The Grass Shall Grow is a succinct introduction to the work and world of Helen M. Post (1907-79), who took thousands of photographs of Native Americans. Although Post has been largely forgotten and even in her heyday never achieved the fame of her sister, Farm Security Administration photographer Marion Post Wolcott, Helen Post was a talented photographer who worked on Indian reservations throughout the West and captured images that are both striking and informative. Post produced the pictures for the novelist Oliver La Farge's nonfiction book As Long As the Grass Shall Grow (1940), among other publications, and her output constitutes a powerful representation of Native American life at that time. Mick Gidley recounts Post's career, from her coming of age in the turbulent 1930s to her training in Vienna and her work for the U.S. Indian Service, tracking the arc of her professional reputation. He treats her interactions with public figures, including La Farge and editor Edwin Rosskam, and describes her relationships with Native Americans, whether noted craftspeople such as the Sioux quilter Nellie Star Boy Menard, tribal leaders such as Crow superintendent Robert Yellowtail, or ordinary individuals like the people she photographed at work in the fields or laboring for federal projects, at school or in the hospital, cooking or dancing. The images reproduced here are analyzed both for their own sake and in order to understand their connection to broader national concerns, including the 1934 Indian Reorganization Act. The thoroughly researched and accessibly written text represents a serious reappraisal of a neglected artist.

This book is about the ways American and British writers, painters and photographers have represented the American environment. It brings together essays by American, British and European scholars which consider the one hundred and twenty years following the Revolution and examine the preconceptions, ideologies, rhetorical and aesthetic conventions that shaped attitudes to the North American continent. While ranging widely, the essayists focus on such figures as Jefferson, Crevecoeur, John Neal, James Fenimore Cooper, William Cullen Bryant, Thomas Cole, Samuel Morse, Fanny Kemble, Dickens, Hawthorne, Clarence King and Edward Curtis. Amongst the places featured in the discussions are the Niagara Falls, the Mississippi and Ohio rivers, Virginia's Natural Bridge, Mount Ktaadn and a Broadway omnibus. The book contains numerous illustrations, including early photographs of the western United States, and will be of interest to specialists and students of American literature, history and culture.

From the 1890s onward, Edward S. Curtis took thousands of photographs of Native Americans all over the West. These were published (1907-1930) in twenty volumes of illustrated text and twenty portfolios of photographs; the project was supported by Theodore Roosevelt and funded in part by J. Pierpont Morgan, and spawned exhibitions, postcards, magazine articles, lecture series, a "musicale," and the very first narrative documentary film. Neither a eulogy to Curtis' achievement nor a debunking of it, this book is an honest study of the project as a collective whole.

In Edward S. Curtis and the North American Indian Project in the Field, Mick Gidley provides an intimate and informative glimpse of Edward S. Curtis (1868-1952) and his associates as they undertook their work in the early decades of the twentieth century. Photographer Curtis embarked on an epic quest to document through word and picture the traditional cultures of Native Americans in the western United States-cultures that he believed were inevitably doomed. Curtis's project became the largest anthropological enterprise undertaken in this country and yielded the monumental work The North American Indian (1907-30). Its publication was a watershed in the anthropological study of Native Americans and inspired the first full-length documentary film, popular magazine articles, books for young readers, lectures, and photography exhibitions. Housing a wealth of ethnographic information yet steeped in nostalgia and predicated upon the assumption that Native Americans were a "vanishing race," Curtis's work has been both influential and controversial, and its vision of Native Americans must still be reckoned with today. Gidley draws on a wide array of unpublished or uncollected reminiscences, reports, letters, field notes, and magazine and newspaper articles. The reports and reflections by Curtis and the project's ethnological assistants, memoirs by Curtis family members, and eyewitness accounts by newspaper reporters afford an unprecedented look at the process of anthropological fieldwork as it was commonly practiced during this period. This book also sheds light on the views of Curtis and his contemporaries concerning their enterprise and the Native peoples they worked with and provides a clearer sense of how both Native Americans and the mainstream American public perceived their efforts.

As American settlement expanded westward in the 1860s, the U.S. government undertook large-scale investigations of its new territories. "Images of the West: Survey Photography in French Collections, 1860-1880" presents memorable glass-plate photographs from these federal surveys. The selection includes breathtaking views of such iconic sites as Yosemite, as well as lesser-known ethnographic portraits taken by Timothy H. O'Sullivan, William H. Jackson, and William Bell, among others. The accompanying essays discuss how the photographs were used to promote white settlement, how their distribution at home and abroad contributed to the aggrandizement of the American West, and how the exploitative ideology underlying the use of photography extended to attitudes toward both American landscapes and American Indians.
The images are all drawn from French public collections, which hold an astonishing number of these U.S. survey photographs. Accompanying an exhibition at the Musee d'Art Americain Giverny, "Images of the West" provides a critical new examination of a bygone era.