Carrie Mae Weems
Editor: Sarah Elizabeth Lewis, with Christine Garnier
Contributors: Dawoud Bey, Jennifer Blessing, Kimberly Juanita Brown, Huey Copeland, Erina Duganne, Kimberly Drew, Coco Fusco, Thelma Golden, Katori Hall, bell hooks, Robin Kelsey, Thomas J. Lax, Sarah Elizabeth Lewis, Jeremy McCarter, Yxta Maya Murray, José Rivera, Gwendolyn DuBois Shaw, Salamishah Tillet, Deborah Willis
In this October Files volume, essays and interviews explore the work of the influential American artist Carrie Mae Weems—her invention and originality, the formal dimensions of her practice, and her importance to the history of photography and contemporary art.
Documentary in Dispute:The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCausland
Author: Sarah M. Miller
The 1939 book Changing New York by Berenice Abbott, with text by Elizabeth McCausland, is a landmark of American documentary photography and the career-defining publication by one of modernism's most prominent photographers.
Documents of Doubt: The Photographic Conditions of Conceptual Art
Author: Heather Diack
Why do we continue to look to photographs for evidence despite our awareness of photography’s potential for duplicity? Documents of Doubt critically reassesses the truth claims surrounding photographs by looking at how conceptual artists creatively undermined them. Studying the unique relationship between photography and conceptual art practices in the United States during the social and political instability of the late 1960s, Heather Diack offers vital new perspectives on our “post-truth” world and the importance of suspending easy conclusions in contemporary art.
Life Magazine and the Power of Photography
Editors: Katherine A. Bussard and Kristen Gresh
From the Great Depression to the Vietnam War, the vast majority of the photographs printed and consumed in the United States appeared on the pages of illustrated magazines. Offering an in-depth look at the photography featured in Life magazine throughout its weekly run from 1936 to 1972, this volume examines how the magazine’s use of images fundamentally shaped the modern idea of photography in the United States.