Bonnie Yochelson 1997 Berenice Abbott Changing New York Paperback

Description: Trade PB. 4to. Published by The New Press / The Museum of the City of New York, New York. 1997. 399 pgs. Illustrated. First Edition/First Printing. Wrappers lightly worn with some light shelf-wear to the extremities present. Book is free of ownership marks. Text is clean and free of marks. Binding tight and solid. Originally published by The New Press in 1997 to stellar reviews and great acclaim, Berenice Abbott: Changing New York sold more than 20,000 copies in its combined editions and was featured in Vanity Fair, Newsweek, and the New York Daily News and called "the definitive visual record of the city as it was during the Depression" by the Washington Post. A Midwesterner who first came to New York in 1918, Abbott (1898–1991) was one of the twentieth century's most important photographers, and her images have come to define 1930s New York. In 1921, she moved to Paris and worked as Man Ray's darkroom assistant. Inspired by the great French photographer Eugène Atget, she returned to America in 1929 to photograph New York City. With the financial support of the WPA's Federal Art Project from 1935 to 1939, she was able to realize her ambition to document a "changing New York." Bonnie Yochelson 1997 Berenice Abbott Changing New York Paperback Description Up For Sale Today is Berenice Abbott Changing New York by Bonnie Yochelson Trade PB. 4to. Published by The New Press / The Museum of the City of New York, New York. 1997. 399 pgs. Illustrated. First Edition/FIrst Printing. Wrappers lightly worn with some light shelf-wear to the extremities present. Book is free of ownership marks. Text is clean and free of marks. Binding tight and solid. Originally published by The New Press in 1997 to stellar reviews and great acclaim, Berenice Abbott: Changing New York sold more than 20,000 copies in its combined editions and was featured in Vanity Fair, Newsweek, and the New York Daily News and called "the definitive visual record of the city as it was during the Depression" by the Washington Post. A Midwesterner who first came to New York in 1918, Abbott (1898–1991) was one of the twentieth century's most important photographers, and her images have come to define 1930s New York. In 1921, she moved to Paris and worked as Man Ray's darkroom assistant. Inspired by the great French photographer Eugène Atget, she returned to America in 1929 to photograph New York City. With the financial support of the WPA's Federal Art Project from 1935 to 1939, she was able to realize her ambition to document a "changing New York." This deluxe hardcover edition features more than 300 duotones―the complete WPA project―and 113 variant images, drawings, and period maps, as well as an explanatory text on Abbott's life and work. FROM WIKIPEDIA: Berenice Abbott (July 17, 1898 – December 9, 1991), born Bernice Abbott, was an American photographer best known for her black-and-white photography of New York City architecture and urban design of the 1930s. In early 1929, Abbott visited New York City, ostensibly to find an American publisher for Atget's photographs. Upon seeing the city again, however, Abbott immediately saw its photographic potential. Accordingly, she went back to Paris, closed up her studio, and returned to New York in September. Her first photographs of the city were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera which produced 8 x 10 inch negatives. Using this large format camera, Abbott photographed New York City with the diligence and attention to detail she had so admired in Eugène Atget. Her work has provided a historical chronicle of many now-destroyed buildings and neighborhoods of Manhattan. Abbott worked on her New York project independently for six years, unable to get financial support from organizations (such as the Museum of the City of New York), foundations (such as the Guggenheim Foundation), or individuals. She supported herself with commercial work and teaching at the New School of Social Research beginning in 1933. In 1935, however, Abbott was hired by the Federal Art Project (FAP) as a project supervisor for her "Changing New York" project. She continued to take the photographs of the city, but she had assistants to help her both in the field and in the office. This arrangement allowed Abbott to devote all her time to producing, printing, and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were then deposited at the Museum of the City of New York. Abbott's project was primarily a sociological study embedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior (and vice versa). Moreover, she avoided the merely pretty in favor of what she described as "fantastic" contrasts between the old and the new, and chose her camera angles and lenses to create compositions that either stabilized a subject (if she approved of it), or destabilized it (if she scorned it). Abbott's ideas about New York were highly influenced by Lewis Mumford's historical writings from the early 1930s, which divided American history into a series of technological eras. Abbott, like Mumford, was particularly critical of America's "paleotechnic era," which, as he described it, emerged at end of the American Civil War, a development called by other historians the Second Industrial Revolution. Like Mumford, Abbott was hopeful that, through urban planning efforts (aided by her photographs), Americans would be able to wrest control of their cities from paleotechnic forces, and bring about what Mumford described as a more humane and human-scaled, "neotechnic era". Abbott's agreement with Mumford can be seen especially in the ways that she photographed buildings that had been constructed in the paleotechnic era—before the advent of urban planning. Most often, buildings from this era appear in Abbott's photographs in compositions that made them look downright menacing. In 1935, Abbott moved into a Greenwich Village loft with the art critic Elizabeth McCausland, with whom she lived until McCausland's death in 1965. McCausland was an ardent supporter of Abbott, writing several articles for the Springfield Daily Republican, as well as for Trend and New Masses (the latter under the pseudonym Elizabeth Noble). In addition, McCausland contributed the captions for the book of Abbott's photographs entitled Changing New York which was published in 1939. OUR MISSION STATEMENT: Our goal is to provide the best books for the lowest prices. We understand that you have more choices than ever to buy books, so we strive to provide the best service, accurate descriptions, the cheapest shipping and the best customer service in the realm of bookselling. Thank you for visiting this listing and we hope to see you again soon! 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Price: 64.95 USD

Location: Charlottesville, Virginia

End Time: 2025-01-23T03:26:34.000Z

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