The open American West is nearly gone. The New West is a photographic essay about what came to fill it—freeways, tract homes, low-rise business buildings and signs. In five sequences of pictures taken along the front wall of the Colorado Rocky Mountains, Robert Adams has documented a representative sampling of the whole suburban Southwest. These views have a double power. At first they shock; normally we try to forget the commercial squalor they depict. Slowly, however, they reveal aspects of the geography—the shape of the land itself, for example—that are beyond man’s harm. Adams has written that “all land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty,” and his photographs show this.
Originally published in 1974, The New West is now regarded as a classic, standing alongside Walker Evans’s American Photographs and Robert Frank’s The Americans in the pantheon of landmark volumes of photography exploring American culture and society. This new edition marks the book’s fortieth anniversary and the beginning of a long-term commitment by Steidl to publish the full extent Robert Adams’s remarkable body of work.

In this exquisitely produced book Robert Adams revisits the classic collection of nocturnal landscapes that he began making in the mid-1970s near his former home in Longmont, Colorado. Originally published by Aperture in 1985 as Summer Nights, this new edition has been carefully re-edited and re-sequenced by the photographer, who has added thirty-nine previously unpublished images. Illuminated by moonlight and streetlamp, the houses, roads, sidewalks, and fields in Summer Nights, Walking retain the wonder and stillness of the original edition, while adopting the artists intention of a dreamy fluidity, befitting his nighttime perambulations. The extraordinary care taken with the new reproductions also registers Adamss attention to the subtleties of the night, and conveys his appeal to look again at places we might have dismissed as uninteresting. Adams observes, What attracted me to the subjects at a new hour was the discovery then of a neglected peace. By virtue of the subtlety and stillness that infuses this classic body of work, Summer Nights, Walking offers a reason to feel, once more, a regard for the quotidian American landscape.

The New West is a reprint of the photography book, first issued in 1974, that was a formative influence on a whole generation of American photographers. In the book Robert Adams documents the changing landscape of the United States in the 60s and 70s.

"Robert Adams's pictures are not designed to be overtly political, but like any deeply felt images they are capable of re-organizing the way we perceive the world."--Andy Grundberg, The New York Times
"Robert Adams's special talent as an artist is to use many of the diverse capabilities of photography at once: it's documentary neutrality, its keepsake quality, and its ability to communicate meaning. His photographs encompass fact and lyricism, reportage and metaphor."
-Joann Verberg, Hungry Mind Review

In "This Day", Robert Adams observes two kinds of landscapes - that inside his home, including arrangements of nasturtium leaves and apples on the kitchen table, as well as the views outside his window and beyond. The windswept headlands, beach grasses, and felled trees seen by the photographer on his walks are animated by an atmospheric light. Together, these pictures reveal the undeniable presence of the sublime in everyday life.

《赋权、参与和社会工作》是赋权视角的代表作，本书提供了读者在社会工作的方法与实践、与服务使用者共事以及实务学习等方面所需要的各种参照模块，是一部世界社会工作领域公认的好书。

Photographer Robert Adams (b. 1937) is widely regarded as one of the most significant and influential chroniclers of the American West, renowned for his austere views of a landscape profoundly changed by human development. This stunning three-volume set, printed with an unprecedented fidelity to the photographer's master prints, accompanies a major travelling exhibition and is the first publication to comprehensively survey Adams's 45-year career. Presenting an epic sequence of nearly 400 tritone plates, "Robert Adams: The Place We Live" features selections from all of Adams' major projects, including his seminal work in the suburbs of Colorado Springs and Denver and his most recent, elegiac portrayals of trees in the Pacific Northwest. Also included is an anthology of texts by the photographer, a series of critical essays on Adams' life and work, and an illustrated bibliography and chronology that will shed new light on one of the central American artists of our time.

This volume commemorates Robert Adams' receipt of the Hasselblad Foundation International Award in Photography for 2009. Described by the Swedish foundation as "one of the most important and influential photographers of the last 40 years," Adams joins a very distinguished line of contemporary photographers who have won the award, such as Graciela Iturbide (2008) and Nan Goldin (2007). The Foundation singled out Adams' ability to consolidate the medium's history: "as photography has altered and fragmented, he has refined and reaffirmed its inherent language, adapting the legacies of nineteenth-century and modernist photography to his own very singular purpose. Precise and undramatic, Adams' accumulative vision of theWest now stands as a formidable document, reflecting broader, global concerns about the environment,while consistently recognizing signs of human aspiration and elements of hope, across a particular changing landscape."

A collection of inspiring essays by the photographer Robert Adams, who advocates the meaningfulness of art in a disillusioned societyIn Art Can Help, the internationally acclaimed American photographer Robert Adams offers over two dozen meditations on the purpose of art and the responsibility of the artist. In particular, Adams advocates art that evokes beauty without irony or sentimentality, art that "encourages us to gratitude and engagement, and is of both personal and civic consequence." Following an introduction, the book begins with two short essays on the works of the American painter Edward Hopper, an artist venerated by Adams. The rest of this compilation contains texts--more than half of which have never before been published--that contemplate one or two works by an individual artist. The pictures discussed are by noted photographers such as Julia Margaret Cameron, Emmet Gowin, Dorothea Lange, Abelardo Morell, Edward Ranney, Judith Joy Ross, John Szarkowski, and Garry Winogrand. Several essays summon the words of literary figures, including Virginia Woolf and Czeslaw Milosz. Adams's voice is at once intimate and accessible, and is imbued with the accumulated wisdom of a long career devoted to making and viewing art. This eloquent and moving book champions art that fights against disillusionment and despair.

Since taking up photography in the mid-1960s, Robert Adams (born 1937) has quietly become one of the most influential chroniclers of the evolving American landscape. Carefully edited by Adams from a remarkable body of work that spans over four decades, What Can We Believe Where? Photographs of the American West, 1965–2005 presents a narrative sequence of more than 100 tritone images that reveals a steadfast concern for mankind’s increasingly tragic relationship with the natural world. Adams’s understated yet arresting pictures of the vast Colorado plains, the rapid suburbanization of the Denver and Colorado Springs areas, and the ecological devastation of the Pacific Northwest region of the United States register with subtle precision the complex and often fragile beauty of the scenes they depict. The most accessible collection of Adams’s work to date, this compact and thought-provoking volume is an essential addition to the bookshelves of students, photographers, and anyone interested in the recent history of the American West and its wider implications.

Robert Adams, one of America's foremost living photographers, has spent decades considering and documenting the landscape of the American West and the ways it has been altered, disturbed, or destroyed by the hand of man. A professor of English before turning to photography, Adams is also a skilled writer and acute thinker on aesthetic questions. Aperture's previous bestselling collections of his essays, Beauty in Photography and Why People Photograph, assembled his thoughts on a range of subjects, including writing, teaching, photography's place in the arts and a host of fellow photographers. Along Some Rivers collects Adams's correspondence and conversations--some of which have never been published before--with writers and curators including William McEwan, Constance Sullivan and Thomas Weski. In so doing, it provides another point of entry, offering a portrait of the artist in debate and elucidating his thoughts on a number of his now legendary projects, including Cottonwoods and What We Bought. Adams also expounds on why, in his view, Marcel Duchamp has not been a helpful guide for art, and he discusses which filmmakers and painters have influenced him, which cameras he prefers and how he approaches printing his pictures. Along Some Rivers also includes a selection of 28 unpublished landscapes.

Adams, a noted photographer of the American West, dislikes words that describe pictures. In this collection of poetic, thought-provoking and highly original essays, he examines Paul Strand's devotion to America and analyzes the origins of his art; he looks at the contradictions in Ansel Adams' life and work, and comes to his own conclusions. He writes movingly not only of people but of place--his beloved West--and his belief that "we live in several landscapes at once, among them the landscape of hope..."
Review
"At our best and most fortunate we make pictures because of what stands in front of the camera, to honor what is greater and more interesting than we are."
-Robert Adams
-- Review
Why People Photograph presents a new selection of poignant essays by master photographer Robert Adams. Why People Photograph illuminates Adams' firm belief in the importance and relevance of art, with essays on such diverse topics as humor, teaching, money, and dogs. Adams also offers insights into the 32 black and white photographs, the diverse work of artists from Eugene Atget to Susan Meiselas. -- Midwest Book Review

Trees have been a subject of lifelong engagement for acclaimed American photographer Robert Adams (born 1937), and no species has enthralled him more than the cottonwood. Revered by the Plains Indians, native cottonwoods animate the landscape unforgettably but their thirst for water and lack of commercial value have made them common targets for removal by agricultural business and housing developers. Some of Adams’ earliest pictures were of cottonwoods, and he photographed them throughout the 35 years that he lived in Colorado, beginning in 1975. Each of the black-and-white photos in the series was taken within a 50-mile radius of his home in Colorado. Originally published by the Smithsonian in 1994, this new edition of Cottonwoods has been expanded and enlarged to include an interview with Adams by Constance Sullivan.
Robert Adams has been photographing the shifting landscape of the American West for more than 50 years. The impact of human development on land has been his principal focus, as well as nature’s beauty – most notably the imperial qualities of trees. ― PDN