The Cruel Radiance of the Obvious, The 2011 Photography Issue
Tom Rankin, Guest Editor
Our second Photography issue features full-color photographs by
William Eggleston, William Christenberry, and much more.
by Harry L. Watson
"It requires very special talent to make great photographs, and
those who have it are among our finest artists."
The Cruel Radiance of the Obvious
by Tom Rankin
"Photography in its finest and most decisive moments is about those
tired or ignored or unseen parts of our lives, the mundane and worn
paths that sit before us so firmly that we cease to notice. It is,
we might say, about rebuilding our sight in the face of blindness,
of recovering our collective vision."
by Michael Carlebach
"Many years ago I concluded that for me truth and beauty, and
perhaps wit and wisdom as well, are more likely to reside in what
is ordinary and seemingly insignificant. This is, perhaps, a
sideways look at America and American culture, but it is one that
can produce moments that describe us all, but without makeup and
bereft of a spokesperson."
Mapping The Democratic Forest
The Postsouthern Spaces of William Eggleston
by Ben Child
"When the color photographs of William Eggleston first appeared at
the Museum of Modern Art in 1976, the boldness of Eggleston's
palette and his disregard for the conventions of black-and-white
photography were shocking; nearly all the major critics were
scornful, and Ansel Adams wrote a scathing letter of protest."
by Lynn Marshall-Linnemeier
"In this examination, magic and myth-two of my favorite
vehicles-act as buffers to the dominant power structure. It brings
together two bodies of collectibles, one personal and one
commercial, with the intent of shifting stereotypes about race and
"Those little color snapshots": William Christenberry
interviewed by William R. Ferris
"Santa Claus had brought me and my sister a small Brownie camera in
the late 1940s, and I just loaded it with color film and went out
to that Alabama landscape and began to photograph what caught my
Heroes of Hell Hole Swamp
Photographs of South Carolina Midwives by Hansel Mieth and W.
by Dolores Flamiano
"Mieth and Smith shared a belief that photography could bring
social change. They viewed Pat Clark and Maude Callen as heroic
healers whose stories would inspire racial understanding. Both
photographers shot powerful images of the most visceral human
experiences: birth, death, sexuality, and disease."
by Susan Harbage Page
"'Rough. It is rough being a female.'"
The Day Is Past and Gone
Family Photographs from Eastern North Carolina
By Scott Matthews
"'It is in fact hard to get the camera to tell the truth; yet it
can be made to, in many ways and on many levels. Some of the best
photographs we are ever likely to see are innocent domestic
All eight articles from this issue of Southern Cultures are also
available individually as stand-alone ebooks.