A volume of essays by leading photography writers and critics, published to benefit Amnesty International, cites such examples as the work of Susan Sontag to question whether photography of disturbing images stirs empathy or voyeurism in its viewers, outlining how to look at photographs to become contextually informed. Original.

As American settlement expanded westward in the 1860s, the U.S. government undertook large-scale investigations of its new territories. Images of the West: Survey Photography in French Collections, 1860–1880 presents memorable glass-plate photographs from these federal surveys. The selection includes breathtaking views of such iconic sites as Yosemite, as well as lesser-known ethnographic portraits taken by Timothy H. O'Sullivan, William H. Jackson, and William Bell, among others. The accompanying essays discuss how the photographs were used to promote white settlement, how their (...) distribution at home and abroad contributed to the aggrandizement of the American West, and how the exploitative ideology underlying the use of photography extended to attitudes toward both American landscapes and American Indians. The images are all drawn from French public collections, which hold an astonishing number of these U.S. survey photographs. Accompanying an exhibition at the Musée d'Art Américain Giverny, Images of the West provides a critical new examination of a bygone era. (shrink)

From Ansel Adams to Carleton Watkins, Diane Arbus to Weegee, Richard Avedon to James VanDerZee, American photographers have recorded their vast, multicultural nation in images that, for more than a hundred years, have come to define the USA. In Photography and the USA, Mick Gidley explores not only the medium of photography and the efforts to capture key events and moments through photographs, but also the many ways in which the medium has played a formative role in American culture. Photography (...) and the USA encompasses the major movements, figures and works that are crucial to understanding American photography, but also pays attention to more obscure aspects of photography’s history. Focusing on works that reveal many different facets of America, its landscapes and its people, Gidley explores the ambiguities of American history and culture. We encounter images that range from an anti-lynching demo in 1934 to Dorothea Lange’s poster “All races serve the crops in California;” an early photographic view of Niagara Falls against the painstaking detail of Edward Weston’s Pepper, No. 30; a fireman’s fight in the San Francisco earthquake of 1906 to the Ground Zero images of 2001 by Joel Meyerowitz; an 1890s “Wanted” image to Elliot Erwitt’s shot of the Nixon–Kruschchev “Kitchen Debate.” Organizing his narrative around the themes of history, technology, the document and the emblem, Mick Gidley not only presents a history of photography, but also reveals the complexities inherent in reading photographs themselves. A concise yet comprehensive overview of photography in the United States, this book is an excellent introduction to the subject for American Studies or visual arts students, or for anyone interested in US history or culture. (shrink)