continued her portrait studies of women gun own-
ers, looking at the social, cultural, and personal
implications. Pinky/MM Bass used the pinhole
process to look at herself and the life around her.
Public art in the 1990s became an important are-
na for photographers working in the South. Under-
standing the need for visible integration of art and
public spaces, cities such as Atlanta and Miami
regularly funded public projects including the pho-
tographic arts. They spotlighted the mixed media
constructions of Maria Martinez-Canas, Radcliffe
Bailey, Amalia Amaki, Gregor Turk, Deborah
Whitehouse, Vicki Ragan, and Lynn Linnemeier.
At the end of the twentieth century, photo-
graphic artists working in the South saw them-
selves as a diverse group of artists, with various
ethnicities and influences. The visual canons of
the South as a place of ruin and remembrance,
once prominent in and outside of the South, were
being displaced. Yet, underlying Southern determi-
nants remain, even as the region moves into a new
artistic identity within globalization and into the
twenty-first century.
SusanTodd-RaqueSeealso: Architectural Photography; Bourke-White,
Margaret; Christenberry, William; Clark, Larry; Delano,
Jack; Eggleston, William; Evans, Walker; Farm Securi-
ty Administration; Gowin, Emmet; Lange, Dorothea;
Laughlin, Clarence John; Lee, Russell; Meatyard, Ralph
Eugene; Misrach, Richard; Portraiture; Public Art Photo-
graphy; Weems, Carrie Mae; Works Progress Adminis-
tration; Ulmann, Doris
Further Reading
Adams, E. Bryding, ed.Made in Alabama: A State Legacy.
Birmingham, Alabama: Birmingham Museum of Art, 1994.
Baldwin, William P., and Ellen Dugan, eds.Picturing the
South: 1860 to the Present. San Francisco: Chronicle
Books, 1996.
Dietzel, Susanne B. ‘‘Consuming Southern Landscapes:
Visual Representations of the American South.’’The
Southern QuarterlyVol. 36, No. 4 (Summer, 1998):
39–49.
Elliott, Susan Sipple, and John E. Schlader, eds.The South
By Its Photographers. Exhibition catalogue, Birmingham
Museum of Art. Jackson, MS: University Press of Mis-
sissippi, 1997.
Grovenar, Alan.Portraits of A Community: African Amer-
ican Photography in Texas. Austin: Texas State Histor-
ical Association, 1996.
Hagen, Charles, and Nan Richardson.New Southern Photo-
graphy: Between Myth and Reality. Aperture115. New
York: Aperture, 1989.
Harris, Alex, ed.A New Life: Stories and Photographs from
the Suburban South. Alice George Rose, coeditor for
photography. New York and London: DoubleTake
and W.W. Natos & Company, 1997.
———.A World Unsuspected: Portraits of Southern Child-
hood. Chapel Hill and London: University of North
Carolina Press, 1992.
Howorth, Lisa, ed.The South: A Treasury of Art and Lit-
erature. Center for the Study of Southern Culture, The
University of Mississippi, Oxford. New York: Macmil-
lan Publishing Company, 1993.
Moutoussamy-Ashe, Jeanne.Viewfinders: Black Women
Photographers. New York: Dodd, 1986.
Nordstrom, Alison Devine. ‘‘(Re)Presenting the South: Six
Contemporary Photographers.’’The Southern Quarterly
Vol. 36, No. 4 (Summer 1998): 58–81.
Robb, Frances Osborn.In View of Home: Alabama Land-
scape Photographs. Huntsville: Huntsville Museum of
Art, 1989.
Snyder, Robert E. ‘‘Picturing Southern Communities: A Re-
view Essay.’’The Southern Quarterly37, No. 4 (Spring-
Summer 1989): 106–19.
Willis-Thomas, Deborah.Black Photographers: 1840–1940:
An Illustrated Bio-Bibliography. New York: Garland,
1985.
Zanes, Warren. ‘‘Primitive Myths: Photography and the
American South.’’Afterimage, Vol. 25, No.4 (January/
February 1998): 10–12.BURT UZZLE
American
Burt Uzzle, self-taught American photographer,
photographs the ordinary and makes it special,
always striving to catch the moment when the
ordinary reveals itself to be epic. To Uzzle, to be
alive and to use his camera helps him to truly see.
Concentrating on pictures of everyday Americans
going about their lives, his work is both contra-
dictory and harmonious, recording and interpret-
ing every detail, and is always searching to express
meaning, order, and beauty.UNITED STATES: THE SOUTH, PHOTOGRAPHY IN THE