|提及的人：||Walker Evans; Walker Evans|
Walker Evans; Lincoln Kirstein
|描述：||208 pages : chiefly illustrations ; 23 cm|
|内容：||Part 1: License photo studio, New York, 1934 ; Penny picture display, Savannah, 1936 ; Faces, Pennsylvania Town, 1936 ; Political poster, Massachusetts Village, 1929 ; Sidewalk and shopfront, New Orleans, 1935 ; Negro barber shop interior, Atlanta, 1936 ; Joe's auto graveyard, Pennsylvania, 1936 ; Roadside gas sign, 1929 ; Lunch wagon detail, New York, 1931 ; Parked car, small town main street, 1932 ; Coney Island Boardwalk, 1929 ; A bench in the Bronx on Sunday, 1933 ; Torn movie poster, 1930 ; Alabama cotton tenant farmer wife, 1936 ; New York state farm interior, 1931 ; Child in back yard, 1932 ; Girl in Fulton Street, New York, 1929 ; Interior of negro preacher's house, Florida, 1933 ; 42nd St., 1929 ; Citizen in downtown Havana, 1932 ; Houses in negro quarter of Tupelo, Mississippi, 1936 ; Alabama tenant farmer family singing hymns, 1936 ; Interior detail, West Virginia coal miner's house, 1935 ; Sidewalk in Vicksburg, Mississippi, 1936 ; Garage in southern city outskirts, 1936 ; Main Street of county seat, Alabama, 1936 ; Main Street, Saratoga Springs, New York, 1931 ; Main Street of Pennsylvania Town, 1935 ; Battlefield monument, Vicksburg, Mississippi, 1936 ; Havana policeman, 1932 ; Sons of the American Legion, 1936 ; American Legionnaire, 1936 ; Coal dock worker, 1932 ; Minstrel showbill, 1936 ; Roadside stand near Birmingham, 1936 ; Savannah negro quarter, 1935 ; New Orleans boarding house, 1935 ; Interior detail of Portuguese house, 1930 ; Main street faces, 1935 ; Posed portraits, New York, 1931 ; Couple at Coney Island, New York, 1928 ; Minstrel showbill detail, 1936 ; Hudson Street boarding house detail, New York, 1931 ; Arkansas flood refugee, 1937 ; People in summer, New York state town, 1930 ; Birmingham boarding house, 1936 ; Houses and billboards in Atlanta, 1936 ; South Street, New York, 1932 ; South Street, New York, 1932 ; Louisiana Plantation house, 1935. --
Part 2: Stamped tin relic, 1929 ; View of Easton, Pennsylvania, 1936 ; Part of Phillipsburg, New Jersey, 1936 ; Street and graveyard in Bethlehem, Pennsylvania, 1936 ; Two-family houses in Bethlehem, Pennsylvania, 1936 ; Roadside view, Alabama coal area company town, 1936 ; Westchester, New York, Farmhouse, 1931 ; Mississippi land, 1936 ; Louisiana factory and houses, 1935 ; Birmingham Steel mill and workers' houses, 1936 ; Factory Street in Amsterdam, New York, 1930 ; Company houses, Scott's Run, West Virginia, 1935 ; Country store and gas station, Alabama, 1936 ; Mississippi sternwheller at Vicksburg, Mississippi, 1936 ; Church of the Nazarene, Tennessee, 1936 ; Wooden church, South Carolina, 1936 ; Greek temple building, Natchez, Mississippi, 1936 ; Negro church, South Carolina, 1936 ; Connecticut frame house, 1933 ; Millworkers' houses in Willimantic, Connecticut, 1931 ; Frame houses in Virginia, 1936 ; Frame houses in Virginia, 1936 ; New Orleans houses, 1935 ; Greek revival doorway, New York City, 1934 ; Wooden gothic house, Massachusetts, 1930 ; Wooden houses, Boston, 1930 ; Gothic gate cottage near Poughkeepsie, New York, 1931 ; Detail of a frame house in Ossining, New York, 1931 ; Main Street block, Sema, Alabama, 1936 ; Butcher sign, Mississippi, 1936 ; Maine pump, 1933 ; Jigsaw house at Ocean City, New Jersey, 1931 ; Hotel porch, Saratoga Springs, New York, 1930 ; Wooden gothic house new Nyack, New York, 1931 ; French quarter house in New Orleans, 1935 ; Tin relic, 1930.
|责任：||Walker Evans ; with an essay by Lincoln Kirstein.|
"More than any other artist, Walker Evans invented the images of an essential America that we have long accepted as fact, American Photographs, first published by The Museum of Modern Art in 1938, is the purest and most complete expression of his cool, unblinking vision. the eighty-seven photographs reproduced on its pages are as relevant and essential as ever, with Lincoln Kirstein's essay as their eloquent foil. American Photographs has been a key touch-stone for photographers and those who seek to understand the lyric potential of the medium, but it has often been out of print. This Seventy-Fifth-Anniversary Edition, with sumptuous duotone plates complementing the elegant restraint of the original typography and design, makes Evans's landmark book available again. For the first time, digital technologies aid in emulating the precise cropping and finely tuned balance of the 1938 reproductions, capturing as never before the look and feel of the first edition."--Cover jacket.