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  • Strandroth, Cecilia

    Published by Fronton förlag 2007. 2007, 2007

    Seller: Rönnells Antikvariat AB, Stockholm, Sweden

    Association Member: ILAB SVAF

    Seller rating 5 out of 5 stars 5-star rating, Learn more about seller ratings

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    US$ 33.22

    US$ 30.25 shipping
    Ships from Sweden to U.S.A.

    Quantity: 1 available

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    380 pp. Illustrated. Printed wrappers. Corners, top and bottom of spine slightly bumped.

  • Strandroth, Cecilia

    Published by Uppsala University Press, 2007

    Seller: Structure, Verses, Agency Books, Spray, OR, U.S.A.

    Association Member: CBA IOBA

    Seller rating 5 out of 5 stars 5-star rating, Learn more about seller ratings

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    First Edition

    US$ 75.00

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    Softcover. Condition: As New. First Edition. A spectacularly engaging dissertation by the author for her Ph.D. degree of Doctor of Philosophy in Art History. Augmented with several score iconic Depression-era black-and-white photographs. As New condition, being printed black-and-white wraps in perfect-bound, Imperial octavo softcover format. Sterling condition softcover copy, with unfurled tips, tight binding, and clean internals, showing only very slight shelf- and edge-wear. The author, the art historian Cecelia Strandroth, recounts here a vibrant history of the Great Depression-Era in the United States. She defended her dissertation at Uppsala University in Uppsala, Sweden on December 14, 2007. She asked pressing questions such as "Can documentary photographs be regarded as credible depictions of events in the world or are they rather staged representations of a special perspective?" Can documentary photos be deployed to fight against injustice? Strandroth's database is comprised of photographs taken during the 1930s by photographers employed by the Farm Security Administration, part of Franklin Delano Roosevelt's "New Deal." the author takes the negative charge of the word "propaganda" as attached to F.S.A. photographers and fieldworkers to tweak criticisms regarding objectivity and authenticity and shows that the fact that the political function of the F.S.A. was purposely written out of its history, to greatly ill effect, so as to "serve as a symbol and a national legacy," a legacy that couldn't present "negative" images of racism and poverty, ecological disasters and illness. She writes that ?This is most clearly the case when it comes to the best-known FSA photographer, Walker Evans, who is seen today as one of the greatest American artists of the 20th century. Despite this status, much of his production for FSA has not received much notice.? Additionally, she shows a large number of photographs not previously ascribed to Walker Evans. Volume contains scholarly apparatus in the form of, e.g., notes, index, and bibliography. [9], 10-380 pp.Member, I.O.B.A., C.B.A., and adherent to the highest ethical standards. Additional postage may be required for oversize or especially heavy volumes, and for sets.