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Symbols of Ideal Life: Social Documentary Photography in America 1890-1950, by Maren Stange
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The documentary style that dominates American photography had its origins in the social reform publicity campaigns of the turn of the century. This book traces the history of this genre and its main participants, including Jacob Riis, Lewis Hine, Walker Evans, Dorothea Lange, Ben Shahn, and Russell Lee.
- Sales Rank: #337437 in Books
- Brand: Cambridge University Press
- Published on: 1992-02-28
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .47" w x 5.98" l,
- Binding: Paperback
- 208 pages
- Used Book in Good Condition
From Library Journal
Photography as a tool for social reform is Stange's topic. But though the power of the pictures she has selected is clear, she explains their value as social motivators in a complex, even leaden prose apparently intended for an academic audience. As a result, the relation of the images of human suffering produced by Jacob Riis, Lewis Hine, Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee, et al. to viewers' response never comes alive. A pity, for this subject deserves a wider circle of readers who would expect the tight connection between disturbing image and collective response to be broadened rather than concealed in dense text. For academic libraries.
- David Bryant, Belleville
Copyright 1989 Reed Business Information, Inc.
Review
'Whether one agrees or not with the main thrust of Stange's argument, in its detailed and insightful discussion of the relationship between reform ideology and images, between social imagery and photojournalism, between real and ideal, Symbols of Ideal Life is an important contribution to our understanding of the evolution of the documentary style in photography.' Art Journal
Most helpful customer reviews
2 of 2 people found the following review helpful.
this is not a book about Photography or photographers
By Kindle Customer
This is a book written around the photos of the social reform campaigns and farm security administration Photography Project. Few pages about the photographers or their photos, with only one exception Jacob Riis in the first chapter. It is more a book about how the Farm program use Photography as a communication tool to reach mass audience, and give materials to prestigious Magazines and newspapers, that support the government social reforms. All this anyway gives a massive audience to a directed, politically elaborated, not spontaneous type of photography that later make its way in the Photography history as a social documentary style. This history speak about the most famous photographers that shortly participate in the programs, and then quit, because they feel they are not doing the kind of photography work they pretend to do as artist.
If you are looking for photos of that time, history of the documentary photographers like Evans, Dorothea Lange or others it is not the book for you. If you are looking for a critic and history of centralized government communication campaigns of the social reform since 1900 to the world war times, it is the book for you.
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