Download PDF The Open Road: Photography and the American Roadtrip, by David Campany
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The Open Road: Photography and the American Roadtrip, by David Campany
Download PDF The Open Road: Photography and the American Roadtrip, by David Campany
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After World War II, the American road trip began appearing prominently in literature, music, movies and photography. As Stephen Shore has written, Our country is made for long trips. Since the 1940s, the dream of the road trip, and the sense of possibility and freedom that it represents, has taken its own important place within our culture. Many photographers purposefully embarked on journeys across the U.S. in order to create work, including Robert Frank, whose seminal road trip resulted in The Americans. However, he was preceded by Edward Weston, who traveled across the country taking pictures to illustrate Walt Whitman's Leaves of Grass; Henri Cartier-Bresson, whose 1947 trip through the American South and into the West was published in the early 1950s in Harper's Bazaar; and Ed Ruscha, whose road trips between Los Angeles and Oklahoma formed the basis of Twentysix Gasoline Stations. Hundreds of photographers have continued the tradition of the photographic road trip on down to the present, from Stephen Shore to Taiyo Onorato, Nico Krebs, Alec Soth and Ryan McGinley. The Open Road considers the photographic road trip as a genre in and of itself, and presents the story of photographers for whom the American road is muse. The book features David Campany's introduction to the genre and 18 chapters presented chronologically, each exploring one American road trip in depth through a portfolio of images and informative texts. This volume highlights some of the most important bodies of work made on the road, from The Americans to the present day.
- Sales Rank: #223941 in Books
- Published on: 2014-09-01
- Original language: English
- Number of items: 1
- Dimensions: 12.10" h x 1.60" w x 10.40" l,
- Binding: Hardcover
- 336 pages
Review
David Campany’s study of the great photographic odysseys across America reveals a country more diverse than ever. –The Guardian
David Campany compiles a photographic boulevard of broken dreams running from the Swiss immigrant Robert Frank’s nomadic portraits of 1950s stragglers to the sinister 21st century manipulations of the team Taiyo Onorato and Nico Krebs, who document roads that exist only in some collective hallucination. –The New York Times LENS blog
The vastness is also erotic—it’s a void urban photographers and their subjects can disappear into. –The New York Times LENS blog
By the end, you'll feel as if you've been in the passenger seat for a page-by-page road trip of a lifetime. –Los Angeles Times
From shots of Mount Rushmore and the Pacific Coast Highway to glimpses of everyday life at roadside motels and pit stops, the photos highlight Americans’ long-standing fascination with the road, as a window into both the country’s cultural life—with the car window as a literal frame—and its pioneering attitude. – The Wall Street Journal
About the Author
Historian David Campany is one of the best-known and most accessible writers on photography. He has published several books, among them Handful of Dust (2015), The Open Road: Photography and the American Road Trip (Aperture, 2014), Walker Evans: The Magazine Work (2013), and Photography and Cinema (2008). He contributes regularly to a range of publications, including Aperture and Oxford Art Journal.
Most helpful customer reviews
23 of 24 people found the following review helpful.
Mostly using the off-ramp to see the country
By Robin
The road trip is a staple of the photobook business and this title does a decent job in giving an overview of the genre. David Campany, in his illustrated front of book essay, traces photo trips way back to the early years of the last century. Page nine reproduces a spread from a fascinating Rand McNally photo-auto guide published in 1910 which used images of every significant corner and building to show the route from New York to Chicago. An oddity of the theme was a series of articles in the Moscow based Ogonek magazine in 1935 by Ilf and Evgeny Petrov, two Russians who used a ten week countrywide tour of America to take photos and write the copy (reprinted in 2006 by the Princeton Architectural Press). Campany makes an interesting point that...'American culture still finds it difficult to shake the idea that its big cities embody the present and its small towns the past'...the open road (certainly not the freeway) leads back to a nostalgic past.
The book looks, historically, at the work of nineteen photographers though actually in eighteen chapters because the last one is a combined effort from Taiyo Onorato and Nico Krebs. Each gets a series of one to a page photos from between five (Victor Burgin) and seventeen (Stephen Shore). I think it's worth say that if you have books from Frank, Winogrand, Eggleston, Meyerowitz, Shore, Sternfeld and Soth you might well have seen their contributions in these pages. This book can be a useful introduction to lesser well known photographers who also have books in print.
I can understand using Robert Frank's The Americans as the starting point for the book though unfortunately it means that Berenice Abbott's remarkable photo study of US1 in 1954 doesn't get a look in and I wonder why Jacob Holdt is included, he did travel around the Nation but to me his work is more a collection of interior reportage. I would have included Joachim Brohm or Benjamin Swett. Victor Burgin is an odd choice too, mainly because he includes text in his photos and therefore has no control over the size of his published photos so that the text can end up as unreadable, as it is in two of his photos on page 215. The book's most intriguing images come in the last chapter with fourteen photos by Onorato and Krebs from their 2009 'Great unreal' book. Difficult to describe their work so Google them.
I enjoyed the 'Open road' as a worthwhile wrap-up of the highway photo genre. A handsomely produced book using a 200 screen for the photos on a quality matt art paper, a bibliography and index would have been useful though.
See my comment below to look inside the book.
11 of 11 people found the following review helpful.
The history of American road photography
By Michael McKee
Road trips have provided the fodder for many photographers, especially in America. The Open road offers an excellent overview of the genre and places the major names in American road photography in context, both chronological order and with the major art photography world at the time the photos were taken. So, the book works as a history of road trips, yet it is much more. The photos that chosen for the book make for an attractive and compelling photo book on their own. The introductory essays for each photographer offer a nice introduction to their photography and methodology, though I do have to agree that the typography in those essays is awful. The ornamentation (not technically ligatures, which connect two letters) on the letter s is particularly distracting. Fortunately, that distraction pales when we get a look at the photos.
Obviously, no one volume can cover all the good photographer who have published compendium of road trip photos. The classic photographers are covered, like Frank, Winograd, Friedlander, Eggleston, Meyerowitz and Shore. The selection of current photographers is necessarily more a reflection David Campany's personal tastes. How could it be otherwise?
The selection of images representing each photo book that he chose reflects nicely on the original source books, three of which I own. While no short selection of images can convey the breadth of the original road photo books, the ones here do reflect the tone of the originals and give enough of a sense of the photographer's work that we can choose which to pursue further.
The printing is excellent. Colors look true to the films the photographers used. Black and white photos display a good tonal range. All in all, the prints are compelling. The binding is of good quality as is the printing.
One feature that I love is an unofficial appendix that shows where each photographer made the original photos. There's a separate map for each photographer. This is a book that I will consult often and treasure.
4 of 4 people found the following review helpful.
"I do not offer the old smooth prizes, but offer rough new prizes"
By R. M. Peterson
Over the years I have accumulated a fair number of photography books. THE OPEN ROAD is already one of my favorites, and it surely will be one of those that I return to most often.
The bulk of the book consists of photographs selected from road trip portfolios or books by eighteen different photographers. Many of the photographs are manifestly "open road" photographs, in the sense that they feature road vistas or scenes; some bear the clear indicia of having been taken from inside an automobile. But whether or not obviously an "open road" photograph, all were taken during an American road trip (some, for example, are motel room interiors).
The first of the featured photographers is Robert Frank. The seven photographs of his are from his now classic book of 1959, "The Americans", which sported an introduction by the archetypal "open roader" Jack Kerouac. The last of the eighteen is the dual-headed TONK (the Swiss team of Taiyo Onorato and Nico Krebs), from their book "The Great Unreal", published in 2009. In between are such famous photographers -- famous in the sense that at least I was familiar with their work -- as Garry Winogrand, William Eggleston, Lee Friedlander, Joel Meyerowitz, and Joel Sternfeld. But some were new to me, and I appreciated being exposed to their work -- in particular, Jacob Holdt, Alec Soth, and Justine Kurland. (I list all eighteen photographers in a comment.)
The book begins with a thirty-page, generously illustrated essay by David Campany. The purpose of that essay is to explore the cultural context leading up to Robert Frank's book. It goes back to the Rand McNally Photo-Auto Guides, launched in 1906, and discusses influential photographers of the American scene who were forerunners of Robert Frank, such as Walker Evans, Henri Cartier-Bresson, and Esther Burley. Then, for each of the eighteen highlighted photographers in the main section of the book, Campany provides a one-page introduction, placing that photographer's work within, or as an extension of, the tradition of American road photography. These essays by Campany are excellent.
By the way, Campany traces the phrase "the open road" to Walt Whitman's poem "Song of the Open Road", from "Leaves of Grass". Whitman and his quintessential book of American poetry undoubtedly gave the phrase its enormous and resonant currency, but I suspect that it existed before Whitman (who was, after all, an inveterate "borrower" of mid-nineteenth-century Americana). In any event, as the title for this review I have used a line from Whitman's poem, as it seems to capture much of the ethos of American road photography.
The book itself is over-sized (12 x 10 inches and about 5 pounds in weight) and handsome. The prints are of the high standards that we have come to expect from Aperture. There never is more than one photograph on a single page. A few of the photographs are printed across a two-page spread, so impeccably that there are no "gutter" breaks in the image. Page numbers and photograph captions are discrete. THE OPEN ROAD would make for an ideal coffee-table book, all the more so because, unlike many coffee-table books, it would be enjoyed by almost anyone who plops on the nearby sofa.
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