Authentic Americana:: The Art of Social Documentary
By James Crnkovich, Bob Mielke and Lester Joos
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About this ebook
This is retrospective collection of the photography of photojournalist James Crnkovich. It is introduced by Bob Mielke and has commentaries by Lester Joos. The book contains fifty-five of James's finest photographs in either black and white or color. The photographs document life in America under the following categories: Intimate Relationsh
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Authentic Americana: - James Crnkovich
Authentic Americana:
The Art of Social Documentary
Authentic Americana:
The Art of Social Documentary
A retrospective of the photographs of James Crnkovich
With an introduction by Bob Mielke
And commentaries by Lester Joos and James Crnkovich
Naciketas Press
715 E. McPherson
Kirksville, Missouri 63501
2014
Copyright ©2014 by James Crnkovich
All rights reserved. No portion of this publication may be duplicated in any way without the expressed written consent of the publisher, except in the form of brief excerpts or quotations for review purposes.
ISBN 978-1-936-13512-7 (ebook)
Library of Congress Control Number: 2014939911
Published by:
Naciketas Press
715 E. McPherson
Kirksville, Missouri 63501
Available at:
Naciketas Press
715 E. McPherson
Kirksville, Missouri, 63501
Phone: (660) 665-0273
http://www.naciketas-press.com
Email: ndelmoni@gmail.com
Contents
An Appreciation and Introduction
Artist’s Statement
Exhibitions and Publications
Intimate Relationships
Studies
Rethinking Art
Geometry
Incongruous Places
The Politics of Irony
Gun Culture
Public Permissibility
Babe-acious Behavior
Public Relationships
Being Kids
Vanishing America
What the Critics are Saying
Truth and Lies: James Crnkovich’s Documentary Art—Essay by George Slade
An Appreciation and Introduction
by
Bob Mielke
My first dance with this talented devil came in the summer of 1986, when we worked together on the Iron Range Community Documentation Project, a summer course with field work conducted out of the University of Minnesota at Duluth by the noteworthy American poet Carolyn Forché and her Time-Life photographer husband, Harry Mattison. They had both gained some acclaim for their documentary work in El Salvador, but were burned out by the heat and hassling the Reagan administration was putting on them. So they decided to tackle an American problem in the hopes that Confucian order might emanate from domestic improvements to a more enlightened foreign policy—very noble and idealistic of them. The boom-to-bust scaling down of the mining industry on the Iron Range was a suitable choice of focus.
Much good writing and photography came out of this project. I think it is really where James earned his spurs as a documentary photographer coming out of a tradition which had once flourished in the 1930s with such WPA photographers as Walker Evans, Dorothea Lange and Margaret Bourke-White. His previous work had been experimental abstractions and landscapes. (He was already beginning his obsession with drive-in theaters and urban archaeology that led to a text like his photo-book about the Sutro Baths and the abandoned gun emplacements in San Francisco called Monuments of Protection and Pleasure.) He also did a few stylized portraits of friends.
But it was on the Iron Range project that he first triumphed as a superb documenter of everyday people. It was a pleasure and a paradox to watch him work. James is well over six feet tall. Yet despite his physical obtrusiveness, his soft-spoken manner and enthusiasm let this gentle giant get into the hot zone of physical proximity to near-strangers. The results were some of his first major works: old couples dancing in bars, lusty teenagers cruising in their cars (they let him photograph from the back seat). These are his first examples of what I call soul voyeurism. Crnkovich captures figures at moments when they are revealing some mysterious aspect of their character. One senses a rich backstory in these images which we are invited, nay compelled, to speculate about—certain that we could never come in