Pictures of Longing


Book Description

Haunting and revealing photographs sent home by Norwegian immigrants in America as visual document and collective expression of the emigrant experience Between 1836 and 1915, in what has been called history’s largest population migration, more than 750,000 Norwegians emigrated to North America. Writing home, the newcomers sent thousands of pictures—America–photographs, as they are called in Norway. In these photographs, the emigrant experience unfolds as framed by thousands of Norwegian transplants in towns, cities, and rural communities across America. Pictures of Longing brings more than 250 America–photographs into focus as a moving account of Norwegian migration in the nineteenth and early-twentieth centuries, conceived of and crafted by its photographer-authors to shape and reshape their story. To clarify the historic nature and the cultural function of the America-photographs, art historian and photography scholar Sigrid Lien located thousands of the photographs in public and private archives and museums in Norway and the United States. Reading these photographs alongside letters sent home by Norwegian immigrants, Lien provides the first comprehensive account of this collective photographic practice involving “the voice of the many.” Pictures of Longing shows, in fascinating detail, how the photographs, like the accompanying letters, contribute to the cultural grassroots expression of Norwegian migration. They steer us toward multiple, fragmented, and dispersed histories and also complement the existing fabric of established historical narratives, demonstrating photography’s potential to engage with history.




Lange


Book Description

The US was in the midst of the Depression when Dorothea Lange (1895-1965) began documenting its impact through depictions of unemployed men on the streets of San Francisco. Her success won the attention of Roosevelt's Resettlement Administration (later the Farm Security Administration), and in 1935 she started photographing the rural poor under its auspices. One day in Nipomo, California, Lange recalled, she "saw and approached [a] hungry and desperate mother, as if drawn by a magnet." The woman's name was Florence Owens Thompson, and the result of their encounter was seven exposures, including Migrant Mother. Curator Sarah Meister's essay provides a fresh context for this iconic work.




The Power of Pictures


Book Description

In The Power of Pictures book and companion DVD, Beth Olshansky introduces teachers to her innovative art-based approach to literacy instruction. Widely practiced in classrooms across the country, the model has been proven by research to improve literacy achievement with a wide range of learners, especially those who struggle with verbal skills. At the heart of her approach is the Artists/Writers Workshop. Through study of quality picture books and hands-on art experiences, students learn to visualize, “paint pictures with words,” and ultimately create their own extraordinary artistic and literary work. The book and DVD explain how any teacher can successfully use this process to enable all students, particularly low performers, to make dramatic gains in both reading and writing.




Augustus F. Sherman


Book Description

Essay by Peter Mesenholler.




Picturing America: Thomas Cole and the Birth of American Art


Book Description

This fascinating look at artist Thomas Cole's life takes readers from his humble beginnings to his development of a new painting style that became America's first formal art movement: the Hudson River school of painting. Thomas Cole was always looking for something new to draw. Born in England during the Industrial Revolution, he was fascinated by tales of the American countryside, and was ecstatic to move there in 1818. The life of an artist was difficult at first, however Thomas kept his dream alive by drawing constantly and seeking out other artists. But everything changed for him when he was given a ticket for a boat trip up the Hudson River to see the wilderness of the Catskill Mountains. The haunting beauty of the landscape sparked his imagination and would inspire him for the rest of his life. The majestic paintings that followed struck a chord with the public and drew other artists to follow in his footsteps, in the first art movement born in America. His landscape paintings also started a conversation on how to protect the country's wild beauty. Hudson Talbott takes readers on a unique journey as he depicts the immigrant artist falling in love with--and fighting to preserve--his new country.




Picturing a Nation


Book Description

Art historian David Lubin examines the work of six nineteenth-century American artists to show how their paintings both embraced and resisted dominant social values. Lubin argues that artists such as George Bingham and Lily Martin Spencer were aware of the underlying social conflicts of their time and that their work reflected the nation's ambivalence toward domesticity, its conflicting ideas about child rearing, its racial disharmony, and many other issues central to the formation of modern America.--From publisher description.




Picturing Research


Book Description

Picturing research: drawing as visual methodology offers a timely analysis of the use of drawings in qualitative research. Drawing can be a method in itself, as in the research area of Visual Studies, and also one that complements the use of photography, video, and other visual methodologies. This edited volume is divided into two sections. The first section provides critical commentary on the use of drawings in social science research, addressing such issues of methodology as the politics of working with children and drawing, ethical issues in working with both adults and children, and some of the interpretive considerations. The second section, in its presentation of nine research-based case-studies, illustrates the richness of drawings. Each case study explores participatory research involving drawings that encourages social change, or illustrates participant resilience. These case studies also highlight the various genres of drawings including cartoons and storyboarding. The book draws on community-based research from a wide variety of contexts, most in South Africa, although it also includes work from Rwanda and Lesotho. Given the high rates of HIV&AIDS in sub-Saharan Africa, it should not be surprising that many of the chapters take up concerns such as the preparation of teachers and community health workers in the age of AIDS, and the experiences of orphans and vulnerable children. Moving further afield, this book also includes work done with immigrant populations in Canada, and with tribunals in Somalia and Australia. Picturing research is an important resource for novice and experienced researchers interested in employing qualitative methodology that encourages rich (yet low-tech) visible data and that offers a participatory, enabling experience for participants and their communities.




Picturing American Modernity


Book Description

In Picturing American Modernity, Kristen Whissel investigates the relationship between early American cinema and the experience of technological modernity. She demonstrates how between the late 1890s and the eve of the First World War moving pictures helped the U.S. public understand the possibilities and perils of new forms of “traffic” produced by industrialization and urbanization. As more efficient ways to move people, goods, and information transformed work and leisure at home and contributed to the expansion of the U.S. empire abroad, silent films presented compelling visual representations of the spaces, bodies, machines, and forms of mobility that increasingly defined modern life in the United States and its new territories. Whissel shows that by portraying key events, achievements, and anxieties, the cinema invited American audiences to participate in the rapidly changing world around them. Moving pictures provided astonishing visual dispatches from military camps prior to the outbreak of fighting in the Spanish-American War. They allowed audiences to delight in images of the Pan-American Exposition, and also to mourn the assassination of President McKinley there. One early film genre, the reenactment, presented spectators with renditions of bloody battles fought overseas during the Philippine-American War. Early features offered sensational dramatizations of the scandalous “white slave trade,” which was often linked to immigration and new forms of urban work and leisure. By bringing these frequently distant events and anxieties “near” to audiences in cities and towns across the country, the cinema helped construct an American national identity for the machine age.




Moving Matters


Book Description

Moving Matters is a richly nuanced portrait of the serial migrant: a person who has lived in several countries, calling each one at some point "home." The stories told here are both extraordinary and increasingly common. Serial migrants rarely travel freely—they must negotiate a world of territorial borders and legal restrictions—yet as they move from one country to another, they can use border-crossings as moments of self-clarification. They often become masters of settlement as they turn each country into a life chapter. Susan Ossman follows this diverse and growing population not only to understand how paths of serial movement produce certain ways of life, but also to illuminate an ongoing tension between global fluidity and the power of nation-states. Ultimately, her lyrical reflection on migration and social diversity offers an illustration of how taking mobility as a starting point fundamentally alters our understanding of subjectivity, politics, and social life.




Picturing the City


Book Description

"Zurier vividly locates the Ashcan School artists within the early twentieth-century crosscurrents of newspaper journalism, literary realism, illustration, sociology, and urban spectatorship. Her compassionate study newly assesses the artists' rejection of 'genteel' New York, their alignments with mass media, and their innovative ways of seeing in the modern city."—Wanda M. Corn, author of The Great American Thing: Modern Art and National Identity, 1915-35 If the Ashcan School brought a special and embracing eye to the city, Rebecca Zurier in her richly contextual and impressively interdisciplinary book explains and evokes that historically specific urban vision in all its richness. Finally, in Picturing the City, we have the study these painters have long deserved. And we gain new and delightful access to New York City at the moment of its emergence as a compelling embodiment of metropolitan modernity."—Thomas Bender, Director, International Center for Advanced Studies, New York University "Picturing the City is both meticulous and wide-ranging in its assessment of the Ashcan artists and their passionate efforts to represent New York. It charts their pleasures and problems, warmth and prejudices, generosity and differences, originality and formula. It takes seriously their habits as journalists and provides the most complete sense of their immersion in a world of urban spectatorship and vision. Rebecca Zurier has written a wonderful, timely book that will be a benchmark for any future discussions of them."—Anthony W. Lee, author of Picturing Chinatown: Art and Orientalism in San Francisco "Rebecca Zurier takes us on an intellectually exhilarating and breathtakingly beautiful visual voyage through turn-of-the-century New York City as the Ashcan painters saw it. As we watch them learn a new way of looking in the commercially dynamic, sensual New York of a century ago, we too see that time and place with fresh eyes. Inevitably, thanks to Zurier, the way we look at city life today will change as well."—Lizabeth Cohen, author of A Consumers' Republic: The Politics of Mass Consumption in Postwar America