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BOOKS RECEIVED

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REVIEWED

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Parry, Eugenia. CRIME ALBUM STORIES, PARIS 1886-1902.
Zurich: Scalo. 2000. pp. 319.
The photographs which illustrate this book come from an
incredible French album of crime photography. They are very powerful
images which are brutally graphic in their nature.
The text of the book describes the events which surround
the images and does so in a way which implies that what we are reading is
indeed factual. However, while the photographs are real and depict true
events, the text is a fictionalized account of the same events.
When fiction is introduced into the world of non-fiction,
it serves to lessen the power of the facts. Fortunately for us it cannot
dilute the impact of the photographs.
11/02
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| Riefenstahl, Leni. OLYMPIA.
Koln: Taschen. 2002. pp. 320.
This is an
excellent reprint of a classic photography book. It contains an
interesting forward by De Kevin Brownlow as well as press comments and
letters regarding the film and its release. The photographs still
stand as some of the best sports images ever made.
12/02
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Tucker, Anne W., Clare Cass, &
Stephen Daiter. This Was The Photo
League: Compassion and the Camera from the Depression to the
Cold War. Chicago: Stephen Daiter Gallery.
2001. pp. 176.
This volume relates the history of
the Photo League and describes the influence the League had on its
members, many of whom became well known photographers in their own
right. The book also contains biographies of the Photo League
photographers as well as a thoughtful and beautiful selection
of images taken by them . If you have any interest in social or
documentary photography, then this book belongs in your library.
11/02
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| Walther, Thomas. OTHER
PICTURES: ANONYMOUS PHOTOGRAPHS FROM THE THOMAS WALTHER
COLLECTION. Santa Fe: Twin Palms. 2000. Essay
by Mia Fineman.
Ever since technology made
photography widely accessible to most people, millions upon millions of
snapshots have been taken. These photographs were not made to be hung in
art galleries or museums, but rather to be pasted into albums or passed
around and shared with family members and friends. Most of these images
are nothing special and have no real significance except to those who were
involved with either the people or events being captured on film. Every
once in a while however, one of these images will transcend its intended
purpose when the image is viewed by someone outside the small group for
whom the image was originally meant. A collector of snapshots looks at
these images through modern eyes and his own aesthetic sensibility. He
imposes his own interpretations on to the images and views them as works
of art. Clearly this is something for which the photographs were not
originally intended.
In this book, Thomas Walter has
gathered together a collection of snapshots from different sources and
taken by various amateur photographers. Ordinarily these pictures would
never have appeared together, but rather they would have been displayed in
a family album with other similar pictures. In all likelihood
a lot of these images were not considered to be very good, or were even
thought to be mistakes by the people who took them. The photographer never
intended to distort the picture by cutting off the heads of
his subjects or blurring the image because of some unintended
motion. He wished to make as clear a
record as possible of some family or personal event and capture it on
film. In some cases, such as the erotic pictures, the images were probably
meant to be very private indeed.
Thomas Walter has put together
a book of wonderful amateur images which reflect his own eye as well as
his own interest in the great photographs of the 20’s and 30’s.
11/02
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