The Japanese people and their customs and culture, as well as the cities and countryside, are captured in over 100 photographs taken during the period of Japan's transition from a nearly feudal to a modern society

Japan: Photographs, 1855-1905

Worswick, Clark

Hamish Hamilton

The Japanese people and their customs and culture, as well as the cities and countryside, are captured in over 100 photographs taken during the period of Japan's transition from a nearly feudal to a modern society

JAPAN: PHOTOS 1854-1905

History

KNOPF

The Orient has always fascinated the West. Part of China's mysterious allure has stemmed from the fact that it remained virtually invisible to all but a handful of Europeans until the mid-19th century. Fortunately, the advent of photography coincided with the opening of China to the West and provided us with an historic legacy of the look and texture of an age-old civilization. In these masterpieces of photography, we see the landscape, people, and events that shaped the world's last great hidden empire. The camera was witness to the capture of the forbidden city of Peking, the fabled treasures of the imperial Summer Palace, the exotic beauty of Chinese art and architecture, the unusual ethnographic types inhabiting remote regions of the "roof of the world," and finally, the everyday life of a culture destined for radical, irrevocable change.

Imperial China: Photographs 1850-1912

CROWN PUB.

Imperial China: Photographs, 1850-1912

Scolar Press]

Book by Worswick, Clark, Embree, Ainslie T.

Last Empire Photography In British India

Arts & Photography

Photography & Video

Farrar. Straus & Giroux

The Last Empire comprises the first known photographs of the Himalayas, British colonial troops, Asian landscapes, and native princes from collections throughout the world.

The Last Empire: Photography In British India, 1855-1911

Embree, Ainslie

Aperture

The Last Empire comprises the first known photographs of the Himalayas, British colonial troops, Asian landscapes, and native princes from collections throughout the world.

The Last Empire: Photography in British India, 1855-1911

More than just a history or a biography, Clark Worswick's ArtMachine: A Reinvention of Photography, 1959-1999 is an “insiders” view of the photography world. It has been written by a practicing photographer, who was also the founding photography curator of the oldest museum in America, and who became an important collector of photography.In his introduction to this book, the author wrote, “I began taking photographs and tried to learn the history of a neglected, beaten down, battered medium few people took seriously in the art world. I wandered a world barren of respect during decades of struggle for photography.” “In 1959, on the planet earth, there was not a single dealer who represented a single photographer's work, because photography was not an art.”This is also a book about love and dangerous travel, and the heroic reinvention of photography in the art world. To date, few books have appeared on the texts of a working photographer’s life immersed in projects that cross years, then decades. ArtMachine: A Reinvention of Photography is the story of the long war for photography’s acceptance during the last decades of the 20th century. It was also a historic moment, and a time never to be repeated, when you could buy fabulous pictures that no one anywhere ... knew anything about. Clark Worswick (1940-) was born in Berkeley, California. Abandoning America when he was eighteen years old, for years he travelled between India and Europe. Staying in Maharajas’ palaces, or in indigent pilgrims’ shelters he took photographs, and collected Indian antiquities. In the first wave of young westerners to pass though the Iranian and Afghan deserts, his first book of dangerous travel, The Orchid House: Art Smuggling and Appointments in India and Afghanistan, recounted seldom described travels in far Asia.Art Machine: A Reinvention of Photography, 1959-1999 is the second volume of his memoirs. The book deals with photography’s acceptance, as one of the most dynamic and important adjuncts, in an increasingly international art world. During 1959 he began collecting 19th century photographs in Calcutta. He later became the First Research Fellow in Film and Photography at Harvard University. His exhibitions and books on 19th century photography of India, China, Japan and the Middle East have identified scores of non-European artists working in the medium.Books he has done have been named "Best of the Year" by: The NY Times, The London Times, The Washington Post, The Sunday Times, Newsweek and Time Magazine.

ArtMachine: A Reinvention of Photography, 1959-1999

Midnight LLC

During the 1960s, India came into its own as . . . the place to be. In Istanbul, Tehran, and Kabul, the fabulous freaks gathered for their final push to India. Once there, a whole new world awaited . . . Like the subject of Downton Abbey this book is also a journey into a life and British Empire that has vanished. It was a period of 564 Indian princes, of gigantic palaces, of British armies and native kingdoms, set in a landscape that has disappeared along with a vanished epoch, now inhabited by ghosts. In India, for ten dollars you could live perfectly well for a month. In India dope was even cheaper than food. In India in 1968, the Beatles were meditating in Rishikesh. In India, hundreds of thousands of young firangi had made the long journey from Europe across the deserts of the Middle East to reach the Himalaya. In India, 36,000 miles of the cheapest third-class trains in the world carried travelers anywhere they wanted over an entire subcontinent. In India, hotels cost four cents a night. In India, you dropped out. In India, you could get lost . . .For a brief fifteen-year period (1959-1973), Far Asia was open to foreigners. The difficult three-day crossing of the Afghan Dasht-i-Margo, "the Desert of Death," would become, for those who made it, a memory of one of greatest travel epochs of the twentieth century. Now, however, these overland journeys of the 1960s are as distant from today as the travels of Marco Polo in the thirteenth century. In the twenty-first century, Far Asia has changed completely, along with whole landscapes which have been subsumed by newly created mega cities.The Orchid House: Art Smuggling and Appointments in India and Afghanistan is a rare first-hand account by one of the first “world travelers” of a new generation to reach India at the very end of the British Raj. The book is also about finding art, collecting art, and smuggling art by a man who was amongst the first of a new generation of collectors of Indian art. In Bombay, thousand-year-old Indian art objects could be bought for a few dollars literally on the street pavements.Author’s statement:"In 1959 I was eighteen years old. I travelled to Afghanistan and India, because this was as far away from America as I could get and still be on the planet earth. From San Francisco it was a twenty-seven day ocean trip across the Pacific to Yokohama. In Japan you could take a thirty-four day fourth class deck passage on a dilapidated French ship to Hong Kong. Crossing the hot southern oceans you reached Saigon, Singapore, Colombo, and finally India. In 1959 buying Indian art was not a criminal activity, but taking art out of India was. In 1959 I became an art criminal. My crime was moving my art across international borders.

The Orchid House Art Smuggling and Appointments in India and Afghanistan

Walker Evans was perhaps the greatest "documentary artist" American has ever known. In a career that lasted forty-six years (1928-1974) Evans profoundly changed the way Americans looked at themselves, their social causes, and their country. Drawn from a largely unseen private collection-the largest private collection of Walker Evans photographs in the world-this lavishly produced volume publishes here for the first time scores of pictures that have henceforth been inaccessible to the public. Included are the familiar images of Evans's Southern work (1935-36), as well as far less familiar images of Evans's friends and fellow artists, his work in Tahiti, photographs that he made of Victorian House architecture (1930-31), and photographs done on travels to England, Cuba, Maine, Nova Scotia, Chicago and New Orleans. Authors Belinda Rathbone and Clark Worswick rise to the occasion of documenting Evans' monumental career, exploring the overlooked byways of Evans' career at a moment when a rediscovery of his life's work is taking place in both the museum world and in the world of photographic collecting. What we are presented with here is a definitive and sometimes surprising look at the photographer whose oeuvre prefigures the work of photographers and documentary artists of all stripes.

Walker Evans: The Lost Work

Rathbone, Belinda

EVANS, Walker

Individual Artists

Arena Editions

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Books by Worswick, Clark