Further Reading
Alloula, Malek.The Colonial Harem. Translated by Myrna
Godzich and Wlad Godzich. Minneapolis: University of
Minnesota Press, 1986.
Banta, Melissa, and Curtis M. Hinsley.From Site to Sight:
Anthropology, Photography and the Power of Imagery.
Cambridge, MA: Peabody Museum, 1986.
Dyer, Richard.White. London: Routledge, 1997.
Fusco, Coco, and Brian Wallis, eds.Only Skin Deep: Chan-
ging Visions of the American Self. New York: Harry N.
Abrams and International Center of Photography,
2003.
Golden, Thelma.Black Male: Representations of Masculi-
nity in Contemporary American Art. New York: Whitney
Museum of Art, 1994.
Graybill, Florence Curtis, and Victor Boesen.Edward Sher-
iff Curtis: Visions of a Vanishing Race. Albuquerque:
University of New Mexico Press, 1976.
Hall, Stuart, and Mark Sealy.Different. London: Phaidon
Press, 2001.
Hight, Eleanor M., and Gary D. Sampson, eds.Colonialist
Photography: Imag(in)ing Race and Place. New York:
Routledge, 2002.
Johnson, Tim, ed.Spirit Capture: Photographs from the
National Museum of the American Indian. New York:
Smithsonian Institution, 1998.
Ligon, Glenn.Glenn Ligon: Un/Becoming. Philadelphia:
Institute of Contemporary Art, 1997.
Lippard, Lucy, ed.Partial Recall. New York: New Press,
1992.
Moosang, Faith.First Son: Portraits by C.B. Hoy. Vancou-
ver: Presentation House Gallery and Arsenal Pulp Press,
1999.
Omi, Michael, and Howard Winant.Racial Formation in the
United States: From the 1960s to the 1980s. New York:
Routledge, 1994.
Weems, Carrie Mae, Frances B. Johnston, and Vivian Pat-
terson.Carrie Mae Weems: The Hampton Project. New
York: Aperture, 2000.
Willis, Deborah, ed.Reflections in Black: A History of
Black Photographers. New York, W.W. Norton, 2000.MARC RIBOUD
French
A leading photojournalist of the second half of the
twentieth century, Marc Riboud embodies the so-
cially engaged photographer who foregoes the spec-
tacle of high-profile news events to uncover the
flashes of human drama in the undercurrents of
everyday life. He has spent five decades—about half
that time as a member of the Magnum photo
agency—documenting the social, political, and eco-
nomic conditions in dozens of countries on several
continents, but much of his reputation rests on his
work in Asia. From Turkey to Japan, he has revealed
the changing face of that continent, most particularly
in China, where he has returned again and again
since 1957 to compile an exceptional visual record
of China, from the Great Leap Forward through the
Cultural Revolution to the Tiananmen Square pro-
tests and the turn toward capitalism.
Riboud was born in Lyon, France, in 1923 and
took his first photographs as a child. In photo-
graphing the Exposition Universelle in Paris in
1937—with his father’s Kodak Vest Pocket camera
Riboud made an early association between the
medium and his interaction with other cultures.
After fighting with the French resistance in
World War II, he studied engineering and worked
for three years in a Lyon factory before turning to
professional photography. In 1952, he met Henri
Cartier-Bresson and Robert Capa, two of Mag-
num Photos’ founders, and joined the agency the
following year. Cartier-Bresson would have a
strong influence on Riboud’s style and working
methods, though at the outset Riboud’s photo-
graphs tended toward the insouciant style of fel-
low Parisian Robert Doisneau and the weekly
leisure magazines.Paris, 1953 [painter of the Eif-
fel Tower], an image from Riboud’s first paid
assignment forLifemagazine, reflects this in its
light-hearted treatment of a quintessentially Pari-
sian subject. The painter floats over the city with
comical grace, at one with the monument he clings
to, like a music hall acrobat nostalgically trans-
ported from a belle epoque revue.
Cartier-Bresson advocated a less sentimental,
more complex narrative style based on capturing
the ‘‘decisive moment’’ that crystallizes a scene at a
pivotal instant often capable of multiple interpreta-
tions.France, 1953 [pilgrimage to Chartres]is an
early example of Riboud’s turn in that direction.
Taken during a religious retreat at Chartres, it
reveals his enduring interest in the individual asREPRESENTATION AND RACE