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Walker Evans and Company

Overview

A Museum of Modern Art Book Walker Evans's radical photography of the 1930s demonstrated that unembellished photographic fact could serve as a highly poetic language. These works expanded the potential of the art of photography and at the same time defined a lasting iconography that recognized advertising, movies, and car culture as central images of modern American identity. Published in conjunction with the second of three cycles of millennial exhibitions (MoMA2000) at The Museum of Modern Art, New York, this ...
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Overview

A Museum of Modern Art Book Walker Evans's radical photography of the 1930s demonstrated that unembellished photographic fact could serve as a highly poetic language. These works expanded the potential of the art of photography and at the same time defined a lasting iconography that recognized advertising, movies, and car culture as central images of modern American identity. Published in conjunction with the second of three cycles of millennial exhibitions (MoMA2000) at The Museum of Modern Art, New York, this book focuses on Evans as a central figure in the arts of the 1920s and 1930s. This superbly illustrated volume includes works in photography and other mediums that influenced Evans or were influenced by him, or which resonate in a significant way with aspects of his imagery, sensibility, and style. Among the other artists whose work is featured are: Eugène Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol, and Edward Weston. Approximately 440 illustrations, 60 in full color, 380 in duotone, 9 3/4 x 11 1/4"
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Editorial Reviews

Library Journal
Walker Evans, the Metropolitan Museum of Art's catalog to its current major retrospective, is a rock-solid work providing biographical, historical, and visual accounts of the artist's life and work. Hambourg, an assistant curator in the museum's Department of Photography, edited this big book with the straightforward approach that Evans employed in his art. Careful reproduction of well-known black-and-white and little-known color photographs by Evans forms the heart of the volume. There are quality essays here as well, biographical and analytical writing that effectively places Evans's visual efforts in social and territorial context. From the self-portrait on the cover to the notebook entries to the many photographs clustered along the way, Unclassified: A Walker Evans Anthology quickly broadens the popular view of the photographer as a chronicler of 1930s America with black-and-white film in his camera. Gathered from many files in the large and varied Evans Archive at the Metropolitan Museum of Art, these collected writings, photos, and ephemera give us a socially concerned writer, artist, and meticulous keeper of his life's work along with his opinions and his collections of postcards. This version of Evans shakes him free of any narrow channel in which we placed him. He led a robust life, and the stillness that comes from his Depression-era work is shaken up by this energized look at the photographer. Walker Evans pointed a camera at his world and let the documentary result speak as his art. Chief curator in the Museum of Modern Art's Department of Photography, Galassi has taken that objective eye as his theme. Gathering over 300 works from several media by 100 artists, Galassigives us a volume of reportorial art, showing people, places, and things in "as is" condition. Evans touched people with his photographs because he merged his images with their "real lives." The question of whether other artists using other means were influenced by Evans's work or simply liberated to offer a visual vernacular landscape is incidental here. Galassi's book succeeds because his choices match his theme so well and play off the many examples of Evans's work that unite these pages. Though the Metropolitan catalog is the first choice for purchase, all three books are well recommended for all types of libraries and essential for serious art collections.--David Bryant, New Canaan Lib., CT Copyright 2000 Cahners Business Information.\
Booknews
This catalog features Walker Evans in light of the larger theme of vernacular style, a style of photography<-->and paintings are included here too<-->that is descriptive in its intent, what Galassi calls "plainspoken" in his preface. The catalog (it's slightly oversize at 10x11.5<">) includes over 300 images in this style, from Evans and his contemporaries, including Edward Weston, Paul Strand, and Berenice Abbott, to works from the 1980s and 1990s by David Goldblatt, Lee Friedlander, and Thomas Struth, among others. MOMA's curator of photography, Peter Galassi, provides a lengthy introduction on Evans, his influences, and the artistic style he created. There is no index. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9780870700323
  • Publisher: The Museum of Modern Art
  • Publication date: 1/28/2000
  • Pages: 272
  • Product dimensions: 10.16 (w) x 11.78 (h) x 1.08 (d)

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