A highly anticipated monograph from the internationally acclaimed documentary photographer and filmmaker Lauren Greenfield: Generation Wealth is both a retrospective and an investigation into the subject of wealth over the last twenty-five years. Greenfield has traveled the world - from Los Angeles to Moscow, Dubai to China - bearing witness to the global boom-and-bust economy and documenting its complicated consequences. Provoking serious reflection, this book is not about the rich, but about the desire to be wealthy, at any cost.
Photographer Lauren Greenfield capures often shocking, always startling images of children at school, at play, or at home in the precocious city of Los Angeles. The stunning color photographs range from the children of the gang culture of South Central and East L.A. to the affluent, often show-business world of the Westside. Underlying is the overwhelming importance of image and celebrity, with its materialistic trappings of fast cars and expensive clothes. 80 full-color photos.
Revealing and insightful, Lauren Greenfield's classic monograph on the lives of American girls is back in print. Greenfield's award-winning photographs capture the ways in which girls are affected by American popular culture. With an eye for both the common and the eccentric, she visits girls of all ages, discussing issues ranging from eating disorders and self-mutilation to spring break and prom. With more than 100 mesmerizing photographs, 18 interviews, and an introduction by social and cultural historian Joan Jacobs Brumberg, this book is as vital and relevant now as when it was first published.
Critically acclaimed for "Girl Culture" and "Fast Forward," Greenfield continues her exploration of contemporary female culture with "Thin," a groundbreaking photographic exploration of eating disorders.
The documentary has achieved rising popularity over the past two decades thanks to streaming services like Netflix and Hulu. Despite this, documentary studies still tends to favor works that appeal primarily to specialists and scholars. Reclaiming Popular Documentary reverses this long-standing tendency by showing that documentaries can be—and are—made for mainstream or commercial audiences. Editors Christie Milliken and Steve Anderson, who consider popular documentary to be a subfield of documentary studies, embrace an expanded definition of popular to acknowledge the many evolving forms of documentary, such as branded entertainment, fictional hybrids, and works with audience participation. Together, these essays address emerging documentary forms—including web-docs, virtual reality, immersive journalism, viral media, interactive docs, and video-on-demand—and offer the critical tools viewers need to analyze contemporary documentaries and consider how they are persuaded by and represented in documentary media. By combining perspectives of scholars and makers, Reclaiming Popular Documentary brings new understandings and international perspectives to familiar texts using critical models that will engage media scholars and fans alike.
In 1948 Andrew Wyeth produced what would become one of the most iconic paintings in American art: a desolate landscape featuring a woman lying in a field, that he called "Christina's World." The woman in the painting, Christina Olson, lived in Cushing, Maine, where Wyeth and his wife kept a summer house. She suffered from polio, and was paralyzed from the waist down; Wyeth was moved to portray her when he saw her one day crawling through the field towards her house. "Christina's World" was to become one of the most well-loved and most scorned works of the twentieth century, igniting heated arguments about parochialism, sentimentality, kitsch and elitism that have continued to dog the art world and Wyeth's own reputation, even after the artist's death in 2009. An essay by MoMA curator Laura Hoptman revisits the genesis of the painting, discussing Wyeth's curious focus, over the course of his career, on a deliberately delimited range of subjects and exploring the mystery that continues to surround the enigmatic painting.
With truly startling statistics and a wealth of anecdotes, Silbiger reveals the cultural principles that form the bedrock of Jewish success in America.
"Jerry makes it look so easy. Every time I open this book, my camera gets heavier." -- Daniel Arnold Legendary skateboarder and artist Jerry Hsu started his blog NAZI GOLD in 2009 as a repository for the cell phone photos he'd been collecting alongside his more traditional photography and film practices: shots of friends and strangers, roadside curiosities, and anything else that seemed to merit instant sharing with both peers and the public. In the ensuing years, the site grew from an exercise in visual note-taking into a uniquely hysterical embodiment of both Hsu's keen artistic sense and his razor-sharp wit. Documenting his journeys through the high and low trappings of our culture, Hsu's work captures everything from bootleg t-shirts and bathroom stall graffiti to unexpected truths and the occasional startling moment of humanity. An unerringly creative and endlessly clever chronicle of the deep ironies of our modern world, The Beautiful Flower Is the World, now in a lush hardcover second edition, collects the best of Hsu's blog photography into a compelling and immersive whole.
During the summer of 1980, under the direction of his father, a photographer, Jamel Shabazz armed himself with a Canon AE1 SLR camera and passionately photographed the urban landscape that he called home. New York City-"the city that never sleeps"-was the ideal epicenter to photograph because of its 24-hour subway system and the many businesses that are open late into the night. Never without a dull moment, New York's energy inspired him to use the streets as a canvas for the majority of his work for over 35 years. Photographing in the streets put Shabazz in the heart of all of the action-he carried his camera everywhere, always set and at the ready. Like a fisherman seeking a fruitful catch, Shabazz ventured into locations full of life and uncertainty in hopes of capturing a unique moment. More importantly, he sought to gain insight into the conditions of the larger world and its inhabitants. Sights in the City is a testament to Shabazz's visual journey, contianing 120 color and black-and-white photographs, most of which have never been published. His images are both intimate and provocative in nature, each having its own DNA.
Emphasizing the understanding of images and their influences on how they affect our attitudes, beliefs, and actions, this fully updated sixth edition offers consequential ways of looking at images from the perspectives of photographers, critics, theoreticians, historians, curators, and editors. It invites informed conversations about meanings and implications of images, providing multiple and sometimes conflicting answers to questions such as: What are photographs? Should they be called art? Are they ethical? What are their implications for self, society, and the world? From showing how critics verbalize what they see in images and how they persuade us to see similarly, to dealing with what different photographs might mean, the book posits that some interpretations are better than others and explains how to deliberate among competing interpretations. It looks at how the worth of photographs is judged aesthetically and socially, offering samples and practical considerations for both studio critiques for artists and professional criticism for public audiences. This book is a clear and accessible guide for students of art history, photography and criticism, as well as anyone interested in carefully looking at and talking about photographs and their effects on the world in which we live.
