Books by Laura Wexler
Dorothea Lange: Seeing People
by Sarah Greenough, Andrea Nelson, Philip Brookman, Laura Wexler
An expansive look at portraiture, identity, and inequality as seen in Dorothea Lange’s iconic photographs
Dorothea Lange (1895–1965) aimed to make pictures that were, in her words, “important and useful.” Her decades-long investigation of how photography could articulate people’s core values and sense of self helped to expand our current understanding of portraiture and the meaning of documentary practice.
Lange’s sensitive portraits showing the common humanity of often marginalized people were pivotal to public understanding of vast social problems in the twentieth century. Compassion guided Lange’s early portraits of Indigenous people in Arizona and New Mexico from the 1920s and 1930s, as well as her depictions of striking workers, migrant farmers, rural African Americans, Japanese Americans in internment camps, and the people she met while traveling in Europe, Asia, and Latin America.
Drawing on new research, the authors look at Lange’s roots in studio portraiture and demonstrate how her influential and widely seen photographs addressed issues of identity as well as social, economic, and racial inequalities—topics that remain as relevant for our times as they were for hers.
Published in association with the National Gallery of Art, Washington
Exhibition Schedule:
National Gallery of Art, Washington, DC
(November 5, 2023–March 31, 2024)
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$55.00
Fire in a Canebrake: The Last Mass Lynching in America
by Laura Wexler
In the tradition of Melissa Faye Greene and her award-winning Praying for Sheetrock, extraordinarily talented debut author Laura Wexler tells the story of the Moore's Ford Lynching in Walton County, Georgia in 1946—the last mass lynching in America, fully explored here for the first time.
July 25, 1946. In Walton County, Georgia, a mob of white men commit one of the most heinous racial crimes in America's history: the shotgun murder of four black sharecroppers—two men and two women—at Moore's Ford Bridge. Fire in a Canebrake, the term locals used to describe the sound of the fatal gunshots, is the story of our nation's last mass lynching on record. More than a half century later, the lynchers' identities still remain unknown.
Drawing from interviews, archival sources, and uncensored FBI reports, acclaimed journalist and author Laura Wexler takes readers deep into the heart of Walton County, bringing to life the characters who inhabited that infamous landscape—from sheriffs to white supremacists to the victims themselves—including a white man who claims to have been a secret witness to the crime. By turns a powerful historical document, a murder mystery, and a cautionary tale, Fire in a Canebrake ignites a powerful contemplation on race, humanity, history, and the epic struggle for truth.
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Fire in a Canebrake: The Last Mass Lynching in America
by Laura Wexler
On that July evening in 1946, the leader counted aloud and the mob of white men fired. Seconds later, the leader counted again, "One, two, three," and the mob fired once more. After the third and final volley of gunshots, the white men got into their cars and drove off, leaving the bullet-ridden bodies of two young black men and two young black women lying in the dirt near Moore's Ford Bridge in rural Walton County, Georgia. Since that summer evening, there have never been as many victims lynched in a single day in America. Now, more than a half century later, Laura Wexler offers the first full account of the Moore's Ford lynching, a murder so brutal it stunned the nation and motivated President Harry Truman to put civil rights at the forefront of his national agenda. With the style of a novelist, the authority of a historian, and the tenacity of a journalist, Wexler recounts the lynching and the resulting four-month FBI investigation. Drawing from interviews, archival sources, and an uncensored FBI report, she takes us deep into the landscape of 1946 Georgia, creating unforgettable portraits of sharecroppers, sheriffs, bootleggers, the victims, and the men who may have killed them. Fire in a Canebrake pursues the legacy of the Moore's Ford lynching into the present, exploring the conflicting memories of Walton County's black and white citizens and examining the testimony of a white man who claims he was a secret witness to the crime. In 2001, the governor of Georgia issued a new reward for information leading to the arrest of the lynchers. Several suspects named in the FBI's 1946 investigation are still alive, and there is no statute of limitations on the crime of murder. Fire in a Canebrake -- a phrase local people used to describe the sound of the fatal gunshots -- is a moving and often frightening tale of violence, sex, and lies. It is also a disturbing snapshot of a divided nation on the brink of the civil rights movement and a haunting meditation on race, history, and the struggle
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Tender Violence: Domestic Visions in an Age of U.S. Imperialism (Cultural Studies of the United States)
by Laura Wexler
Laura Wexler presents an incisive analysis of how the first American female photojournalists contributed to a "domestic vision" that reinforced the imperialism and racism of turn-of-the-century America. These women photographers, white and middle class, constructed images of war disguised as peace through a mechanism Wexler calls the "averted eye," which had its origins in the private domain of family photography.
Wexler examines the work of Frances Benjamin Johnston, Gertrude Kasebier, Alice Austen, the Gerhard sisters, and Jessie Tarbox Beals. The book includes more than 150 photographs taken between 1898 and 1904, such as photos Johnston took aboard Admiral Dewey's flagship as it returned home from conquering Manila, Austen's photos of immigrants at Ellis Island, and Beals's images of the St. Louis World's Fair of 1904.
In a groundbreaking approach to the study of photography, Wexler raises up these images as "texts" to be analyzed alongside other texts of the period for what they say about the discourses of power. Tender Violence is an important contribution not only to the fields of history of photography and gender studies but also to our growing understanding of U.S. imperialism during this period.
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