PHO150 Digital Photography: Walker Evans

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.

Photographs taken of African sculptures by Walker Evans for a 1935 Metropolitan Museum exhibit.

Walker Evans, more than any other photographer in the thirties and forties, defined the documentary aesthetic. He is generally acknowledged as America's finest documentary photographer of this century. He attempted to show both the beauty of his subjects and the horror of the social conditions in which they lived. During the Depression, from 1935 to 1937, Evans took part in the most extensive photographic project ever carried out in the United States - the pictorial survey of the Farm Security Administration. Evans's talented eye and sensitive heart make him one of the great photographers of this century. This volume contains many of his best-known images.

Here is a dramatic collection of Evan's photographs taken during the Great Depression of the 1930s. Poignantly enduring images are presented in 142 duotones of want amidst plenty and hope amidst despair brought on by poverty and misfortune.

In this catalogue of a major retrospective exhibition, plates made from vintage prints reproduce over 175 of Evans's finest photographs.

With unrestricted access to all of Evans’ diaries, letters, work logs and contact sheets, James R. Mellow has produced one of the most finely wrought portraits of a major American artist ever. Also, it is a deeply informed cultural history of the 1930s and 40s and a lively account of friendships and influences with the likes of Lincoln Kirstein and James Agee.

In 1933, Walker Evans traveled to Cuba to take photographs for The Crime of Cuba, a book by the American journalist Carleton Beals. Beals's explicit goal was to expose the corruption of Cuban dictator Gerardo Machado and the long, torturous relationship between the United States and its island neighbor. Walker Evans: Cuba brings together more than sixty of these images-all from the Getty Museum's extensive holdings of the photographer's work-along with an essay by the noted writer and commentator Andrei Codrescu. Codrescu's spirited text helps to provide a sense of the aesthetic and political forces that were shaping Evans's art in the early 1930s. He argues that Evans's photographs are the work of a young artist whose temperament was distinctly at odds with Beals's impassioned rhetoric. Looking closely at individual photographs, Codrescu shows that Evans was just beginning to combine his early, formalist aesthetic with the social concerns that would figure so prominently in his later work.

Walker Evans photographed signs throughout every phase of his career. From the 1920s to the time of his death in 1975, Evans was obsessed with the signage he found in modern America--from billboards to gas station pumps to street graffiti to handmade announcements of a Saturday-night dance. This book features photographs of signs from the Getty Museum's collection, presented with a lively, provocative essay by Andrei Codrescu. Some of the images included come from the place and era most closely associated with Evans--the rural South of the 1930s. But also included are photographs that will be less familiar to many of his admirers, such as his images of New York City street scenes and advertising signs, or pictures he took in Havana and in Sarasota, Florida.

A concise, reduced-format edition includes the same content as the original 1994 edition and 300 duotone photographs, in a portrait that surveys every significant aspect of his life and work, from his self-education and early specialization of street-life observations to his three-year involvement with the Farm Security Administration and his breakthrough exhibition at the Museum of Modern Art. Reprint. 20,000 first printing.

Walker Evans & Company focuses on Evans as a central figure in the arts of the 1920s and 30s, and 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: Eugene Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol and Edward Weston.

In this book, the authors explore and discuss the development of one of the most interesting and dynamic of photographic genres. Hailed as a landmark work when it was first published in 1994, Bystander is widely regarded by street photographers as the "bible" of street photography.

Published to accompany the first major photography exhibition to be held at Tate Modern, London, this stunning book reproduces more than 200 photographs by the century's most important realist photographers, together with insightful essays and biographies of the photographers featured.

Discusses the concept of documentary photographs, the Farm Security Administration, and the use of photography to influence the viewer.

The catalogue for a traveling exhibition of photographic images of groups including work by Lewis Hine, Richard Prince, Diane Arbus, Walker Evans, Dorothea Lange, Robert Doisneau, Thomas Struth, Neal Slavin, William Klein, Nicholas Nixon, Weegee, and others.