Download Where We Find Ourselves: The Photographs of Hugh Mangum, 1897–1922 (Documentary Arts and Culture, Published in association with the Center for Documentary Studies at Duke University)
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Where We Find Ourselves: The Photographs of Hugh Mangum, 1897–1922 (Documentary Arts and Culture, Published in association with the Center for Documentary Studies at Duke University)
Download Where We Find Ourselves: The Photographs of Hugh Mangum, 1897–1922 (Documentary Arts and Culture, Published in association with the Center for Documentary Studies at Duke University)
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Review
How fortunate we are to have these absorbing portraits. First they seduce our eyes and our hearts, then they open our minds.--Peter Galassi, former chief curator of photography, Museum of Modern Art, New YorkLooking through Hugh Mangum's lens, we are transported to another time. History comes to life in these diverse portraits of southern lives.--Barbara Krauthamer, coauthor of Envisioning Emancipation: Black Americans and the End of SlaveryThese faces, at times smiling, at times stern, sometimes hatted, sometimes bare, are as ghostly as they are concrete. Often formal, even with chickens, they make the twenty-first century seem dull with all its bright colors. Where We Find Ourselves is a gift. Hugh Mangum saw things we need to keep looking for.--Randall Kenan, author of The Fire This Time
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About the Author
Margaret Sartor is a writer, photographer, and instructor at the Center for Documentary Studies at Duke University.
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Product details
Series: Documentary Arts and Culture, Published in association with the Center for Documentary Studies at Duke University
Hardcover: 184 pages
Publisher: The University of North Carolina Press (February 4, 2019)
Language: English
ISBN-10: 1469648318
ISBN-13: 978-1469648316
Product Dimensions:
10.5 x 1 x 10.3 inches
Shipping Weight: 2.9 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
1 customer review
Amazon Best Sellers Rank:
#82,282 in Books (See Top 100 in Books)
Both the written content and the photographic reproductions are superb, rallying the reader to take notice of this as-yet largely unheard of portrait photographer. Mangam’s work in the service of both white and black subjects in a racially divided Jim Crow South, and his photographic rendering of all his subjects with empathy and dignity is especially compelling and relevant in today’s racially charged atmosphere. There are lessons to be learned from Mangam that might begin with learning to see one another as he did.
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