Great American photography in a welcome new frame.
A fresh, scholarly look—complete with more than 200 images—at the seminal American photographer, this time through the lens of fine art and literature.
In a lavishly illustrated narrative bolstered by impassioned research, art historian Alpers reintroduces readers to Walker Evans (1903-1975), one of America’s great artistic observers. Evans began his career dreaming of becoming an expat writer like those of the Lost Generation, and Alpers finds a literary core at the center of his creative makeup. In addition to “having an eye” for photography, Evans was a storyteller and a ruthless editor of his own work. He was meticulous about word choice in his writing and public speaking; in his photography, he tirelessly revised, endlessly searching for the perfect crop. Evans was an avid reader, and Alpers turns to books to unlock his oeuvre (Flaubert looms large). She similarly mines the realm of art history but occasionally reaches too far: After astutely likening the documentarian nature of her subject’s undeveloped rolls to a painter’s plein-air sketchbook, she goes on to compare Evans to Paul Cézanne and his many graphite studies. Elsewhere, she connects Evans to Edward Hopper, but “coming as I do from historic European art, the horizontal, two-page composition reminds me of a fifteenth-century Italian predella panel.” Alpers periodically touches on Evans’ well-documented commercial projects—e.g., Let Us Now Praise Famous Men, his celebrated collaboration with James Agee—but primarily searches for new ways to understand Evans’ work as a whole. She resists seeing his work as nostalgic; quoting Evans, she explains that he was “interested in what any present time will look like as the past.” Recalling critic Clement Greenberg, Evans saw photography as “the most literary of the graphic arts,” and Alpers convincingly presents him as a new kind of poet: “a photographer inventing a new language of images for America.”
Great American photography in a welcome new frame.Pub Date: Oct. 20, 2020
ISBN: 978-0-691-19587-2
Page Count: 320
Publisher: Princeton Univ.
Review Posted Online: May 26, 2020
Kirkus Reviews Issue: July 15, 2020
A slick, vacuous glimpse into the former first lady’s White House years.
A carefully curated personal portrait.
First ladies’ roles have evolved significantly in recent decades. Their memoirs typically reflect a spectrum of ambition and interests, offering insights into their values and personal lives. Melania Trump, however, stands out as exceptionally private and elusive. Her ultra-lean account attempts to shed light on her public duties, initiatives, and causes as first lady, and it defends certain actions like her controversial “I REALLY DON’T CARE, DO U?” jacket. The statement was directed at the media, not the border situation, she claims. Yet the book provides scant detail about her personal orbit or day-to-day interactions. The memoir opens with her well-known Slovenian origin story, successful modeling career, and whirlwind romance with Donald Trump, culminating in their 2005 marriage, followed by a snapshot of Election Day 2016: “Each time we were together that day, I was impressed by his calm.…This man is remarkably confident under pressure.” Once in the White House, Melania Trump describes her functions and numerous public events at home and abroad, which she asserts were more accomplished than media representations suggested. However, she rarely shares any personal interactions beyond close family ties, notably her affection for her son, Barron, and her sister, Ines. And of course she lavishes praise on her husband. Minimal anecdotes about White House or cabinet staff are included, and she carefully defuses her rumored tensions with Trump’s adult children, blandly stating, “While we may share the same last name, each of us is distinct with our own aspirations and paths to follow.” Although Melania’s desire to support causes related to children’s and women’s welfare feels authentic, the overall tenor of her memoir seems aimed at painting a glimmering portrait of her husband and her role, likely with an eye toward the forthcoming election.
A slick, vacuous glimpse into the former first lady’s White House years.Pub Date: Oct. 8, 2024
ISBN: 9781510782693
Page Count: 256
Publisher: Skyhorse Publishing
Review Posted Online: Oct. 14, 2024
Kirkus Reviews Issue: Dec. 1, 2024
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.
A former New York City dancer reflects on her zesty heyday in the 1970s.
Discovered on a Manhattan street in 2020 and introduced on Stanton’s Humans of New York Instagram page, Johnson, then 76, shares her dynamic history as a “fiercely independent” Black burlesque dancer who used the stage name Tanqueray and became a celebrated fixture in midtown adult theaters. “I was the only black girl making white girl money,” she boasts, telling a vibrant story about sex and struggle in a bygone era. Frank and unapologetic, Johnson vividly captures aspects of her former life as a stage seductress shimmying to blues tracks during 18-minute sets or sewing lingerie for plus-sized dancers. Though her work was far from the Broadway shows she dreamed about, it eventually became all about the nightly hustle to simply survive. Her anecdotes are humorous, heartfelt, and supremely captivating, recounted with the passion of a true survivor and the acerbic wit of a weathered, street-wise New Yorker. She shares stories of growing up in an abusive household in Albany in the 1940s, a teenage pregnancy, and prison time for robbery as nonchalantly as she recalls selling rhinestone G-strings to prostitutes to make them sparkle in the headlights of passing cars. Complemented by an array of revealing personal photographs, the narrative alternates between heartfelt nostalgia about the seedier side of Manhattan’s go-go scene and funny quips about her unconventional stage performances. Encounters with a variety of hardworking dancers, drag queens, and pimps, plus an account of the complexities of a first love with a drug-addled hustler, fill out the memoir with personality and candor. With a narrative assist from Stanton, the result is a consistently titillating and often moving story of human struggle as well as an insider glimpse into the days when Times Square was considered the Big Apple’s gloriously unpolished underbelly. The book also includes Yee’s lush watercolor illustrations.
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.Pub Date: July 12, 2022
ISBN: 978-1-250-27827-2
Page Count: 192
Publisher: St. Martin's
Review Posted Online: July 27, 2022
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