Cover image for Walker Evans & company
Walker Evans & company
Galassi, Peter.
Personal Author:
Publication Information:
New York : Museum of Modern Art : Distributed by H.N. Abrams, [2000]

Physical Description:
271 pages : illustrations (some color) ; 30 cm
General Note:
Catalog of an exhibition held Mar. 16-July 26, 2000.

"Under the banner MoMA2000, The Museum of Modern Art has engaged in a wide ranging exploration of modern art through its own collections, in the form of a series of exhibitions, publications, and other initiatives over a seventeen-month period from the fall of 1999 to early 2001. Walker Evans & Company is part of the second of the three cycles that constitute this ambitious project. Titled Making Choices, this cycle focuses on the years between 1920 and 1960"--P. 6.

"Walker Evans & Company aims to encourage curiosity about a crucial innovation within the tradition of modernist photography that took shape in the 1920s and 1930s"--P. 7.
Added Corporate Author:


Format :


Call Number
Material Type
Home Location
Item Holds
TR645.N532 M835 2000 Adult Non-Fiction Non-Fiction Area-Oversize

On Order



Walker Evans' radical photography of the 1930s demonstrated that unembellished photographic fact could serve as a highly poetic language. These works expanded the potential of the art of photography and at the same time defined a lasting iconography that recognized advertising, movies and car culture as central images of modern American identity. Walker Evans & Company focuses on Evans as a central figure in the arts of the 1920s and 30s, and includes works in photography and other mediums that influenced Evans or were influenced by him, or which resonate in a significant way with aspects of his imagery, sensibility and style. Among the other artists whose work is featured are: Eugene Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol and Edward Weston. Published in conjunction with the second of three cycles of millennial exhibitions at The Museum of Modern Art, New York.

Reviews 2

Library Journal Review

Walker Evans, the Metropolitan Museum of Art's catalog to its current major retrospective, is a rock-solid work providing biographical, historical, and visual accounts of the artist's life and work. Hambourg, an assistant curator in the museum's Department of Photography, edited this big book with the straightforward approach that Evans employed in his art. Careful reproduction of well-known black-and-white and little-known color photographs by Evans forms the heart of the volume. There are quality essays here as well, biographical and analytical writing that effectively places Evans's visual efforts in social and territorial context. From the self-portrait on the cover to the notebook entries to the many photographs clustered along the way, Unclassified: A Walker Evans Anthology quickly broadens the popular view of the photographer as a chronicler of 1930s America with black-and-white film in his camera. Gathered from many files in the large and varied Evans Archive at the Metropolitan Museum of Art, these collected writings, photos, and ephemera give us a socially concerned writer, artist, and meticulous keeper of his life's work along with his opinions and his collections of postcards. This version of Evans shakes him free of any narrow channel in which we placed him. He led a robust life, and the stillness that comes from his Depression-era work is shaken up by this energized look at the photographer. Walker Evans pointed a camera at his world and let the documentary result speak as his art. Chief curator in the Museum of Modern Art's Department of Photography, Galassi has taken that objective eye as his theme. Gathering over 300 works from several media by 100 artists, Galassi gives us a volume of reportorial art, showing people, places, and things in "as is" condition. Evans touched people with his photographs because he merged his images with their "real lives." The question of whether other artists using other means were influenced by Evans's work or simply liberated to offer a visual vernacular landscape is incidental here. Galassi's book succeeds because his choices match his theme so well and play off the many examples of Evans's work that unite these pages. Though the Metropolitan catalog is the first choice for purchase, all three books are well recommended for all types of libraries and essential for serious art collections.DDavid Bryant, New Canaan Lib., CT (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Since Gilles Mora and John T. Hill's ambitious and excellent Walker Evans: The Hungry Eye (CH, Feb'94), there has been a steady stream of contemporary biographies and analyses of Evans. Some, like Mora and Hill's, have been successful; many have fallen short of their mark. Is another book about Evans really necessary? In the case of this book by Galassi (photography, Museum of Modern Art, New York), the answer is a resounding "yes." Although this book revolves around Evans and his modern, fact-based work, it moves deftly outward to examine the larger traditions and possibilities of documentary photography that have thrived around the world. In fact, Evans's photographs are far outnumbered by the works of more than 100 other artists including Eugene Atget, Alfred Stieglitz, Paul Strand, Berenice Abbott, Robert Frank, William Eggleston, Diane Arbus, and Robert Rauschenberg. There are 399 illustrations, including 67 in color and 332 beautifully reproduced duotones. Although the book is beautifully designed and produced, it is Galassi's sharp writing and fresh analysis that cause it to shine. It is a story of influence, chronicling how earlier American photography and European artists like Eugene Atget and August Sander influenced Evans, and it examines Evans's considerable influence on later generations of accomplished artists. Highly recommended. All levels. C. Baker; Baylor University