Walker Evans Book order (chronological)

Walker Evans' photography, a cornerstone of documentary art, is explored in this redesigned and expanded edition. Celebrated for his profound impact on 20th-century photography, Evans' work vividly captures the American experience from the late 1920s to the early 1970s. This volume features some of his most iconic images, complemented by a new introduction and commentary from photography historian David Campany, providing fresh insights into Evans' artistic vision and legacy.

Text by John Hill, Lincoln Kirstein, Jeffrey Ladd.

Between 1936 and 1941 Walker Evans and James Agee collaborated on one of the most provocative books in American literature, Let Us Now Praise Famous Men (1941). While at work on this book, the two also conceived another less well-known but equally important book project entitled Many Are Called. This three-year photographic study of subway passengers made with a hidden camera was first published in 1966, with an introduction written by Agee in 1940. Long out of print, Many Are Called is now being reissued with a new foreword and afterword and with exquisitely reproduced images from newly prepared digital scans.Many Are Called came to fruition at a slow pace. In 1938, Walker Evans began surreptitiously photographing people on the New York City subway. With his camera hidden in his coat—the lens peeking through a buttonhole—he captured the faces of riders hurtling through the dark tunnels, wrapped in their own private thoughts. By 1940-41, Evans had made over six hundred photographs and had begun to edit the series. The book remained unpublished until 1966 when The Museum of Modern Art mounted an exhibition of Evans’s subway portraits.This beautiful new edition—published in the centenary year of the NYC subway—is an essential book for all admirers of Evans’s unparalleled photographs, Agee’s elegant prose, and the great City of New York.

Walker Evans (1903–75) is now considered perhaps the finest documentary photographer ever and his images have had considerable influence on other artists, and not only in the field of photography. He is well known for his 1930s work for the Farm Security Administration, documenting the effect of the Great Depression o

Edited by Jeff L. Rosenheim. Essays by Jeff L Rosenheim and Douglas Eklund. Introduction by Maria Morris Hambourg. This book, published on the occasion of the artist's first retrospective exhibition in three decades, presents a selection of mostly unpublished material from the Walker Evans Archive, the vast collection of negatives and papers acquired in 1994 from the artist's estate by The Metropolitan Museum of Art. Evans left to posterity an amazingly rich record of his creative process and inner life. From his earliest boyhood snapshots to the seldom-seen color Polaroids made in the year before his death, Unclassified - A Walker Evans Anthology traces the development of this American master through previously unpublished writings (fiction, diaries, essays, and criticism); his fascinating and copious early correspondence with the German artist, Hanns Skolle (Evan's best friend at the time); and revealing letters from Robert Frank, Lee Friedlander, and Diane Arbus. Previously-unknown photographs from the Metropolitan's collection of 40,000 negatives and transparencies reveal the artist at work. The anthology concludes with telling selections from Evan's seminal collection of vernacular roadside signs, picture postcards, printed ephemera, and a shockingly prescient album of newspaper clippings from the 20s and 30s that prefigures Andy Warhol and Pop and Conceptual Art by three decades.

From the late 1920s to his death in 1975, photographer Walker Evans returned obsessively to particular subjects. This book brings together 50 photographs of signs in the rural South of the 1930s - billboards, posters, headlines - from the Getty Museum's collection of Walker's work.