Synopses & Reviews
Before the film, Cand#233;sar Chavez, Chavez'sand#160;life was depicted in photographsand#160;by his confidant, Jon Lewis.
In the winter of 1966, twenty-eight-year-old ex-marineand#160;Jon Lewis visited Delano, California, theand#160;center of the California grape strike. He thought he might stay awhile, then resume studying photography at San Francisco State University. He stayed for two years, becoming the United Farm Workers Unionand#8217;s semiofficial photographer and a close confidant of farmworker leader Cand#233;sar Chand#225;vez.
Surviving on a picketand#8217;s wage of five dollars a week, Lewis photographed twenty-four hours a day and created an insiderand#8217;s view of the historic and sometimes violent confrontations, mass marches, fasts, picket lines, and boycotts that forced the table-grape industry to sign the first contracts with a farm workers union. Though some of his images were published contemporaneously, most remained unseen. Historian and photographer Richard Steven Street rescues Lewis from obscurity, allowing us for the first time to see a pivotal moment in civil rights history through the lens of a passionate photographer.
A masterpiece of social documentary, this work is at once the biography of a photographer, an exposand#233; of poverty and injustice, and a celebration of the human spirit.
Review
Winner in the Photography/Art category at the 2011-2012 Los Angeles Book Festival. Photgraphy/Art Honorable Mention - New England Book Festival
Review
Winnerand#160;in the Photography/Art category at the 2011-2012 Los Angeles Book Festival.
Review
Won an Honorable Mention for the 2011 George Wittenborn Memorial Book Award, as given by the Art Libraries Society of North America.
Review
"[A]n exemplary catalogue for its scholarship and content . . . Highly recommended."—P.C. Bunnell, Choice George Wittenborn Memorial Book Award Honorable Mention - Art Libraries Society of North America
Review
Honorable Mention the 2012 San Francisco Book Festival award for Photography and Art. P.C. Bunnell - Choice
Review
Winner of the 2012 New York Book Show Award in the Special Trade Photography, as given by the New York Book Show.
Review
Won an Honorable Mention for the 2011 New England Book Festival in the Photography/Art category. This award is given by the JM Northern Media family of festivals, and sponsored by the Larimar St. Croix Writers Colony, eDivvy, Shophanista and Westside Websites
Review
Winner of the 2012 San Francisco Book Festival for the Photography/Art category, sponsored by the JM Northern Media LLC P.C. Bunnell - Choice
Review
Won an award in the scholarly illustrated category in the AAUP 2012 Book, Jacket, and Journal Show Photography/Art Award - San Francisco Book Festival
Review
andldquo;Jon Lewisandrsquo;s magnificent photographs of the farmworker revolution in California evoke comparisons with the work of Dorothea Lange. They bend time past all forgetting to an era of struggle that stands on a par with Selma and Freedom Summerandmdash;the bitter fight to dignify Mexican and Filipino labor in the fields. Richard Street, who brought Lewis and his archive back into the light, provides a piercing account that honors both the brilliance of this photographer and the memory of a singular time and place.andrdquo;andmdash;Richard A. Walker, professor of geography at the University of California, Berkeley, and author of
The Conquest of Bread: 150 Years of California AgribusinessReview
andldquo;With characteristic erudition, historian Richard Steven Street brings to life the incredible work of Jon Lewis, one of the foremost labor and civil rights photographers of the twentieth century. This book simultaneously captures agricultural Californiaandrsquo;s most pressing political struggles and the vision of a major, if unrecognized, artist.andrdquo;andmdash;Stephen Pitti, professor of history at Yale University and author of
The Devil in Silicon Valley: Northern California, Race, and Mexican AmericansSynopsis
A fascinating look at how snapshots by seven Post-Impressionist artists influenced their work and the history of photography
Synopsis
A fascinating look at how snapshots by seven Post-Impressionist artists influenced their work and the history of photography
The advent of the Kodak camera in 1888 made photography accessible to amateurs as well as to professionals. Artists were not immune to its allure, and many began experimenting with the camera as a means of observing the world and capturing their own images of it. Snapshot investigates seven Post-Impressionist painters and printmakers: Pierre Bonnard, George Hendrik Breitner, Maurice Denis, Henri Evenepoel, Henri Rivi re, F lix Vallotton, and Edouard Vuillard. Although celebrated for their works on canvas and paper, these artists also made many personal and informal snapshots. Depicting interiors, city streets, nudes, and portraits, these photographs were kept private and never exhibited. As a result, most have never been seen by the public.
Juxtaposing personal photographs with related paintings and prints by these Post-Impressionist artists, Snapshot offers a new perspective on early photography and on the synthesis of painting, printmaking, and photography at the end of the 19th century.
Synopsis
The advent of the Kodak camera in 1888 made photography accessible to amateurs as well as to professionals. Artists were not immune to its allure, andand#160;many beganand#160;experimenting withand#160;the camera as a means of observing the world and capturing their own imagesand#160;of it.
Snapshot investigates seven Post-Impressionist painters and printmakers: Pierre Bonnard, George Hendrik Breitner, Maurice Denis, Henri Evenepoel, Henri Riviand#232;re, Fand#233;lix Vallotton, and Edouard Vuillard. Although celebrated for their works on canvas and paper, these artists also made many personal and informal snapshots. Depictingand#160;interiors, city streets, nudes, and portraits, these photographs were kept private andand#160;never exhibited. As a result,and#160;mostand#160;have never been seen by the public.
Juxtaposing personal photographs with related paintings and prints by these Post-Impressionist artists, Snapshot offers a new perspective onand#160;early photography and on the synthesis of painting, printmaking,and#160;and photography at the end of the 19th century.
Synopsis
A fascinating look at how snapshotsand#160;by sevenand#160;Post-Impressionist artists influenced their work and the history of photography
About the Author
Elizabeth W. Easton is the cofounder and director of the Center for Curatorial Leadership. Cland#233;ment Chand#233;roux is a curator of the photographic collection at the Centre Pompidou in Paris. Michel Frizot is research director of the Centre National de la Recherche Scientifique. Todd Gustavson is curator of technology at the George Eastman House in Rochester, NY. Franand#231;oise Heilbrun was until April 2011 the founding curator of photography at the Musand#233;e dand#8217;Orsay. Ellen W. Lee is chief curator at the Indianapolis Museum of Art. Anne McCauley is David Hunter McAlpin Professor of the History of Photography and Modern Art at Princeton University. Saskia Ooms works at Netwerk, a center for contemporary Art in Belgium. Katia Poletti isand#160;curator at the Fondation Fand#233;lix Vallotton, Lausanne. Eliza Rathbone is chief curator of the Phillips Collection in Washington, DC. Hans Rooseboom is curator of photography at the Rijksmuseum in Amsterdam.