Walker Evans
No Politics
Seiten
2020
University of Texas Press (Verlag)
978-1-4773-2062-4 (ISBN)
University of Texas Press (Verlag)
978-1-4773-2062-4 (ISBN)
“NO POLITICS whatever.” Walker Evans made this emphatic declaration in 1935, the year he began work for FDR’s Resettlement Administration. Evans insisted that his photographs of tenant farmers and their homes, breadlines, and the unemployed should be treated as “pure record.” The American photographer’s statements have often been dismissed. In Walker Evans: No Politics, Stephanie Schwartz challenges us to engage with what it might mean, in the 1930s and at the height of the Great Depression, to refuse to work politically.
Offering close readings of Evans’s numerous commissions, including his contribution to Carleton Beals’s anti-imperialist tract, The Crime of Cuba (1933), this book is a major departure from the standard accounts of Evans’s work and American documentary. Documentary, Schwartz reveals, is not a means of being present-or being “political.” It is a practice of record making designed to distance its maker from the “scene of the crime.” That crime, Schwartz argues, is not just the Depression; it is the processes of Americanization reshaping both photography and politics in the 1930s. Historicizing documentary, this book reimagines Evans and his legacy-the complexities of claiming “no politics.”
Offering close readings of Evans’s numerous commissions, including his contribution to Carleton Beals’s anti-imperialist tract, The Crime of Cuba (1933), this book is a major departure from the standard accounts of Evans’s work and American documentary. Documentary, Schwartz reveals, is not a means of being present-or being “political.” It is a practice of record making designed to distance its maker from the “scene of the crime.” That crime, Schwartz argues, is not just the Depression; it is the processes of Americanization reshaping both photography and politics in the 1930s. Historicizing documentary, this book reimagines Evans and his legacy-the complexities of claiming “no politics.”
Stephanie Schwartz is a lecturer in the Department of History of Art at University College London.
Introduction: Refusals
Part I. American Histories
Collaboration
Doing Anything for Work
Too Much Time
Inconsolable Memories
Part II. Late Portraits
Taking Credit
History Lessons
Persons and Publics
Nothing to See Here
Part III. Yesterday’s News
A Dream Job
Tabloid Time
American Holiday
Domestic Screens
Coda: Remakes
Acknowledgments
Notes
Index
| Erscheinungsdatum | 29.06.2020 |
|---|---|
| Zusatzinfo | 100 b&w photos |
| Verlagsort | Austin, TX |
| Sprache | englisch |
| Maße | 178 x 254 mm |
| Gewicht | 853 g |
| Themenwelt | Kunst / Musik / Theater ► Fotokunst |
| Geisteswissenschaften ► Geschichte ► Regional- / Ländergeschichte | |
| ISBN-10 | 1-4773-2062-8 / 1477320628 |
| ISBN-13 | 978-1-4773-2062-4 / 9781477320624 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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