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Between 2009 and 2013, as the nation contemplated the historic election of Barack Obama and endured the effects of the Great Recession, Matthew Frye Jacobson set out with a camera to explore and document what was discernible to the \"historian's eye\" during this tumultuous period. Having collected several thousand images, Jacobson began to reflect on their raw, informal immediacy alongside the recognition that they comprised an archive of a moment with unquestionable historical significance. This book presents more than 100 images alongside Jacobson's recollections of their moments of creation and his understanding of how they link past, present, and future. The images reveal diverse expressions of civic engagement that are emblematic of the aspirations, expectations, promises, and failures of this period in American history. Myriad closed businesses and abandoned storefronts stand as public monuments to widespread distress; omnipresent, expectant Obama iconography articulates a wish for new national narratives; flamboyant street theater and wry signage bespeak a common impulse to talk back to power. Framed by an introductory essay, these images reflect the sober grace of a time that seems perilous, but in which \"hope\" has not ceased to hold meaning.

In the 1930s and 1940s, as the United States moved from a rural to an urban nation, the pull of the city was irrepressible. It was so strong that even a photographic mission designed to record the essence of rural America could not help but capture the energy of urbanization too.To the Cityshowcases over 100 photographs from the Farm Security Administration (FSA) project along with extracts from the Works Progress Administration (WPA) guidebooks and oral histories, to convey the detail and dimensions of that transformation. This artfully grouped collection of photographs includes magnificent images by notable photographers Dorothea Lange, Walker Evans and Gordon Parks, among many others. Foulkes organizes this history of Americana into five themes: Intersection; Traffic; High Life and Low Life; The City in the Country; and Citizens to illuminate the changes in habits, landscapes, and aspirations that the march to cities encompassed. As the rural past holds symbolic sway and the suburb presents demographic force, the urban portion of our history-why and how cities have been a destination for hope-recedes from view.To the Cityis a thoughtful, engaging reminder.

Piercing Time examines the role of photography in documenting urban change by juxtaposing contemporary 'rephotographs' taken by the author with images of nineteenth-century Paris taken by Charles Marville, who worked under Georges Haussmann, and corresponding photographs by Eugène Atget taken in the early twentieth century. Revisiting the sites of Marville's photographs with a black cloth, tripod and view camera, Peter Sramek creates here a visually stunning book that investigates how urban development, the use of photography as a documentary medium and the representation of urban space reflect attitudes towards the city. The essays that run alongside these fascinating images discuss subjects such as the aesthetics of ruins and the documentation of the demolitions that preceded Haussmannization, as well as the different approaches taken by Marville and Atget to their work. The book also includes contemporary interviews with local Parisians, extracts from Haussmann's own writing and historical maps that allow for an intriguing look at the shifting city plan. Sure to be of interest to lovers of the city, be they Parisians or visitors, Piercing Time provides a unique snapshot of historical changes of the past 150 years. But it will also be of enduring value to scholars. The accurate cataloguing and high quality reproductions of the images make it a resource for a significant portion of the Marville collection in the Musée Carnavalet, and it will aid further research in urban history and change in Paris over the past century and a half. Photographers will be drawn to the book for its new thinking in relation to documentary methodologies.

Few cities in the world offer the diversity of stunning visuals that can be found on the streets of Moscow, from famous landmarks like Red Square to the Boulevard Ring and Kamergersky Lane and the residential areas beyond the Garden Ring. For this book, former Moscow resident Elena Siemens traveled them all as an urban fl neur, taking photographs of contemporary fashion in action and setting it alongside explorations of modern and historic representations of fashion and beauty as seen in a wide variety of products of Russian culture. Through her photos and analysis, Siemens considers the question of how contemporary Russians understand their post-Soviet identity and express it through the ways they present themselves in public

Featuring over a hundred evocative images, The Day in Its Color sheds new light on the everyday American landscape from the 1930s through the 1960s.

Photographs display attitudes, agency and vision in the way cities are documented and imagined. Cities and Photography explores the relationship between people and the city, visualized in photographs. It provides a visually focused examination of the city and urbanism for a range of different disciplines: across the social sciences and humanities, photography and fine art. This text offers different perspectives from which to view social, political and cultural ideas about the city and urbanism, through both verbal discussion and photographic representation. It provides introductions to theoretical conceptions of the city that are useful to photographers addressing urban issues, as well as discussing themes that have preoccupied photographers and informed cultural issues central to a discussion of city. This text interprets the city as a spatial network that we inhabit on different conceptual, psychological and physical levels, and gives emphasis to how people operate within, relate to, and activate the city via construction, habitation and disruption. Cities and Photography aims to demonstrate the potential of photography as a contributor to commentary and analytical frameworks: what does photography as a medium provide for a vision of 'city' and what can photographs tell us about cities, histories, attitudes and ideas? This introductory text is richly illustrated with case studies and over 50 photographs, summarizing complex theory and analysis with application to specific examples. Emphasis is given to international, contemporary photographic projects to provide provide focus for the discussion of theoretical conceptions of the city through the analysis of photographic interpretation and commentary. This text will be of great appeal to those interested in Photography, Urban Studies and Human Geography.

The COVID-19 pandemic has made us far apart from each other, our family and our friends. However, we get to interact more often with some strangers like cleaners, security guards and traffic coordinators ... We are familiar with their faces but we do not know what their names are. What we do know is that their hard work and dedication play a big part in the operation of the city and the vitalization of the economy. The team decided to know more about these familiar strangers on the street and take photos for them to bring us closer to each other as well as to express our gratitude for their contributions to our city.

The following essay examines Anthony Hernandez’s photographic work from the early 1970s to the present. The essay addresses how Hernandez reimagines the genre of street photography in Los Angeles, countering the misconception that the genre, so dominant in the history of the medium, is nearly inexistent in California.

Fill The Frame follows eight contemporary New York street photographers and why the art inspires them. With the popularity of social media, the genre of street photography has grown like never before. This film allows the viewer to understand how the work of each contemporary artist fits within the broader history of street photography.

This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Typically understood as a means of protest against the spatial mechanics of domination—against the mediated production of the difference between the home front and the war front or the “here” and “there” that drives modern warfare—the photomontages, this essay argues, also engage the temporal politics of protest. The problem of how to be “in time,” “to be present,” the problem that frames street photography and its critical history, is at the center of this essay and, it contends, Rosler’s protest. By drawing out this critical framework, this essay addresses the still-urgent questions that Rosler’s photomontages pose: When is the time of protest? Does protest happen now? Is there still time for protest?