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THEORY - "Interview with Walker Evans" Interview with Walker Evans Conducted by Paul Cummings In Connecticut October 13, 1971 In New York City December 23, 1971 The following oral history transcript is the result of a tape-recorded interview with Walker Evans conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The interview took place at the home of Walker Evans in Connecticut on October 13, 1971 and in his apartment in New York City on December 23, 1971.

THEORY - "Walker Evans and American Life" Scavenging the Landscape: Walker Evans and American life Afterimage, Jan-Feb, 1996 by Melissa Rachleff The Great American Depression, spanning the 1930s, inscribed into the culture a psychic crisis. Faith in industrial ingenuity, heralded as "progressive," came unhinged. By 1933, four years after the stock market crash, one quarter of the work force was unemployed.(1) Into this dilemma came a multitude of photographic projects, the most famous of which were sponsored by the federal government in the form of agencies that provided relief to farmers, the unemployed and others. The most completely realized project was the documentation of conditions faced by displaced farmers, recorded by the Historic Section of the Resettlement Administration (RA), later the Farm Security Administration (FSA). The socially-oriented photographic book made its appearance, as did the photographic magazine, best exemplified by Life in 1936. Many of the best known American photographers came to prominence during the Depression, including Berenice Abbott, Dorothea Lange, Gordon Parks and Margaret Bourke-White. Of all the photographers from that era, one represented the quintessential photographic style of the Depression while remaining an elusive figure in photographic history: Walker Evans (1903-1975).

In 1994 The Metropolitan Museum of Art acquired the personal archive of the American photographer Walker Evans (1903-1975). The Walker Evans Archive contains the artist's life's work-forty thousand negatives and transparencies dating from the late 1920s to the early 1970s-as well as Evans's personal and professional correspondence, papers, diaries, family photo albums, and his collection of books, picture postcards, clippings, roadside signs, and works by other artists.

"The Passion of Walker Evans" By: Daniel Mark Epstein, New Criterion, March 1, 2000 America's infatuation with photography has thrived upon its easy accessibility. By 1903, the year Walker Evans was born, George Eastman had made the roll-film camera so cheap that soon no family reunion or Sunday picnic need ever lack a "photo artist" to immortalize it. Amateur camera societies and photo exhibitions sprang up in cities and towns from coast to coast. And while professionals like Alfred Stieglitz fought for "the serious recognition of photography as an additional medium of pictorial expression," arguing that the photographer's gift, like the painter's, was privileged vision, the larger public remained quite content with the belief that one person's photo was pretty much as good as another's.

ART; Travels With Walker, Robert and Andy

Photographers discussed include Cartier Bresson Manuel Alvarez Bravo Walker Evans Robert Frank Lee Freidlander William Eggleston Joel Sternfeld