Beschreibung
Produktdetails
Einband
Gebundene Ausgabe
Erscheinungsdatum
30.06.2014
Herausgeber
Howard Greenberg + weitereVerlag
Steidl VerlagSeitenzahl
176
Maße (L/B/H)
28.4/23.5/2.5 cm
Auflage
1. Auflage
Sprache
Englisch, Französisch
ISBN
978-3-86930-444-1
“James Karales (1930–2002) was big-time in the best time but is not as well known as he should be,” argues
photographic historian Vicki Goldberg. This book will change that. Early in his career, Karales began a photo-essay
documenting Rendville, Ohio, an important stop on the Underground Railroad during the Civil War and one of the few
racially integrated communities in America in the late 1950s. These pictures demonstrate his striking ability to capture
the essential qualities of a community, are reminiscent of images made for the Farm Security Administration in the
1930s, and reflect Karales’ state of mind as he grappled with the racial issues that were to preoccupy him and America
for many years to come.
Karales worked for Look from 1960 until it ceased publication in 1971. Among many important assignments for the
magazine, Karales documented Martin Luther King and the 50 mile, five-day Selma (Alabama) march in 1965. 15 minutes
before the end of the march, the sky darkened and Karales’ wide-angle shot of the protesters silhouetted against the
horizon has since become an emblem of the march and has insured the photographer’s place in this tumultuous period
of American history. Through this new publication we discover that Karales’ stature as a photojournalist and social
documentary photographer par excellence is based on much more than one iconic image from Selma.
photographic historian Vicki Goldberg. This book will change that. Early in his career, Karales began a photo-essay
documenting Rendville, Ohio, an important stop on the Underground Railroad during the Civil War and one of the few
racially integrated communities in America in the late 1950s. These pictures demonstrate his striking ability to capture
the essential qualities of a community, are reminiscent of images made for the Farm Security Administration in the
1930s, and reflect Karales’ state of mind as he grappled with the racial issues that were to preoccupy him and America
for many years to come.
Karales worked for Look from 1960 until it ceased publication in 1971. Among many important assignments for the
magazine, Karales documented Martin Luther King and the 50 mile, five-day Selma (Alabama) march in 1965. 15 minutes
before the end of the march, the sky darkened and Karales’ wide-angle shot of the protesters silhouetted against the
horizon has since become an emblem of the march and has insured the photographer’s place in this tumultuous period
of American history. Through this new publication we discover that Karales’ stature as a photojournalist and social
documentary photographer par excellence is based on much more than one iconic image from Selma.
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