Available from the Peabody
All Peabody Museum Press books can be purchased directly from the Peabody Museum (through the museum PayPal account or with a check). The books listed on this page are available only from the Peabody Museum Press. Discounts begin at orders of two or more copies. Contact us for the discount schedule and to place an order:
fax: 617-495-7535 (Attention: Publications)
Gardner Fellowship Books
Peabody Museum Press Books
Miki Kratsman & Ariella Azoulay
Miki Kratsman has worked as a photojournalist in the Palestinian Occupied Territories for over three decades. Originally created in the context of daily news, his tens of thousands of photographs have, in retrospect, taken on fascinating new meanings, as bystanders become protagonists and peripheral details move to the center. Isolated from the original frame, cropped, enlarged, and redisplayed, the reimagined images ask us to explore the limits of the observer’s gaze under conditions of occupation.
Kratsman’s photographs look at both “wanted men”—individuals sought by the Israeli state—and the everyman and everywoman on the street who, by virtue of being Palestinian in a particular time and place, can be seen as a “suspect.” The work is both transgressive and banal, crossing boundaries between Israel and Palestine, “wanted” and “innocent,” street photography and surveillance imagery. Kratsman has also provoked vital, long-term interaction around the images on social media, creating a Facebook page on which viewers are invited to identify the individuals portrayed and comment on their “fate.” His complex project is chronicled in this book in more than 300 images that powerfully implicate the viewer as we follow the gaze of both occupier and occupied within a complex web of power relations around issues of life and death.
A thought-provoking text by Ariella Azoulay engages intimately with Kratsman’s images. Looking at various models of historical and civil construction of the gaze, Azoulay explores the ways in which the shadow of death is an actual threat that hovers over Kratsman’s photographed persons and frames both individuals and the borrowed time within which they exist.
A supplemental booklet contains hundreds of portraits and evocative messages from Kratsman’s Facebook project.
ABOUT THE AUTHORS
Miki Kratsman is a prize-winning Argentinean-born photographer who has lived in Israel since 1971. His work has appeared in the Venice Art Biennale, and in solo exhibitions from Tel Aviv to Seoul, Madrid, and New York. Since 1986, Kratsman has covered the occupied territories as a photographer for several newspapers, mostly for the Schoken Group, publishers of Ha’aretz newspaper. Over the years, he has photographed Palestinians at demonstrations, daily activities, celebrations, funerals, for profile story portraits, and more.
Ariella Azoulay (born 1962, Tel Aviv) is a Professor of Comparative Literature and Modern Culture and Media at Brown University, an author, curator, film maker, and theorist of photography and visual culture. Azoulay has degrees from Université Paris VIII, Ecole des Hautes Etudes en Sciences Sociales and Tel Aviv University.
Preface by Robert Gardner
Essay by Charles Ramble, Director of Studies, École Pratique des Hautes Études, Paris, and President of the International Association for Tibetan Studies
Photographer Kevin Bubriski has been visually documenting the country and people of Nepal since his first visit in 1975. Sent as a young Peace Corps volunteer to the northwest Karnali Zone, the country’s remotest and most economically depressed region, he spent three years walking the length and breadth of the Karnali, planning and overseeing construction of gravity flow drinking water pipelines. He also photographed the local villagers, producing an extraordinary series of 35mm and large format black-and-white images. For nearly four decades, Bubriski has maintained his close association with Nepal and its people. Both visual anthropology and cultural history, this remarkable body of photographic work documents Nepal’s evolution from a traditional Himalayan kingdom to a rapidly changing, globalized society. Nepal: 1975–2011 also offers an incisive and comprehensive look at the aesthetic evolution of an important contemporary photographer.
Kevin Bubriski is Assistant Professor of Photography at Green Mountain College in Poultney, Vermont, and was the 2010 recipient of the Robert Gardner Visiting Artist Fellowship at the Peabody Museum of Archaeology and Ethnology at Harvard University.
Nepal: 1975–2011 is co-published with Radius Books of Santa Fe, New Mexico.
Clothbound 12 x 11 inches
304 pages, 200 duotone illustrations
Trade Edition: $65.00
The exhibition “Shadows of Shangri La: Nepal in Photographs,” runs from May 22, 2014, to September 30, 2014, at the Center for Government and International Studies (CGIS), Harvard University, 1730 Cambridge Street, Cambridge, MA 02138.
For additional information:
Foreword by Robert Gardner
Essay by Bob Connolly
"Best Books 2013...The attraction of Dupont's books is that his photographs exhibit enormous passion and enthusiasm and are an effort to unlock the nature of the relationship between photographer and subject."
This publication records acclaimed Australian photographer Stephen Dupont’s journey through some of Papua New Guinea’s (PNG) most important cultural and historical zones: the Highlands, Sepik, Bougainville, and the capital city of Port Moresby. Through images and personal diaries, Dupont’s remarkable body of work captures the human spirit of the people of PNG in their transition from tribalism to globalization. The project was conducted in 2011 with the support of the Robert Gardner Fellowship in Photography given by Harvard’s Peabody Museum of Archaeology & Ethnology.
Piksa Niugini consists of two hardcover books inside a special slipcase. The first volume is a collection of portraits in luscious duotone and 4-color reproduction; the second is a vibrant collection of the diaries, drawings, contact sheets, and documentary photographs that chronicle Dupont’s experience and working process and richly contextualize the more formal images in volume one. An exhibition of Dupont's New Guinea photographs is on display at the Peabody through September 2, 2013.
Dupont’s photographs have received international acclaim for their artistic integrity and valuable insight into peoples, cultures, and communities that are under threat or in the process of rapid change. The photographer’s many awards include a Robert Capa Gold Medal citation from the Overseas Press Club of America, a Bayeux War Correspondent’s Prize, and first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys, and Leica/CCP Documentary Award. In 2007 Dupont was the recipient of the W. Eugene Smith Grant for Humanistic Photography for his ongoing project on Afghanistan. His work has been featured in The New Yorker, Aperture, Newsweek, GQ, French and German GEO, Le Figaro, Liberation, The Sunday Times Magazine, The New York Times Magazine, Stern, Time, and Vanity Fair.
Piksa Niugini: Portraits and Diaries is co-published with Radius Books of Santa Fe, New Mexico.
2 volumes, hardbound in slipcase. 8.5 x 11 inches.
Volume 1, Portraits: 144 pages, 80 duotone, 6 color images.
Volume 2, Diaries: 216 pages, 146 color images.
Trade edition $60.00
A limited number of signed advance copies of the book are currently available from the Peabody Museum Press. To purchase, please visit the front desk of the Peabody or call 617-384-9010.
HOUSE OF LOVE
Text by Aveek Sen
"These pictures are like stills for a silent movie for which you write the title cards. The more you look at them the more you see. No, that’s not quite right, actually. The more you look at them, the more you imagine."
—Mark Feeney, Boston Globe
>> read the entire review
House of Love is a work of photo fiction by Dayanita Singh. Working closely with writer Aveek Sen, whose prose follows a journey of its own, Singh explores the relationship between photography, memory, and writing. House of Love, designed to blur the lines between an art book of photographic images and a work of literary fiction, is a book whose images demand to be read, not just seen, and whose texts create their own sensory worlds. The combination creates a new vocabulary for the visual book.
The “House of Love” itself is the Taj Mahal, but the Taj Mahal as a recurring motif that stands for a range of meanings—meanings made up of the truths and lies of night and day, love and illusion, attachment and detachment. Through images of cities both visible and invisible, people real and surreal, Singh creates her own mysterious and ineffable, strange yet familiar language, using her trademark black-and-white photography and her newer nocturnal color work.
Published in 2011 by the Peabody Museum Press and Radius Books
198 pages / 63 color and 48 black-and-white photographs
Foreword by Robert Gardner
“Guy Tillim … combines a profound sense of historic documentation of African countries ravaged by conflicts and tragedies of all kinds and a very stringent formal aesthetic devoid of all mannerism.”'
As the first recipient of the Robert Gardner Fellowship in Photography at the Peabody Museum, Guy Tillim traveled through Angola, Mozambique, Congo, and Madagascar, documenting the grand colonial architecture and how it has become part of a contemporary African stage. His photographs reveal the decay and detritus of colonialism in Western and Southern Africa and convey an acute sense of humanity.
Tillim is an award-winning photographer from South Africa. His photographic documentation of social conflict and inequality in the countries of Africa has been exhibited in more than a dozen countries and widely published.
Published in January 2009 by the Peabody Museum Press and Prestel Verlag, Munich.
128 pages with 60 color photographs
Ancient Maya Artistry in Stucco and Stone
Barbara W. Fash
"An excellent book that tells us two inspiring stories. One is how a handful of dedicated experts helped to conceive, design, and build a new museum in rural Honduras while providing a model of how to partner intelligently and respectfully with a community that benefits not only from the presence of a world-class museum, but also deepens its own connection with its ancient cultural heritage. The second story is of the spectacular stone sculpture of the Mayan site of Copan…Barbara Fash…gives us a thorough introduction to ancient Mayan culture, while offering a wealth of archaeological detail, much of it fascinating."
—Museum Magazine >> read the full review
Opened in 1996, the Copan Sculpture Museum was initiated as an international collaboration to preserve Copan’s original stone monuments. Its exhibits represent the best-known examples of building façades and sculptural achievements from the ancient kingdom of Copan. The creation of this on-site museum involved people from all walks of life: archaeologists, artists, architects, and local craftspeople. Today it fosters cultural understanding and promotes Hondurans’ identity with the past. In The Copan Sculpture Museum, Barbara Fash—one of the principal creators of the museum—tells the inside story of conceiving, designing, and building a local museum with global significance. Along with numerous illustrations and detailed archaeological context for each exhibit in the museum, the book provides a comprehensive introduction to the history and culture of the ancient Maya and a model for working with local communities to preserve cultural heritage.
216 pages / 198 color illustrations, 34 line illustrations, 35 halftones, and 2 maps
Co-published with the David Rockefeller Center for Latin American Studies, Harvard University
Errata Il Museo Escultura Copan PDF
Edited by Charles Warren
Essay by Caleb Gardner
"A book of marvelous adventures with a camera and a series of meditations on diverse ways of life and making art by a wise and compassionate man."
This book presents selected writings by Robert Gardner. There are journals he wrote during stays in different parts of the world, observing and reacting to diverse ways of life, traditional and modern. There are his accounts of film projects envisioned and planned but not completed. There are essays, more formal and systematic than the journals, on ways of life in pre-modern cultures that Gardner has observed first hand. We also read his voiceover narrations from the films Dead Birds (1961) and Rivers of Sand (1975), which come to life in a new way on the page. And in an interview, letters, and articles, Gardner addresses the subject of filmmaking—his own and that of others—and reflects on film’s relation to anthropology and, more broadly, to the very project of human beings to understand reality. The material here, most all of it previously unpublished, is presented in three sections. In Parts I and II we see Gardner in the practice of just representation, or aiming at it. In Part III we see him talking about just representation, the concerns and the issues of it, specifically in his own filmmaking work and to some extent in that of others. He talks about filmmaking, not writing—but the writings of Parts I and II cannot be disentangled from filmmaking. There is the same sensibility and drive to expression at work. And as Gardner’s brief introductions to each piece make clear, the writings come out of filmmaking situations, out of preparation for or work on various filmmaking projects. The writings extend what the filmmaking does, complete what the filmmaking does not complete, take byways from the filmmaking and make new discoveries—and, of course, feed back into the filmmaking. The writing and filmmaking complete each other. Jointly published in October 2010 by Studio7Arts and the Peabody Museum Press.
Paper $22. To purchase Just Representations please visit Lulu.com.
Photographs by Hillel S. Burger
Foreword by James P. Ronda
"With its publication of Arts of Diplomacy, the Peabody Museum once again brings distinction to itself and the museum profession. Theirs is a seminal, expansive, and probing venture that has resulted in a handsome, readable, and profoundly significant volume."
-Oregon Historical Quarterly
When Meriwether Lewis and William Clark led the Corps of Discovery across the American West, they were acting as Thomas Jefferson’s emissaries to the Native American peoples they encountered along the way. In Arts of Diplomacy Castle McLaughlin challenges conventional wisdom about the expedition and reveals it as a complex process of diplomacy, mutual discovery, and exchange. The vehicle for this analysis is the Peabody Museum’s “‘Lewis and Clark collection,”‘ a set of magnificent eighteenth- and early nineteenth-century objects long thought to be the only surviving ethnographic items acquired by the Corps.
McLaughlin and her colleagues—including scholars Gaylord Torrence and Anne-Marie Victor-Howe—conducted painstaking analyses of these buffalo robes, basketry hats, and ceremonial pipes and traced their histories from public and private collections to their probable sources among Native makers and users. With contributions by Wasco basketry artist Pat Courtney Gold, Mandan-Hidatsa community activist Mike Cross, and other contemporary Native artists, Arts of Diplomacy presents a model for how museum collections can be coaxed to tell their own vivid stories.
Castle McLaughlin is Associate Curator of Native American Ethnography at the Peabody Museum.
Published by the Peabody Museum Press and the University of Washington Press
416 pages with 195 illustrations, 150 in color, notes, bibliography, index
8.75 x 10.75
Cloth $60, Paper $40
Signed copies available upon request
This 80-page, 5-mm-grid notebook, prepared by the Peabody Museum of Archaeology and Ethnology, is indispensable for the student or professional practitioner of field archaeology. It features:
—20-cm scales on the inside of front and back cover
—Singer-sewn binding and cloth-tape spine for durability
Discounts are available starting at two or more copies. For further information about bulk discounts, please contact the Peabody Museum Press sales department:
Paperback: 7.6 x 10"
$11.95 ISBN: 978-0-87365-863-8