Tento americký fotograf je známý především svou prací pro Farm Security Administration (FSA), kde dokumentoval dopady Velké hospodářské krize. Jeho cílem bylo vytvářet „vzdělané, autoritativní, transcendentní“ obrazy, často pořizované velkoformátovým fotoaparátem. Jeho díla, považovaná za klíčová pro vizuální historii, jsou uložena v předních světových muzeích a byla předmětem mnoha retrospektivních výstav.Evansův přístup se vyznačuje syrovou upřímností a hlubokým pozorováním každodenního života.
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 (1903–75) is now considered perhaps the finest documentary photographer ever and his images have had considerable influence on other artists, and not only in the field of photography. He is well known for his 1930s work for the Farm Security Administration, documenting the effect of the Great Depression o
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on the occasion of the artist's first retrospective exhibition in three decades, presents a selection of mostly unpublished material from the Walker Evans Archive, the vast collection of negatives and papers acquired in 1994 from the artist's estate by The Metropolitan Museum of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his death, Unclassified - A Walker Evans Anthology traces the development of this American master through previously unpublished writings (fiction, diaries, essays, and criticism); his fascinating and copious early correspondence with the German artist, Hanns Skolle (Evan's best friend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.
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.
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.
