter a dialogic relation with visual technologies such as the x-ray, cinema, illustrated journalism, and television. The study examines how these technologies, historically and aesthetically linked to the photographic medium, inform the works of some of the most important writers in Latin America.Methodologically, the close readings of the texts centre on the figure of ekphrasis (defined as the verbal representation of a visual representation). The book is concerned with the thematic, symbolic, structural and cultural imprints photography leaves in narrative texts. The author relies on an immanent approach, reading the selected texts according to their own specificities and making the relevant thematic and structural connections between them drawing from a variety of sources in the fields of literary criticism and theory and history of photography.Trade Review"...this book's thoughtful explorations of literary ekphrasis preserve, as in a snapshot, a memory of the relatively brief epoch in which photography - or, better, the delay inherent in the development and revelation of photographic film - still had the power to surprise and shock." - Jon Beasley-Murray, University of British Columbia, Bulletin of Spanish Visual StudiesRusseks focus enables productive re-readings of well-known texts This books thoughtful explorations of literary ekphrasis preserve, as in a snapshot, the memory of the relatively brief epoch in which photography-or, better, the delay inherent in the development and revelation of photographic film-still had the power to surprise and shock. - Jon Beasley-Murray, Bulletin of Spanish Visual StudiesFinding Directions West is an excellent addition to The West Seriesâ| Prior volumes have included essays, biographies, memories, and insights into Western Canadian life and experienceâ| This volume offers important insights into Western Canadian History. - Laurie Milne, Canadian Journal of Native Studies

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Book SynopsisCollection of essays exploring the controversies surrounding images of the Holocaust. Visual representations are an essential but highly contested means of understanding and remembering the Holocaust. Photographs taken in the camps in early 1945 provided proof of and visceral access to the atrocities. Later visualrepresentations such as films, paintings, and art installations attempted to represent this extreme trauma. While photographs from the camps and later aesthetic reconstructions differ in origin, they share goals and have raised similar concerns: the former are questioned not as to veracity but due to their potential inadequacy in portraying the magnitude of events; the latter are criticized on the grounds that the mediation they entail is unacceptable. Some have even questioned any attempt to represent the Holocaust as inappropriate and dangerous to historical understanding. This book explores the taboos that structure the production and reception of Holocaust images and the possibilities that result from the transgression of those taboos. Essays consider the uses of various visual media, aesthetic styles, and genres in representations of the Holocaust; the uses of perpetrator photography; the role of trauma in memory; aesthetic problems of mimesis and memory in the work of Lanzmann, Celan, and others; and questions about mass-cultural representations of the Holocaust. David Bathrick is Emeritus Professor of German at Cornell University, Brad Prager is Associate Professor of German at the University of Missouri, and Michael D. Richardson is Associate Professor of German at Ithaca College.Trade ReviewAdds another substantial document to analyses of visual representations of the Holocaust. * BIOGRAPHY *Has the feel of an intense seminar. . . . What emerges from these essays is a fresh look at the canon of Holocaust representation, and therefore a new appreciation for what is seen, and how memory shapes our attempt to salvage something from the ashes. -- Michael Berenbaum * JOURNAL FOR GENOCIDE STUDIES *Innovative approaches to one of the most difficult issues in German film and visual culture. * H-NET REVIEWS *An important contribution . . . . These essays transcend the anxieties surrounding Holocaust representation that began with Adorno's aesthetic interdiction and are attuned to the fruitful possibilities of analyzing the production and reception of Holocaust imagery. * SHOFAR *A welcome, well-wrought contribution to the scholarship about how we deal with traumatic events, ethically, poetically, visually, and aurally. * GERMAN QUARTERLY *An excellent collection of essays which, without exception, are informative, well researched, reasonably argued, and lucidly written. * GERMAN STUDIES REVIEW *Seeks to explore recent debate . . ., bringing together a range of essays on the theory and practice of visual representation of the Shoah. At the heart of this collection is inevitably the vexed issue of the Bilderverbot, the much-spoken-about 'unspeakability' of the Holocaust. * MODERN LANGUAGE REVIEW *The strength of this volume lies in its wealth of materials and the diverse fields of study which it informs. It is theoretically astute and generously illustrated . . . thus making for a highly inspiring read. . . . [A]n essential sourcebook for scholars, graduate and undergraduate students in Holocaust and Visual Studies . . . . * MONATSHEFTE *Table of ContentsIntroduction: Seeing Against the Grain: Re-visualizing the Holocaust - David Bathrick On the Liberation of Perpetrator Photographs in Holocaust Narratives - Brad Prager The Interpreter's Dilemma: Heinrich Jöst's Warsaw Ghetto Photographs - Daniel H. Magilow Whose Trauma Is It? Identification and Secondary Witnessing in the Age of Postmemory - Elke Heckner No Child Left Behind: Anne Frank Exhibits, American Abduction Narratives, and Nazi Bogeymen - Lisa J. Nicoletti Auschwitz as Hermeneutic Rupture, Differend, and Image malgré tout: Jameson, Lyotard, Didi-Huberman - Sven-Erik Rose Claude Lanzmann's Shoah and the Internionality of the Image - Michael D'Arcy For and Against the Bilderverbot: The Rhetoric of "Unrepresentability" and Remediated "Authenticity" in the German Reception of Steven Spielberg's Schindler's List Reception of Steven Spielberg's Schindler's List - Karyn Ball Celan's Cinematic: Anxiety of the Gaze in Night and Fog and "Engführung" - Eric Kligerman Affect in the Archive: Arendt, Eichmann and The Specialist - Darcy C. Buerkle Home-Movies, Film Diaries, and Mass Bodies: Péter Forgác's Free Fall Into the Holocaust - Jaimey Fisher Laughter and Catastrophe: Train of Life and Tragicomic Holocaust Cinema - David Brenner "Heil Myself!": Impersonation and Identity in the Comedic Representation of Hitler - Michael D. Richardson

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Book SynopsisEl Charro , or man on horseback, has represented the spirit of independent Mexico since he played an important role in the 1821 revolution. He is the Mexican version of the American cowboy, only much older, arising from the ranch culture first brought to Mexico by the Spanish. The Charreada is his rodeo, his opportunity to show off both his skills with rope and horse and his decorative, elegant costume. It is at the center of Mexican heritage and self-image, a source of mythology and genuine heroes that has been brought to Texas by immigrants. And since 1989, it has included women, charras, who participate in elaborate and difficult riding formations. San Antonio photographer Al Rendon has taken this ideal subject for the camera and created a collection of splendid sepia photographs reproduced in duotone. The photos juxtapose the grit of the arena with the poise and polish of the charros, charras, and their horses. The essays, by Julia Hambric, Bryan Woolley, and F. E. Abernethy, describe the history of the charreada and its roots in Mexican culture. Hambric’s essay also details the costumes and events prescribed by tradition and the Federacion Nacional de Charro. Together, this is a unique examination of an important part of Mexico’s heritage.

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Book SynopsisSnapshots and Short Notes examines the photographic postcards exchanged during the first half of the twentieth century as illustrated, first-hand accounts of American life. Almost immediately after the introduction of the generic postcard at the turn of the century, innovations in small, accessible cameras added black and white photographs to the cards. The resulting combination of image and text emerged as a communication device tantamount to social media today.Postcard messages and photographs tell the stories of ordinary lives during a time of far-reaching technological, demographic, and social changes: a family's new combine harvester that could cut 40 acres a day; a young woman trying to find work in a man's world; the sight of an airplane in flight. However, postcards also chronicled and shared hardship and tragedy - the glaring reality of homesteading on the High Plains, natural disasters, preparations for war, and the struggles for racial and gender equality.With a meticulous eye for detail, painstaking research, and astute commentary, Wilson surveys more than 160 photographic postcards, reproduced in full color, that provide insights into every aspect of life in a time not far removed from our own.Trade ReviewWilson presents a new approach. . . and his detailed accounts of cards draw you in and make you a believer." - Robert Bogdan, co-author of Real Photo Postcard Guide: The People's Photograph

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Book SynopsisA rich collection of photographs representing contemporary New Yorkers in their urban environment. Pedestrian Photographs showcases the keen eye of photographer Larry Merrill, and includes forty-eight color plates -- mainly created between 2004 and 2007 -- depicting street life in Manhattan's east side and Central Park.Introductory essays by noted author Wendell Berry and by the University of Rochester Memorial Art Gallery's chief curator, Marjorie Searl, contextualize Merrill's work, which can also be found in the collections of the George Eastman House, Yale Art Gallery, Museum of Fine Arts Houston, Minneapolis Institute of Arts, the Museum of the City of New York, and the Israel Museum. Merrill has photographed for the World Bank in Bhutan, Haiti, Peru, and Senegal, and was guest curator of the Metropolitan Museum of Art's Uris Education Gallery exhibition, Photographs in Light. The work in this volume is on display at the Memorial Art Gallery, where Merrill has been longtime director of the Gallery's Creative Workshop.

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Book SynopsisA remarkable collection of prison "portraiture" photosTrade Review"In a stimulating introductory essay accompanying this collection of extraordinary photographic portraits, Jackson (The Story Is True) recalls visiting in 1975 Arkansas's Cummins state prison farm, where an inmate invited him to fill his pockets with about 200 discarded prisoner identification photographs, likely dating from 1915 to 1940.... Shrewdly, Jackson balances their remarkable refurbishment with a strong sense of provenance (retaining staple holes and creases, for example), while eschewing any attempt to connect each haunting image with a particular crime or narrative. Given unprecedented and (from the perspective of their original purpose) utterly unintended scope, the human dimensions of these images grant each an irreversible dignity for the first time, while simultaneously taking on the essential characteristic Jackson names: they become 'mirrors' of ourselves." —Publishers Weekly"I'm intrigued by the portraits of these prisoners. These pictures all speak to me of another time not only because of the way the people are dressed, but also because of the direct simplicity and innocence of the images. Today, when so many photographs are altered and manipulated, the honesty and reality of these images make them stand out as powerful and true portraiture for all time."—Mary Ellen MarkTable of Contents1. Pictures from a Drawer; 2. Restoring the Eyes; 3. Size; 4. Dating the Images; 5. The Women; 6. Portraits; 7. Seeing People; 8. The Order of Things; 9. Mirrors; II.; Images; Appendix: Cooter's Yellow Pad

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Book SynopsisThis book explores the interplay between 19th-century photography and Europe's vision of the Middle East. The Middle East played a critical role in the development of photography as a new technology and an art form. Likewise, photography was instrumental in cultivating and maintaining Europe's distinctively Orientalist vision of the Middle East. As new advances enhanced the versatility of the medium, 19th-century photographers were able to mass-produce images to incite and satisfy the demands of a burgeoning tourist industry and the appetites of armchair travellers in Europe. In this way, the evolution of modern photography fuelled an interest in visual contact with the rest of the world. Photography's Orientalism offers the first in-depth cultural study of the works of European and non-European photographers active in the Middle East, focusing on the relationship between photographic, literary, and historical representations of this region and beyond.

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Book SynopsisAn exact date for the invention of photography is evasive. Scientists and amateurs alike were working on a variety of photographic processes for much of the early nineteenth century. Thus most historians refer to the year 1839 as the first year of photography, not because the sensational new medium was invented then, but because that is the year it was introduced to the world. After more than 175 years, and for the first time in English, First Exposures: Writings from the Beginning of Photography brings together more than 130 primary sources from that very year 1839 subdivided into ten chapters and accompanied by fifty-three images of significant visual and historical importance. This is an astonishing work of discovery, selection, and thanks to Steffen Siegel s introductory texts, notes, and afterword elucidation. The range of material is impressive: not only all the chemical and technological details of the various processes but also contracts, speeches, correspondence of every kind, arguments, parodies, satires, eulogies, denunciations, journals, and even some poems. Revealing through firsthand accounts the competition, the rivalries, and the parallels among the various practitioners and theorists, this book provides an unprecedented way to understand how the early discourse around photographic techniques and processes transcended national boundaries and interconnected across Europe and the United States. "Trade ReviewChoice Outstanding Academic Title "Much of this material has never or seldom been seen before, and in bringing it together Siegel provides a valuable service to historians of photography and culture." --Choice

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Book SynopsisScholarship on photography's earliest years has tended to focus on daguerreotypes on metal or on the European development of paper photographs made from glass or paper negative. But Americans also experimented with negative-positive processes to produce photographic images on a variety of paper formats in the early decades of the medium. "Paper Promises: Early American Photography" presents this rarely studied topic within photographic history. The well-researched and richly detailed texts in this book delve into the complexities of early paper photography in the United States from the 1840s to 1860s, bringing to light a little-known era of American photographic appropriation and adaptation. Exploring the economic, political, intellectual, and social factors that impacted its unique evolution, both the essays and the carefully selected images illustrate the importance of photographic reproduction in shaping and circulating perceptions of America and its people during a critical period of political tension and territorial expansion. Due to the fragility of paper photography from this period, the works in this catalogue are rarely displayed, making the volume an essential tool for any scholar in the field and a very rare peek into the mid-nineteenth century.

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Book SynopsisThinking differently about photography and its histories

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Book SynopsisThe Mississippi Delta has been called ""the most southern place on earth."" This fertile expanse of flat land sprawls along the Mississippi River from Memphis, Tennessee, southward to Vicksburg, Mississippi. Culturally rich as well, the Delta is the land where the blues began.New Delta Rising is an exploration of Mississippi Delta life and a celebration of the indefatigable Delta people who live there.Award-winning photographer Magdalena Solé spent a year interviewing and photographing hundreds of residents in the Mississippi Delta. The deep connection she felt comes through in the compelling images in this book. Solé captures their personal dignity, resilience, and resourcefulness, along with the closeness of family and community she found among them.The accompanying text gives voice to the people of the Delta, illuminating their strength and character and spirit---a spirit bound up in a deeply rooted sense of place and shown in their compassion for one another. In their stories the people of the Delta have much to offer to the rest of the United States.Rick Bragg, the acclaimed author of All Over but the Shoutin', contributes to the volume a lyrical essay evoking the distinctive aura of the Mississippi Delta. He writes, ""Myth and magic and legend swirl into the real world, and it can be hard to tell where one stops and the other begins.""

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Book SynopsisOn an epic 3,000-mile journey through the most pristine backcountry of the American West, four friends rode horseback across an almost contiguous stretch of unspoiled public lands, border to border, from Mexico to Canada.For their trail horses, they adopted wild mustangs from the US Bureau of Land Management that were perfectly adapted to the rocky terrain and harsh conditions of desert and mountain travel.A meticulously planned but sometimes unpredictable route brought them face to face with snowpack, downpours, and wildfire; unrelenting heat, raging rivers, and sheer cliffs; jumping cactus, rattlesnakes, and charging bull moose; sickness, injury, and death. But they also experienced a special camaraderie with each other and with the mustangs. Through it all, they had a constant traveling companion - a cameraman, shooting for the documentary film Unbranded.The trip's inspiration and architect, Ben Masters, is joined here by the three other riders, Ben Thamer, Thomas Glover, and Jonny Fitzsimons; two memorable teachers and horse trainers; and the film's producers and intrepid cameramen in the telling of this improbable story of adventure and self-discovery.

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Book SynopsisLike many Texans, Michael H. Marvins has been making regular pilgrimages to the Hill Country for much of his life. Traveling the back roads of the Texas Hill Country, cameras always poised for action, Marvins has captured the excitement of small-town rodeos, savored the mesquite-smoked atmosphere of local eateries, observed the daily lives of people on the land, and admired the scenic beauty of the landscape and its natural denizens. Most important, he has captured his impressions with the skilled eye of a master photographer.Popular Houston Chronicle columnist Joe Holley opens The Texas Hill Country by highlighting the many qualities that draw Marvins—and so many of the rest of us—to the Hill Country. Next, Roy Flukinger, senior curator of photography at the University of Texas' Harry Ransom Center, discusses Marvins's unique photographic vision and the fresh ways in which he helps us see this popular region.But the principal focus in The Texas Hill Country: A Photographic Adventure centers on Marvins's artful images, inviting readers to share his unique perspectives on this enchanting and popular region. He takes us with him on leisurely backcountry drives and into the laughter and swirl of dance halls. His lens embraces the people, the land, and the culture that keep so many Texans—and would-be Texans—coming back to the Hill Country again and again.

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Book SynopsisVisitors to Texas and New Mexico have marvelled for centuries at the immensity of the Llano Estacado and the surprising contrast as, at the edges of the great mesa, the flat ground gives way suddenly to such spectacular formations as the Palo Duro and Caprock Canyons. In the introduction to Amarillo Flights, artist and naturalist Walt Davis chronicle the history of this region - what Paul Chaplo calls the 'Llano Country' - and of those artists, mapmakers, and travelers who have tried in various ways to capture its spirit.Working in 'the vast studio of the sky', aerial photographer Chaplo has battled high winds, turbulence, dust, ice, near-miss bird strikes, wildfire smoke, and a host of aircraft problems to show the Llano Country from a place most of us will never be. Covering more than forty thousand square miles, he explores the incredible beauty and rich cultural history of the Panhandle and the surrounding landscapes, from canyons in New Mexico and Texas to hills and plains in Oklahoma. With the help of daring pilots, numerous aircraft, and a remarkably steady hand, Chaplo manages to capture in more than 100 striking photographs the shapes, textures, and colours of the rugged landforms that cannot be perceived fully from the ground.Sharing in his unique view from the southwestern sky, readers will experience from afar - and sometimes impossibly close - the sunlit canyons, storm-covered plains, and winding rivers cutting deep into the red earth that drew Chaplo to this region. For those who appreciate the Llano Estacado, Texas and Eastern New Mexico history, and landscape photography, this book provides a fresh and perception-challenging perspective.

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Book SynopsisOver the course of his photography career, Daniel Kariko came to realise that many of his most stunning subjects could be found in his own home. Kariko utilises a combination of a Scanning Electron Microscope and optical Stereo Microscope to achieve a portrait-like effect for insects and arthropods. Vibrant in colour and surprising in personality, these images reveal such details as the glittering eyes of a horsefly, the strong legs of a centipede and the fetching smile of a honeybee. Each photograph comes with a full-body illustration from artist Isaac Talley and character descriptions from entomologist Tim Christensen. Blurring the lines of art and science, Aliens Among Us is a guidebook for anyone interested in putting a face to the creepy-crawlies under the couch.Trade Review"Kariko draws on different areas of interest – from historical natural science collections to Renaissance and Baroque painters – to bring us images of invertebrates as we’ve never seen them before. Using microscope imaging techniques, he carefully creates captivatingly detailed and beautiful portraits of common invertebrate species that he finds during his daily routines in North Carolina. The results can only be described as works of art." -- 20+ best books on insects and invertebrates - BBC Wildlife Magazine

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Book SynopsisThis book about Texas and its oldest university system is set in communities traversing the State from the Sabine River, to the Piney Woods, to the Hill Country, to the Rio Grande. It is a story of colleges established with a limited mission that, in the course of a century, produced a president, world renowned journalists, entertainers, poets, musicians, writers, and alumni representing the ethnic and cultural diversity of Texas. The story is told by some of the best writers in the State and chronicled by one of the most celebrated artistic photographers in the country. This revised edition has an additional forty new pages with never before seen photography and history of the Texas State University System.

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Book SynopsisThe perfect companion to experiencing everything that America’s most famous road has to offer, The Route 66 Photo Road Trip guides the reader from Amarillo to Las Vegas, with recommendations for dining and lodging, lists of attractions, itineraries and tips for capturing memorable photographs with professional gear or a phone.

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Book SynopsisThe Brazos River and the Rio Grande: what lies between are physical and cultural geographies stretching south from the Texas Hill Country to the border of Mexico, west across the Trans-Pecos, and up through Northern New Mexico into Colorado. Photographer Jerod Foster and poet John Poch praise and wonder along these varied waterways and across the landscapes they host. The result is communion—a synergy of imagery in story and story in imagery, finding unexpected form, depths, and meaning much as rivers themselves are honed in the pull of gravity and texture.

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Book SynopsisA frank, honest, and insightful look into the lives of women over fifty. The Second Half explores, in photographic portraits and interviews, how the second half of life is experienced by women from many different cultures. From a French actress to a British novelist, from an Algerian nomad to a Saudi Arabian doctor, and an American politician, Ellen Warner traveled all over the world to interview women about their lives. She asked them what they learned in the first half that was helpful in the second, and what advice they would give to younger women. Their revealing and inspiring stories are enlightening for all readers, and are illustrated by Warner’s stunning portraits which tell their own story. Trade Review"A fascinating, fly-in-amber distillation of forty women over fifty, the book pushes these women to the foreground, shaking up expectations along the way. The results (are) revelatory.” * Foreword Reviews, Starred Review *"Reading Ellen Warner’s The Second Half: Forty Women Reveal Life After Fifty is like having one of those intimate conversations with each of 40 women from around the world as they share their formative experiences and advice for younger generations. Their insights are particularly valuable in a country where intergenerational learning is often lost…" * The Washington Post *"It is with these words (from the women in the book) that any woman who reaches the age of 50 and beyond can exhilarate in the fact that a better life is just beginning." * The New York Journal of Books *"As these women and others divulge their most difficult and joyous moments, the result is a book bristling with energy and wisdom." * BookPage, Starred Review *"The black-and-white portraits are intimate and revealing, and the interviews..are never less than fascinating… Its magic rests in the portraits, which are so wondrous that one is drawn irresistibly into the words." * Air Mail *"This is a collection of 40 beautiful portraits of 40 amazing women over 50. Gift it to all your friends, for no special occasion whatsoever. " * Ms. Magazine *"22 of 2022’s Top New Books (So Far)" * AARP *"What makes this book really special is that the women share what they’ve learned from their experiences, and how those lessons will shape the rest of their lives… (it) is a compelling testament to human perseverance in the face of hardship, but also to life’s enduring joys. Warner captures her subjects’ candid stories sensitively and with verve." * Hyperallergic *“We need to celebrate women for not wrinkles but laugh lines. We need to see ourselves changing and growing. If that means looking older – celebrate it. Experience is as beautiful as youth. These (words and) pictures are meant to teach us that every stage of life has its own enchantment.” * Erica Mann Jong, from the Foreword *"Ellen Warner’s powerful and moving portraits and interviews show us what we need to know: how extremely diverse women envision the second half of women’s’ lives, and the wide-ranging perspectives they offer to share with us, the fortunate readers." * Professor Elaine Pagels, historian *“The faces of the women in this book, deeply etched by experience and by sorrow and yet alight with life and hope are an enduring tribute not only to Ellen's genius as a photographer skill but also to the personal qualities that give her subjects the freedom to reveal who they really are." * Pat Barker, novelist *“Warner’s book beautifully reflects the challenges and opportunities of growing older in an ageist culture. The depictions of older women’s complexity, diversity and resiliency offer a wonderful resource for all of us – including younger people – in our age-segregated society.” * Joan Ditzion, MSW, and Judy Norsigian, co-founders of Our Bodies Ourselves *“The diverse and inspiring stories in Ellen Warner’s The Second Half are as powerfully written as they are stunningly photographed, and superbly curated. Each face, each life, each page fills you with hope, and takes your breath away.” * Nandana Sen, writer, actor, activist *"Ellen Warner’s photographs are deeply narrative, and in this book we are presented with a remarkable enhancement to those images: the real narratives." * Tim Gunn, author, actor, Project Runway mentor. *"Books with good advice on healthy aging." * Beacon *Table of ContentsForeword by Erica JongForeword by Sarah LambIntroductionOdette Walling, born 1920, interviewed at age 86Resistance leader, Ravensbruck Prisoner #47321, Kings Medal for Courage, Medaille de Resistance, Paris, FranceJean Angell, born ca 1942, interviewed at age 65Lawyer with Lou Gehrig’s disease, Prout’s Neck, Maine, USARoxy Beaujolais, born ca. 1947, interviewed at age 60Publican of the Seven Stars, Carey Street, London, EnglandTeresa Sayward, born ca. 1944, interviewed at age 64State Assemblywoman, Retired Farmer, Willsboro, New York, USALeslie Caron, born 1931, interviewed at age 70Actress, Paris, FranceDr. Fathia Al Sulimani, born 1950, interviewed at age 60Nephrologist, Riyadh, Saudi ArabiaMarilynn Preston, born 1946, interviewed at age 60Journalist, playwright and Emmy Award winning TV producer, Santa Fe, New Mexico, USA Jacqueline Délia Brémond, born 1936, interviewed at age 70Publisher, Co-Founder and Co-Chair of Fondation Ensemble, Paris, FranceFatma Doufen, born ca 1945, interviewed at age 62Tuareg nomad in the Sahara - 36 k from Tamanrasset, Southern AlgeriaFrancoise Simon, born ca. 1930, interviewed at age 76Portrait Painter, Paris, FranceLuisah Teish, born ca 1948, interviewed at age 60Shaman, Teacher of Transformation, Spiritual Anthropologist, San Francisco, California, USAPerla Servan-Schreiber, born ca. 1944, interviewed at age 62Publisher, writer, Founder of Psychologie magazine, Paris, FranceIrene Carlos, born ca 1900, interviewed at age 107 Retired Cook, Antigua, West IndiesNi Ketut Takil, born ca. 1935, interviewed at age 75A Jero Balian (Sacred Healer), Banjar Baung Sayan, Ubud, Bali, IndonesiaBokara Legendre, born 1940, interviewed at age 70Actress, Writer, Artist, TV presenter, New York and South Carolina, USASalama Ba Sunbol, born ca. 1957, interviewed at age 53Embroidery Specialist and Trainer, Riyadh, Saudi ArabiaTamasin Day-Lewis, born 1953, interviewed at age 55Documentary Filmmaker, Food Critic, Chef and AuthorSomerset, EnglandGeorgia Nikitara, born ca 1932, interviewed at age 74Farmer, Patmos, GreeceGiuliana Camerino, born 1920, interviewed at age 86Founder of the design firm Roberta di Camerino, Venice, ItalyAda Gates, born 1943, interviewed at age 67Farrier, First Woman Licensed to Shoe Thoroughbred Horses in the USA and Canada, Pasadena, California, USAMa Thanegi, born 1946, interviewed at age 65Journalist, Author, Ang San Suu Kyi’s Personal Assistant who went to jail with her, Yangon, MyanmarFlora Biddle, born 1928, interviewed at age 80Writer, past Chair of the Board of The Whitney Museum, Granddaughter of the Founder, New York City, USA Elizabeth Jane Howard, born 1923, interviewed at age 84Author, Bungay Bay, Suffolk, EnglandModestine Brown, born ca.1931, interviewed at age 76Retired Cook, Antigua, West IndiesCristina Loring de Saavedra, born ca 1947, interviewed at age 61Retired Flamenco Dancer, Madrid, Spain Christine Ockrent, born 1944, interviewed at age 62First women TV anchor in France, Paris, FrancePeggy Elliott, born ca. 1943, interviewed at age 64Manicurist, Fishers Island, New York and West Palm Beach, Florida, USALady Elizabeth Longman, born 1924, interviewed at age 82 Wife of the last head of Longman’s Publishing Company, Bridesmaid to Queen Elizabeth, London, EnglandLali Al Balushi, born ca 1950, interviewed at age 60Housewife, Muscat, OmanTullia Zevi, born 1919, interviewed at age 89Musician, Journalist, President of the Italian Jewish Communities, Vice President of European Jewish Communities, Rome, ItalyLama Yeshe Drolma, born ca 1945, interviewed at age 61 Buddhist Lama, Lubeck, GermanyLulu Balcom, born 1908, interviewed at age 98 Artist, Fishers Island, New York and Palm Beach, Florida, USADodie Rosecrans, born 1919, interviewed at age 88 American art collector who divides her time between San Francisco, Paris and VeniceElo Papasin, born 1946, interviewed at age 60Housekeeper and Cook, Manila, Philippines. Currently lives in Paris, FranceMonika Kochs, born ca. 1946, interviewed at age 61Artist, Salzburg, AustriaMarina Ma, born ca. 1923, interviewed at age 85Mother of Yo-Yo Ma, cellist, and Dr. Yo-Chen MaLong Beach, New York, USACharlotte Mosley, born 1952, interviewed at age 55Journalist, Publisher, Editor of the letters of the Mitford SistersParis, FranceMarilyn Nelson, born 1946, interviewed at age 74Poet, Translator, Author, Former Poet Laureate of ConnecticutEast Haven, Connecticut, USABlanche Blackwell, born 1912, interviewed at age 95Ian Fleming’s last great love, mother of Chris Blackwell who founded Virgin Records, London, EnglandOlivia de Havilland, born 1916, interviewed at age 92Actress, Paris, France

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Book SynopsisHome/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography. Home/Land is global in its reach, exploring women’s lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doing, how they actively produce new and different forms of identity, community and belonging.Trade ReviewReviews 'This book emerged from the Lens of Empowerment project, a highly creative and intellectual initiative consisting of an international research network and conference (2009–12). The project’s engagements of “lens-based power” were inspired by photography’s ubiquity and the artistic potential of passport photos, holiday Polaroids, advertising, and documentary film. The authors of Home/Land: Women, Citizenship, Photographies dispel the negative stereotypes ascribed to the figure of globalization by portraying the experiences of women who have confronted the “settled, contested and lost” conditions of home and nation.'Jane Chin Davidson, College Art Association'Home/Land: Women, Citizenship, Photographiesinterrogates the ways in which women both use and interpret photography in order to engage with histories, geographies and processes of representation related to home and land, with a particular focus on the concepts of women and citizenship. While the terms home and land are often linked together, their conjunction in the title signifies an increasingly fractured relationship. It is this disjuncture that the book seeks to explore.'Roberta McGrath, Visual Studies'Challenging the ‘objective voice of reason’ associated with academic writing, the editors suggest a need for new feminist approaches to lens-based practices on the part of artists and scholars.'The Burlington'This volume will prove valuable to anyone engaged with photographies, feminist art histories, South African visual studies, memory studies or issues in the humanities or social sciences of migration and citizenship.'Irene Bronner, De ArteTable of ContentsIntroduction: Home, Land, Homeland and Home/Land Marsha Meskimmon and Marion Arnold Section I: Terrain Chapter 1: Contested Terrains: In Search of a Place Called Home Berni Searle Chapter 2: Unsettling: The photographic work of Sue Ford and Anne Ferran Helen Ennis Chapter 3: Embodying Otherness Karen Frostig Chapter 4: Myth, trauma and memory in the Angolan landscapes of Jo Ratcliffe Liese van der Watt Chapter 5: The Story of a South African Farm: Vlakplaas photographed by Gillian Edelstein, Jo Ractliffe and Renzske Scholtz Svea Josephy Chapter 6: Loughborough International Artists’ Residency: Three responses to place Jean Brundrit, Sarah Ciurysek, Nina Mangalanayagam Chapter 7: Conspicuous Consumption: photographs of pleasure and loss, personal and public, in an Australian snowfield Denise Ferris Section II: Dwelling Chapter 8: A place-called-home Suze Adams Chapter 9: Be/longing and the suburban dreamscape Rosy Martin Chapter 10: Photography, Building and Dwelling: Fiona Tan’s Empty House Kathryn Brown Chapter 11: The Archaeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Yassaman Ameri Staci Scheiwiller Chapter 12: home. not home. (bayt. laysa bayt.) Andrea Shaker Chapter 13 Another Way of Telling: Tracey Derrick’s EarthWorks: The Lives of Farm Labourers in the Swartland Michael Godby Chapter 14: Kitchen Accounts Mo White Section III: Migrating Chapter 15: Hélène Amouzou: Citizenship through Photography Danielle Leenaerts Chapter 16: Where are you from? A ‘Lost White Tribe’ – the Eurasians of Sri Lanka Menika v. d. Poorten Chapter 17: Against erasure: dance-writing with the Russian ballerina Anna Robenne Astrid von Rosen Chapter 18: Books on a White Background Aliza Levi Chapter 19: There is no place like home. Explorations of a dislocated self and its home in Emily Jacir’s Where We Come From /(Im)mobility Clara Zarza Chapter 20: On Reflection: spatial and metaphoric encounters with home and land, here and there, now and then Marion Arnold Section IV: Locating Chapter 21: As a woman, my country is... : On imag(in)ed communities and the heresy of becoming-denizen Marsha Meskimmon Chapter 22: Speaking out towards full citizenship: strategies of representing complex lesbian identities through photovoice projects in South Africa Jean Brundrit Chapter 23: Women’s Citizenship and Identity in Stó:lō Territory: a collective essay from the University of the Fraser Valley’s Lens Project (British Columbia, Canada) Stephanie Gould, Jacqueline Nolte, Shirley Hardman, Sarah Ciurysek with Jessica Bennett, Andrea Smith, Jennifer Janik Chapter 24: Dis-locating the colony: Utopia, dystopia and heterotopia in Svea Josephy’s Twin Towns Lize van Robbroeck Chapter 25: Whither the Roots? Photographing the Erased Home Nicky Bird Chapter 26: ‘Know me! But, remember that this is only part of who I am’: a participatory photo research project with migrant women sex workers in inner-city Johannesburg, South Africa Elsa Oliveira and Jo Vearey Chapter 27: Making Waves on International Women’s Day: Cameroonian Women’s Dynamism Florence Ayisi Post-script: Afterword Home-Land (one hyphenated word as a figure) Notes on Contributors List of Illustrations

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Book SynopsisHome/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography. Home/Land is global in its reach, exploring women’s lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doing, how they actively produce new and different forms of identity, community and belonging.Trade ReviewReviews 'This book emerged from the Lens of Empowerment project, a highly creative and intellectual initiative consisting of an international research network and conference (2009–12). The project’s engagements of “lens-based power” were inspired by photography’s ubiquity and the artistic potential of passport photos, holiday Polaroids, advertising, and documentary film. The authors of Home/Land: Women, Citizenship, Photographies dispel the negative stereotypes ascribed to the figure of globalization by portraying the experiences of women who have confronted the “settled, contested and lost” conditions of home and nation.'Jane Chin Davidson, College Art Association'Home/Land: Women, Citizenship, Photographiesinterrogates the ways in which women both use and interpret photography in order to engage with histories, geographies and processes of representation related to home and land, with a particular focus on the concepts of women and citizenship. While the terms home and land are often linked together, their conjunction in the title signifies an increasingly fractured relationship. It is this disjuncture that the book seeks to explore.'Roberta McGrath, Visual Studies'Challenging the ‘objective voice of reason’ associated with academic writing, the editors suggest a need for new feminist approaches to lens-based practices on the part of artists and scholars.'The Burlington'This volume will prove valuable to anyone engaged with photographies, feminist art histories, South African visual studies, memory studies or issues in the humanities or social sciences of migration and citizenship.'Irene Bronner, De ArteTable of ContentsIntroduction: Home, Land, Homeland and Home/Land Marsha Meskimmon and Marion Arnold Section I: Terrain Chapter 1: Contested Terrains: In Search of a Place Called Home Berni Searle Chapter 2: Unsettling: The photographic work of Sue Ford and Anne Ferran Helen Ennis Chapter 3: Embodying Otherness Karen Frostig Chapter 4: Myth, trauma and memory in the Angolan landscapes of Jo Ratcliffe Liese van der Watt Chapter 5: The Story of a South African Farm: Vlakplaas photographed by Gillian Edelstein, Jo Ractliffe and Renzske Scholtz Svea Josephy Chapter 6: Loughborough International Artists’ Residency: Three responses to place Jean Brundrit, Sarah Ciurysek, Nina Mangalanayagam Chapter 7: Conspicuous Consumption: photographs of pleasure and loss, personal and public, in an Australian snowfield Denise Ferris Section II: Dwelling Chapter 8: A place-called-home Suze Adams Chapter 9: Be/longing and the suburban dreamscape Rosy Martin Chapter 10: Photography, Building and Dwelling: Fiona Tan’s Empty House Kathryn Brown Chapter 11: The Archaeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Yassaman Ameri Staci Scheiwiller Chapter 12: home. not home. (bayt. laysa bayt.) Andrea Shaker Chapter 13 Another Way of Telling: Tracey Derrick’s EarthWorks: The Lives of Farm Labourers in the Swartland Michael Godby Chapter 14: Kitchen Accounts Mo White Section III: Migrating Chapter 15: Hélène Amouzou: Citizenship through Photography Danielle Leenaerts Chapter 16: Where are you from? A ‘Lost White Tribe’ – the Eurasians of Sri Lanka Menika v. d. Poorten Chapter 17: Against erasure: dance-writing with the Russian ballerina Anna Robenne Astrid von Rosen Chapter 18: Books on a White Background Aliza Levi Chapter 19: There is no place like home. Explorations of a dislocated self and its home in Emily Jacir’s Where We Come From /(Im)mobility Clara Zarza Chapter 20: On Reflection: spatial and metaphoric encounters with home and land, here and there, now and then Marion Arnold Section IV: Locating Chapter 21: As a woman, my country is... : On imag(in)ed communities and the heresy of becoming-denizen Marsha Meskimmon Chapter 22: Speaking out towards full citizenship: strategies of representing complex lesbian identities through photovoice projects in South Africa Jean Brundrit Chapter 23: Women’s Citizenship and Identity in Stó:lō Territory: a collective essay from the University of the Fraser Valley’s Lens Project (British Columbia, Canada) Stephanie Gould, Jacqueline Nolte, Shirley Hardman, Sarah Ciurysek with Jessica Bennett, Andrea Smith, Jennifer Janik Chapter 24: Dis-locating the colony: Utopia, dystopia and heterotopia in Svea Josephy’s Twin Towns Lize van Robbroeck Chapter 25: Whither the Roots? Photographing the Erased Home Nicky Bird Chapter 26: ‘Know me! But, remember that this is only part of who I am’: a participatory photo research project with migrant women sex workers in inner-city Johannesburg, South Africa Elsa Oliveira and Jo Vearey Chapter 27: Making Waves on International Women’s Day: Cameroonian Women’s Dynamism Florence Ayisi Post-script: Afterword Home-Land (one hyphenated word as a figure) Notes on Contributors List of Illustrations

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Book SynopsisDocuments and critically analyses the photographs that helped strengthen as well as bring down the Eugenics Movement. Using a large body of racial-type images and a variety of historical and archival sources, and concentrating mainly on developments in Britain, the USA and Nazi Germany, the author argues that photography, as the most powerful visual medium of the late nineteenth and early twentieth centuries, was vital to the Eugenics Movement's success -- not only did it allow eugenicists to identify the people with superior and inferior hereditary traits, but it helped publicise and lend scientific authority to eugenicists' racial theories. The author further argues for a strong connection between the racial-type photographs that eugenicists created and the photographic images produced by nineteenth-century anthropologists and prison authorities, and that the photographic works of contemporary liberal anthropologists played a significant role in the Eugenics Movement's downfall. Besides adding to our knowledge of photography's crucial role in helping to authorise and implement some of the most controversial social policies of modern times, this book makes a major contribution to our understanding of the history of racism. Most accounts of eugenics have been written by history of science scholars, with an emphasis on the history of science and medicine. In contrast, "Picture Imperfect" looks at eugenics from the standpoint of its most significant cultural data -- racial-type photography, investigating the techniques, media forms, and styles of photography used by eugenicists, and relating these to their racial theories and their social policies and goals. Indeed, the visual archive was crucially constitutive of eugenic racial science because it helped make many of its concepts appear both intuitive as well as scientifically legitimate. Discussion of the history of the eugenics movement encompasses a wide narrative, including Nazi history, US politics, criminology and prison studies, and propaganda.Trade Review"This book makes a significant contribution to an underexamined and important topic. Eugenics had an immense (mainly negative) impact on twentieth-century social and political history, and as Anne Maxwell demonstrates this was in large part because of its use of modern visual technologies, particularly photography. This story should not be allowed to disappear from cultural memory and Anne Maxwell's careful and path-breaking scholarship will do much to keep it there." -- Simon During, Johns Hopkins University.Table of ContentsIntroduction; Racial-type Photographs in the Colonial Period; The Degenerate Face: Nineteenth-Century Prison Photographs; The Eugenics Movement Begins: Galton and the Races of Britain; Building a Healthy Nation: Eugenic Images in the United States, 1890-1935; Creating the Master Race: Photography and Racial Selection in Germany; Sub-Human Versus the Master Race: Racial-Type Photographs and Nazi Party Propaganda; Eugenics Under Fire: the Racial-type Imagery of Boas, Du Bois, Huxley and Hadden; Conclusion; Index.

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Book SynopsisDocuments and critically analyses the photographs that helped strengthen as well as bring down the Eugenics Movement. Using a large body of racial-type images and a variety of historical and archival sources, and concentrating mainly on developments in Britain, the USA and Nazi Germany, the author argues that photography, as the most powerful visual medium of the late nineteenth and early twentieth centuries, was vital to the Eugenics Movement's success -- not only did it allow eugenicists to identify the people with superior and inferior hereditary traits, but it helped publicise and lend scientific authority to eugenicists' racial theories. The author further argues for a strong connection between the racial-type photographs that eugenicists created and the photographic images produced by nineteenth-century anthropologists and prison authorities, and that the photographic works of contemporary liberal anthropologists played a significant role in the Eugenics Movement's downfall. Besides adding to our knowledge of photography's crucial role in helping to authorise and implement some of the most controversial social policies of modern times, this book makes a major contribution to our understanding of the history of racism. Most accounts of eugenics have been written by history of science scholars, with an emphasis on the history of science and medicine. In contrast, "Picture Imperfect" looks at eugenics from the standpoint of its most significant cultural data -- racial-type photography, investigating the techniques, media forms, and styles of photography used by eugenicists, and relating these to their racial theories and their social policies and goals. Indeed, the visual archive was crucially constitutive of eugenic racial science because it helped make many of its concepts appear both intuitive as well as scientifically legitimate. Discussion of the history of the eugenics movement encompasses a wide narrative, including Nazi history, US politics, criminology and prison studies, and propaganda.Trade Review"This book makes a significant contribution to an underexamined and important topic. Eugenics had an immense (mainly negative) impact on twentieth-century social and political history, and as Anne Maxwell demonstrates this was in large part because of its use of modern visual technologies, particularly photography. This story should not be allowed to disappear from cultural memory and Anne Maxwell's careful and path-breaking scholarship will do much to keep it there." -- Simon During, Johns Hopkins University.Table of ContentsIntroduction; Racial-type Photographs in the Colonial Period; The Degenerate Face: Nineteenth-Century Prison Photographs; The Eugenics Movement Begins: Galton and the Races of Britain; Building a Healthy Nation: Eugenic Images in the United States, 1890-1935; Creating the Master Race: Photography and Racial Selection in Germany; Sub-Human Versus the Master Race: Racial-Type Photographs and Nazi Party Propaganda; Eugenics Under Fire: the Racial-type Imagery of Boas, Du Bois, Huxley and Hadden; Conclusion; Index.

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Book SynopsisGives an ethnographic account of the complexities of the use of photography in Africa, both historically and in contemporary practice. This collection of studies in African photography examines, through a series of empirically rich historical and ethnographic cases, the variety of ways in which photographs are produced, circulated, and engaged across a range of social contexts. In so doing, it elucidates the distinctive characteristics of African photographic practices and cultures, vis-à-vis those of other forms of 'vernacular photography' worldwide. In addition, these studies develop areflexive turn, examining the history of academic engagement with these African photographic cultures, and reflecting on the distinctive qualities of the ethnographic method as a means for studying such phenomena. The volumecritically engages current debates in African photography and visual anthropology. First, it extends our understanding of the variety of ways in which both colonial and post-colonial states in Africa have used photography as a means for establishing, and projecting, their authority. Second, it moves discussion of African photography away from an exclusive focus on the role of the 'the studio' and looks at the circulations through which the studios' products - the photographs themselves - later pass as artefacts of material culture. Last, it makes an important contribution to our understanding of the relationship between photography and ethnographic research methods, as these have been employed in Africa. Richard Vokes is Senior Lecturer in Anthropology at the University of Canterbury, New Zealand, and author of Ghosts of KanunguTrade ReviewThe collection is an important and nuanced contribution that will be of wide interest to Africanists, and scholars concerned with photography, imperialism and postcolonialism. * ANTHROPOLOGICAL FORUM *A valuable companion for the broad themes it explores. * AUSTRALASIAN REVIEW OF AFRICAN STUDIES *These essays and Richard Vokes's presentation offer fascinating examples of photography's intersection with ethnography. * AFRICAN AFFAIRS *Richard Vokes's edited work, Photography in Africa: Ethnographic Perspectives, includes essays that dissect the role of photography (as image and practice) within anthropologists' ethnographic work, and it is this historically and ethnographically informed attention to the construction of the photographic archive on Africa that presents a new lens to consider the overlap, and even lack of distinction, between genres like 'vernacular' and official, or 'state,' photography. * AFRICAN STUDIES REVIEW *Table of ContentsIntroduction - Part I Photography & the Ethnographic Encounter - Richard Vokes Double Alienation: Evans-Pritchard's Zande & Nuer Photographs in Comparative Perspective - Christopher Morton Photographing 'the Bridge': Product & Process in the Analysis of a Social Situation in Non-modern Zululand - Chris Wingfield Frontier Photographs: Northern Kenya & the Paul Baxter Collection - Neil Carrier and Kimo Quaintance Memories of a Blue Nile Home: Still Picture, Moving Contexts & Multimedia Linkage - Wendy James Memories of a Blue Nile Home: Still Picture, Moving Contexts & Multimedia Linkage - Part II Picturing the Nation: Photography, Memory & Resistance - Judith Aston Emptying the Gallery: The Archive's Fuller Circle - Erin Haney 'Ca Bouscoulait!': Democratization & Photography in Senegal - Jennifer Bajorek 'A Once & Future Eden': Gorongosa National Park & the Making of Mozambique - Katie McKeown Reflections on Urban Space, the Visual & Political Affect in Kabila's Kinshasa - Part III The Social Life of Photographs - Katrien Pype On 'the Ultimate Patronage Machine': Photography & Substantial Relations in Rural South-western Uganda - Richard Vokes 'The Terror of the Feast': Photography, Textiles & Memory in Weddings along the East African Coast - Heike Behrend Ceremonies, Sitting Rooms & Albums: How Okiek Displayed Photographs in the 1990s - Corinne Kratz

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Book SynopsisGives an ethnographic account of the complexities of the use of photography in Africa, both historically and in contemporary practice. This collection of studies in African photography examines, through a series of empirically rich historical and ethnographic cases, the variety of ways in which photographs are produced, circulated, and engaged across a range of social contexts. In so doing, it elucidates the distinctive characteristics of African photographic practices and cultures, vis-à-vis those of other forms of 'vernacular photography' worldwide. In addition, these studies develop areflexive turn, examining the history of academic engagement with these African photographic cultures, and reflecting on the distinctive qualities of the ethnographic method as a means for studying such phenomena. The volumecritically engages current debates in African photography and visual anthropology. First, it extends our understanding of the variety of ways in which both colonial and post-colonial states in Africa have used photography as a means for establishing, and projecting, their authority. Second, it moves discussion of African photography away from an exclusive focus on the role of the 'the studio' and looks at the circulations through which the studios' products - the photographs themselves - later pass as artefacts of material culture. Last, it makes an important contribution to our understanding of the relationship between photography and ethnographic research methods, as these have been employed in Africa. RICHARD VOKES is Senior Lecturer in Anthropology and Development Studies at the University of Adelaide, Australia, and author of Ghosts of KanunguTrade ReviewThe collection is an important and nuanced contribution that will be of wide interest to Africanists, and scholars concerned with photography, imperialism and postcolonialism. * ANTHROPOLOGICAL FORUM *A fascinating and important read because of its deep roots in the tangled, injurious and troubled history of African and European colonial history. * AFRICA *These essays and Richard Vokes's presentation offer fascinating examples of photography's intersection with ethnography. * AFRICAN AFFAIRS *Richard Vokes's edited work, Photography in Africa: Ethnographic Perspectives, includes essays that dissect the role of photography (as image and practice) within anthropologists' ethnographic work, and it is this historically and ethnographically informed attention to the construction of the photographic archive on Africa that presents a new lens to consider the overlap, and even lack of distinction, between genres like 'vernacular' and official, or 'state,' photography. * AFRICAN STUDIES REVIEW *Table of ContentsIntroduction - Part I Photography & the Ethnographic Encounter - Richard Vokes Double Alienation: Evans-Pritchard's Zande & Nuer Photographs in Comparative Perspective - Christopher Morton Photographing 'the Bridge': Product & Process in the Analysis of a Social Situation in Non-modern Zululand - Chris Wingfield Frontier Photographs: Northern Kenya & the Paul Baxter Collection - Neil Carrier and Kimo Quaintance Memories of a Blue Nile Home: Still Picture, Moving Contexts & Multimedia Linkage - Wendy James Memories of a Blue Nile Home: Still Picture, Moving Contexts & Multimedia Linkage - Part II Picturing the Nation: Photography, Memory & Resistance - Judith Aston Emptying the Gallery: The Archive's Fuller Circle - Erin Haney 'Ca Bouscoulait!': Democratization & Photography in Senegal - Jennifer Bajorek 'A Once & Future Eden': Gorongosa National Park & the Making of Mozambique - Katie McKeown Reflections on Urban Space, the Visual & Political Affect in Kabila's Kinshasa - Part III The Social Life of Photographs - Katrien Pype On 'the Ultimate Patronage Machine': Photography & Substantial Relations in Rural South-western Uganda - Richard Vokes 'The Terror of the Feast': Photography, Textiles & Memory in Weddings along the East African Coast - Heike Behrend Ceremonies, Sitting Rooms & Albums: How Okiek Displayed Photographs in the 1990s - Corinne Kratz

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Book SynopsisDispersal considers the period of change in Stratford, East London prior to the 2012 Olympic Games. It is both a visual record of a place that has transformed beyond recognition and a commentary on the impact of these changes. Though often represented as a post-industrial ‘wasteland’, this part of East London was a melting pot of over 200 trades and industries. Photographers Marion Davies and Debra Rapp documented 60 of these small businesses – from belt-making, zinc- galavanising, kebab-making and salmon smoking – before they were forced to move from the area in 2007. These unique photographs reveal the atmosphere and processes of the workplace alongside a short account of the personal histories of each business. While the photographs provide an impression of the site at the cusp of change, they also suggest a landscape shaped over time. How this landscape or urban ‘edgeland’ developed and evolved from the mid-19th century is explored by urban planning and architectural historian Juliet Davis. A series of maps from 2007 to 2015 analyse the patterns of dispersal of these businesses. The three authors have charted the progress, successes and failures of these large and small firms, re-photographing a selection in 2015. They show how this major urban redevelopment project has had a permanent and dramatic impact on the Lea Valley’s industrial areas; and at the same time they have created a lasting record of this previously diverse and often unappreciated working environment.Trade ReviewIn times when the pace of urban redevelopment is increasing, 'Dispersal' raises awareness of the human and physical effects produced by regeneration projects as they rapidly sweep away large areas of cities. It emphasizes the importance of recording urban landscapes before they vanish, as well as the histories of those who will be displaced, so that we can reflect on the processes of change. ... provides a valuable tool with which to focus the attention of planners and development authorities on the human, as opposed to purely physical, impacts of those processes.Sol Perez Martinez, Planning PerspectivesTable of Contents1. A lens on the past: reconstructing traces of an industrial edgeland 2. Dispersal: the archive 3. Out of sight/site: legacies of CPO and dispersal

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Book SynopsisTo celebrate the acquisition of the Tom Phillips archive, the Bodleian Library has asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, ‘ordinary’ people could afford to own their portraits. Readers shows people reading (or pretending to read) a wide variety of material from the Bible to Film Fun, either in the photographer’s studio, in their own home or holidaying on the beach. This book contains 200 images chosen with the eye of a leading artist from a visually rich vein of social history. Their covers will also feature a thematically linked painting, especially created for each title, from Tom Phillips’ signature work, A Humument.Trade Review'An important contribution to social history and visual culture.' * Visual Studies *

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Book SynopsisTo celebrate the acquisition of the Tom Phillips archive, the Bodleian Library has asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, ‘ordinary’ people could afford to own their portraits. Women in Hats explores the remarkable range in the world of millinery from outrageous Edwardian creations to the inventive austerities of the Second World War. This book contains 200 images chosen with the eye of a leading artist from a visually rich vein of social history. Their covers will also feature a thematically linked painting, especially created for each title, from Tom Phillips’ signature work, A Humument.Trade Review'An important contribution to social history and visual culture.' * Visual Studies *

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