Walker Evans Knihy

Edited by Jeff L. Rosenheim. Essays by Jeff L Rosenheim and Douglas Eklund. Introduction by Maria Morris Hambourg. This book, published on the occasion of the artist's first retrospective exhibition in three decades, presents a selection of mostly unpublished material from the Walker Evans Archive, the vast collection of negatives and papers acquired in 1994 from the artist's estate by The Metropolitan Museum of Art. Evans left to posterity an amazingly rich record of his creative process and inner life. From his earliest boyhood snapshots to the seldom-seen color Polaroids made in the year before his death, Unclassified - A Walker Evans Anthology traces the development of this American master through previously unpublished writings (fiction, diaries, essays, and criticism); his fascinating and copious early correspondence with the German artist, Hanns Skolle (Evan's best friend at the time); and revealing letters from Robert Frank, Lee Friedlander, and Diane Arbus. Previously-unknown photographs from the Metropolitan's collection of 40,000 negatives and transparencies reveal the artist at work. The anthology concludes with telling selections from Evan's seminal collection of vernacular roadside signs, picture postcards, printed ephemera, and a shockingly prescient album of newspaper clippings from the 20s and 30s that prefigures Andy Warhol and Pop and Conceptual Art by three decades.

Text by John Hill, Lincoln Kirstein, Jeffrey Ladd.

Walker Evans' photography, a cornerstone of documentary art, is explored in this redesigned and expanded edition. Celebrated for his profound impact on 20th-century photography, Evans' work vividly captures the American experience from the late 1920s to the early 1970s. This volume features some of his most iconic images, complemented by a new introduction and commentary from photography historian David Campany, providing fresh insights into Evans' artistic vision and legacy.

Walker Evans, more than any other photographer in the thirties and forties, defined the documentary aesthetic. He is generally acknowledged as America's finest documentary photographer of the century.

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.

From the late 1920s to his death in 1975, photographer Walker Evans returned obsessively to particular subjects. This book brings together 50 photographs of signs in the rural South of the 1930s - billboards, posters, headlines - from the Getty Museum's collection of Walker's work.

"A comprehensive inquiry into the attitudes and ambitions that characterized the documentary impulse of the thirties. The subject is a large one, for it embraces (among much else) radical journalism, academic sociology, the esthetics of photography, Government relief programs, radio broadcasting, the literature of social work, the rhetoric of political persuasion, and the effect of all these on the traditional arts of literature, painting, theater and dance. The great merit of Mr. Stott's study lies precisely in its wide-ranging view of this complex terrain."--Hilton Kramer," New York Times Book Review "[Scott] might be called the Aristotle of documentary. No one before him has so comprehensively surveyed the achievement of the 1930s, suggesting what should be admired, what condemned, and why; no one else has so persuasively furnished an aesthetic for judging the form."--"Times Literary Supplement

Through the evidence of trial and error in successive images and through his own word's, this book shows how Hunter Evans worked. The 747 photographs document chronologically his choice of subject and his lifelong technical experimentation.

Lily Dale is a 122-year-old town populated solely by people who believe the dead live among them. It is the oldest and largest community of spiritualists in the world. Twenty thousand visitors a year travel to this Victorian village in upstate New York to consult mediums in order to communicate with dead relatives and peer into their own futures.