American Photography, 1890-1965

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9780870701405: American Photography, 1890-1965
From Library Journal:

There are few surprises among the photographs selected for this collection: from Edwin Hale Lincoln's Thistle and Walker Evans's Brooklyn Bridge to Richard Avedon's Brigitte Bardot, students of photography will recognize all but a few. But the collection's special appeal, in addition to the two fine essays, is as a survey of the medium from Lincoln to Diane Arbus. The book is organized chronologically but indulges in intersting juxtapositions: Edward Weston's undulating Pepper No. 30 is contrasted with Imogen Cunningham's contorted Nude; Nickolas Murry's plaintive Babe Ruth with Edward Steichen's veiled, furtive Gloria Swanson. There is some overlap between the essays by Peter Galassi, the photography curator at the Museum of Modern Art, and by critic Luc Sante, but their focuses vary. Galassi is concerned with the establishment of photography as an art, while Sante speaks more to the effects of that art, going so far as to say, "It might seem that twentieth-century America was invented by its photographers." Judge for yourself. While a good photography collection will feature monographs of many of the artists collected here, the book's ability to condense the broad field recommends it to all libraries collecting in photography.?Adam Mazmanian, "Library Journal"
Copyright 1995 Reed Business Information, Inc.

From Booklist:

Along with a handful of photographs that are new and unfamiliar, this sumptuous, satisfying book presents the photographic canon--185 classic images, dating from 1888 to 1967. The Museum of Modern Art, whose collection the volume showcases, has long been the premier institution for defining the medium. The museum's approach has been to take keen interest in both artistic and vernacular photographs, and the book is organized around alternating sections of one or the other. The conversation between the artistic and the applied has provoked the most stimulating aesthetic arguments in photography, and Galassi, MoMA's present photography curator, presents it clearly here. His accompanying essay concentrates on the history of photography within the museum, and Luc Sante's strives to situate the progress of the medium within the wider cultural context as it interweaves photography and such disparate events as Edison's invention of the electric lamp, World War II, and the impact of Rachel Carson's Silent Spring. Gretchen Garner

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