This book illuminates the fascinating story and visual legacy of Florestine Perrault Collins, who documented African American life in New Orleans between 1920 and 1949.

The visual legacy of Florestine Perrault Collins, who documented African American life in New Orleans Florestine Perrault Collins (1895-1988) lived a fascinating and singular life. She came from a Creole family that had known privileges before the Civil War, privileges that largely disappeared in the Jim Crow South. She learned photographic techniques while passing for white. She opened her first studio in her home, and later moved her business to New Orleans’s Black business district. Fiercely independent, she ignored convention by moving out of her parents’ house before marriage and, later, by divorcing her first husband.  Between 1920 and 1949, Collins documented African American life, capturing images of graduations, communions, and recitals, and allowing her subjects to help craft their images. She supported herself and her family throughout the Great Depression and in the process created an enduring pictorial record of her particular time and place. Collins left behind a visual legacy that taps into the social and cultural history of New Orleans and the South.  It is this legacy that Arthé Anthony, Collins's great-niece, explores in Picturing Black New Orleans. Anthony blends Collins's story with those of the individuals she photographed, documenting the profound changes in the lives of Louisiana Creoles and African Americans. Balancing art, social theory, and history and drawing from family records, oral histories, and photographs rescued from New Orleans in the wake of Hurricane Katrina, Anthony gives us a rich look at the cultural landscape of New Orleans nearly a century ago.  Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

"New Orleans Portrayed is a photographic tableau that offers a body of work portraying the cityscape and its citizens. It is a window into their existence at this point in time-both a broad-brush view as well as a pointillist approach into what makes New Orleans unique"--

Follows a nineteenth-century woman of color as she makes pralines, then strolls through the French Quarter of New Orleans selling the sweets to passersby and shopkeepers. Includes historical note.

America's greatest party and America's most colorful city, in all their shades, shimmer here in a never-before-published 1950-1960 collection of photographs taken at New Orleans's annual Mardi Gras. Photographer Ruth Ketcham chose the revolutionary Kodachrome slide film to capture Carnival, its walking and parading krewes, bystanders, and masquers. Kodachrome's fade-resistant images preserve a bygone 1950s era, not only of Mardi Gras but also of a bustling French Quarter, alive again with Regal Beer ("Red beans and rice / And Regal on ice"), Dixieland jazz clubs, the burlesque dancers and temptations of Bourbon Street, and the shopper's paradise that was Canal Street.

One of the many unique characteristics of the City of New Orleans is the way the people speak. The historical roots of the city, with its African, French, Native American, and Spanish populations, produced everyday words that are still used by some families well into the twenty-first century. Many of these words and expressions might puzzle some people who hear them today. When choosing a title for this little book, there was no difficulty selecting the one used by this writer. Since I believe it conveys the exuberance of playing on the banquette and the tranquility of sitting on the galerie. The word banquette referred to the early sidewalks that lined the streets of New Orleans. Its origin has been attributed to the fact that, in the early French colonial period, the city was plagued with pools of water that settled into wagon tracks and holes in the muddy streets and made foot traffic very difficult.

This feminist retelling of the history of photography puts women in the picture—and, more importantly, behind the camera! In ten thematic, chronological sections, Tate Modern curator Emma Lewis explores the vital role women artists have played in shaping the ever-evolving medium of photography. Lewis has compiled work from more than 200 different women and nonbinary photographers along with short essays on 75 different artists, many informed by her interviews with the subjects. From the studio portraiture of the late nineteenth century to the photojournalism of Dorothea Lange and Lee Miller in the early twentieth—and from second-wave feminist critiques of gender roles to contemporary selfies and social media personae—this volume examines different genres, styles, and approaches to photography from the 1800s to the present. UNPARALLELED IN SCOPE: International, inclusive, and intersectional, this comprehensive volume tells the story of a versatile and innovative medium. From early-twentieth-century self-portraits responding to modernity and changing notions of womanhood, to photojournalistic images documenting the climate crisis, the photographs in this book demonstrate the varied ways that women respond to and shape the global cultural landscape. The artists profiled here include: • Sheila Pree Bright • Imogen Cunningham • Paz Errázuriz • Nan Goldin • Kati Horna • Mari Katayama • Dora Maar • Lee Miller • Tina Modotti • Zanele Muholi • Shirin Neshat • Cindy Sherman • Lieko Shiga • Lorna Simpson • Amalia Ulman • And more! INSIGHTFULLY ORGANIZED: The thematic chapters of this project showcase photography's changing role in society and art. They allow the author to explore and contextualize how this role has (or hasn't) made space for women and people of marginalized genders, and how the work done on the margins of the medium pushes the boundaries of technology and creative expression. This is not simply a collection of "women photographers"—it's a book about how and why women and nonbinary artists have used photography to respond to and shape their own realities. Perfect for: • Photographers, artists, and students, and art lovers • Anyone interested in the history of photography • Intersectional feminists • Trailblazing women—and the people who love and support them!

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Early in the twenty-first century, Louisiana, one of the poorest states in the United States, redirected millions in tax dollars from the public coffers in an effort to become the top location site globally for the production of Hollywood films and television series. Why would lawmakers support such a policy? Why would citizens accept the policy’s uncomfortable effects on their economy and culture? Almost Hollywood, Nearly New Orleans addresses these questions through a study of the local and everyday experiences of the film economy in New Orleans, Louisiana—a city that has twice pursued the goal of becoming a movie production capital. From the silent era to today’s Hollywood South, Vicki Mayer explains that the aura of a film economy is inseparable from a prevailing sense of home, even as it changes that place irrevocably.