as well as the willful neglect of industrial pollution
and over-farming.
Exploring and recording the Midwest prairie
lands while appearing to dominate Evans’ oeuvres
is an adjunct to her earliest work, intimate portrait
photographs made of residents of her native Kan-
sas. Evans was exposed at an early age to the world
of portrait photography as she helped process film
at her parents’ portrait studio. Her early documen-
tary works featuring family and friends of Salina,
Kansas, appear in a book titledKansas Album.Her
personal images reveal a glimpse into the lifestyles,
emotions, and attitudes of very individual people.
Originator and director of the 1976 project aimed
at apprehending the spirit of the state as well as
recording its exterior image, Evans selected eight
photographers—Terry Alinder, Mark Goodman,
Robert Grier, Earl Iversen, Lawrence McFarland,
Jim Richardson, Larry Schwarm, and Garry Wino-
grand—to document the people of Kansas in a five-
month period during the United State’s bicentennial
year.Kansas Albumfeatures an equitable represen-
tation of the people of Kansas through the wide
variety of documentary styles from close-up portrai-
ture to urban street views to landscape void of the
evidence of man.
Each photographer worked alone and chose his
or her subjects according to personal insights and
empathy. As their photographs attest, these docu-
mentary studies reflect the attitude of the photogra-
pher towards Kansas ranging from deep emotional
attachments to formal aesthetic assessments.
MargaretDennyFurther Readings
Building Images: Seventy Years of Photography at Hedrich
Blessing. Produced in collaboration with Chicago His-
torical Society. San Francisco: Chronicle Books, 2000.
Cahan, Richard.They All Fall Down: Richard Nickel’s
Struggle to Save American’s Architecture. Washington,
D.C.: The Preservation Press for National Trust for
Historic Preservation, 1994.
Evans, Terry.The Inhabited Prairie. Lawrence, KS: Univer-
sity Press of Kansas, 1998.
———.Kansas Album. Kansas Banker’s Association, 1977.
Hurley, F. Jack.Portrait of a Decade: Roy Stryker and the
Development of Documentary Photography in the Thir-
ties. Baton Rouge, LA: Louisiana State University Press,
1972.
Loveless, Leslie A.A Bountiful Harvest: The Midwestern
Farm Photographs of Pete Wettach, 1925–1965. Iowa
City, IA: University of Iowa Press, 2002.
Neff, Terry Ann R., ed.Photography’s Multiple Roles: Art,
Document, Market, Science. Chicago: The Museum of
Contemporary Photography, Columbia College Chicago
in association with D.A.P./Distributed Art Publishers,
Inc. New York, 1998.
Ohio: A Photographic Portrait 1935–1941: Farm Security
Administration Photographs. Akron, Ohio: Akron Art
Institute, 1980.
Skrebneski, Victor.Skrebneski: The First Fifty Years of
Photography, 1949–1999. Zurich and New York: Stem-
mle, 1999.
Stebbins, Theodore E., Jr., and Norman Keyes, Jr.Charles
Sheeler: The Photographs. A New York Graphic Society
Book, Boston: Little, Brown and Company, 1987.
Travis, David, and Elizabeth Siegel, eds.Taken by Design:
Photographs from the Institute of Design, 1937–1971.
Chicago: The Art Institute of Chicago, 2002.
Wexler, Laura.Tender Violence: Domestic Visions in an Age
of U.S. Imperialism. Chapel Hill & London: The Uni-
versity of North Carolina Press, 2000.PHOTOGRAPHY IN THE UNITED
STATES: THE SOUTH
Southern photography has been, by its own desire,
rooted in the past. Photographers have endeavored
to capture a sense of the Southern experience and
primacy of place, whether familiar or strange, and
a consciousness of time. A rich, strong narrative
voice emanates from all of the Southern arts, most
profoundly from the reality of the photographic
medium. In the twentieth century, photography in
the South went from being largely confined to early
small town portrait and commercial studios to the
influx of educated Southerners and outsiders seek-
ing to redefine and rethink what the Southern
identity was in the camera’s eye.
In the early 1900s, there were several ways in the
South in which a photographer could make a li-
ving: portraiture, commercial documentary, orUNITED STATES: THE SOUTH, PHOTOGRAPHY IN THE