Reading American Photographs: Images as History. Matthew Brady to Walker Evans

1992 ◽  
Vol 25 (3) ◽  
pp. 394
Author(s):  
Robert M. Levine ◽  
Alan Trachtenberg
Keyword(s):  
Walker Evans

Transparência e Opacidade: uma porta para a autoria na fotografia

Ícone ◽  
2013 ◽  
Vol 15 (1) ◽  
Author(s):  
Eduardo Queiroga
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Walker Evans

Este artigo reflete sobre a relação entre fotografia e autoria. Parte de algumas passagens da história da fotografia, observando o distanciamento entre a fotografia documento – aquela em que se busca uma abordagem mais neutra e objetiva do tema – e o “estilo documental”, termo cunhado por Walker Evans e estudado por Olivier Lugon, que dá conta de uma apropriação da estética do documento mas com objetivos que estão além do registro do assunto fotografado. Articula a pesquisa de Lugon com conceitos de Laura González Flores, Michel Foucault, Roland Barthes e Giorgio Abamben. Aqui trabalhamos com a premissa de que a autoria ganha espaço na medida em que há um distanciamento do tema.

scholarly journals Collecting locally : Walker Evans's photographs of Alabama in Alabama institutions

2021 ◽  
Author(s):  
Mallory Lapointe Taylor
Keyword(s):  
United States ◽  
Cultural Context ◽  
American South ◽  
The United States ◽  
History Of Photography ◽  
The Arts ◽  
Walker Evans ◽  
History Of ◽  
The American South

Within the United States, the American South can be perceived as its own entity. From the arts to Southern cuisine, the South commands attention with its own history, myths and culture. Within the history of photography, Walker Evans's photographs of Alabama are arguably some of the most culturally significant images taken of the state and its residents. This thesis investigates how photographs of Alabama are collected in the same locality. By examining the collecting practices of four Alabama institutions in regards to photographs in general, and Walker Evans specifically, this case study will expand on the question of how photographs, in a Southern cultural context, work to create a sense of place and attachment to local geography.

Clement Greenberg and Walker Evans

1991 ◽  
Vol 15 (2) ◽  
pp. 128-130 ◽  
Author(s):  
Mike Weaver
Keyword(s):  
Walker Evans ◽  
Clement Greenberg

Protesting the Privilege of Perception

2018 ◽  
pp. 194-227
Author(s):  
Scott L. Matthews
Keyword(s):  
Twentieth Century ◽  
Black Women ◽  
Black People ◽  
James Agee ◽  
Black And White ◽  
Private Lives ◽  
Walker Evans

This chapter explores how Hale County, Alabama became an iconic site of documentary representation during the twentieth century and why some its poor black and white residents resisted the attempts of documentarians to turn their private lives into public symbols. The chapter begins by examining the collaboration between two local white documentarians, amateur folklorist and poet, Martha Young and photographer J.W. Otts, who recorded the lives and customs of Hale County’s rural black people in the early 1900s. It focuses on Young’s dialect poems that speak from the perspective of black women who refused to be photographed by whites and who saw photography as an exploitative medium. Next, the chapter demonstrates how this narrative and tradition of resistance to documentary continued during the 1930s. It explores the resistance writer James Agee and photographer Walker Evans faced in the 1930s from some of the white tenant families they documented for their book, Let Us Now Praise Famous Men, and it shows how their descendants often found new ways to resist documentarians and journalists in succeeding decades. These acts of resistance transformed poor black and white residents into actors rather than just icons in the documentary process.

Documenting SNCC and the Rural South

2018 ◽  
pp. 156-193
Author(s):  
Scott L. Matthews
Keyword(s):  
Civil Rights ◽  
Political Culture ◽  
Cultural Politics ◽  
Civil Rights Movement ◽  
New Left ◽  
The Political ◽  
Rural South ◽  
James Agee ◽  
Student Nonviolent Coordinating Committee ◽  
Walker Evans

This chapter examines the cultural politics of civil rights movement photography by analysing the work of Danny Lyon who worked as a photographer for the Student Nonviolent Coordinating Committee between 1962 and 1964. It explores how documentarians such as Robert Frank, Walker Evans, and James Agee inspired Lyon’s documentary work and how the political culture of the New Left influenced his work’s reception. The chapter first focuses on Lyon’s photographs of black SNCC activists in the South, particularly Robert Moses. Lyon’s photographs of Moses helped spread a romantic mythology around Moses and SNCC that was useful in recruiting white liberal support up North. Lyon also photographed the rural South’s landscapes and people extensively. Many in the New Left romanticized rural black southerners as true outsiders, the authentic opposites of their industrialized and commercialized societies back home. Consequently, Lyon’s photographs had the capacity to aestheticize the same conditions that SNCC recognized as the source of black subjugation. The chapter also highlights how these images and themes appeared and circulated in a civil rights movement photography book, The Movement, which Lyon contributed to and helped produce.

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