Showing posts with label Photography. Show all posts
Showing posts with label Photography. Show all posts

Monday, March 18, 2019

UT Press at the San Antonio Book Festival

On Saturday, April 6, the University of Texas Press and five of our authors will enjoy the 7th annual San Antonio Book Festival at the Central Library (600 Soledad) and Southwest School of Art in beautiful downtown San Antonio. The Festival runs from 9:00 a.m. to 5:00 p.m. We'll have a booth in the Exhibitor Tent with tons of titles for sale at a great discount. There are a lot of fantastic authors in attendance (Tayari Jones! Elizabeth McCracken! Melissa Febos! Joe R. Lansdale! Lawrence Wright!), so we’ve distilled our authors' appearances into a single UT Press schedule.
Signing at 12:00 PM

Panel Location: Festival Room
Signing location: Southwest School of Art Parking Lot
Sauceda is a photographer, entrepreneur, and author of Y’all: The Definitive Guide to Being a Texan, and most recently, A Mile Above Texas. His aerial photographs of Texas were first published in a photo essay in Texas Monthly.

The Golden Ages of Television with Barbara Morgan & Maya Perez

3:15 PM - 4:00 PM
Signing at 4:15 PM

Location: Festival Room
Signing location: Southwest School of Art Parking Lot
Barbara Morgan Morgan co-founded the Austin Film Festival in 1993 and has served as the sole executive director since 1999. She developed and produces the TV and radio series Austin Film Festival’s On Story, currently airing on PBS stations nationally as well as on Public Radio International. She also coedited the previous volumes of On Story.

 Maya Perez Perez is a writer and producer who coedited the previous volumes of On Story. She produces the television series Austin Film Festival’s On Story, currently in its seventh season on PBS, which won a Lone Star EMMY Award® for Best Arts/Entertainment Program in 2014 and was nominated for an EMMY Award® in 2016.

Billy Lee Brammer: Great Texas Writer, Wayward American Son with Tracy Daugherty

3:45 PM - 4:45 PM
Signing at 5:00 PM

Location: West Terrace
Signing location: Southwest School of Art Parking Lot

 Daugherty has written biographies of Joan Didion, Joseph Heller, and Donald Barthelme, as well as four novels, six short story collections, a book of personal essays, and a collection of essays on literature and writing. His stories and essays have appeared in The New Yorker, Vanity Fair, The Paris Review online, McSweeney’s, Boulevard, Chelsea, The Georgia Review, Triquarterly, The Southern Review, and many other journals. Daugherty has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, Bread Loaf, Artsmith, and the Vermont Studio Center. A member of PEN and the Texas Institute of Letters, he is a five-time winner of the Oregon Book Award. At Oregon State University, Daugherty helped found the Masters of Fine Arts Program in Creative Writing and is now Distinguished Professor of English and Creative Writing, Emeritus.

Obsessed with Texas with Sarah Bird, David Norman & Mimi Swartz

3:30 PM - 4:30 PM
Signing at 4:45 PM

Location: West Terrace
Signing Location: Southwest School of Art Parking Lot
Sarah Bird’s previous novel, Above the East China Sea, was long-listed for the Dublin International Literary Award. Sarah has been selected for the Meryl Streep Screenwriting Lab, the B&N Discover Great Writers program, NPR’s Moth Radio series, the Texas Literary Hall of Fame, and New York Libraries Books to Remember list. Her latest novel is titled Daughter of a Daughter of a Queen, which is the compelling, hidden story of Cathy Williams, a former slave and the only woman to ever serve with the legendary Buffalo Soldiers. She first heard Cathy Williams’ story in the late seventies while researching African-American rodeos. Her forthcoming nonfiction collection, Recent Studies Indicate: The Best of Sarah Bird, will publish April 2.

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Tuesday, October 23, 2018

Scavenger Hunt at the 2018 Texas Book Festival

This weekend, the University of Texas Press and many of our authors will enjoy the 23rd annual Texas Book Festival on the Capitol grounds in downtown Austin and environs.


 The 2018 Texas Book Festival will be extra exciting this year because we have partnered with other Texas university presses and scholarly publishers for a scavenger hunt! Enter to win a big box of books from each participating publisher (listed below), plus discounts and more!


How It Works


 Stop by the booth of any of the participating publishers to pick up your scavenger hunt worksheet. Make your way to all of the booths on the form, obtaining a stamp at each one. To gain additional entries to the contest, share your book festival experience on social media, tagging a scholarly publisher above and using the hashtag #TurnItUP. When you have collected all of your stamps and filled out the worksheet, turn it in at the University of Texas Press booth (#304 / 305) to submit your entry for a chance to win! 

 Winners will be selected and notified on Monday, October 29th by 5pm.

 Mark your calendar for University Press Week 2018—November 12th to November 17th—in celebration of the many ways university presses amplify the voices of scholars and communities, hosted by the Association of University Presses. The theme is #TurnItUP, which was selected to celebrate the work of the scholarly publishing community to find, publish, and amplify subjects, authors, and stories that might otherwise be overlooked by the book publishing community.

The University of Texas Press will be selling great Texas reads at booths #304 and #305 in the exhibitor tents along Colorado Street. We'll have tons of titles for sale at a great discount, so please stop by. There are a lot of wonderful authors in attendance this year, so we’ve distilled our authors' appearances into a single UT Press schedule (browse the full schedule here):

Saturday

2:00 PM - 2:45 PM

More info

An Oral History of Houston Rap
Author: Lance Scott Walker
Location: The Contemporary Austin-Jones Center (700 Congress Avenue)
Booksigning: 3 PM Adult Signing Tent on Congress Avenue

Lance Scott Walker and photographer Peter Beste relate stories and images from a decade spent documenting Houston’s rap scene. Through interviews and photographs with the rappers, DJs, producers, promoters, record label owners, and locations, they show us how Bayou City rap music got its distinctive character.

Follow Lance Scott Walker online: @lanceswalker | Website 

More info

3:30 PM - 4:15 PM

Author: Kenny Braun and Jay B. Sauceda
Location: The Contemporary Austin-Jones Center (700 Congress Avenue)
Moderator: Brian Sweaney
Booksigning: 4:30 PM Adult Signing Tent on Congress Avenue

More info
From high above in the seat of a Cessna and down below in a cypress swamp, photographers Jay B. Sauceda (A Mile Above Texas) and Kenny Braun (As Far As You Can See) have journeyed through Texas to document fantastic new takes on our cherished Lone Star State. Join them for a slideshow of the beautiful Texas country, presented by Texas Highways magazine.

Follow Jay B. Sauceda online: @jaybsauceda | Website 

Follow Kenny Braun online: @KennyBraunPhoto | Website 



More info

3:30 PM - 4:15 PM

Texas BBQ, Small Town to Downtown
Authors: Wyatt McSpadden
Moderator: David Courtney
Location: Central Market Cooking Tent Congress and 11th Street
Booksigning: 4:30 PM in Adult Signing Tent, Congress Avenue

Let’s talk Texas barbecue! Photographer Wyatt McSpadden shares crave-inducing images of the barbecue universe in almost every corner of Texas. He’s joined by Franklin Barbecue’s Aaron Franklin to talk about our favorite food—Texas BBQ.

3:30 PM - 4:15 PM

Authors: Amy Gentry and Jessica Hopper
Moderator: Kayleigh Hughes
Location: Capitol Extension Room E2.014
Booksigning: 4:30PM in Adult Signing Tent, Congress Avenue

 Writers, music lovers, and critics Amy Gentry (Tori Amos’s Boys for Pele) and Jessica Hopper (Night Moves) pay homage to the forces and songs that shaped them, from Tori Amos’s iconic album Boys for Pele to the clubs and streets of Chicago’s youthful nightlife.

Sunday

More info
11:00 AM - 11:45 AM
Authors: Maya Perez and Barbara Morgan
Moderator: Jennifer Stayton
Location: Capitol Extension Room E2.010, 1100 Congress Avenue
Booksigning: Adult Signing Tent, Congress Avenue

Based on the popular PBS-affiliated television series, Maya Perez and Wendy Calhoun share On Story: The Golden Ages of Television, a collection of insights from several decades of interviews with some of TV's best creators and writers, including Issa Rae, Garry Shandling, Noah Hawley, and many others. Moderated by Jennifer Stayton.


12:00 PM - 12:45 PM

Author: Seamus McGraw
Moderator: Asher Price
Location: Texas Tent, Congress and 8th Street
Booksigning: Adult Signing Tent, Congress Avenue

Water, and the lack thereof, has shaped Texas agriculture, environment, and culture indelibly. Join authors Hugh Fitzsimmons (A Rock Between Rivers) and Seamus McGraw (A Thirsty Land) as they discuss the impact of water on the past, present, and future of Texas. Our shared reliance on water makes this a timely, and timeless, conversation.

1:00 PM - 1:45 PM

More info
Making History: The Civil Rights Movement In Texas
Author: Virginia Cumberbatch, Leslie Blair, Judge Harriet Murphy
Moderator: Doyin Oyeniyi
Location: Texas Tent (Congress and 8th Street)
Booksigning: 2 PM, Adult Signing Tent on Congress Avenue

More info
The story of the civil rights movement in Texas is complex, momentous and highly relevant to discussions today. Harriet Murphy, the state’s first female African American judge and author of There All Honor Lies, sits down with Virginia Cumberbatch and Leslie Blair, chroniclers of the history of integration at the University of Texas in As We Saw It, to discuss the activism, effort and courage that moved equality forward in Texas.

3:00 PM - 3:45 PM

Location: Capitol Extension Room E2.010 (1100 Congress Avenue)
Booksigning: 4 PM Adult Signing Tent on Congress Avenue


Beyoncé's blockbuster album and video Lemonade became an instant soundtrack for vital new-millennium narratives about race, gender and sexuality. Professor Tinsley, who made headlines with her undergraduate course “Beyoncé Feminism, Rihanna Womanism," discusses how Beyoncé models feminism and femme-inism and how Lemonade created space for non-ciswomen to explore their own identity and feminism.

More info

3:00 PM - 3:45 PM

Authors: Martha Cotera
Location: Latinx Lit Tent 804 Congress Avenue
Booksigning: 4 PM Adult Signing Tent on Congress Avenue

A groundbreaking new anthology brings together generations of Chicana scholars and activists to offer the first wide-ranging account of women’s organizing, activism, and leadership in the Chicano Movement. Join contributors Martha Cotera and Brenda Sendejo for a look at the intellectual and political legacies of early Chicana feminism.
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Monday, May 14, 2018

Geoff Dyer at the New Austin Central Library

This Wednesday evening, award-winning writer and novelist Geoff Dyer will be in conversation with filmmaker Sasha Waters Freyer at the new central location of the Austin Public Library. Geoff Dyer penned one-hundred original mini-essays engaging a masterfully curated selection of photographs to produce the new book The Street Philosophy of Garry Winogrand. Dyer's book was highlighted as an editor’s choice in the New York Times and reviewed in the Los Angeles Review of Books. Sasha Waters Freyer premiered her feature-
More info
length documentary film, Garry Winogrand: All Things are Photographable, at this year's SXSW film festival. Join us in celebrating the stunning new library and enjoy Geoff Dyer discussing Winogrand images drawn from his essays and Sasha Waters Freyer presenting excerpts from her award-winning documentary. 

 Photography, Film & Conversation with Geoff Dyer & Sasha Waters Freyer
Wednesday, May 16th at 7pm
Austin Public Library, Central

 In conjunction with the Austin Public Library and the Austin Public Library Friends Foundation

Garry Winogrand was one of the most important photographers of the 1960’s and 1970’s—along with Diane Arbus and Lee Friedlander. Decades before digital technology transformed how we produce and consume images, Winogrand made hundreds of thousands of photos with his 35mm Leica. His “snapshot aesthetic” captured a portrait of America from the late 1950s to the early 1980s, the New York City of Mad Men and the early years of the Women’s Movement. When Winogrand died suddenly at age 56 in 1984, Winogrand left behind more than 10,000 rolls of film. With so many unseen images, it has taken until now for the full measure of his artistic legacy to emerge. Sasha Waters Freyer's film depicts a larger-than-life American artist, full of contradictions and totally unresolved. Watch the trailer for the documentary here.




Take a virtual tour of the new downtown location of the Austin Public Library here, where readers can enjoy reading porches overlooking Shoal Creek and Lady Bird Lake, and a rooftop garden with the largest solar installation in downtown Austin. Co-designed by San Antonio architecture firm Lake | Flato Architects (check out our book Lake Flato Houses: Embracing the Landscape), the library also features a wonderful piece of public art, “Caw” by artist Christian Moeller, a grackle-inspired, 37-foot-tall kinetic sculpture with an LED screen.


ABOUT GEOFF DYER 

 Dyer’s many books include The Ongoing Moment (winner of the International Center of Photography’s prestigious Infinity Award for Writing/Criticism), But Beautiful (winner of the Somerset Maugham Prize), Out of Sheer Rage (shortlisted for a National Book Critics Circle Award), The Missing of the Somme, the novel Jeff in Venice, Death in Varanasi, and the essay collection Otherwise Known as the Human Condition (winner of a National Book Critics Circle Award). His latest book is White Sands: Experiences from the Outside World. A recipient of a Lannan Literary Fellowship, the E. M. Forster Prize and, most recently, the Windham-Campbell Prize for nonfiction, Dyer is an honorary fellow of Corpus Christi College, Oxford; a fellow of the Royal Society of Literature; and a member of the American Academy of Arts and Sciences. His books have been translated into twenty-four languages. Dyer is currently writer-in-residence at the University of Southern California.

ABOUT SASHA WATERS FREYERS

Sasha Waters Freyer creates nonfiction films about outsiders, misfits, and everyday radicals. Trained in photography and the documentary tradition, she fuses original and found footage in 16mm film and video. Past projects have screened at the Telluride Film Festival, the Film Society of Lincoln Center, the film festivals in Rotterdam, Tribeca, Big Sky, Havana, Videoex, and Ann Arbor, IMAGES in Toronto, the National Museum for Women in the Arts, the Museum of the Moving Image in New York, Union Docs, the Pacific Film Archive, L.A. Film Forum, and Rencontres Internationales Paris/Berlin, as well as the Sundance Channel and international cable and public television. She is the Chair of the Department of Photography + Film at Virginia Commonwealth University.



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Wednesday, August 16, 2017

Oral Histories from Michael Crouser's Mountain Ranch

This week, Michael Crouser is taking over the Smithsonian Magazine's Instagram feed with images from his book Mountain Ranch. To honor the ten years he spent shadowing and photographing cattle ranchers in the mountains of Colorado, we're excerpting two oral histories from the Heritage section of Mountain Ranch. Crouser writes in his afterword, “The men and women I have met, photographed, and become friends with in Colorado are often fourth-, fifth-, or even sixth-generation ranchers. And I find it amazing and nearly unbelievable that a young rancher can step out of his or her front door into the brisk morning, with snowcapped mountains ringing their view, saddle a horse, and set out to ride among the cattle, knowing that their great-great-grandparents, people they never met, had the exact same experience on the very same piece of land.”

 Follow the Smithsonian Magazine on Instagram at @smithsonianmagazine!





Punch George

Oak Creek, Colorado


 They call me “Punch,” is what they call me. I used to help everybody with cows and whatever, you know, punchin’ cows. That’s how I got that name. I think I was about nine when I got that name, and it’s been with me ever since. You come here now, and somebody asks for Otto George—that’s my real name—nobody knows him. It’s always Punch. I was born in Bailey, Colorado, on the other side of the hill, in 1925. I’m eighty-nine, just about ninety. We lived on a ranch over there, but right after I was born they moved up here, to Oak Creek. Course they brought me with ’em. I quit school in the eighth grade. I met my wife in the third grade, and we stayed together all that time.

Andy Maneotis, he was the biggest sheep man around here then. He was a Greek fella. And I worked a lot for him, helping him dock and gather his sheep, till I got a little older. Seemed like the war broke out too soon, or something, and I went right into the service, into the Marines, when I was seventeen, in 1942. They sent me right over there to the South Pacific. I was over there for over three years. Then I come back to the States, and it wasn’t too long after I got back that the war ended. And then I married my wife, the one I met in the third grade. She waited for me, and so we went that route.

Before that, I was working at anything I could get, really. My dad moved to Salt Lake, and I lived here all alone since I was eleven. I lived in an old shack in Oak Creek in an alley, which was all right. But there was no water, no nothin’. And that’s where I lived. You know, I didn’t have no help when he was here, ’cause there was no work then, you know; we’s just comin’ out of the Depression. I can’t say that I remember anything about Christmas or holidays when I was a kid. It was just another day. I guess ’cause I was on my own and there was nobody around, ya know, so I just worked. Everybody burned coal, but a lot of them lived upstairs, and that’s what I done, packed coal upstairs. Get it for ’em and things like that. And I even racked pool balls in a pool hall one time.

We used to go over there to Burns all the time to go rodeoin’. I didn’t rodeo myself. I just
messed around, is all. I never did get good. And besides that, I had too much work I had to do. Just before ya get to Burns Hole, ya start down that steep hill and cross the Colorado River; right on top, before ya start down, is where the rodeo grounds is. We was over there a couple three weeks ago, my daughter and I, and their rodeo grounds is all caved in. A lot of it’s still standin’, but it’s pretty shabby.

I didn’t claim to be a cowboy, but I liked to think I was. I had a lot of horses when we got on the ranch. I liked draft horses awful well. We had around four thousand head of cattle that we loaded on the train, and they hauled ’em to Nebraska, but it took ’em four days to get there. No feed, no water. And when Mom and I got there, we couldn’t recognize our own cattle. They was all ganted up and hungry and dirty and . . . oh, geez, it was terrible.

I never will forget this one time, we was drivin’ our cattle up to Yampa, and they’d all be on
the road, and here’d come the traffic, and this guy come up and couldn’t get through, so I had a guy back there to tell him, “Well, just hang on till we get two or three more cars and I’ll take ya through.” Well, this guy pulled out that big ol’ pistol and said, “We’ll go through right now.” And they took him through. That’s the things that happen to ya, that’s all. Lotta experiences on the ranch.

Margie Gates

Burns, Colorado


 I was born on Wolcott Divide, and I was a home birth, on November 23 of ’31. I was born in the Depression, of course, and jobs were few and far between. My father had been on the ranch in Radium that his father had homesteaded back in the 1880s, and he had to sell the ranch because his brothers and sisters in California were needing money. This left him kinda without a place to go, so he worked for the McLaughlin family, at State Bridge. He more or less managed the ranch for Mrs. McLaughlin. The ranch was up on the Wolcott Divide, and that’s where I was born. We lived there in a little two-room cabin.

My first memories are from when the McLaughlins decided they were gonna sell that ranch. That meant he had to find another job. So he went to Alma, Colorado, where there were jobs in the Lincoln mine. And I can remember—I was about three years of age—I can remember that the first summer we were there, we lived in a tent. And I remember my daddy making little stools out of a sign, for my brother and I . . . little stools for us to sit on. And I remember the man coming by, looking for his sign! My parents were wonderful. I was a daddy’s girl, and I sat on my daddy’s lap every morning. My mother’s cooking was wonderful. She could always cook meat, whether it was wild meat or whether it was tame. Chicken, pork, turkey, or ham.

My dad leased property up Gypsum Valley, and we lived on what they used to call the Congdon Ranch up there. He leased it, and we did haying and had cattle, milk cows, some sheep. I was just starting high school in Gypsum, and I herded sheep every day, and I learned very early on that you can stay out as late as you want to, but you’re gonna be at the breakfast table, and you are gonna eat breakfast. And then by eight o’clock you had to be out with the sheep, gettin’ ’em up on the mountain to eat for the day. And I’d bring the cows in every night before Daddy got home so he could milk ’em.

I rode every day, and I remember having a runaway. My brother, he wouldn’t saddle my horse for me. He said I had to learn how to saddle my own horse. He was five years older than I was, and he kinda thought he was my boss. Anyway, one day I went out to the corral, and his horse was saddled, and I thought, “I’m gonna ride that horse” rather than saddle my own. So I got on the horse. He saw me get on it, and he said, “Don’t go out the gate. You stay in the corral . . . don’t go out the gate.” Well, what did I do? I went out the gate! And the horse took off. I rode him all the way and finally got him turned around. I was on the main road, and luckily I didn’t run into any vehicle comin’ at us. But I had him stopped and turned around and comin’ back by the time my father and my brother got to me. And I didn’t get spanked!

I married Bud before I got out of nursing school. I met him when he came out to Gypsum to go to high school. I was in elementary and he was in high school. Bud was raised with girls, and so he knew how to talk to girls . . . give ’em a hard time, and all that kinda thing. And he’d walk along the fence there at the school, and we’d all—you know, silly girls—we were all out there lookin’ or doing something. And he was just really nice and smiley and fun to talk to. And I fell in love with him. That’s it. I was twelve. Yeah, I’ve loved him ever since I was twelve. You know, that’s the way it is. And that hasn’t changed.

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Wednesday, July 19, 2017

Photographer Nancy Rexroth on the Republication of her Classic Book 'IOWA'

In August of 2017, the University of Texas Press will be republishing IOWA, Nancy Rexroth's long out of print preeminent exemplar of Diana camera work, a cult collection of dreamlike, poetic images of "[her] own private landscape, a state of mind." The following contains Rexroth's current writings on IOWA, along with excerpts from her interviews with
Russell Joslin (from a 1998 SHOTS magazine interview) and Blake Andrews, discussing the Diana Camera and the meaning behind "Iowa."

"Since its publication in 1977, Nancy Rexroth's book IOWA has become an underground classic. Shot in the small rural country of Southeastern Ohio using a Diana camera with a plastic lens {cost = one dollar}, and named after her childhood memories, the book is mysterious on many levels" (Andrews, 2011).

ON DISCOVERING THE DIANA CAMERA:


"I was in graduate school at Ohio University in 1969. The courses were very technical for me, and we were studying the Zone System. I was so frustrated with it ALL, all things technical. An instructor {Arnold Gassan} had discovered the Diana in Chinatown, New York, and brought it back for use in the beginning photography classes. I saw him use the camera, and I realized that he had somehow loosened up. . .and he was almost silly while using the camera. . ."(Andrews, 2011). While observing him, I think that I saw from his reaction to the Diana that there was perhaps a magic there, an unlocking of the mind, when using such a basic toy camera. . .

"I bought a Diana camera, experimented for two weeks or so. I made a number of unremarkable photographs with it. At one point, I made an interior photo of a woman’s bed. After that image, I just got into a groove of feeling, with the camera..." (Andrews, 2011). "The photographs seemed to come from that one spot. That one feeling. It was like I had crawled through some kind of secret closet or trap door and found this place, and I mined that territory for the next six years. I continued because I loved it" (Joslin, 1998). 

"It really was a wonderful time to be a photographer because photography had just begun to be regarded as a respectable art form {the early 1970's}. It was starting to become a "good investment" also, which pushed things forward nicely. In graduate schools, things were still very technically oriented - "boy art" as a friend of mine called it. There were only one or two women in each graduate photo class. I felt alone, but used this to my advantage. You know, an, "Oh dear, I'll show you" attitude - an adrenaline thing. This helped because the guys in the program weren't always civil with me. The whole notion of feminism was just starting to be known. I toughened, and saw myself as a "female ambassador," who would make things better for the ladies that were to follow" (Joslin, 1998).


ON THE DIANA JOURNEY: 


"I photographed in many small towns of Southeastern Ohio, all very sad and unpopulated places. Sometimes, I would just knock on doors and ask to photograph inside. I was pretty trusting back then to have done that. Nowadays, I would feel the possibility of never leaving one of those houses. Perhaps I would receive the blow of "Maxwell's Silver Hammer" coming down on my head. . . and not take that chance" (Andrews, 2011). "I liked the scary aspect of those places; they were so different from the suburbs I grew up in. I like the fact that photography is an excuse to go somewhere" (Joslin, 1998).

Read more »
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Friday, June 23, 2017

"Rexroth's Strawberries" and the Beauty of IOWA

In the early 1970s, Nancy Rexroth began photographing the rural landscapes, children, white frame houses, and domestic interiors of southeastern Ohio with a plastic toy camera called the Diana. Having discovered the Diana camera while in graduate school in Ohio, Rexroth began experimenting with the looseness and spontaneity of the camera and the images it produced.
Plastic cameras are a simple and loving tonic for those who are frustrated and needing joy in their art work. How can you be at all serious, while using a camera that makes the sound of a wind-up toy every time you advance the film?—Nancy Rexroth, Q&A with Blake Andrews
Working with the camera’s properties of soft focus and vignetting, and further manipulating the photographs by deliberately blurring or sometimes overlaying them, Rexroth created dreamlike, poetic images of “my own private landscape, a state of mind.” She called this state IOWA. Rexroth self-published her evocative images in 1977 in the book IOWA, and the photographic community responded immediately and strongly to the work. Aperture published a portfolio of IOWA images in a special issue, The Snapshot, alongside the work of Robert Frank, Garry Winogrand, Lee Friedlander, and Emmet Gowin. The International Center for Photography, the Corcoran Gallery of Art, and the Smithsonian Institution included IOWA images in group exhibitions.

Forty years after its original publication, IOWA has become a classic of fine art photography, a renowned demonstration of Rexroth’s ability to fashion a world of surprising aesthetic possibilities using a simple, low-tech dollar camera. Long out of print and highly prized by photographers and photobook collectors, IOWA will be republished with twenty-two previously unpublished images, a new foreword by Magnum photographer and book maker Alec Soth, an essay by internationally acclaimed curator Anne Wilkes Tucker, and postscripts by Nancy Rexroth and Mark L. Power, who wrote the essay in the first edition.

   
Alec Soth, who wrote the foreword, "Wild Strawberries," for the reissued book, said of Rexroth's work: "[Her] images seem not to set the hard facts of place but instead to evoke the world of dreams." He compares her photography to a character in Ingmar Bergman's film, Wild Strawberries, writing: 
"It occurs to me that her delicate and informal way of photographing might be compared to picking wild strawberries. As in Bergman’s film, small delicacies carry larger symbolic meaning. . . . Rexroth’s pictures, her vibration, her wild strawberries: they are a kind of longing. Their inability to be located, the softness of the tones, their simultaneous inclusion and exclusion of time: these combine to create a sort of betweenness, like the sensation of moving toward a goal, like the feeling of seeking."
IOWA—the first photography book to showcase the artistry and beauty of photos taken on the Diana—remains a seminal volume and point of inspiration for contemporary photographers. As renowned photography curator Anne Wilkes Tucker writes in her essay for the reissue, "[Rexroth] preserves moments and scenes others might never notice or reject as unworthy of record: the look of a freshly made bed and of one unmade, the low perspective of blades of grass, and thin shadows of winter limbs snaking across the side of a home. She uses graphic forms with the intelligence of a fine poet. This is a feminine eye and a brave one. She takes a crosscurrent rather than follow the prevailing winds and brings us with her."

 IOWA is currently available for pre-order, and will be available from your favorite bookseller in August.
IOWA Nancy Rexroth
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