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Walker
Evans : La soif du regard
de Gilles Mora, John-T Hill
Présentation
de l'éditeur
Walker Evans (1903-1975) est, avec Alfred Stieglitz, Edward Weston et
Paul Strand, l'une des figures majeures de la photographie américaine.
Imprégné de littérature française, qu'il
vient étudier à Paris en 1927, Evans entra dans la carrière,
à la fin de cette même année, en photographiant
les rues de New York. Sous l'influence de Lewis Hine et surtout d'Eugène
Atget, il définit les règles d'un " style documentaire
" qu'il allait appliquer à l'environnement social et culturel
de l'Amérique de son époque, celle de la Grande Dépression,
de la guerre et des années qui suivirent. Le livre de Gilles
Mora et John T. Hill a été salué comme un événement
dans l'édition photographique (prix Nadar en 1993 et Kraszna-Krausz
Book Award en 1994). Il restitue intégralement l'œuvre de
Walker Evans à travers ses " projets " successifs,
comme l'avait conçue son auteur, dans la continuité de
sa chronologie. On y découvrira les images d'architectures victoriennes,
les reportages sur La Havane et le sud des Etats-Unis, les portraits
pris dans le métro de New York, les séquences complètes
de la célèbre exposition " American Photographs "
de 1938, publiées ici selon l'ordre de leur présentation.
On y trouvera aussi le choix initial des photographies destinées
au livre culte Louons maintenant les grands hommes que signèrent
Evans et l'écrivain James Agee, entre 1945 et 1965, et les expérimentations
en couleurs menées par Evans à la fin de sa vie.
Biographie
de l'auteur
Après des études en peinture à l'université
de Géorgie, John T. Hill est diplômé en design par
l'université de Yale (Connecticut). Il y enseignera cette matière
ainsi que la photographie de 1960 à 1979, en compagnie de son
collègue Walker Evans, dont il deviendra, après la mort
de celui-ci en 1975, l'exécuteur testamentaire jusqu'en 1994.
Auteur de plusieurs monographies, dont celle consacrée à
W. Eugene Smith en collaboration avec Gilles Mora (1998), John T. Hill
a été également commissaire des expositions "
Herbert Matter " et " Peter Sekaer " (Rencontres de la
photographie d'Arles, 2000). A l'occasion du centenaire de la naissance
de Walker Evans en 2004, il a organisé une exposition dédiée
au photographe à l'université de Yale. Spécialiste
de la modernité américaine, auteur ou co-auteur des monographies
d'Edward Weston, de W. Eugene Smith, de Charles Sheeler et des photographes
de la Farm Security Administration (à paraître en 2005),
il a contribué, souvent en compagnie de John T. Hill, à
la connaissance de l'œuvre de Walker Evans à travers de
nombreux ouvrages ou expositions. Ancien rédacteur en chef des
Cahiers de la photographie, il a été entre 1999 et 2001
le directeur artistique des Rencontres internationales de la photographie
d'Arles. Il dirige la collection " L'Œuvre photographique
" aux éditions du Seuil.
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Walker
Evans: Lyric Documentary
de John T. Hill
Présentation
de l'éditeur
Walker Evans's career spread over 46 fitful and prolific years, yet
in a scant two, 1935-1936, he produced the singular body of work that
came to define him. During that brief time, while working for the Farm
Security Administration (previously the U.S. Resettlement Administration)
photographing the consequences of the Great Depression, he refined a
hybrid style that combined documentation with sly personal comment.
He delighted in traveling incognito as an artless photojournalist, but
with the independence to satisfy his own artistic designs.
Walker
Evans: Lyric Documentary presents these seminal images for the first
time as a comprehensive, cohesive body of work, in chronological order.
These are prime examples of Evans's alchemy, his seemingly effortless
transformation of mundane fact into sweeping lyricism. They not only
define his mature style, but also offer a path for artists of future
generations. Evans has been called the most important American artist
of his century, and the impact of his vision reaches well beyond the
province of photography. With texts by John T. Hill, Heinz Liesbrock
and Allan Trachtenberg.
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Walker
Evans
de Walker Evans, Gilles Mora (Préface)
Présentation
de l'éditeur
"Ce dont je ne cesse de parler dégage une pureté,
une rigueur, une immédiateté qui s'obtiennent par absence
de prétention à l'art, dans une conscience aiguë
du monde". La définition est parfaite. Il est vrai que Walker
Evans a photographié l'Amérique de la dépression
avec un constant souci d'objectivité, dans une sorte de neutralité
documentaire. Mais la subtile plasticité de ses images, l'extrême
attention qu'il porte aux êtres et aux choses ont marqué
toute une génération d'artistes.
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Something
Permanent
de Cynthia Rylant, Walker Evans (Photographies)
Book
Description
The photographs of Walker Evans tell stories of ordinary people living
in America in the extraordinary time of the Great Depression. Cynthia
Rylant’s poetry about the photographs offers a new voice in the
telling, celebrating the beauty of life lived in extreme circumstances.
Ingram
Walker Evans's magnificent black-and-white photographic portraits of
the Depression are complemented by a poetic celebration of the lives
of ordinary people struggling to survive under extreme conditions.
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Walker
Evans
de Aperture, Walker Evans, Lloyd Fonvielle
Book
Description
Walker Evans, more than any other photographer in the thirties and forties,
defined the documentary aesthetic. For over four decades he used his
camera precisely and lucidly to record the American experience. He is
generally acknowledged as America's finest documentary photographer
of the twentieth century. He attempted to show both the beauty of his
subjects and the horror of the social conditions in which they lived.
During the Depression, from 1935 to 1937, Evans took part in the most
extensive photographic project ever carried out in the United States--the
pictorial survey of the Farm Security Administration. The now-legendary
collaboration with James Agee that resulted in the masterpiece Let Us
Now Praise Famous Men documents his dedication to photographing the
country he knew. Evans's talented eye and sensitive heart make him one
of the great photographers of the twentieth century. This volume contains
many of his best-known images. Hardcover, 8 x 8 in./96 pgs
About
the author
Born in St. Louis, Missouri, in 1903, Walker Evans studied at the Sorbonne
in Paris in 1926-27. Mainly self-taught as a photographer, he worked
freelance in New York starting in 1928. He was part of Roy Stryker's
Farm Security Administration project as a staff photographer in the
Southern United States from 1935 to 1937. From 1945 to 1965 he was an
associate editor and photographer for Fortune magazine. After retiring
from professional photography in 1965, he became a professor at Yale
University, where he taught generations of young photographers in documentary
approach. Evans received three Guggenheim Fellowships, as well as many
other awards, and his work is included in museum collections around
the world. He died in 1975 in New Haven, Connecticut.
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Walker
Evans: Cuba
de Walker Evans, Judith Keller (Introduction)
Book
Description
In 1933, Walker Evans traveled to Cuba to take photographs for The Crime
of Cuba, a book by the American journalist Carleton Beals. Beals's explicit
goal was to expose the corruption of Cuban dictator Gerardo Machado
and the long, torturous relationship between the United States and its
island neighbor. The photographs Evans made during his visit to Cuba
are fascinating for both their subject matter and the evidence they
provide of the young photographer's artistic development. Walker Evans:
Cuba brings together more than sixty of these images—all from
the Getty Museum's extensive holdings of the photographer’s work—along
with an essay by the noted writer and commentator Andrei Codrescu.
Codrescu's spirited text helps to provide a sense of the aesthetic and
political forces that were shaping Evans's art in the early 1930s. He
argues that Evans's photographs are the work of a young artist whose
temperament was distinctly at odds with Beals's impassioned rhetoric.
Looking closely at individual photographs, Codrescu shows that Evans
was just beginning to combine his early, formalist aesthetic with the
social concerns that would figure so prominently in his later work.
Evans's images and Codrescu's lively, insightful essay provide a compelling
study of a major artist at an important juncture in his career.
About
the author
Andrei Codrescu is a poet, novelist, essayist, and professor of English
at Louisiana State University. He is the author of Ay, Cuba! and the
editor of Exquisite Corpse: A Journal of Letters & Life. Judith
Keller is associate curator of photographs at the Getty Museum and the
author of Walker Evans: The Getty Museum Collection.
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Reading
American Photographs: Images As History : Mathew Brady to Walker Evans
de Alan Trachtenberg
Book
Description
Winner of the Charles C. Eldredge Prize
In
this book, Alan Trachtenberg reinterprets some of America's most significant
photographs, presenting them not as static images but rather as rich
cultural texts suffused with meaning and historical content. Reading
American Photographs is lavishly illustrated with the work of such luminaries
as Mathew Brady, Timothy O'Sullivan, and Walker Evans--pictures that
document the American experience from 1839 to 1938. In an outstanding
analysis, Trachtenberg eloquently articulates how the art of photography
has both followed and shaped the course of American history, and how
images captured decades ago provocatively illuminate the present.
About
the author
Alan Trachtenberg, Neil Gray, Jr., Professor of English and American
Studies at Yale University, is the author of The Incorporation of America:
Culture and Society in the Gilded Age.
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Walker
Evans
de James Mellow, Hilton Kramer (Introduction)
Ingram
One of America's most esteemed biographers has produced not just a definitive
portrait of Walker Evans, the great Depression Era photographer, but
also a fascinating cultural history of the period. 150 photos. Ce texte
se rapporte à une édition épuisée ou indisponible
de ce titre.
About
the author
James R. Mellow (1926-1997) won the National Book Award in 1983 for
his biography of Nathaniel Hawthorne. He was the author of a trilogy
of biographies on writers of the Lost Generation, including Hemingway:
A Life Without Consequences. In his forty-year career as a writer, art
critic, and biographer, Mellow wrote for the New York Times, Architectural
Digest, the Washington Post, Gourmet, and Arts magazine.
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Let
Us Now Praise Famous Men: Three Tenant Families
de Walker Evans (Préface), James Agee
Book
Description
In the summer of 1936, James Agee and Walker Evans set out on assignment
for Fortune magazine to explore the daily lives of sharecroppers in
the South. Their journey would prove an extraordinary collaboration
and a watershed literary event when in 1941 LET US NOW PRAISE FAMOUS
MEN was first published to enormous critical acclaim. This unsparing
record of place, of the people who shaped the land, and of the rhythm
of their lives was called intensely moving and unrelentingly honest,
and is "renowned for its fusion of social conscience and artistic
radicality" (New York Times). Today it stands as a poetic tract
of its time, recognized by the New York Public Library as one of the
most influential books of the twentieth century. With an elegant new
design as well as a sixty-four-page photographic prologue of Evans's
classic images, reproduced from archival negatives, this sixtieth anniversary
edition reintroduces the legendary author and photographer to a new
generation.
Ingram
Agee's colleague at Time in the 1940s, John Hersey, writes a major evaluation
of Agee's work and the Agee legend in a new introduction to this literary
classic. 64 pages of photos. Ce texte se rapporte à une édition
épuisée ou indisponible de ce titre.
About
the author
James Agee (1909-1955) was a poet, screenwriter, and journalist who
won the Pulitzer Prize for his novel A DEATH IN THE FAMILY.
Walker
Evans (1903-1976) is best known for his striking Depression-era photographs.
Born in St. Louis, he began his photographic career at twenty-five.
He served as an editor for both Fortune and Time and was a professor
of graphic arts at Yale. His other books include American Photographs
and Message from the Interior.
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Walker
Evans: Signs
de Walker Evans, Andrei Codrescu, Andrei Condrescu
Book
Description
Walker Evans photographed signs throughout every phase of his career.
From the 1920s to the time of his death in 1975, Evans was obsessed
with the signage he found in modern America--from billboards to gas
station pumps to street graffiti to handmade announcements of a Saturday-night
dance. This book features fifth photographs of signs from the Getty
Museum's collection, presented with a lively, provocative essay by Andrei
Codrescu. Codrescu trains a perceptive eye on the artistic and social
climate in Evans's America and reflects on the photographer's images
as documents and commentary. Some of the images included come from the
place and era most closely associated with Evans--the rural South of
the 1930s. But also included are photographs that will be less familiar
to many of his admirers, such as his images of New York City street
scenes and advertising signs, or pictures he took in Havana and in Sarasota,
Florida.
Ingram
From the 1920s to the time of his death in 1975, photographer Walker
Evans was obsessed with the signage he found in modern America--from
billboards to gas station pumps to street graffiti to handmade announcements
of a Saturday-night dance. This book features 50 of his photographs
of signs from the Getty Museum's collection, plus 50 additional illustrations.
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Walker
Evans
de Maria Morris Hambourg, Walker Evans, Jeff L. Rosenheim
Book
Description
A tenant farmer's deprivation-lined face. Antebellum homes that have
seen better days. The display windows of small-town main streets. The
early subway commuter. Billboards. The images made by photographer Walker
Evans (1903-1975) are icons of national identity that have shaped Americans'
views of themselves and directly influenced important currents of modern
art. This major catalogue--published to accompany a retrospective exhibition
originating at The Metropolitan Museum of Art and traveling to San Francisco
and Houston--presents the full range of Evans's work, from his 1920s
black-and-white street scenes of anonymous urban dwellers to the color
photographs of signs and letter forms from his final years.
Soon
after he returned from Paris to New York City in 1927, Evans began contributing
to the development of American photography. He captured the substance
of people and buildings with a spare elegance that is utterly unpretentious.
His gaze is serious but often amused as well, direct yet never simple.
During the 1930s, Evans traveled throughout the South to chronicle the
effects of economic hardship. The time that he and writer James Agee
spent with Alabama sharecropper families yielded an evocative, honest
record of the Great Depression, which was published in book form as
Let Us Now Praise Famous Men (1941). Evans then turned his lens back
on New Yorkers, photographing subway riders with a camera hidden in
his coat. He continued to influence American self-perception as staff
photographer for Fortune from 1945 until he accepted a professorship
at Yale in 1965.
Evans--who
always chose art over what he criticized as artiness--wrote, in Photography
(1969), "Whether he is an artist or not, the photographer is a
joyous sensualist, for the simple reason that the eye traffics in feelings,
not in thoughts. This man is in effect a voyeur by nature; he is also
reporter, tinkerer, and spy."
Although
his work has received many awards, been enshrined in the best museums,
and been exhibited on several continents, Evans's total corpus is only
now being fully examined. This important book revises our appreciation
of Evans by presenting previously unknown material in an accessible
context. Essays by Maria Morris Hambourg, Jeff L. Rosenheim, Doug Eklund,
and Mia Fineman offer novel insights into the sources and legacy of
Evans's work. The result is a superb exploration of what was achieved
by one of our finest, mostly deeply American artists.
About
the author
Maria Morris Hambourg is Curator in Charge of the Department of Photographs
at The Metropolitan Museum of Art; Jeff L. Rosenheim is Assistant Curator
in the Department of Photographs at The Metropolitan Museum of Art;
Doug Eklund is Senior Research Assistant in the Department of Photographs
at The Metropolitan Museum of Art; Mia Fineman is Chester Dale Fellow
in the Department of Photographs at The Metropolitan Museum of Art.
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Mexico/New
York
de Alvarez Bravo, Henri Cartier-Bresson, Walker Evans
Book
Description
In 1935, an exhibition was mounted at the Julien Levy Gallery in Manhattan
that united the work of three groundbreaking image makers: Manuel Alvarez
Bravo, Henri Cartier-Bresson, and Walker Evans. Taking this historical
event as its inspiration, Mexico/New Yorkfeatures work by all three
photographers shot in the years leading up to the exhibition. This deluxe,
limited-edition volume includes a total of 35 photographs--15 by Alvarez
Bravo, 9 by Cartier-Bresson, and 11 by Evans--for a poignant, pointed
selection of some of the 20th century's most recognizable and iconic
images. Individual works are drawn from the collections of Henri Cartier-Bresson,
the J. Paul Getty Museum, and Manuel Alvarez Bravo's personal archives.
Mexico/New York provides a striking, focused viewpoint into the oeuvre
of three masters of visual modernism, revealing ties between New York's
avant-garde, Mexico's visual culture, and French surrealism. The volume
stands as well as an homage to Alvarez Bravo, Mexico's most celebrated
photographer, who died recently at the age of one hundred.
Essays by Roberto Tejada and Iturbe Mercedes.
Hardcover,
10.5 x 13.5 in. 72 pages, 35 duotone illustrations.
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Walker
Evans
de Belinda Rathbone
Ingram
An authority on photographer Walker Evans looks beyond the anonymity
of his work to reveal an artist with a genius for capturing telling
detail who defined the American scene for an entire generation and profoundly
influenced photographers who followed him. Ce texte se rapporte à
une édition épuisée ou indisponible de ce titre.
About
the author
Belinda Rathbone has written widely on modern photographers and organized
exhibitions for the Museum of Modern Art, the Polaroid Corporation,
and the Spanish Ministry of Culture. She lives in Massachusetts and
Scotland.
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Walker
Evans: The Collection of the Minneapolis Institute of Arts
de Minneapolis Institute of Arts, Christian A. Peterson, Minneapolis
Institute of Art (Créateur)
Book
Description
Walker Evans (1903-1975) is best known for documenting the people and
living conditions of the American South during the Great Depression.
But his photographic accomplishments were much broader than these famous
images: modernist views of New York City, such as his Flatiron Building,
New York (1928-29) and Brooklyn Bridge (1929); architectural studies
of Victorian homes and other buildings in Boston, Cape Cod, Saratoga
Springs, and small towns in upstate New York; a series of spontaneous
and surreptitious portraits taken on the Manhattan subway; scenes from
Cuba in the 1930s; and his commercial assignments as a staff photographer
and writer for Fortune magazine. The familiar work from his Farm Security
Administration project is also here-views of the rural South immortalized
in his collaborative book with James Agee, Let Us Now Praise Famous
Men, along with urban images from New Orleans and Savannah.
Essays by Christian A. Peterson, associate curator of photography at
The Minneapolis Institute of Arts, describe Evans's photographic vision
and include fascinating information about the acquisition history of
many of the photographs in this book. Illustrated with almost one hundred
high-quality black-and-white photographs, Walker Evans presents the
full breadth of Evans's expansive and varied photographic art.
Distributed
for The Minneapolis Institute of Arts.
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Walker
Evans
de Maria Morris Hambourg, Jeff L. Rosenheim, Douglas Eklund
Book
Description
A tenant farmer's deprivation-lined face. Antebellum homes that have
seen better days. The display windows of small-town main streets. The
early subway commuter. Billboards. The images made by photographer Walker
Evans (1903-1975) are icons of national identity that have shaped Americans'
views of themselves and directly influenced important currents of modern
art. This major catalogue--published to accompany a retrospective exhibition
originating at The Metropolitan Museum of Art and traveling to San Francisco
and Houston--presents the full range of Evans's work, from his 1920s
black-and-white street scenes of anonymous urban dwellers to the color
photographs of signs and letter forms from his final years.
Soon
after he returned from Paris to New York City in 1927, Evans began contributing
to the development of American photography. He captured the substance
of people and buildings with a spare elegance that is utterly unpretentious.
His gaze is serious but often amused as well, direct yet never simple.
During the 1930s, Evans traveled throughout the South to chronicle the
effects of economic hardship. The time that he and writer James Agee
spent with Alabama sharecropper families yielded an evocative, honest
record of the Great Depression, which was published in book form as
Let Us Now Praise Famous Men (1941). Evans then turned his lens back
on New Yorkers, photographing subway riders with a camera hidden in
his coat. He continued to influence American self-perception as staff
photographer for Fortune from 1945 until he accepted a professorship
at Yale in 1965.
Evans--who
always chose art over what he criticized as artiness--wrote, in Photography
(1969), "Whether he is an artist or not, the photographer is a
joyous sensualist, for the simple reason that the eye traffics in feelings,
not in thoughts. This man is in effect a voyeur by nature; he is also
reporter, tinkerer, and spy."
Although
his work has received many awards, been enshrined in the best museums,
and been exhibited on several continents, Evans's total corpus is only
now being fully examined. This important book revises our appreciation
of Evans by presenting previously unknown material in an accessible
context. Essays by Maria Morris Hambourg, Jeff L. Rosenheim, Doug Eklund,
and Mia Fineman offer novel insights into the sources and legacy of
Evans's work. The result is a superb exploration of what was achieved
by one of our finest, mostly deeply American artists.
About
the author
In the Department of Photographs at The Metropolitan Museum of Art,
Maria Morris Hambourg is Curator in Charge, Jeff L. Rosenheim is Associate
Curator, Douglas Eklund is Assistant Curator, and Mia Fineman is Research
Associate.
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Walker
Evans: The Hungry Eye
de Gilles Mora, John Hill
Book
Description
Walker Evans (1903-1975) ranks with Alfred Stieglitz, Edward Steichen,
and Paul Strand as one of America's greatest photographers. When originally
published in 1994, Walker Evans: The Hungry Eye was the first book to
survey every significant aspect of the artist's oeuvre. This reduced-format
version, identical in content to the previous volume, includes 300 beautiful
duotone photographs.
Evans
was largely self-educated and began photographing regularly in 1927,
using a small hand-held camera. He specialized in the life of the street-carefully
observed views of American architecture, the roadside, and the people
who lived in the nation's cities, towns, and villages. Beginning with
Evans's early abstractions, continuing through his three-year involvement
with the Farm Security Administration and his breakthrough exhibition
at The Museum of Modern Art in New York, and concluding with the artist's
experimentation with color late in his life, Walker Evans: The Hungry
Eye remains the most complete and authoritative view of this American
photographic master. AUTHOR BIO: Gilles Mora has been editor-in-chief
of Cahiers de la Photographie since 1981. He has written essays for
two collections of Walker Evans material. John T. Hill, a friend and
colleague of Evans and the executor of his estate, has coedited three
book collections of the photographer's work.
About
the author
Gilles Mora has been editor-in-chief of Cahiers de la Photographie since
1981. He has written essays for two collections of Walker Evans material.
John T. Hill, a friend and colleague of Evans and the executor of his
estate, has coedited three book collections of the photographer's work.
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Many
Are Called
de Walker Evans, Luc Sante, Jeff Rosenheim
Book
Description
“[New York City subway riders] are members of every race and nation
of the earth.
They are of all ages, of all temperaments, of all classes, of almost
every imaginable occupation.
. . . Each, also, is an individual existence, as matchless as a thumbprint
or a snowflake.”
—James Agee, from the introduction
Between
1936 and 1941 Walker Evans and James Agee collaborated on one of the
most provocative books in American literature, Let Us Now Praise Famous
Men (1941). While at work on this book, the two also conceived another
less well-known but equally important book project entitled Many Are
Called. This three-year photographic study of subway passengers made
with a hidden camera was first published in 1966, with an introduction
written by Agee in 1940. Long out of print, Many Are Called is now being
reissued with a new foreword and afterword and with exquisitely reproduced
images from newly prepared digital scans.
Many
Are Called came to fruition at a slow pace. In 1938, Walker Evans began
surreptitiously photographing people on the New York City subway. With
his camera hidden in his coat—the lens peeking through a buttonhole—he
captured the faces of riders hurtling through the dark tunnels, wrapped
in their own private thoughts. By 1940-41, Evans had made over six hundred
photographs and had begun to edit the series. The book remained unpublished
until 1966 when The Museum of Modern Art mounted an exhibition of Evans’s
subway portraits.
This
beautiful new edition—published in the centenary year of the NYC
subway—is an essential book for all admirers of Evans’s
unparalleled photographs, Agee’s elegant prose, and the great
City of New York.
Luc
Sante, author of Low Life, Evidence, and The Factory of Facts, is Visiting
Professor of Writing and the History of Photography at Bard College;
Jeff L. Rosenheim, Associate Curator, Department of Photographs, The
Metropolitan Museum of Art, is the editor of Unclassified: A Walker
Evans Anthology and Walker Evans: Polaroids and was the main contributor
to the Metropolitan’s exhibition catalogue Walker Evans (2000).
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And
Their Children After Them: The Legacy Of Let Us Now Praise Famous Men
: James Agee, Walker Evans, and the Rise and Fall of Cotton in the South
de Dale Maharidge, Michael Williamson (Photographies)
Ingram
The poignant, real-life multigenerational saga of what happened to three
white sharecropper familes in the Depression South, their children and
their children's children in the years after they became a symbol of
all that was once wrong with the South. Illustrated.
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Walker
Evans: American Photographs
de Lincoln Kirstein, Walker Evans (Photographies)
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Walker
Evans
de Gilles Mora, John T. Hill
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