synopsis
Born of a desire to follow the seasons up and down America, and equally to find lyricism in contemporary American life despite all its dark histories, American Prospects has enjoyed a life of acclaim. Its pages are filled with unexpected excitement, despair, tenderness and hope. Its fears are expressed in beauty, its sadnesses in irony. Oddly enough, the society it seems to presage has now come to be; oddly enough, the ideas of this book bespeak our present moment.
Often out of print, this new edition of Joel Sternfeld’s seminal book returns to the format of the original 1987 edition. All of the now classic images within it—alongside a group of never published photographs—examine a once pristine land stewarded by indigenous peoples who needed no lessons in stewardship, and a land now occupied by a mix of peoples hoping for salvation within the fraught paths of late capitalism. The result suggests a vast nation whose prospects have much to do with global prospects, a “teenager of the world” unaware of its strengths, filled with idealism and frequent failings. These pictures see all but judge not.
photos of the book
technical information
publisher : Times books
1987
128 pages
55 photos
dimensions : 26 x 31 cm
1987
128 pages
55 photos
dimensions : 26 x 31 cm
about Joel Sternfeld
Joel Sternfeld is an artist-photographer whose work is concerned with utopic and dystopic possibilities of the American experience.
Ever since the publication of his landmark study, American Prospects in 1987 his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory and attention to seasonal passage. It is a melancholic, spectacular, funny and profound portrait of America. The curator Kevin Moore has claimed that the work embodies the “synthetic culmination of so many photographic styles of the 1970s, incorporating the humor and social perspicacity of street photography with the detached restraint of New Topographics photographs and the pronounced formalism of works by so many late-decade colorists” (Kevin Moore, Starburst: Color Photography in America 1970-1980).
Ever since the publication of his landmark study, American Prospects in 1987 his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory and attention to seasonal passage. It is a melancholic, spectacular, funny and profound portrait of America. The curator Kevin Moore has claimed that the work embodies the “synthetic culmination of so many photographic styles of the 1970s, incorporating the humor and social perspicacity of street photography with the detached restraint of New Topographics photographs and the pronounced formalism of works by so many late-decade colorists” (Kevin Moore, Starburst: Color Photography in America 1970-1980).
On This Site (1996) examines violence in America while simultaneously raising significant epistemological questions about photographs as objects of knowledge.
Sweet Earth: Experimental Utopias in America (2006) “can be seen as a generous respite from the traumatic history in On This Site... It is a survey of American human socialization, alternative ways of living, of hopeful being” (Elin O’Hara Slavik, 2018).
All his subsequent work has sought to expand the narrative possibilities of still photography primarily through an authored text. All of his books and bodies of work converse with each other and may be read as a collective whole.
His work represents a melding of time and place that serves to elucidate, honor, and warn. The images hold a certain urgency, as their histories survive solely through their photographic representation— they are an archive for the future.
Sternfeld is the recipient of two Guggenheim Fellowships and spent a year in Italy on a Rome Prize. He teaches at Sarah Lawrence College, where he holds the Noble Foundation Chair in Art and Cultural History.
Sweet Earth: Experimental Utopias in America (2006) “can be seen as a generous respite from the traumatic history in On This Site... It is a survey of American human socialization, alternative ways of living, of hopeful being” (Elin O’Hara Slavik, 2018).
All his subsequent work has sought to expand the narrative possibilities of still photography primarily through an authored text. All of his books and bodies of work converse with each other and may be read as a collective whole.
His work represents a melding of time and place that serves to elucidate, honor, and warn. The images hold a certain urgency, as their histories survive solely through their photographic representation— they are an archive for the future.
Sternfeld is the recipient of two Guggenheim Fellowships and spent a year in Italy on a Rome Prize. He teaches at Sarah Lawrence College, where he holds the Noble Foundation Chair in Art and Cultural History.
source : Joel Sternfeld website
book in my collection
publisher : Distributed Art Publishers
1987 (1st edition)
1987 (1st edition)