Venus of the Hydrants - Brilliant!

Love it - from Miscellanea/Onsite Review:

"Never let it be said that city utilities workers don't have a finely honed sense of humour
Mme Vionnet
bondage
surrealism
the erotic."

Cairo Geeks Survive Tahrir Square Assault

From Wired:

CAIRO — For three days, the geeks and online activists and DIY filmmakers protested peacefully here in Tahrir Square. For three nights, they slept in tents with their laptops by their sides and kept their mobile phones charged by hacking into one of Tahrir’s street lights. On the fourth day, Wednesday, the lynch mob came and encircled them.

Thousands of people supporting Egyptian President Hosni Mubarak laid siege to the central plaza, pressing themselves into the four streets that lead into Tahrir. They attacked the unarmed crowds with clubs, knives, stones and Molotov cocktails. As I write this, reports put the death toll at three with around 1,500 injured.

“This was a real battle, a real Egyptian street fight, but we kept them back with stones and barricades and fire,” computer security specialist Ahmad Gharbeia, 34, tells me over the phone. “They never reached our camp.”

“I need to preserve my phone battery,” he adds, “so let’s talk later.”

For the past six years, Gharbeia has been training Arab world activists, journalists and human rights lawyers to hide their internet communications from prying eyes. “We use encryption techniques and PGP for e-mail,” he says. “We use proxies such as Tor that circumvent blocking. I was the Arabic editor of a tools set called Security in a Box. It’s a tool kit of open and free software that helps advocates and human rights activists achieve security, privacy and anonymity.” ...

more...

“This is private property - we're here to sell art"

Incident In Art Land

From the New Yorker:

"Quietly moving through the Anselm Kiefer show at the Gagosian gallery on its final afternoon were eight people wearing black T-shirts that bore the show's portentous title—“Next Year in Jerusalem”—in English, Hebrew, and Arabic. They didn't speak unless spoken to; they took pictures of themselves standing before some equally portentous works of Holocaust-evoking art. (Everyone was taking pictures; the catalogue cost a hundred dollars.)

Only if approached did one of the group explain that they were part of an organization called U.S. Boat to Gaza, which plans to sponsor a ship in the next flotilla to sail against the Israeli blockade. Half of the group had left, and they were reduced to four by the time that gallery representatives asked them to leave, unimpressed by their claims to be extending the discussion that Kiefer had begun. Morality. Guilt. Jewish tragedy, past and present. (“This is private property,” a gallerista in towering heels shot back. “We're here to sell art.”)

A call to the police was threatened. In response, the activists put on their jackets—covering the offending Passover phrase, even while complaining that it had not, to their knowledge, been copyrighted—and asked if they might stay. Without reply, the representatives walked away...

Ingrid Homberg had gone to Gagosian that day to lift her spirits. A delicate blonde woman in her late fifties, she grew up in Germany—she is roughly of Kiefer's generation—but never felt that she belonged there; she moved to New York with her young daughter in 1980, and the city has proved a much happier fit. In recent years, however, she has been ill (fibromyalgia, arthritis) and suffers frequent pain. Still, she was immediately buoyed by Kiefer's magisterial landscapes, in which massive wings overhead suggest the judgment of God. The gallery was filled with such disturbing images. She had earlier noticed the people in the T-shirts, and now she approached them, hoping to discuss the feelings that the artist's work provoked.

But there was no discussion. Two police officers arrived just a moment after Homberg did, and ordered the group out. Including Homberg. She said that she had no reason to leave. She asked one of the officers—“Young man,” she addressed him, and he did look very young—why they did not allow the group to speak. And that was it. His partner grabbed her by the arm and began to pull her out..."

More here

Considering the nature of Anselm Kiefer's work and the themes of history, destruction, rembering and forgetting, societal guilt, judgement, atonement and more that run through it like strata, I find this story not only particularly ironic but also damningly telling.

I think that one phrase says it all; “This is private property... we're here to sell art"



Anselm Kiefer, Flying Fortress (2010), foreground, with Cetus (2010), in "Next Year in Jerusalem" at Gagosian Gallery

TRACES - alleyways & spandrels: An Exhibition

I have an exhibition of some work from my project TRACES - alleyways & spandrels up at the McMullen Art Gallery in Edmonton until January 28th.

TRACES alleyways & spandrels

Edmonton's 1100 km of urban and suburban alleyways are like the backbone of the city's identity. Unnoticed and unregarded routes and pathways through the city, much of the time un-peopled yet full of the evidence of people.

Back yards often seem less regarded than front gardens, more off-guard and by the time the alley is reached, it is dustbins and recycling boxes, left over bricks and spare siding - every now and then punctuated by a garden of beauty and pride, unrestrained nature or some peculiar product of whimsy.

The alleyways are the pathways through the city's identity. Still public, yet intimate. Domain of dog walkers, jogging soccer moms, garbage collectors, handymen repairing fences, fierce old ladies on solitary walks, afternoon gardeners and schoolboys dreaming and imagining adventures. Yet all encountered only infrequently - more often it is the traces, the evidence of these lives that is encountered.

"The city, however, does not tell its past, but contains it like the lines of a hand,
written in the corners of the street, the gratings of the windows,
the bannisters of the steps, the antennae of the lightning-rods, the poles of the flags.
Every segment marked in turn with scratches, indentations, scrolls"

Italo Calvino, Cities & Memory

The McMullen Art Gallery is located at the University of Alberta Hospital
(TRACES is in the After-Hours Gallery which is the exhibition space
which runs along the wall of the main corridor)

After-Hours Gallery (McMullen Art Gallery),
University of Alberta Hospital (next to the east entrance),
8440 – 112
Street,
Edmonton, AB

Winter 2010 - Anselm Kiefer

The last (?) of Anselm Kiefer's four seasons from the New York Times:

Anselm Kiefer, "Gescheiterte Hoffnung (C.D. Friedrich)" 2010 (Text on the work is translated as follows: "Wreck of Hope."), Charcoal on photographic paper. Courtesy Gagosian Gallery, New York.

Happy Xmas (Happy Holidays, Merry Christmas etc etc...)

Bethlehem 1884

Gerry Badger, John Gossage and The Pond (update)

A quick update to the recent post on the re-publication of "The Pond" by John Gossage.

The book now appears to have reached the bookstore shelves and be widely available.

The other thing is that I found that Aperture has a three-part podcast (Part1, Part 2, Part 3) of a discussion between John Gossage and Gerry Badger (he of The Photobook: A History among other things).

It's part interview with Gossage, part interview with Badger about his new book The Pleasures of Good Photographs, and part general shooting the breeze session about photography in general.

(I'm currently reading The Pleasures of Good Photographs and plan to post about it in a little while).

Three Ghetto Photographers

An interesting post by Colin Pantall that references three different photographers in the Lodz Ghetto - Walter Genewein, Mendel Grossman and Henryk Ross.

(Walter Genewein)

Genewein was a German accountant working for the Nazis and uniquely, in what remains, photographed in colour. Grossman and Ross were Jewish inhabitants of the Ghetto

There is a Polish documentary about Genewein which is quite revealing and well worth watching (part1 below).

Ross's photography documented the life and reality of the ghetto and was part official in his work as a photographer for the Jewish department of statistics and part unofficial - he hid a whole day in a shed at the railway sidings to record Jews from the ghetto being loaded onto trains for deportation to the camps. Ross recovered his photographs after the war from where he had buried them in the Ghetto and later testified with his photographs at the trial of Eichmann in Jerusalem.

(Henryk Ross)

Grossman secretly photographed in the Ghetto, continuing even when he was deported to the Konigs Wusterhausen camp but he did not survive the final forced death march as the Russians approached the camp.

(Mendel Grossman)

Photographs from all three men show life and death in the Lodz Ghetto from three different perspectives including that of the Nazis. (Ross's book Lodz Ghetto Album is widely available in libraries is especially compelling along with My Secret Camera: Life in the Lodz Ghetto about Grossman)

(Henryk Ross)

I am particularly intrigued by what and how Genewein's photographs show and how we may or may not regard them because of who he was - an accountant and one of the bland but essential cogs in the successful running of the ghetto as a business or industry. The pictures, while informative about the inhabitants of the ghetto, speak much more to the nature of Genewien and the Germans running the whole "project" of the Volkish expansion eastwards:

"Genewein was a skilled amateur, and his Movex 12 was confiscated from its Jewish owner. The scarce colour stock came from Agfa. Thus equipped, the accountant went into factories where hats or Wehrmacht uniforms were being made, and he stood beside the lines of Jewish children as they waited to be fed.

In much the same way as August Sander, the accountant was fascinated by the principles of visual taxonomy and social hierarchy. His subjects stand awkwardly at their workbenches, in groups or singly, glaring out of hollow eye-sockets. These anonymous Jewish workers are exhausted and helpless, and it is intolerable even to think of them being made to pose for the camera.

Genewein's self-portraits, taken in an office beside an adding machine, have the same stilted, literal quality. He is playing the role to which he believed his own status as artist entitles him. Like Hitler - who displayed a consuming interest in the precise way in which he was depicted photographically, not just at every rally, but in private, too - Genewein thinks that he represents the forces of civilisation.

And like Leni Riefenstahl's work, with the same absence of hypocrisy or misgivings, these photographs express the true nature of power. The Germans are engaged in the grand project of reclaiming Jews from their criminal, dissolute ways. The photographs are testimony to the Nazi belief in the ennobling value of labour.

Where Germans are present, as the numerous trainloads of Jews arrive, they stand slightly apart. They are the masters now, and it isn't relevant that what lies in store for their charges is not benign.There are Jewish middlemen to make the contact with the inferior race less onerous. When Himmler visits the ghetto, Genewein is at hand to record the tribute paid to him by the collaborationist Chaim Rumkowski, who ran the ghetto on behalf of the Germans. No imperial photographer would more accurately have captured the complex of emotions implied by the arrival of a proconsul in a remote outpost of Empire."... from Cold Gaze of a Nazi Camera

(Henryk Ross)

Consumed by Fire

"The river's tent is broken: the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed."

From The Fire Sermon - The Waste Land
by T.S. Eliot

(© 2006 timothy atherton)

Anselm Kiefer's Opinions - The Seasons

Anselm Kiefer is one of my favourite contemporary artists. Jim Johnson (who runs one of my favourite blogs) posted these works by Kiefer that were published in the Opinion pages of the NY Times (what a great idea btw - kudos to the Times).

It's been a while since I felt the thrill of excitement upon seeing some pictures, but I did when I saw these.

Before Spring

"Snow melt in the Odenwald. Goodbye, winter, parting hurts but your departure makes my heart cheer. Gladly I forget thee, may you always be far away. Goodbye, winter, parting hurts."
(March 2010)

Summer

“Summer in Barjac — the renowned orders of the night.”
(June 2010)

Autumn

“Ygdrasil, Autumn in Auvergne.”
(September 2010)

(All works © Anselm Kiefer, courtesy of the Gagosian Gallery)

ELEPHANT - The Art and Visual Clutter Magazine

Or at least that's what I thought it said when my eyes scanned over it's cover in the magazines at Chapters.

But then again maybe we need a visual clutter magazine?

Panasonic Lumix GF1 - any good or a waste of money?

Is this camera any good? (I don't have the energy to keep up with which new digital camera is out this week)

Are there any better alternatives - of a similar size and flexibility?

Uses will be: aside from family snapshots, a certain amount of urban/suburban photography. It may replace - but not supplant - a certain amount of Rolleiflex photography. An available aperture of at least 2.0 would be helpful. Among other things...

All comments welcome.


UPDATE: Oh bugger. I hadn't seen the Sigma DP2/DP2s (I remember when the Foveon sensor was vaporware...). Anyone out there using this little beastie?


(jeesh - how many typos can I get in one short post)

John Gossage - The Thirty-Two Inch Ruler / Map of Babylon

(reposted due to html getting corrupted)

John Gossage's new book(s) The Thirty-Two Inch Ruler / Map of Babylon is notable for at least a couple of firsts. It's his first book produced and published in cooperation with Gerhard Steidl and it's also his first full body of work in colour.

First things first - publishing with Steidl. Over the last few years John Gossage has published a number of books through his own imprint Loostrife Editions. John is a real believer in the importance of the photo book, as well as a first rate book designer and Loostrife has produced some fantastic books. But I would also imagine that it's a heck of a job (as well as a money black hole?) running a small press - even if it gives a certain level of freedom and control as far as your own books go. So I would imagine that if a good working, creative relationship can be developed with someone like Gerhard Steidl then that is probably a good place to be.

But on to the book(s).

I keep saying book(s) because The Thirty-Two Inch Ruler/Map of Babylon is actually two books in one. If you start with The Thirty-Two Inch Ruler it finishes two thirds of the way through the book. At that point the pictures are upside down. So just flip the book over and start at the back (now the front) and you are in Map of Babylon. A nice added touch being that you can reverse the dust-cover and you get the cover for Map of Babylon if you prefer to view the book that way round. It all runs together nicely and the whole book works beautifully. There is plenty of the feel of John's precise and careful design, along with (and I've always tended tp liked the the design of most Steidl books) a bit of the Steidl/Göttingen touch as well. Design-wise this is a very nice, beautifully printed, book.

Photography-wise this is a bit more enigmatic than many of Gossage's books, although not quite as enigmatic as a select few (e.g Dance Card or Hey Fuckface!). So it takes a bit of context and some careful, extended, reading of the pictures as a whole to get a real sense of it. It takes time for the pictures to sink in - while at the same time still being able to get lost in any particular single photograph.

The context the publisher provides us with is this:

"John Gossage, the renowned American photographer and photography book-maker, presents two companion volumes and his first ever books in color. Engaged in a dance, neither book comes first, there is no hierarchy or sequence to the pair of volumes.

Gossage is one of the most literary of photographic book authors and in The Thirty-Two Inch Ruler, the narrative, whilst not autobiographical, is about a neighborhood in which he lives; one that is singular in the United States. At the same time provincial and international, it is a neighborhood populated by ambassadorial residences, embassies, and the lavish private homes of those who are in positions of power and influence in Washington. A project he began with the arrival of a new neighbor, the Secretary of Defense Donald Rumsfeld and made over a full year’s cycle of seasons, these are images from the drift of privilege. The streets, cars, homes and yards of this neighborhood are photographed on perfect spring or autumn days, with sparklingly clear blue skies, and flowers or foliage accenting the order. These are photographs about how one might wish the world to be, how beauty might be seen as desire. In the same year Gossage made the Map of Babylon, photographing digitally from Washington, to Germany, to China and places in-between. This look away, to places beyond the immediate and local, is a classic exploration of particulars of the outside world."

I must say I found the accumulation of the pictures in Thirty-Two Inch Ruler conveyed a sense of dread, of oppression after looking through them two or three times, even without having dug any deeper into the context beyond the short publishers comment. Which surprised me for a couple of reasons.

First, the pictures being in colour. During the 1980's and 1990's Gossage didn't seem to get sidetracked by the whole New Colour thing or massive painting sized photographs or such, but continued with his black and white work which continued to be a valid, contemporary and creative way of seeing, of investigation.

The way he has seen and shown us the Berlin of the Wall, or Maghera or the streets and neighbourhoods of several American cities has always seemed absolutely contemporary - yet rarely threatening. They may be a bit grim; they may be beautiful in ways that surprise us, in ways we normally rarely notice; but even the view Gossage gave of the Berlin Wall, while often dark, was very rarely as ominous as these delicately lit suburban views. Yet that's the sense that developed as I looked through these pictures. And that John should chose this particular subject for his first full body of work in colour seemed almost perverse. Surely it's so much easier to convey 'dread', 'oppressive', 'ominous' in black and white? But then, on reflection, I realised what better way to convey such things. What better way to convey what appears at first glance to be an ordinary upper middle class, civil service sort of neighbourhood than in the ordinary, everyday colours of a suburban summer or fall. An ordinary place with ordinary (if rather well appointed) homes yet which contains within it - more than partially veiled or partly hidden - aspects of a global conflict which reach far beyond the suburb or city and with consequences and ramifications still as yet unknown.

And as for John Gossage in colour - that's just what these pictures are - John Gossage in colour. It's as if he has just taken a step sideways and there he is in the dimension of colour. There are many of his usual touches - a way of seeing that is both unique and familiar - and yet he has also been able to use colour as colour - to let it break out of the dominance of line or form so that the colour itself is allowed to be. He seems very much at ease with being able to "colour outside the lines" as it were. In this way each individual picture can hold its own ground as well as being an integral part of the story being told.

But returning to the unease, after a few pages I also found that the pictures started to feel quite voyeuristic so intimate do they become. Then I read one reviewer who made perfect sense of it when he described Gossage as a spy, working undercover as it were, reporting back to us on this strange yet ordinary place. (Besides which, of course, almost all photography is voyeuristic to one degree or another - usually far more so than most photographers like to admit. Indeed one of the great attractions of photography is that it allows us to be voyeurs, peering over the photographer's shoulder, but from a nice safe distance - in time as well as space).

Rather more briefly on Map of Babylon. These seem a collection of related yet unrelated pictures - "Photographs with qualities, but no real explanation" - pictures taken as Gossage has travelled over the last while. They are fascinating in that they show his experimenting with colour as he goes and - I believe I'm correct - his first real experiments with a digital camera (did that old Texas Leica finally wear out and die I wonder??). It has the intriguing feel of a photographer's sketchbook or workbook.

Overall a very worthwhile book to get hold of (and I don't know large the print runs is in this case, but Gossage's books often go out of print pretty quickly).

There is also a good review and conversation here: The Devil in Kalorama: A Tour of John Gossage’s Neighborhood as Hell

(Oh - and as far as I can tell Babylon was photographed with print film not digital? But I may well be wrong on that.) Well, I was wrong. I just heard from John and all the photographs in the book were taken with a digital camera.

All Photographs - John Gossage

Summer (Autumn...) Book Sale

Regarding my Summer Book Sale, it turned out to be bit time consuming/convoluted trying to sell the books through the blog so I've started loading them up on Ebay.

All have comparatively low starting bids - so you might get a bargain... Anyway you can find them by linking through here.

Up now:

Luigi Ghirri - Paesaggio italiano/Italian landscape

Lee Friedlander - Factory Valleys

Sally Eauclaire - The New Color Photography and New Color/New Work

Stephen Shore - Fotografien 1973 bis 1993

Andrea Modica - Treadwell

Josef Sudek - Smutná krajina/Sad Landscape

A few more to come over the next few days.

I Like - Flash Camera

Flash Camera t-shirt. Unfortunately they only go on sale for 24 hours... damn

"The Pond" by John Gossage

I'm pleased to see that Aperture is re-publishing John Gossage's seminal 1985 book The Pond. (I've written about John Gossage several times before: The Romance Industry; Putting Back The Wall; Snake Eyes).

"Considered a groundbreaking book when first published in 1985, John Gossage's The Pond remains one of the most important photobooks of the medium. As Gerry Badger, coauthor of The Photobook: A History, Volumes I and II, asserts, "Adams, Shore, Baltz--all the New Topographics photographers made great books, but none are better than The Pond." Consisting of photographs taken around and away from a pond situated in an unkempt wooded area at the edge of a city, the volume presents a considered foil to Henry Thoreau's stay at Walden. The photographs in The Pond do not aspire to the "beauty" of classical landscapes in the tradition of Ansel Adams. Instead, they reveal a subtle vision of reality on the border between man and nature. Gossage depicts nature in full splendor, yet at odds with both itself and man, but his tone is ambiguous and evocative rather than didactic. Robert Adams described the work as "believable because it includes evidence of man's darkness of spirit, memorable because of the intense fondness [Gossage] shows for the remains of the natural world." Aperture now reissues this exquisitely produced and highly collectible classic monograph. With the addition of three images and two essays, this second edition offers new audiences the opportunity to celebrate this notable work by a master photographer and bookmaker."

To my mind The Pond is one of the more important photography books of the last fifty years and stands (preceded by Walker Evans' American Photographs) with William Eggleston's Guide, Stephen Shore's Uncommon Places and Paul Graham's A1: The Great North Road among a few others.

I have a rare copy of the original which is one of my more valued photography books, but I'll look forward to seeing the new edition.

Now all we need is for someone to republish Michael Schmidt's Waffenruhe... any takers?

More to come on John Gossage's new book(s) The Thirty-Two Inch Ruler / Map of Babylon soon.


(Update) P.S. The first exhibition of the photographs from The Pond has just opened at the Smithsonion American Art Museum and is on until January. Interesting little comment here:

"EXPRESS: What does the pond represent?
GOSSAGE:The pond is a literary monologue, a narrative landscape book, character development — all of it. ... It's set in Queenstown, but a few of the shots were actually taken in Berlin. I won't tell which ones. I wanted to speak metaphorically about nature and civilization, which I realized halfway through my project. It's a work of documentary fiction. The sites are universally trivial. There are many ponds, and that one may not even be there anymore."
(my emphasis)

(All photographs: John Gossage - The Pond)

Marshall Mcluhan by Douglas Coupland - two thumbs down

Marshall Mcluhan from the Penguin "Extraordinary Canadians" series, by Douglas Coupland

What a perfectly annoying, horrible little book.

It reeks of middle-aged hipsterism like a failed, corduroy clad, English Professor reeks of Old Spice.

Among other things the 'internet tricks' scattered throughout the book already look as dated as one of Mcluhan's glen plaid jackets.

Two thumbs down for this one.

"Another Summer" by Terri Weifenbach

I got this small book by Terri Weifenbach a while ago and although I had looked through it a couple of times I hadn't given myself the time until recently to sit down with it and get to know it properly.

Published by The Thunderstorm Press (based in Japan) Another Summer is a small book (and a small run of only 500 numbered, signed copies) - in a simple grey cloth-covered binding with just the title embossed on the the front in sky blue. It resembles a small volume of poetry rather than a book of photographs and in many ways that's what it is: poetry.

There is no introductory text or essay inside, just the title and forty or so photographs. All of which seem to tell the story of the title - of another summer: a lake, a cottage, children and grandparents, picnics and canoes and back-yards.

In short the summer break of american myth and - sometimes still - of reality. It may be at the cottage or the cabin, or camping or the RV. There is something of the sense that the American Dream still includes Life, Liberty and a relaxing getaway to somewhere "other" in the summer. The idea of escaping (for escape it is) somewhere a little remote, a little wild, a little Walden-ish is still there, albeit it threatened by obsessive workloads, the Protestant Work Ethic, Blackberry addiction, a struggling economy and the threat of the disappearance of the American middle class. Despite which the desire to let children or grandchildren run free by a lake, swim off a dock, hunt for frogs or picnic in a clearing in the woods still survives.

Despite Terri's use of a fairly bright - if not quite saturated - colour palette, her work is a long way from a picture postcard or colour snapshot aesthetic. Or a digital pocket camera print for that matter. All of which would be an easy card for a lesser photographer to play in depicting the 'american summer'.

For one thing Weifenbach continues to use focus as a way of drawing attention away from or towards part of the picture and, to my mind, rendering the picture beautifully photographic in nature - it becomes a photographic picture. In a way these are the anti-HDR photograph, which is the photograph become something else - kitsch among other things.

But more than anything I don't think that this is a book about one summer, or one family or just another summer. Where it could easily tend towards nostalgia and it's associated sentimentality Weifenbach moves much more towards elegy.

And despite the beauty found within the pictures there is also melancholy mingled in with the happiness. Weifenbach doesn't tell us the why or the what of its source. That is up to the viewer, the reader of this book - to make our own meaning as we read it, to make the story our own. Growing up, growing old, loss of parents, loss of the summer idyll itself? It could be all of these and more - or none.

Which is the wonderful thing about photographs - and something so many photographers appear to forget. Photographs have no one meaning. We bring our own meaning(s) to them each time we view them. The inherent ambiguity of the photograph always leaves space for us to imagine and experience in ways which can rarely be foreseen or predicted.

As Edward Hopper said; "I hope it does not tell an obvious anecdote for none is intended", which could equally be said of Another Summer.

(All photographs: Terri Weifenbach - Another Summer)

Summer Book Sale Part I.

Here are the first three books going up for sale:


Walker Evans - Polaroids.




Published by Scalo in 2001
First Edition
Near Fine (slight scuffing on cover)
$100.00 + shipping




Stephen Shore: Fotografien 1973 bis 1993



Published by Schirmer/Mosel, 1995
First Edition

If you've never seen Stephen Shore's photographs of Montana, Texas, the Yucatan and Scotland (along with some of his more well known images) then this is the book for you

$200.00 + shipping




Andrea Modica - Treadwell



Published by Chronicle Books
First Edition edition 1996
Fine

$95.00 + shipping


The fine print:

Books will be sold on a first come first served basis - first person to
email me and pay the price + shipping via Paypal get the book. If
someone emails to buy a book me but doesn't make payment within 48 hours
then it will go to the next person in line.

Shipping costs will be based on shipping via Canada Post - Standard Parcel for Canada and USA, Air Mail (which seems to get more expensive by the minute these days...) to anywhere else in the world.

All the books are used - sales are as is and final. So if you have questions about the book make sure to ask them.

I'll strike off the books if and when they are sold.

Email Contact for books: Contact

America in Colour in the 1930's & 1940's - LoC

(A cross roads store, bar, "juke joint," and gas station in the cotton plantation area, Melrose, La. 1940 Wolcott, Marion Post, 1910-, photographer)

Going by the number of posts that have crossed my Reader in the last couple of weeks it would seem that the rest of the photo-blogosphere has discovered that there are some fascinating colour photographs of the US in the 1930's and 1940's which are held by the Library of Congress. Many of which were taken were by some of the well FSA/OSW photographers such as Marion Post Wolcott, Jack Delano and Russell Lee.

However, just remember, you actually heard it here first - January 24th, 2008 to be precise...

(The "original" Rosie the Riveter - Riveter at work on Consolidated bomber, Consolidated Aircraft Corp., Fort Worth, Texas 1942 Oct. Howard R. Hollem, photographer (LoC))

Many of these photographs are indeed very fascinating although it the colour ones in particular which seem to have caught peoples imagination.

While these have been up on the LoC website for a number of years, they have become much more widely known since the LoC put a large selection up on Flickr. In fact there are quite a range of institutions and collections which have joined in adding a fascinating array of work to the Flickr Commons from the Getty to the Imperial War Museum to The National Archives UK to the State Library of New South Wales and more.

One result of this is that many institutions are finding they have been able to glean a large amount of extra information about the images through the crowd-sourcing of descriptions on Flicker.

Mind you, although they re easier to view on Flickr, one of the nice thing abut going back to the Library of Congress site for them is you can frequently download very large versions of the files - 50mb to 100mb or so - if you fancy printing off a few for your wall.

All in all worth a look (or another look)

P.S. - The Library of Congress recently updated the front end of it's normal image catalogue database system which improved its user friendliness quite significantly

(Louise Rosskam, 1910-, photographer. Shulman's market, at the southeast corner of N Street and Union Street S.W., Washington, D.C. 1941/42 (LoC))