{"product_id":"snapshots-197177-9780922233502","title":"Snapshots 197177","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn the summer of 1971, Michael Lesy and a friend found most of the snapshots in \u003ci\u003eSnapshots 1971–77\u003c\/i\u003e in a dumpster behind a gigantic photo-processing plant in San Francisco. The photos were in the trash because the machines that printed them made them so fast — duplicates, triplicates, quadruplicates — that the people on the processing line couldn't stop them.\u003c\/p\u003e\u003cp\u003eWeek after week, Lesy took home thousands of snapshots from the dumpster. He studied them as if they were archeological evidence. By the end of the summer, he'd formed his own collection of images of American life.\u003c\/p\u003e\u003cp\u003eHe took that collection with him when he returned to Wisconsin to finish his graduate work in American history. His understanding of the snapshots from California as reflections of the troubled state of American society influenced the PhD research he was doing in Wisconsin — research that became the American classic \u003ci\u003eWisconsin Death Trip\u003c\/i\u003e (1973).\u003c\/p\u003e\u003cp\u003eOver the next six y\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIn 1971, the photographic historian — which doesn’t do him justice: maybe photographic philosopher is closer, with trickster thrown in — found a lot of color photos in a dumpster in San Francisco, and thus, inevitably, presumably to mark the 50th anniversary of the discovery, has published them and a few more as a . . . book? Yes, it’s a time capsule. Artless family snaps, from weddings and vacations. Early ’70s haircuts. Hippie in geodesic dome. Guy with a new car. It’s not \u003ci\u003eThe Americans\u003c\/i\u003e — but page by page it slowly grows more compelling, as if you’re sure that, if you keep going, at the end there’ll be a porn shot or a corpse. The picture I keep turning back to shows two big black loungers, the footrests formally stored, against a backdrop of white drapes. It’s as full of death as anything in Lesy’s first book, the 1973 \u003ci\u003eWisconsin Death Trip\u003c\/i\u003e, about the collapse of rural Wisconsin during the depression of the 1890s, taken from the cache of the town photographer — and, for this picture at least, made with the same eye. — Greil Marcus, \u003ci\u003eLos Angeles Review of Books\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIn Michael Lesy’s fascinating book of common snapshots, I see ghosts, images of people who once performed the rituals of their age, society, culture. The people—like us and also not us—appear innocent, as if their times had been simple. But Lesy reminds us the photographs were shot in the 1970s, when life was no simpler. Looking at the snapshots, I wonder if, far in the future, these will be relics, read like hieroglyphs, a different language of costume and gesture, ancient humans performing peculiar rituals. Lesy’s book contains troves of treasure, inadvertent, touching and poignant histories of how people spend their days. — Lynne Tillman, writer, \u003ci\u003eAmerican Genius: A Comedy\u003c\/i\u003e and \u003ci\u003eMen and Apparitions\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e Snapshots, at their best, present a vision of life uncolored by artistic pretension. The images in this extraordinary collection Michael Lesy has assembled are raw, sometimes funny, sometimes poignant, but always communicating the taste of experience. — Stephen Shore, author of \u003ci\u003eUncommon Places: The Complete Works\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSnapshots 1971–77\u003c\/i\u003e is a book of life, the completion of a visual hymn Michael Lesy began nearly 50 years ago with his landmark \u003ci\u003eWisconsin Death Trip\u003c\/i\u003e. But it is not an end, because these snapshots invite us into a call-and-response of self and other. This transcendent book—art, archive, alchemy, profanity, punchline, epitaph, and birth notice—is Lesy’s masterpiece, a vision and a kind of vow, a commitment to looking and to seeing fulfilled. — Jeff Sharlet, author of \u003ci\u003eThis Brilliant Darkness: A Book of Strangers\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eWisconsin Death Trip\u003c\/i\u003e shocked me into completely rethinking how I think about history. Every Michael Lesy book since has been a new revelation. \u003ci\u003eSnapshots 1971–77\u003c\/i\u003e is like an unhinged family album for the Family of Man, intimate but universal, unspeakably strange yet familiar, sometimes funny, often ineffably disturbing. If you don’t see yourself in these stranded glimpses, look again. — John Strausbaugh, author of \u003ci\u003eVictory City\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese extraordinary photographs, which Michael Lesy kept in storage for almost half a century, would have looked unprepossessing and even banal for most of that period, but now time has brought out all their strangeness. They give a view of the 1970s that can be appreciated only at a distance—wacky, touching, abject, serene—while turning the spotlight on gender relations, race, class status, material possession, and the implication of violence. — Luc Sante, author of \u003ci\u003eMaybe the People Would Be the Times\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e Lesy’s eye—ever consistent, ever restless, ever curious—is our guide for how to recover our shared past without nostalgia or sentimentality. It’s all here: hope, anger, sex, sweetness, violence, the comic, the portentous, the American way of life and love and death. — Richard Deming, author of \u003ci\u003eArt of the Ordinary\u003c\/i\u003e and \u003ci\u003eDay for Night\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e Lesy once said that \u003ci\u003eWisconsin Death Trip\u003c\/i\u003e was “about all of us; it’s our shared history—the whole catastrophe.” \u003ci\u003eSnapshots\u003c\/i\u003e demonstrates a space where our past overlaps with another’s. Looking through I swear I saw my brother perched atop a diving board, grinning back at me. It’s a collective memory that allows us to find ourselves inside the pages amongst strangers. — Jim Goldberg, author of \u003ci\u003eRaised by Wolves\u003c\/i\u003e\u003c\/p\u003e The images in the book are fascinating.... It's not a flashy book of fashion photos, immaculate still lifes or images of politics or war. Instead, the book showcases everyday life during the period noted in the title. And it's delightful. — Kenneth Dickerman, \u003ci\u003eWashington Post\u003c\/i\u003e\u003cp\u003e\u003c\/p\u003e Michael Lesy's most brilliantly compelling, fascinating, and surprising work to date.... — Jim Knipfel, \u003ci\u003eThe Believer\u003c\/i\u003e\u003cp\u003e\u003c\/p\u003e","brand":"Blast Books,U.S.","offers":[{"title":"Default Title","offer_id":48885032091991,"sku":"9780922233502","price":22.49,"currency_code":"GBP","in_stock":false}],"url":"https:\/\/bookcurl.com\/products\/snapshots-197177-9780922233502","provider":"Book Curl","version":"1.0","type":"link"}