Iowa’s Rochester Cemetery is one of the most unusual and biodiverse prairies left in America, boasting more than 400 species of plants—337 of them native to the region—on its thirteen-and-a-half acres. Among them are fifteen massive white oaks that stood watch as the surrounding landscape was converted into farmland after Euro-American settlers arrived in the 1830s. The cemetery is the last resting place of these pioneers and their descendants, down to the present. Graves and wildflowers are scattered across the hills that geologists consider sand dunes; these are held in place by the deep roots of the plants and people.    Pioneer cemeteries have been recognized as important prairie remnants and seed banks ever since Aldo Leopold, another Iowa native, called attention to them in his landmark essays of the 1940s, as he developed the new field of ecological restoration. At Rochester Cemetery, the drama of the prairie’s survival continues to this day, in a controversy that flares up as reliably as spring’s shooting stars. To botanists across the country, this place is a pilgrimage site. To local residents, it is either a source of pride or a shameful weed lot (some feel regular mowing would show more respect for the dead). To the photographer and writer Stephen Longmire, it is a place where the stories of the rural Midwest are written on the land—a long exposure, extending back to the days when Meskwaki Indians camped nearby and wildfire held back the forest.    In the creative tension between people and place, Rochester’s prairie holds its native ground. Historic cemetery plantings grow wild among the native wildflowers, and bright plastic flowers decorate modern graves. In compelling photographs and prose, Longmire shows this patch of original Iowa to be a living record of all the land’s uses since its settlement.

Life and Death on the Prairie

Arts & Photography

Longmire, Stephen

Photography & Video

George F. Thompson Publishing

For more than fifty years, Yi-Fu Tuan has carried the study of humanistic geography—what John K. Wright early in the twentieth century called geosophy, a blending of geography and philosophy—to new heights, offering with each new book a fresh and often unique intellectual introspection into the human condition. His latest book, Humanist Geography, is a testament of all that he has learned and encountered as a geographer. In returning to and reappraising his previous books, Tuan emphasizes how the study of humanist geography can offer a younger generation of students, scholars, and teachers a path toward self-discovery, personal fulfillment, and even enlightenment. He argues that in the study of place can be found the wonders of the human mind and imagination, especially as understood by the senses, even as we human beings deal with nature's stringencies and our own deep flaws.

Humanist Geography: An Individual’s Search for Meaning

Politics & Social Sciences

Tuan, Yi-Fu

Philosophy

I am not sure there is any other pair of monosyllabic words in the English language that evokes as powerful a sense of place as Wall Street, except, of course, New York itself. So writes famed architectural critic Paul Goldberger in his introduction to one of the most important photographic books on New York City to appear since 9/11: David Anderson's On Wall Street. During the late 1970s and early 1980s, a lot of glass-and-steel, boxlike buildings were going up in New York City. David Anderson realized that the architecturally elaborate and stylistic buildings of the early 1900s through the 1930s that defined Wall Street would never be made again. He thus embarked on a twenty-year project (from 1980 to 2000) to document Wall Street's classic architecture before further changes in the area were made, including the demolition and destructive renovation of too of its many historic structures. Anderson's approach to photographing Wall Street is unique. He avoids people, vehicular traffic, and storefronts, and rarely does he present a view of an entire building. Instead, he focuses on the details or a certain profile in order to reveal a building's architectural form and energy and its larger sense of place within the city's urban fabric. Anderson's photographs of Wall Street will forever be part of a visual record of a by-gone era that emphasized artistic craftsmanship rarely achieved in modern buildings. Like the historic skyscrapers and civic buildings that Anderson depicts, his photographs are equally solid, self-assured, and beautiful. Collectively, they capture the spirit, architectural genius, and harmonious elevated scale of this special place in the financial capital of the world.

On Wall Street: Architectural Photographs of Lower Manhattan, 1980-2000

David, Anderson

Laurie Brown has long been fascinated with what happens at the edge of cities. In her pioneering, photographic work on Los Angeles, her focus was on the terraforming activities in that quintessential modern metropolis, where nature is literally scraped away and terraced to accommodate the most recent version of the American Dream: more roads and highways, more residential and commercial developments, more golf courses and city services, more pressure on the natural systems that undergird the city and region. It was only natural that Brown would turn her artistic attention to the eastern end of the Los Angeles corridor--Las Vegas--and she does so in full, living color. Few other places engender such a common image of excess and extravagance as does Las Vegas. But Brown reminds us that what makes Las Vegas such an alluring place to live and to visit is its location in the austere but beautiful landscapes of North America's driest and sunniest region: the magnificent Mojave Desert. As Las Vegas has expanded, the contrast between the native desert and recent human terrain is a palpable fact that Brown captures brilliantly in her panoramic format. In each photograph we see the impact of our newest designs and constructions on the land, raising questions about the availability of scarce natural resources and, ultimately, the wisdom of our vision for the place. By finding the interface between nature and culture that exists in these so-called paradisal environments, Laurie Brown takes us on a modern journey on a well-worn path in Western civilization: the pushing out of the city that emerged in ancient Greece and Rome and extended beyond the city walls of medieval Europe to today's political boundaries nestled beside nature's undeveloped frontier. But at what cost? Like the ruins of Pompeii, Brown's hauntingly beautiful photographs reveal how well (or not) we have created a modern American Eden: Las Vegas. (See the publishers website for a slide show and further information about the book: http://gftbooks.com/books_BrownLaurie.html )

Las Vegas Periphery: Views from the Edge

Denton, Sally

Brown, Laurie

Infinite Measure is both a creative workbook and an authoritative reference guide for teachers, students, and practitioners of design, including architecture, interior design, landscape architecture, painting, sculpture, the graphic arts, theater and stage design, and even musical instruments and crafts. Taking pages from books of nature, art, and architecture, Fletcher provides visual designers of all art forms and disciplines with geometric methods for composing harmonious spaces and places. Fletcher shares her professional knowledge and experience by offering practical techniques for design applications, including step-by-step elementary and advanced drawings for producing proportional schemes with a compass and rule; commentaries on geometric symbols and useful theorems; definitions; and etymologies of essential mathematical terms. A highlight of the book are Fletcher's original studies that analyze harmonious proportions in world-famous art, architecture, landscape design, and other compositions. These include the South Rose Window at Cathédrale Notre Dame de Paris, Andrea Palladio's Villa Emo and Teatro Olimpico, a Stradivari violin, Thomas Jefferson's Poplar Forest, Beatrix Farrand's garden courtyard for the Oriental Institute at the University of Chicago, the illuminated Lindisfarne Gospels, a Louis Sullivan stencil for the Chicago Stock Exchange, and Eero Saarinen's North Christian Church. The desire for harmony is universal among all cultures. In Infinite Measure, we rediscover a fundamental starting point for designers of all ages and skills: the simple act of drawing with a compass and rule―as Frank Lloyd Wright famously taught his architecture apprentices at Taliesin and Taliesin West―can sensitize the designer to the rich subtleties of spatial harmony and proportion, no matter how one ultimately chooses to express it.

Infinite Measure: Learning to Design in Geometric Harmony with Art, Architecture, and Nature

Science & Math

Fletcher, Rachel

Nature & Ecology

On June 6, 1912, among the Katmai volcanoes and its resident native people, an unforgettable natural event occurred: the largest volcanic eruption on Earth during the twentieth century. In size comparable to Indonesia's Krakatau in 1883 and Tambora in 1815, one must go back 2,000 years to the north island of New Zealand to find as large a release of rhyolite magma. The actual eruption took place about 100 miles west of Kodiak in the Aleutian Range on the Alaskan Peninsula. In three days, a new volcano—Novarupta—was born. More than five cubic miles of ash and debris flew into the atmosphere, with heavier deposits filling an adjacent forty-four-square-mile valley in depths up to 1,000 feet. The dense, superheated waves of magmatic spray incinerated all living organisms, leaving a hot bed of igneous material that, when mixed with water from the surrounding glaciers and snowfields, produced tens of thousands of steam vents known as fumaroles. Thus was born the Valley of 10,000 Smokes. Native villages, some thousands of years old, were abandoned and never reestablished. The eruption was of such consequence that the National Geographic Society sent Robert F. Griggs to direct a four-year expedition to the site. Griggs and his party recorded their scientific expedition in stunning black-and-white photographs and moving text, which led to the publication of a 50-page article in National Geographic Magazine in 1918 and a subsequent book issued by the Society in 1922 that remains available today. Gary Freeburg has traveled to the Valley of 10,000 Smokes five times, from 2000 to 2011, in pursuit of rephotography of the contemporary landscape and the larger experience of wilderness. Although the fumaroles that Griggs so vividly portrays in words and pictures are largely gone, and that element of visual and volcanic activity has largely ceased, in Freeburg's photographs one can still feel the steam-filled air, sense the deafening noise of the eruption, and grasp the incredible physical forces that created this alluring landscape. Now preserved as part of the 4.7-million-acre Katmai National Park and Preserve, the Valley of 10,000 Smokes continues to inspire—not just esteemed volcanologists such as John Eichelberger and expert cultural anthropologists such as Jeanne Schaaf, but great artists such as Gary Freeburg who seek out the Alaskan sublime, as it is revealed in one of Earth's most remote, raw, and wild places. (See the publisher's website for further information on exhibits, book signings, and to view a slide show: http://gftbooks.com/books_Freeburg.html )

The Valley of 10,000 Smokes: Revisiting the Alaskan Sublime

Freeburg, Gary

There is no more beautiful or alluring coast in the world than the West Coast of North America: a 5,000-mile-long region that extends from the Aleutian Islands of Alaska to Canada's British Columbia, south to Washington, Oregon, and California, and then to Baja California in Mexico. No photographer until David Freese has explored the various and wondrous landscapes along the Pacific Ocean in such depth, making this the first book to look comprehensively at what makes the natural beauty of this particular coast so memorable. Behind the scenery, of course, lie the geologic forces that have created the West Coast landscapes that we now admire, explore, and praise. The engaging and informative text by renowned author Simon Winchester grounds us in understanding the deep relationship between geology and scenery. And Naomi Rosenblum, the esteemed photographic historian, writer, curator, and art critic, firmly establishes David Freese's place among the great landscape photographers of the past and present. In every photograph, his unique vision of nature and of place comes shining through. West Coast: Bering to Baja is a major publishing enterprise that will appeal to book-lovers of photography, nature, and those who dream about visiting and touring North America's West Coast. For here we see the vital connection between art and science merge in ways previously unseen for this special region of the world.

West Coast: Bering to Baja

WINCHESTER, Simon

Freese, David

Through the miracle of photography and the beholding eye of a master photographer such as Myers, we are able to experience the land and life in India's last remaining wild jungles. This is the land of the tiger and elephant and monkey and rhino and a treasure trove of other species. But, as noted writer William deBuys shares in his provocative essay, poaching is a persistent and pervasive problem, and the natural habitat for wild animals is shrinking at an alarming rate due to expanding development and industrialization. Tigers, for example, are now extinct in ninety-three percent of their historical range worldwide, and, without wildlife refuges such as Bandhavgarh, Kanha, Karizanga, and others in India, their numbers would plummet further. Few citizens of the world will ever experience firsthand the jungles and wild places of India, but in Myers's visual discovery they can witness the excitement and energy of coming upon wild game in a moment's notice and experiencing religious shrines and rural life in nearby villages that seem to blend in effortlessly with the adjacent wilderness. The Jungle at the Door is that rare glimpse into another world, a world that depends not only on human awareness of what is lost when the jungle is gone, but also the courage and foresight to preserve remaining wild places everywhere, from those in India to our own home ground. (See the publisher's website for further information on the book: http://gftbooks.com/books_MyersJoan.html )See:

Jungle at the Door: A Glimpse of Wild India

Myers, Joan

Throughout the world, the American West has defined the character of the United States of America as no other region in America ever could. The combination of awe-inspiring topography and landscapes, from the 100th meridian to the Pacific Coast, along with the integration of Indian and Hispanic cultures into the American fabric of life have long inspired citizens of the world to travel to and explore the vast lands that define the American West, from the middle of the nineteenth century to the present time. Photography helped to open up the West after the American Civil War by sharing views of nature unparalleled in any other place on Earth. And photography helped to create the beginning of a national park system that may well go down in history as America's greatest democratic ideal. It is no wonder that public lands have come to dominate the American West, from national parks to national grasslands and wildlife refuges, from national forests to national monuments and historical sites, from wild and scenic rivers to other sanctuaries of wilderness. Willy Sutton has spent much of the past thirty years getting out of his truck and into the landscape, taking his camera to places of natural wonder both well known and obscure. He has assembled one of the great photographic bodies of work dealing with the public lands of the American West, providing a glimpse of what these landscapes looked like before they were designated as national treasures. But, of course, because of their preservation, they are available to all citizens of the world today. Whether one has lived in or visited the West for an entire lifetime, or whether one is coming to the West for the very first time, all readers of this book will find in Sutton's photographs a magisterial guide to what makes the West so unique, so special. As essayists Toby Jurovics and Susan B. Moldenhauer make plain, Willy Sutton's photographs, as represented in this book, will long be held in esteem for the pioneering work they embody, even in this contemporary age dominated by urban development, social and economic inequality, and climate change. At Home in the West:The Lure of Public Land is a book for the ages.

At Home in the West: The Lure of Public Land

Sutton, Willam S.

Individual Artists

Since 1983 David Wharton has photographed the twelve states that define the American South, focusing his attention on rural and small-town culture, vernacular architecture and landscape, the role of religion in Southern life, and the relationship between Southerners, their natural surroundings, and the communities they have built. Small Town South is the result of Wharton's travels through a region that extends from Texas, Louisiana, and Arkansas in the west to Virginia and the Carolinas in the east, from Kentucky and Tennessee in the north to Florida in the south, with Mississippi, Alabama, and Georgia forming the region's center in between. No other photographer has devoted so much time and attention to recording this distinctive American place. The 115 duotone photographs which serve as the book's core, combined with the author's insightful text, convey an overall sense of what the small Southern town has become and looks like during the early twenty-first century. Wharton organizes his study into thematic portfolios that address themes such as the intersection of tradition and modernity, local commemorations of the past, the omnipresence of the church in town life, the difficulties of making a living in the New World economy, the look of Main Street, the display of public murals and memorials, and the iconographic unfolding of community values. Many have likened Wharton's photographic eye and approach to the work of other photographic masters of the South, including Walker Evans, Eudora Welty, William Christenberry, Shelby Lee Adams, Alex Harris, Rob Amberg, and Martha A. Strawn. And, just as we turn to those artists to help us understand and reckon with Southern history and culture, we now can look to David Wharton as another pioneer photographer of the Southern small town in all its simplicity and complexity. (See the publisher's website for further information: http://gftbooks.com/books_Wharton.html )

Small Town South

Wharton, David

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Books by George F. Thompson Publishing