{"product_id":"walker-evans-no-politics-hardback-9781477320624","title":"Walker Evans; No Politics (Hardback) 9781477320624","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eWalker Evans\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eNo Politics\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eStephanie Schwartz (Author)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9781477320624, University of Texas Press\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003eHardback, published 22 June 2020\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e320 pages, 100 b\u0026amp;w photos\u003cbr\u003e25.4 x 17.8 x 4.8 cm, 0.853 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003e[\u003ci\u003eWalker Evans\u003c\/i\u003e] is a timely and insightful analysis of documentary photography through the complexities of Walker Evans' refusal to work politically. Schwartz illuminates numerous aspects of Evans' life and practice, including detailed studies of certain of his photobooks. In an era in which questions of representation and 'making history' are fundamental to our understanding of the world around us, this book is essential reading.\u003c\/div\u003e (photo-eye, \"2020 Favorite Photobooks\") \u003cdiv\u003e[\u003ci\u003eWalker Evans\u003c\/i\u003e] succeeds in reconsidering the work and legacy of Evans within a vast constellation of photographers and writers. It is a rich and nuanced work for students of American photography and documentary made during the twentieth century, especially those interested in politics and material history. In a time when everything is politics, the search for apolitical action is a particularly helpful tool for interrogating our own ideas about the topic.\u003c\/div\u003e (H-Socialisms) \u003cdiv\u003e[Schwartz] takes an approach that honors Evans’s own attitude toward photography: 'a mode of work in which refusing politics was the only way to work politically'...Plentiful black-and-white photographs are placed to maximize Schwartz’s argument, using Evans’s own words. Although Evans scholarship is a crowded field, Schwartz’s book offers a thoughtful perspective on a complicated artist. Recommended.\u003c\/div\u003e (CHOICE) \u003cdiv\u003eSchwartz does not construct her own Walker to analyse...but focusses more directly on his work itself. In a way, she looks closely at a thick visual slice of him instead of trying to digest his complex self as a whole...Schwartz challenges the reader with detailed studies of some of [Evans'] photobooks as well as modern photography’s most canonical texts. These raise issues of representation and, more critically, how documentaries serve to create history via visual narration.\u003c\/div\u003e (Visual Studies)\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e“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 \u003ci\u003eWalker Evans: No Politics\u003c\/i\u003e, 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.\u003c\/p\u003e\n\u003cp\u003eOffering close readings of Evans’s numerous commissions, including his contribution to Carleton Beals’s anti-imperialist tract, \u003ci\u003eThe Crime of Cuba\u003c\/i\u003e (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.”\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cul\u003e\n\u003cli\u003eIntroduction: Refusals\u003c\/li\u003e\n\u003cli\u003ePart I. American Histories \u003cul\u003e\n\u003cli\u003eCollaboration\u003c\/li\u003e\n\u003cli\u003eDoing Anything for Work\u003c\/li\u003e\n\u003cli\u003eToo Much Time\u003c\/li\u003e\n\u003cli\u003eInconsolable Memories\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003ePart II. Late Portraits \u003cul\u003e\n\u003cli\u003eTaking Credit\u003c\/li\u003e\n\u003cli\u003eHistory Lessons\u003c\/li\u003e\n\u003cli\u003ePersons and Publics\u003c\/li\u003e\n\u003cli\u003eNothing to See Here\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003ePart III. Yesterday’\u003cbr\u003es News \u003cul\u003e\n\u003cli\u003eA Dream Job\u003c\/li\u003e\n\u003cli\u003eTabloid Time\u003c\/li\u003e\n\u003cli\u003eAmerican Holiday\u003c\/li\u003e\n\u003cli\u003eDomestic Screens\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eCoda: Remakes\u003c\/li\u003e\n\u003cli\u003eAcknowledgments\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003eIndex\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"University of Texas Press","offers":[{"title":"Brand New","offer_id":52685328285976,"sku":"9781477320624","price":31.77,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/walker-evans-no-politics-hardback-9781477320624","provider":"Freshly Printed Books","version":"1.0","type":"link"}