About the Author:
John Cohen was born in 1932 in New York City. His photographs are in the collecitons of The Museum of Modern Art, The Metropolitan Museum of Art, and the Brooklyn Museum of Art, New York, and the Corcoran Gallery of Art, Washington, D.C. Cohen studied photography and painting under Joseph Albers and Herbert Matter at Yale, and his images have been published in Vanity Fair, Rolling Stone, and Aperture. Cohen's award-winning films have been screened around the world, and his band, The New Lost City Ramblers, has received several Grammy nominations. He lives in Putnam Valley, New York.; Greil Marcus (Introduction) is the author of Mystery Train, Lipstick Traces, The Dustbin Of History, and Double Trouble, among other books, and writes a monthly column for Interview. Marcus was a member of the Rock Bottom Remainders until the ignominious dissolution of the all-author rock 'n roll band in 1996. Born in San Francisco, he lives in New York City.
From Library Journal:
Cohen is a photographer whose talents are put to excellent use in part because he finds himself in the right place at the right time, recording shared qualities within such widely dispersed locales as Greenwich Village's "Beat" scene, high-altitude Andean villages, and storefront churches. Cohen was a fixture in the 1950s folk-music revival (he was the guitarist in the trio The New Lost City Ramblers), who also happened to have a camera and a deeply inquisitive disposition at his service. The lyrical and moving work that resulted is collected for the first time in this monograph. The most appealing by-product of Cohen's densely textured black-and-white images is an ecumenical message that people everywhere will find ways to interpret and adapt to life by means both creative and life-giving. This message is visible in the slightly askew beer bottle in the pocket of a faceless Peruvian trumpeter, the artist Red Grooms ferrying a large painting across Third Avenue in a pram, and production stills from Robert Frank's beat opus Pull My Daisy. Many famous faces make an appearance: the crumpled forehead of Jack Kerouac, an impish Bob Dylan, a diffident Franz Kline, and a tousled, aging Woody Guthrie. However, the real meat of this fine and inspiring work is the depiction of unknown toilers in Cohen's family of man. Douglas F. Smith, Oakland P.L.
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