The Press of the Nova Seotia College of Art and Design was established in 1972 43 a vehicle te publish books by and about lead contemporary artists, Between 1972 and 1987, twenty-six tills by such antists as Michael Snow, Steve Reich Gerhard Richter and Ywonne Rainer were published. Re-launched in 2002, The of Press will once again establish the university a a source forthe publishing _ nary document dnd sehoarly Wotks inthe fields of contemporary art, cra NSCAD University isa university of the visual ats singularly dedicated tot pursuit of excellence in the training of professional practitioners, in the condueting of ressarch and inthe production of works of at in all mea Ceramics Millennium: Critical Writings on Ceramie History, Theory, and Art Les Couleurs: Sculptures and Les Formes: Peintures ited by Garth Clark Daniel Buren Complete Writings 1959-1975 Handbook in Motion Donald Judd Simone Fort Raw Notes The Standrd Corpus of Present Day English Language Usage Ara Claes Oldenburg by Word Length and Alphabetizod Within Word Length Geral Fe Antists Talk: 1969-1977 Edited by Peggy Gale Eerits/ Writings 1942-1958 Paul-mile Borduas Modernism and Modernity: The Vancouver Conference Papers dited by Benjamin H.D, Buchloh, Serge Guilbaut, and David Solkin PRINTS The Fist Hundred Years: A History ofthe Nova Scotia College of Art and Desig Donald Soucy and Harold Pearse Raw Notes (2005) Deluxe Edition The Office. A Typewriter Print. Ghost Version. Rough Edits: Popular Image Video Works 1977-1980 Claes Oldenburg Dara Bimbaum Page 14] Lithography Marsden Hartley a Garry Neill Kenedy, CM. 4 Nova Scot Edited by Gerald Ferguson Photographs and Other Pictures, 1948-1968, lie Sheddenmartha rosler, 3 works | the restoration of high culture in chile Il the bowery in two inadequate descriptive systems in, around, and afterthoughts (on documentary photography) BUY THe Press oF THE Nova Scoria COLLEGE OF ART AND DESIGNHe PRESS OF THE Nova Scomia COLLEGE OF ART AND DESIGN To Ursula Ee, in whom I ist sw the bea 5163 Due Sect ‘of The Pes of the Nova Scotia College of Art and Desi ‘or as expressly permitted hy lw, for under terms agreed withthe appropiate reprographic ahs on Sevond eiton production: Arthur Cater, Austenou Back cover illastatin: Photographs fom The Bawery by Maha Roser Available tiough D.A.PDisrbutd Ar Publishers 55 Sih Avene, 2d Fle, New York,NY. 10013 Tel (212) 627-1999 Fay (212) 627-9484 works / Marta Roser —2006 Polis and culue—Chile—Histry—20nh century 2, Documenta hotorapy—New York (State) New YorkBowery (Stee), 3. Documentary Photosaphy Social apests, Tile, Ik Tit: Tse works,in, around, and afterthoughts (on documentary photography)1. Jacob Riis, Hell on Earth, 1903. “The Peril and Preservation of the Home,” in LJacoh Riis, Photographer and Citizen, od, by Alexander Alland, St, Milleron, N.Y Aperture, 1974, p. 89, Ris commented: “One night, when I went through one of the ‘worst dives I ever knew, my camera eaught and bold this scene ... When [Took upon [think that the Grace of God can reach that “lost woman’ in 2. Lewis Hine, Camery Workers Preparing Beans, ¢. 1910 (Irom Hine’s activi, her sins: but what about the man who made profit upon the slum that gave her up to Iuckraking period). See America and Lewis Hine, Photographs 1904-1940, the soot” Milleston, N.Y. Aperture, 1977 see p. 74 see p. 784. Ellen Grounds, age 22, a “pit broo wench” (pt-brow worker) at Pearson and Knowlos's Pils, Wigan, with Munby beside her “to show how nearly she approached me in size.” Carte-de-vsite by Robert Litle (or Mrs. Little), Wigan, September 11, 1873. See Michaol Hiley, Fctorian Working Women: Portraits from Life (London: Gorton Fraser, 1979) p82 3. Leo Seltzer, Rent Strike, Upper East Side, New York City, 1933. Seltzer was a ‘member of the New York (Workers) Film ard Photo League. His work seems more consistently militant than that of many other membos, see p.76 86, Canaan Ch stisement, 1971, (Gathered from of Smith by Dick chought we were in a peaceful village until we realized ebeing stalked by the primitive Mudmen of New Guinea” ‘Complete Minamata Essay 1g Study of Industrial Pollution7. Edward S. Curtis, Hopi Girls, 1900. Original is gold-ones. 8, Robert Flaherty c, 1914, Woman identified as “Allegoo (Shining Water, Sikoslingmuit Eskimo Woman, Souther Baffin Lands,” but she may be a woman named Kanaju Aeojealia, Published in March, 1915, in a Toronto newspaper, the photo is captioned “Our litle lady of the snows... makes a most engaging picture.” See Robert Flahert, Photographer'Fiimmaker, The Inuit 1910-1922, Exhibition Catalogue, Vancouver Art Gallery seep. 789. From, How to Make Good Movies (Rochester, NY: Eastman Kodak Company, nd} 10, Adam Clark Vroman, Hopi Towns: The Man with a Hoe, 1902 See Photographer af the Southwest, Adam Clark Yeoman, 1856 1916, 04, by Ruth Mahood (New York: Bonanza Books, nd.) (See also Footnote 13.) Ae 6612. Creditveard advertisement, 1979, Photo by Elliot Erwit. Original is in color. (Gathered from May 7 issue of The New LL Eliott Erwit, Boy with Grundfaher returning from bakers, Yorker) For the al campaign, this seene was also rested, twenty Provence, on an assignment forthe French office of tourism in the years after Erwitt made these still, by the producer of (moving) 1950s. (Agency: Doyle Dane Berbach.) Original in color television commercial seep. 79 see p. 79 61. Associated Press (photographer unknown), Florence Thompson in her trailer home with a framed copy of her photo and the book in This Proud Land, Reproduced from the Los Angeles Times, Saturday, November 18, 1978, Par Ll, p. 1 (Original photograph cannot be located.) 15, Dorothea Lange, Migrant Mother series, March, 1936, As reproduced ina promotional sheet for American Photographer. late 1970s. The famous photo, usually captioned Migrant Mosher, Mipomo, California, 1936, ison the right. see p. 80 see p. 80 oo17, Walker Evans's photograph of Allie Mae Fields Burroughs (le) appears, captionless, in Agce and Evans's Let Us Now Praise Famous Men (Boston: Houghton Mifflin, 1941); in that work she is pseudonymously called Annie Mae Woods Gudger. The second photo ¢right) was published in Evans's American Phowographs (New York: Museum of Modem Art, 1938), captioned Alabama Tenant Farmer’ Wife, 1936, The photograph also appears in Docimemary Photography (New York: Time-Life, 1972), cap- tioned Tenant Farmer’ Wife, Hale Coun, Alabama, 1936, in Walker Evans: Photographs for the Farm Security Administration (New York: Da Capo Press, 1973), captioned Annie Mae Burroughs Wife of @ Cotton Sharecropper, Hale Couns, Alobama, Summer 1956 (LC-UCSF342-8139A) and in Wafker Evans, Fist and Last (New York: Harper and Row, 1978), captioned Annie Mae Burroughs, Hale County; Alabama, 1936. These photos are wo of four of Annie Mac Burroughs clearly taken atthe same time. They appear together in Maker Evans ai Work (New York: Harper and Raw, 1982), where all are said to be from 8 x 10 negatives, which equire some time to change the piece of film in the eamera. I know ‘of no references tothe existence of more that one Année Mae with different expressions (the second photo is the most neutral ofthe four). Many writers depend on ther being just one, the preceding photo. For example, Seott Osbome, in “A Walker Evans Heraine Remembers.” American Photographer (September 1979), quotes Agee as calling the image “a fraction ofa second’s exposure tothe integrity of truth.” But working photographers regularly make sev- al exposures and choose just one; the grounds for choice may have litle to do with a version of the “decisive moment” doctrine19. Layout from Modern Photography, July 1980. The top photo isthe eover of the Diane Arbus mon 1972, (Phe Rosell, NJ, 1967) The bottom photo is Arbus Twins Revisited, by Don Lokuta, 1979, 18. Scott Osbourne, Alle Mae (Burroughs) Moore, 1979. Annie Mae Moore in her trailer home. From American Photographer, September 1919, p, Twins then, twins now: top, 1967 by Arbus, Below, 1979 by Lokita see p8320, Cover of Michael D. Zettler’s The Bowery (New York and London: Drake Publishers, 1975). Michael D. Zettler Sra the art. The art of Se aL) oes era a tad friend. Its a tool to be used in the grgatest art of them all losing certain memories, aitting rid of ee ee et catch...if you lose all the memories you won't oe a Re a cad see note no, 23,p. 86L The Bowery, in New York, is an archetypal skid row. It has been much pho= togeaphed, in works veering between outrap slumming spectacle. Why is the Bowery so magnetic to documentarians? I is no longer possible to evoke the camouflaging impulses to “help” drunks and ddown-and-outers or “expose” their dangerous existence. Tohted by Conde Nas re quoted by you is unavailable fre Ie ari as Penn who od refed the roms a pocogrph of a th Tingle Treo of Walker Evans te Sten Woosh) Raines and rprodoced in conjunction ih 13 Revit Fanos Fol" inthe Sanday Nev Yor Tnet Tee Ronee becaune Ms. Tidmore wis sting Mi Ae 19), The pro requested was captioned “da Thc mobile ome, which aces 10 ‘net showed one of Evans's tos emission to reproduce County subjects, ak Howell Raines acl Magazine of May 25,1980, 2 5 Raines over the content ofthe ati aoa eal Tuumore and her husband, Avi outside Ft eton of junked automobiles.” Asal sore Ain cole anne Mena was xed Nou a Kah fom ft br van cme” Hines ce rl wets Oe Taller Eves. Photographs forthe Farm 938 (New Yorks Da Capo es, {ora being of Wo Ruth’ foi) (LC-USZ62 130). rity administration 1938 rnger sister Laura Minnie Le= Ts