retourne aux Etats-Unis
décide de devenir photographe

commence une série de portraits dans le métro
expose à MOMA à New York (Etats-Unis)

écrit et photographie pour Time
fait des portraits de rue à Chicago (Etats-Unis)

écrit et photographie pour Fortune
photographie des paysages industriels depuis des trains

Walker Evans: Lyric Documentary
de John T. Hill

Présentation de l'éditeur
Walker Evans's career spread over 46 fitful and prolific years, yet in a scant two, 1935-1936, he produced the singular body of work that came to define him. During that brief time, while working for the Farm Security Administration (previously the U.S. Resettlement Administration) photographing the consequences of the Great Depression, he refined a hybrid style that combined documentation with sly personal comment. He delighted in traveling incognito as an artless photojournalist, but with the independence to satisfy his own artistic designs.

Walker Evans: Lyric Documentary presents these seminal images for the first time as a comprehensive, cohesive body of work, in chronological order. These are prime examples of Evans's alchemy, his seemingly effortless transformation of mundane fact into sweeping lyricism. They not only define his mature style, but also offer a path for artists of future generations. Evans has been called the most important American artist of his century, and the impact of his vision reaches well beyond the province of photography. With texts by John T. Hill, Heinz Liesbrock and Allan Trachtenberg.

Walker Evans
de Walker Evans, Gilles Mora (Préface)

Présentation de l'éditeur
"Ce dont je ne cesse de parler dégage une pureté, une rigueur, une immédiateté qui s'obtiennent par absence de prétention à l'art, dans une conscience aiguë du monde". La définition est parfaite. Il est vrai que Walker Evans a photographié l'Amérique de la dépression avec un constant souci d'objectivité, dans une sorte de neutralité documentaire. Mais la subtile plasticité de ses images, l'extrême attention qu'il porte aux êtres et aux choses ont marqué toute une génération d'artistes.

Walker Evans : La soif du regard
de Gilles Mora, John-T Hill

Présentation de l'éditeur
Walker Evans (1903-1975) est, avec Alfred Stieglitz, Edward Weston et Paul Strand, l'une des figures majeures de la photographie américaine. Imprégné de littérature française, qu'il vient étudier à Paris en 1927, Evans entra dans la carrière, à la fin de cette même année, en photographiant les rues de New York. Sous l'influence de Lewis Hine et surtout d'Eugène Atget, il définit les règles d'un " style documentaire " qu'il allait appliquer à l'environnement social et culturel de l'Amérique de son époque, celle de la Grande Dépression, de la guerre et des années qui suivirent. Le livre de Gilles Mora et John T. Hill a été salué comme un événement dans l'édition photographique (prix Nadar en 1993 et Kraszna-Krausz Book Award en 1994). Il restitue intégralement l'œuvre de Walker Evans à travers ses " projets " successifs, comme l'avait conçue son auteur, dans la continuité de sa chronologie. On y découvrira les images d'architectures victoriennes, les reportages sur La Havane et le sud des Etats-Unis, les portraits pris dans le métro de New York, les séquences complètes de la célèbre exposition " American Photographs " de 1938, publiées ici selon l'ordre de leur présentation. On y trouvera aussi le choix initial des photographies destinées au livre culte Louons maintenant les grands hommes que signèrent Evans et l'écrivain James Agee, entre 1945 et 1965, et les expérimentations en couleurs menées par Evans à la fin de sa vie.

Biographie de l'auteur
Après des études en peinture à l'université de Géorgie, John T. Hill est diplômé en design par l'université de Yale (Connecticut). Il y enseignera cette matière ainsi que la photographie de 1960 à 1979, en compagnie de son collègue Walker Evans, dont il deviendra, après la mort de celui-ci en 1975, l'exécuteur testamentaire jusqu'en 1994. Auteur de plusieurs monographies, dont celle consacrée à W. Eugene Smith en collaboration avec Gilles Mora (1998), John T. Hill a été également commissaire des expositions " Herbert Matter " et " Peter Sekaer " (Rencontres de la photographie d'Arles, 2000). A l'occasion du centenaire de la naissance de Walker Evans en 2004, il a organisé une exposition dédiée au photographe à l'université de Yale. Spécialiste de la modernité américaine, auteur ou co-auteur des monographies d'Edward Weston, de W. Eugene Smith, de Charles Sheeler et des photographes de la Farm Security Administration (à paraître en 2005), il a contribué, souvent en compagnie de John T. Hill, à la connaissance de l'œuvre de Walker Evans à travers de nombreux ouvrages ou expositions. Ancien rédacteur en chef des Cahiers de la photographie, il a été entre 1999 et 2001 le directeur artistique des Rencontres internationales de la photographie d'Arles. Il dirige la collection " L'Œuvre photographique " aux éditions du Seuil.

Walker Evans
de Collectif

Présentation de l'éditeur
La collection 55 au format poche rend hommage à tous les styles et toutes les tendances de la photographie. Chaque ouvrage comporte une introduction, se consacre à l'oeuvre d'un seul artiste à travers 55 de ses principales photographies. Chaque titre retrace l'histoire du photographe.

Walker Evans
de Aperture, Walker Evans, Lloyd Fonvielle

Book Description
Walker Evans, more than any other photographer in the thirties and forties, defined the documentary aesthetic. For over four decades he used his camera precisely and lucidly to record the American experience. He is generally acknowledged as America's finest documentary photographer of the twentieth 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. The now-legendary collaboration with James Agee that resulted in the masterpiece Let Us Now Praise Famous Men documents his dedication to photographing the country he knew. Evans's talented eye and sensitive heart make him one of the great photographers of the twentieth century. This volume contains many of his best-known images. Hardcover, 8 x 8 in./96 pgs

About the author
Born in St. Louis, Missouri, in 1903, Walker Evans studied at the Sorbonne in Paris in 1926-27. Mainly self-taught as a photographer, he worked freelance in New York starting in 1928. He was part of Roy Stryker's Farm Security Administration project as a staff photographer in the Southern United States from 1935 to 1937. From 1945 to 1965 he was an associate editor and photographer for Fortune magazine. After retiring from professional photography in 1965, he became a professor at Yale University, where he taught generations of young photographers in documentary approach. Evans received three Guggenheim Fellowships, as well as many other awards, and his work is included in museum collections around the world. He died in 1975 in New Haven, Connecticut.

Something Permanent
de Cynthia Rylant, Walker Evans (Photographies)

Book Description
The photographs of Walker Evans tell stories of ordinary people living in America in the extraordinary time of the Great Depression. Cynthia Rylant’s poetry about the photographs offers a new voice in the telling, celebrating the beauty of life lived in extreme circumstances.

Ingram
Walker Evans's magnificent black-and-white photographic portraits of the Depression are complemented by a poetic celebration of the lives of ordinary people struggling to survive under extreme conditions.

Reading American Photographs: Images As History : Mathew Brady to Walker Evans
de Alan Trachtenberg

Book Description
Winner of the Charles C. Eldredge Prize

In this book, Alan Trachtenberg reinterprets some of America's most significant photographs, presenting them not as static images but rather as rich cultural texts suffused with meaning and historical content. Reading American Photographs is lavishly illustrated with the work of such luminaries as Mathew Brady, Timothy O'Sullivan, and Walker Evans--pictures that document the American experience from 1839 to 1938. In an outstanding analysis, Trachtenberg eloquently articulates how the art of photography has both followed and shaped the course of American history, and how images captured decades ago provocatively illuminate the present.

About the author
Alan Trachtenberg, Neil Gray, Jr., Professor of English and American Studies at Yale University, is the author of The Incorporation of America: Culture and Society in the Gilded Age.

Walker Evans
de James Mellow, Hilton Kramer (Introduction)

Ingram
One of America's most esteemed biographers has produced not just a definitive portrait of Walker Evans, the great Depression Era photographer, but also a fascinating cultural history of the period. 150 photos. Ce texte se rapporte à une édition épuisée ou indisponible de ce titre.

About the author
James R. Mellow (1926-1997) won the National Book Award in 1983 for his biography of Nathaniel Hawthorne. He was the author of a trilogy of biographies on writers of the Lost Generation, including Hemingway: A Life Without Consequences. In his forty-year career as a writer, art critic, and biographer, Mellow wrote for the New York Times, Architectural Digest, the Washington Post, Gourmet, and Arts magazine.

Walker Evans: Cuba
de Walker Evans, Judith Keller (Introduction)

Book Description
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. The photographs Evans made during his visit to Cuba are fascinating for both their subject matter and the evidence they provide of the young photographer's artistic development. 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. Evans's images and Codrescu's lively, insightful essay provide a compelling study of a major artist at an important juncture in his career.

About the author
Andrei Codrescu is a poet, novelist, essayist, and professor of English at Louisiana State University. He is the author of Ay, Cuba! and the editor of Exquisite Corpse: A Journal of Letters & Life. Judith Keller is associate curator of photographs at the Getty Museum and the author of Walker Evans: The Getty Museum Collection.

 

Let Us Now Praise Famous Men: Three Tenant Families
de Walker Evans (Préface), James Agee

Book Description
In the summer of 1936, James Agee and Walker Evans set out on assignment for Fortune magazine to explore the daily lives of sharecroppers in the South. Their journey would prove an extraordinary collaboration and a watershed literary event when in 1941 LET US NOW PRAISE FAMOUS MEN was first published to enormous critical acclaim. This unsparing record of place, of the people who shaped the land, and of the rhythm of their lives was called intensely moving and unrelentingly honest, and is "renowned for its fusion of social conscience and artistic radicality" (New York Times). Today it stands as a poetic tract of its time, recognized by the New York Public Library as one of the most influential books of the twentieth century. With an elegant new design as well as a sixty-four-page photographic prologue of Evans's classic images, reproduced from archival negatives, this sixtieth anniversary edition reintroduces the legendary author and photographer to a new generation.

Ingram
Agee's colleague at Time in the 1940s, John Hersey, writes a major evaluation of Agee's work and the Agee legend in a new introduction to this literary classic. 64 pages of photos. Ce texte se rapporte à une édition épuisée ou indisponible de ce titre.

About the author
James Agee (1909-1955) was a poet, screenwriter, and journalist who won the Pulitzer Prize for his novel A DEATH IN THE FAMILY.

Walker Evans (1903-1976) is best known for his striking Depression-era photographs. Born in St. Louis, he began his photographic career at twenty-five. He served as an editor for both Fortune and Time and was a professor of graphic arts at Yale. His other books include American Photographs and Message from the Interior.

Walker Evans: Signs
de Walker Evans, Andrei Codrescu, Andrei Condrescu

Book Description
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 fifth photographs of signs from the Getty Museum's collection, presented with a lively, provocative essay by Andrei Codrescu. Codrescu trains a perceptive eye on the artistic and social climate in Evans's America and reflects on the photographer's images as documents and commentary. 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.

Ingram
From the 1920s to the time of his death in 1975, photographer Walker 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 50 of his photographs of signs from the Getty Museum's collection, plus 50 additional illustrations.

Walker Evans
de Maria Morris Hambourg, Walker Evans, Jeff L. Rosenheim

Book Description
A tenant farmer's deprivation-lined face. Antebellum homes that have seen better days. The display windows of small-town main streets. The early subway commuter. Billboards. The images made by photographer Walker Evans (1903-1975) are icons of national identity that have shaped Americans' views of themselves and directly influenced important currents of modern art. This major catalogue--published to accompany a retrospective exhibition originating at The Metropolitan Museum of Art and traveling to San Francisco and Houston--presents the full range of Evans's work, from his 1920s black-and-white street scenes of anonymous urban dwellers to the color photographs of signs and letter forms from his final years.

Soon after he returned from Paris to New York City in 1927, Evans began contributing to the development of American photography. He captured the substance of people and buildings with a spare elegance that is utterly unpretentious. His gaze is serious but often amused as well, direct yet never simple. During the 1930s, Evans traveled throughout the South to chronicle the effects of economic hardship. The time that he and writer James Agee spent with Alabama sharecropper families yielded an evocative, honest record of the Great Depression, which was published in book form as Let Us Now Praise Famous Men (1941). Evans then turned his lens back on New Yorkers, photographing subway riders with a camera hidden in his coat. He continued to influence American self-perception as staff photographer for Fortune from 1945 until he accepted a professorship at Yale in 1965.

Evans--who always chose art over what he criticized as artiness--wrote, in Photography (1969), "Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts. This man is in effect a voyeur by nature; he is also reporter, tinkerer, and spy."

Although his work has received many awards, been enshrined in the best museums, and been exhibited on several continents, Evans's total corpus is only now being fully examined. This important book revises our appreciation of Evans by presenting previously unknown material in an accessible context. Essays by Maria Morris Hambourg, Jeff L. Rosenheim, Doug Eklund, and Mia Fineman offer novel insights into the sources and legacy of Evans's work. The result is a superb exploration of what was achieved by one of our finest, mostly deeply American artists.

About the author
Maria Morris Hambourg is Curator in Charge of the Department of Photographs at The Metropolitan Museum of Art; Jeff L. Rosenheim is Assistant Curator in the Department of Photographs at The Metropolitan Museum of Art; Doug Eklund is Senior Research Assistant in the Department of Photographs at The Metropolitan Museum of Art; Mia Fineman is Chester Dale Fellow in the Department of Photographs at The Metropolitan Museum of Art.

 

 

Mexico/New York
de Alvarez Bravo, Henri Cartier-Bresson, Walker Evans

Book Description
In 1935, an exhibition was mounted at the Julien Levy Gallery in Manhattan that united the work of three groundbreaking image makers: Manuel Alvarez Bravo, Henri Cartier-Bresson, and Walker Evans. Taking this historical event as its inspiration, Mexico/New Yorkfeatures work by all three photographers shot in the years leading up to the exhibition. This deluxe, limited-edition volume includes a total of 35 photographs--15 by Alvarez Bravo, 9 by Cartier-Bresson, and 11 by Evans--for a poignant, pointed selection of some of the 20th century's most recognizable and iconic images. Individual works are drawn from the collections of Henri Cartier-Bresson, the J. Paul Getty Museum, and Manuel Alvarez Bravo's personal archives.
Mexico/New York provides a striking, focused viewpoint into the oeuvre of three masters of visual modernism, revealing ties between New York's avant-garde, Mexico's visual culture, and French surrealism. The volume stands as well as an homage to Alvarez Bravo, Mexico's most celebrated photographer, who died recently at the age of one hundred.
Essays by Roberto Tejada and Iturbe Mercedes.

Hardcover, 10.5 x 13.5 in. 72 pages, 35 duotone illustrations.

Walker Evans
de Belinda Rathbone

Ingram
An authority on photographer Walker Evans looks beyond the anonymity of his work to reveal an artist with a genius for capturing telling detail who defined the American scene for an entire generation and profoundly influenced photographers who followed him. Ce texte se rapporte à une édition épuisée ou indisponible de ce titre.

About the author
Belinda Rathbone has written widely on modern photographers and organized exhibitions for the Museum of Modern Art, the Polaroid Corporation, and the Spanish Ministry of Culture. She lives in Massachusetts and Scotland.

Walker Evans: The Collection of the Minneapolis Institute of Arts
de Minneapolis Institute of Arts, Christian A. Peterson, Minneapolis Institute of Art (Créateur)

Book Description
Walker Evans (1903-1975) is best known for documenting the people and living conditions of the American South during the Great Depression. But his photographic accomplishments were much broader than these famous images: modernist views of New York City, such as his Flatiron Building, New York (1928-29) and Brooklyn Bridge (1929); architectural studies of Victorian homes and other buildings in Boston, Cape Cod, Saratoga Springs, and small towns in upstate New York; a series of spontaneous and surreptitious portraits taken on the Manhattan subway; scenes from Cuba in the 1930s; and his commercial assignments as a staff photographer and writer for Fortune magazine. The familiar work from his Farm Security Administration project is also here-views of the rural South immortalized in his collaborative book with James Agee, Let Us Now Praise Famous Men, along with urban images from New Orleans and Savannah.
Essays by Christian A. Peterson, associate curator of photography at The Minneapolis Institute of Arts, describe Evans's photographic vision and include fascinating information about the acquisition history of many of the photographs in this book. Illustrated with almost one hundred high-quality black-and-white photographs, Walker Evans presents the full breadth of Evans's expansive and varied photographic art.

Distributed for The Minneapolis Institute of Arts.

Walker Evans
de Maria Morris Hambourg, Jeff L. Rosenheim, Douglas Eklund

Book Description
A tenant farmer's deprivation-lined face. Antebellum homes that have seen better days. The display windows of small-town main streets. The early subway commuter. Billboards. The images made by photographer Walker Evans (1903-1975) are icons of national identity that have shaped Americans' views of themselves and directly influenced important currents of modern art. This major catalogue--published to accompany a retrospective exhibition originating at The Metropolitan Museum of Art and traveling to San Francisco and Houston--presents the full range of Evans's work, from his 1920s black-and-white street scenes of anonymous urban dwellers to the color photographs of signs and letter forms from his final years.

Soon after he returned from Paris to New York City in 1927, Evans began contributing to the development of American photography. He captured the substance of people and buildings with a spare elegance that is utterly unpretentious. His gaze is serious but often amused as well, direct yet never simple. During the 1930s, Evans traveled throughout the South to chronicle the effects of economic hardship. The time that he and writer James Agee spent with Alabama sharecropper families yielded an evocative, honest record of the Great Depression, which was published in book form as Let Us Now Praise Famous Men (1941). Evans then turned his lens back on New Yorkers, photographing subway riders with a camera hidden in his coat. He continued to influence American self-perception as staff photographer for Fortune from 1945 until he accepted a professorship at Yale in 1965.

Evans--who always chose art over what he criticized as artiness--wrote, in Photography (1969), "Whether he is an artist or not, the photographer is a joyous sensualist, for the simple reason that the eye traffics in feelings, not in thoughts. This man is in effect a voyeur by nature; he is also reporter, tinkerer, and spy."

Although his work has received many awards, been enshrined in the best museums, and been exhibited on several continents, Evans's total corpus is only now being fully examined. This important book revises our appreciation of Evans by presenting previously unknown material in an accessible context. Essays by Maria Morris Hambourg, Jeff L. Rosenheim, Doug Eklund, and Mia Fineman offer novel insights into the sources and legacy of Evans's work. The result is a superb exploration of what was achieved by one of our finest, mostly deeply American artists.

About the author
In the Department of Photographs at The Metropolitan Museum of Art, Maria Morris Hambourg is Curator in Charge, Jeff L. Rosenheim is Associate Curator, Douglas Eklund is Assistant Curator, and Mia Fineman is Research Associate.

 

Walker Evans: The Hungry Eye
de Gilles Mora, John Hill

Book Description
Walker Evans (1903-1975) ranks with Alfred Stieglitz, Edward Steichen, and Paul Strand as one of America's greatest photographers. When originally published in 1994, Walker Evans: The Hungry Eye was the first book to survey every significant aspect of the artist's oeuvre. This reduced-format version, identical in content to the previous volume, includes 300 beautiful duotone photographs.

Evans was largely self-educated and began photographing regularly in 1927, using a small hand-held camera. He specialized in the life of the street-carefully observed views of American architecture, the roadside, and the people who lived in the nation's cities, towns, and villages. Beginning with Evans's early abstractions, continuing through his three-year involvement with the Farm Security Administration and his breakthrough exhibition at The Museum of Modern Art in New York, and concluding with the artist's experimentation with color late in his life, Walker Evans: The Hungry Eye remains the most complete and authoritative view of this American photographic master. AUTHOR BIO: Gilles Mora has been editor-in-chief of Cahiers de la Photographie since 1981. He has written essays for two collections of Walker Evans material. John T. Hill, a friend and colleague of Evans and the executor of his estate, has coedited three book collections of the photographer's work.

About the author
Gilles Mora has been editor-in-chief of Cahiers de la Photographie since 1981. He has written essays for two collections of Walker Evans material. John T. Hill, a friend and colleague of Evans and the executor of his estate, has coedited three book collections of the photographer's work.

Many Are Called
de Walker Evans, Luc Sante, Jeff Rosenheim

Book Description
“[New York City subway riders] are members of every race and nation of the earth.
They are of all ages, of all temperaments, of all classes, of almost every imaginable occupation.
. . . Each, also, is an individual existence, as matchless as a thumbprint or a snowflake.”
—James Agee, from the introduction

Between 1936 and 1941 Walker Evans and James Agee collaborated on one of the most provocative books in American literature, Let Us Now Praise Famous Men (1941). While at work on this book, the two also conceived another less well-known but equally important book project entitled Many Are Called. This three-year photographic study of subway passengers made with a hidden camera was first published in 1966, with an introduction written by Agee in 1940. Long out of print, Many Are Called is now being reissued with a new foreword and afterword and with exquisitely reproduced images from newly prepared digital scans.

Many Are Called came to fruition at a slow pace. In 1938, Walker Evans began surreptitiously photographing people on the New York City subway. With his camera hidden in his coat—the lens peeking through a buttonhole—he captured the faces of riders hurtling through the dark tunnels, wrapped in their own private thoughts. By 1940-41, Evans had made over six hundred photographs and had begun to edit the series. The book remained unpublished until 1966 when The Museum of Modern Art mounted an exhibition of Evans’s subway portraits.

This beautiful new edition—published in the centenary year of the NYC subway—is an essential book for all admirers of Evans’s unparalleled photographs, Agee’s elegant prose, and the great City of New York.

Luc Sante, author of Low Life, Evidence, and The Factory of Facts, is Visiting Professor of Writing and the History of Photography at Bard College; Jeff L. Rosenheim, Associate Curator, Department of Photographs, The Metropolitan Museum of Art, is the editor of Unclassified: A Walker Evans Anthology and Walker Evans: Polaroids and was the main contributor to the Metropolitan’s exhibition catalogue Walker Evans (2000).
V

And Their Children After Them: The Legacy Of Let Us Now Praise Famous Men : James Agee, Walker Evans, and the Rise and Fall of Cotton in the South
de Dale Maharidge, Michael Williamson (Photographies)

Ingram
The poignant, real-life multigenerational saga of what happened to three white sharecropper familes in the Depression South, their children and their children's children in the years after they became a symbol of all that was once wrong with the South. Illustrated.

Walker Evans: American Photographs
de Lincoln Kirstein, Walker Evans (Photographies)

 

Walker Evans
de Gilles Mora, John T. Hill