Walker Evans Reihenfolge der Bücher (Chronologisch)

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.

Ein kolossaler Klassiker der amerikanischen Literatur: politisches Dokument und poetischer Traktat, das künstlerische Zeugnis einer Epoche. Im Sommer 1936 waren der 27jährige Dichterjournalist James Agee und der Fotograf Walker Evans in den amerikanischen Süden gereist - nach Oklahoma und nach Alabama - , um die Baumwoll-Pachtwirtschaft zu dokumentieren: aus dem Reportageauftrag einer Zeitschrift entstand ein erst 1941 veröffentlichtes Werk, das von der New York Library zu den einflussreichsten Buchdokumenten des zwanzigsten Jahrhunderts gezählt wird. Mehrere Wochen lebten James Agee und Walker Evans mit drei ausgewählten weißen Pächterfamilien zusammen und teilten deren erbarmungslos elendigen Alltag und eine kaum vorstellbare Armut, die Bedrohung durch Hunger und Vertreibung. Die schockierende Konfrontation mit diesen Lebensverhältnissen löste auch die Einsicht in die Unmöglichkeit einer herkömmlichen Berichterstattung aus. Buchgestalter: Jürgen Meyer

Text by John Hill, Lincoln Kirstein, Jeffrey Ladd.

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.

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.

An album of eighty-seven of Evans' pictures of houses, factories, people, and city streets offers an unadorned look at American society between 1929 and 1937.

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.

Ein kolossaler Klassiker der amerikanischen Literatur: politisches Dokument und poetischer Traktat, das künstlerische Zeugnis einer Epoche. Im Sommer 1936 waren der 27jährige Dichterjournalist James Agee und der Fotograf Walker Evans in den amerikanischen Süden gereist - nach Oklahoma und nach Alabama - , um die Baumwoll-Pachtwirtschaft zu dokumentieren: aus dem Reportageauftrag einer Zeitschrift entstand ein erst 1941 veröffentlichtes Werk, das von der New York Library zu den einflussreichsten Buchdokumenten des zwanzigsten Jahrhunderts gezählt wird. Mehrere Wochen lebten James Agee und Walker Evans mit drei ausgewählten weißen Pächterfamilien zusammen und teilten deren erbarmungslos elendigen Alltag und eine kaum vorstellbare Armut, die Bedrohung durch Hunger und Vertreibung. Die schockierende Konfrontation mit diesen Lebensverhältnissen löste auch die Einsicht in die Unmöglichkeit einer herkömmlichen Berichterstattung aus

"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

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.

Walker Evans (1903-1975) war einer der bedeutendsten und einflussreichsten Künstler des zwanzigsten Jahrhunderts, dessen Fotografien unser Verständnis der modernen Ära prägen. Er arbeitete in allen Genres und Formaten, in Schwarz-Weiß und Farbe, doch zwei Leidenschaften blieben konstant: Literatur und die gedruckte Seite. Während seine fotografischen Bücher zu den einflussreichsten der Geschichte des Mediums zählen, bleiben Evans' flüchtigere Seiten weitgehend unbekannt. Von kleinen avantgardistischen Publikationen bis hin zu Mainstream-Titeln wie Harper’s Bazaar, Vogue, Architectural Forum, Life und Fortune produzierte er innovative und unabhängige Journalismus, oft indem er eigene Aufträge vergab, seine Seiten bearbeitete, schrieb und gestaltete. Walker Evans: the Magazine Work präsentiert viele seiner Fotoessays in voller Länge und versammelt die ungeschriebene Geschichte dieses Schaffens, wodurch wir sehen können, wie er seine Autonomie schützte, seinen Lebensunterhalt verdiente und ein Publikum weit über Museen und Galerien hinaus fand.