Walker Evans
Author
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 Cuba."
"As novelist and poet Andrei Codrescu points out in the essay that accompanies this selection of photographs from the Getty Museum's collection, Evans's photographs...
Author
Description
Publisher description -- Walker Evans' work was spread over forty-six fitful and prolific years, yet in a scant two years, 1935-1936, he produced a singular body of work that defined his career. In the process he refined a hybrid style which combined documentation with sly personal comment. During that brief time he worked for the Farm Security Administration (previously the U.S. Resettlement Administration) photographing the consequences of the Great...
Author
Description
In this first full biography of the enigmatic artist, a leading national authority on Evans brilliantly penetrates the calculated anonymity of his work to reveal the obsessions behind it. A man in love with Americana, Evans was a sensualist, a junk collector, a connoisseur, a wit, a perpetual weekend guest. Charismatic and seductive, he attracted many of the brightest talents of his day. He counted Hart Crane, James Agee, Lincoln Kirstein, Ben Shahn,...
Author
Description
Three key works by the early twentieth-century author include the 'prophetic journalism' experiment of Let Us Now Praise Famous Men, the Pulitzer Prize-winning A Death in the Family, and the novella The Morning Watch.
Let us now praise famous men: 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...
Description
"Julien Levy was one of the most influential collectors of the 20th century. His gallery, which opened in 1931 in New York, played an essential role in avant-garde cultural exchanges between France and the United States of America, and especially, it was the first in the United States to promote Surrealism." "Gathered together again for the first time since, these period prints represent an exceptional set of essential and sometimes unknown images....
Description
The photographs in 'Ground' are taken from an archive of 145,000 images from 1935-1943 for the Farm Security Administration (FSA), a New Deal agency ... within the Department of Agriculture ... The FSA photography division was run ... by Roy Stryker, who ... routinely damaged FSA negatives with a hole punch to prevent them from being printed. Some of the negatives he punched (referred to by the FSA as 'killed') were poor exposures or had been ruined...