krainaksiazek eighties people new lives in the american imagination 20054882
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Avedon at Work University of Texas Press
Książki / Literatura obcojęzyczna
'Laura Wilson shadowed the Shadower, and showed us as much as can be shown of how his work was done' - Larry McMurtry, from the Foreword. Internationally acclaimed for his portraits of powerful and accomplished people and women of great beauty, Richard Avedon was one of the twentieth century's greatest photographers - but perhaps not the most obvious choice to create a portrait of ordinary people of the American West. Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that. The resulting 1985 exhibition and book, "In the American West", was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often ignored people who work at hard, uncelebrated jobs.Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, 'I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising - heartbreaking - or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself'. Photographer Laura Wilson worked with Avedon during the six years he was making "In the American West". In "Avedon at Work", she presents a unique photographic record of his creation of this masterwork - the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects."Avedon at Work" adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, 'much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination'. Laura Wilson is a photographer whose previous books are "Hutterites of Montana" and "Watt Matthews of Lambshead". Her work has also appeared in the "New York Times Magazine", "The New Yorker", "The Washington Post Magazine", and "London's Sunday Times Magazine". She lives in Dallas.
Behemoth Harper Collins
Książki / Literatura obcojęzyczna
If the country's official mascot is an eagle, then its unofficial mascot is the elephant. While the eagle soars above the head of the nation from a dispassionate distance, the elephant stands with his feet on the ground with simplest of wretches and the most powerful of men. The first elephant arrived aboard ship barely twenty years after the signing of the Declaration of Independence. He toured the former colonies on foot from Maine to Georgia, appearing in front of a barn or a tavern, hidden by a canvas curtain, where people flocked to see him, paying the admission fee in cash, rum, or potatoes. Then they went home and told their friends and neighbors, I have seen the elephant. Since then, the elephant has become an unparalleled symbol in the American imagination and a giant figure in our popular culture. As the number of elephants grew in the early 1800s, they ventured onto the frontier, and traveled to every state, territory, and possession in the Union. They worked clearing the land by pulling stumps, laid ties for new railroads, and hauled cargo in shipyards. In 1849, an elephant crossed the Rockies in search of gold in California. The elephant became a symbol of the horrors of the battlefield during The Civil War, and the emancipation of slaves became Lincoln's elephant. Just when excitement over the elephant began to wane, P.T. Barnum started to include them in his traveling caravans toward the turn of the century. Soon, elephants were performing Shakespeare and playing baseball, winning over the American public with their imposing yet gentle manner. In 1884, the famous Jumbo, whose name lives on in our daily lexicon, saved the Brooklyn Bridge from collapse. Elephants resumed their place in our culture, from Thomas Edison's famous electrocution of poor Topsy to the CIA's LSD-dropping Tusko in the 1960s, from D.C.'s political animals to Hollywood's giant stars. In Behemoth, Ronald B. Tobias, a natural historian and filmmaker, has written the first and only comprehensive history of the elephant in America. He traces the elephant from its first steps on our shores to its indelible footprint on our national culture, capturing our imagination and paralleling our own joy and suffering. Interspersed throughout this lively and fascinating chronicle are dozens of illustrations, posters, and news articles from the eighteenth century through the present, underlining the strength of elephant as an enduring symbol of the American experience.
Sound Identities Peter Lang Publishing Inc
Książki / Literatura obcojęzyczna
As we enter the twenty-first century, music is playing an ever-increasing pivotal role in the lives of youth as the vehicle of old and new ideas and fantasies and as the site of the work of youthful imagination. But music is also the location of the hegemonic thrusts of the culture industry, the site of the fabrication of new market-susceptible subjectivities, and the site of the production and reproduction of conservative ideas outright. To understand these dynamics we must reach outside the field of education. Sound Identities offers sustained reflection on the sociocultural implications of youth consumption of popular music such as rap, heavy metal, calypso, and salsa. If it can be argued that young people construct their identities through the social formation of boundaries, then it is important to uncover how social, cultural, and political boundaries are created and lived through popular music. This is both a pedagogical and political concern. In Sound Identities, contributors pursue these themes throughout: across the terrains of the American nation; across the global dynamics of postcolonial music history; and ultimately back into the micropolitics of the pedagogy of musical affect in the classroom. Collectively the authors insist that we see music as operating within the context of a plurality of techno, ideo, ethno, finance, and media scapes - flows and logics of globalization that fragment, rework, and reintegrate human experience in the progress of music within the circuits of production, distribution, and consumption (Appadurai, 1996). The eighteen essays in this volume foreground a wide array of theoretical and empirical research that looks at the dynamic role that music plays at the level of the everyday lives of today's school youth. Sound Identities is divided into four sections:
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