Carol M Highsmith Photography of Breadline Photo

American photographer

Carol M. Highsmith
Carol M. Highsmith self portrait in front end of a broken mirror at the Willard Hotel in 1980
Born	Ballad Louise McKinney (1946-05-eighteen) May 18, 1946 (age 75) Leaksville, Due north Carolina, U.s.
Nationality	American
Pedagogy	Minnehaha Academy
Alma mater	American Academy
Known for	Photography Collection of America
Patron(s)	George F. Landegger; The Capital Group Foundation in memory of its late chairman, Jon B. Lovelace; Lyda Loma of Dallas, Texas; The Gates Frontiers Fund; The Ben May Family Foundation; Craig and Barbara Barrett; Pew Charitable Trust; The Library of Congress
Website	CarolHighsmithAmerica.com ThisIsAmericaFoundation.org

Ballad McKinney Highsmith (born Carol Louise McKinney on May xviii, 1946) is an American lensman, author, and publisher who has photographed in all us of the United States, as well as the District of Columbia, and Puerto Rico. She photographs the entire American vista (including landscapes, architecture, urban and rural life, and people in their work environments) in all 50 U.Southward. states as a record of the early 21st century.

Highsmith donated her life'south piece of work of more than than 100,000 images, royalty-free, to the Library of Congress, which established a rare, ane-person archive.^{[1] [2]}

Early life and studies [edit]

Childhood [edit]

External video
Q&A with Carol Highsmith, 2011, C-SPAN[3]

Carol Louise McKinney was built-in to Luther Carlton McKinney and Ruth Ragsdale Carter in Leaksville, North Carolina near the large tobacco farm owned by her maternal grandparents, Yancey Ligon Carter and Mary Elizabeth Morton. Her mother'due south family unit were planters descending from the colonist Thomas Carter and endemic a plantation near Wentworth, N Carolina.^[4] Her father was a manufacturer representative and her mother worked for Baton Graham.^[five] She is a first cousin of the journalist Linda Carter Brinson and the visual artist Benny Carter, equally well equally a niece of Lieutenant-Colonel J.P. Carter.^[6]

In an 60 minutes-long interview with C-Span founder and host Brian Lamb on July 17, 2011,^[three] Highsmith spoke extensively of her childhood in Minneapolis, where she grew upward, and her summers in the South. She and her sister Sara would spend the first half of summer on their maternal grandmother'due south North Carolina tobacco farm and the second half equally role of the loftier order of Atlanta, Georgia. Highsmith said that her paternal grandmother, also named Sara McKinney, was a friend of Margaret Mitchell and other order women. "We'd spend every twenty-four hour period at someone'southward pool or country club," Highsmith said. "Opera played on the radio. Grandmother taught us manners and etiquette—to sit up straight, eat with our mouths closed, hold the soup spoon merely and so."^[3]

Highsmith said that her rural "granny" in Due north Carolina was wealthier than her refined grandmother in Atlanta. "Granny and Granddad owned a big and successful tobacco subcontract," Highsmith said. "Grandmother and grandfather [in Atlanta], had lost everything [including his piece of furniture business concern] in 2 fires and the Bang-up Depression. But grandmother'southward friends made like naught had happened. They'd have her to dinner, play bridge and canasta, even have her on cruises to Europe and have their chauffeurs drive her every bit if she were still function of the aristocracy."^[3]

Highsmith told C-Bridge that the influence of her father, a traveling salesman, and her own annual travels through several states to achieve her grandmothers imbued her with a fascination about America, "especially roadside America. The old car in which my mother would drive Sara and me S would break down every yr, it seemed, in niggling towns. We'd accept to stay overnight in piddling motels and higher up the kinds of one-time gas stations I love to photo today."^[iii]

In Feb 2012, Ballad Highsmith returned to her nativity metropolis in North Carolina to record a record about her childhood experiences. It was played iv months afterward at the opening of the Museum and Archives of Rockingham County (MARC) in Wentworth. The museum'south newsletter chosen it "the journey of a hometown daughter."^[seven] Highsmith's summer trips to her granny's farm "left an indelible memory of carefree days, delicious food, and wonderful times with family and friends," it continued.^[7] Highsmith's experiences in rural Rockingham Canton were also recounted in a lengthy feature story almost her life and career in the Greensboro, N.C., News & Record on Baronial 5, 2017. The article, by Dawn DeCwikiel-Kane, included Highsmith's reflection on the significance of her (then) 25-twelvemonth donation of more than 42,000 images to the Library of Congress: "'It'due south my legacy,' she said. "But it's our [nation's] legacy.'" The story, entitled "America's Photographer," won a 2017 first-identify award in the Profile Feature category in an almanac contest sponsored past the North Carolina Press Association.^[8]

Ballad Highsmith (then McKinney) graduated from the private, Christian Minnehaha Academy in Minneapolis in 1964, so studied for a twelvemonth in higher at the now-defunct Parsons Higher in Fairfield, Iowa. In a 2013 profile of Highsmith, the Minnehaha Academy alumni magazine, the Pointer, quoted Highsmith:

The 1960s were a magical time. They remind me of what I've read nigh the liberating, transitional 1920s. We were at the right age to be profoundly afflicted by the churning changes in our times. Little did we know how profound and lasting would be the effects of the civil rights motion, landing a man on the moon, the rock'n'roll revolution, the Vietnam War and the protests against it, the social and counterculture motion, and the assassinations of Martin Luther King Jr. and the Kennedy Brothers. I am the driven, artistic, and somewhat unpredictable person I am partly because of those rebellious times, framed against the backdrop of solid, values-oriented Midwest surroundings. When I attended Minnehaha University, I was voted Almost Mischievous! Perhaps at that place's a lesson in that location—that anyone, even average, fun-loving students, can achieve a life of substance, given determination and one-half a run a risk.^[9]

College, matrimony, and career [edit]

At Parsons College, Ballad McKinney met Mark Highsmith, an artist from Queens, New York, who presently graduated and enlisted in the Regular army. The couple married in Minneapolis, then moved to Columbus, Georgia, where Marking Highsmith was stationed at Fort Benning. Upon his deployment to Vietnam in 1966, Carol Highsmith moved to Queens after securing a position at Peters Griffin Woodward, a national radio "rep" firm in Manhattan. As an assistant traffic managing director at its Park Avenue offices, she logged advertisements for radio stations across the land. Information technology was Highsmith's introduction to her first career in the broadcasting business.^[10]

Early wedlock and career [edit]

When Marking Highsmith returned from Vietnam in 1967, he was assigned to Fort Bragg, and the couple briefly moved to Fayetteville, Due north Carolina. Shortly thereafter, Mark Highsmith was discharged from the Army, and the Highsmiths relocated to Philadelphia, where he enrolled in the Pennsylvania Academy of Fine Arts. Carol Highsmith worked at WPHL-Telly, the home of the "Summertime at the Pier," a teenage trip the light fantastic evidence hosted past Philadelphia disc jockey Ed Hurst on Atlantic City'due south Steel Pier in nearby New Jersey.

Highsmith wrote promotional copy and produced shows. 1 of her jobs was to assist Bill "Wee Willie" Webber on his children's testify, the Wee Willie Webber Colorful Drawing Club, Highsmith was pictured in a Philadelphia Inquirer advertizement for the station, strumming a guitar. "Take Over a TV Station (for 50 seconds)," the ad copy read. "Idiot box 17 doesn't care who you are. How old you lot are. Or how y'all think. As long as yous or your group can write and sing music.... And then if you really care, stop griping. And start writing."

In 1969, Highsmith heard on the radio, at a time when stations were reporting such events, that her husband had committed suicide in his art studio.^[ten] Mark had returned from Vietnam with posttraumatic stress disorder. Determined to get her college degree, she moved to KYW-TV in broadcast sales. KYW paid for more college coursework at the Academy of Pennsylvania, on nights and weekends.

Early on career [edit]

Broadcasting [edit]

In 1976, Highsmith moved to Washington, D.C., and spent six years as a senior account executive for radio station WMAL while taking classes at American University. She served on boards of directors including that of the Greater Washington Board of Trade^[xi]

By 1979, Highsmith won a national contest initiated by the Radio Advertising Agency in New York for the nation'southward most unusual sales effort.^{[ commendation needed ]} This stemmed from broadcasts from London and the Oktoberfest in Germany that she had devised and organized. She traveled with the broadcast team on both trips. ABC ran a full-page advertisement in The New York Times promoting one of the broadcasts from London.^{[ citation needed ]}

One year at Oktoberfest in Munich, she recalled in a portfolio of her life's "experiential learning" that she would submit for college credits at American University, "we broadcast from a dissimilar beer tent each night from a table with 6,000 boozer Germans singing around us. Since we had a language barrier, we could not easily interview people as nosotros had [on another trip] in London. However, we did arrange some interesting interviews with Germans who spoke English. We interspersed the live cut-ins with German tunes, and our loyal listeners joined in back dwelling."^[12]

Soon photography would ascent to the forefront of her life. The career change began in 1980, when she was named WMAL's Employee of the Year. Highsmith decided to apply the $1,000 prize honor toward a trip to the Soviet Union. A longtime customer gave her an inexpensive Pentax K1000, a small-scale, manual-focus unmarried-lens reflex camera that shoots 35-millimeter film. Highsmith snapped photographs from Kiev to eastern Siberia.^{[ commendation needed ]}

Beginning of photography [edit]

Back in the States working as a senior account executive in broadcasting, Highsmith was determined to further explore photography while completing an undergraduate degree. She studied photography at American University under Professor Anne Zelle and took night-school photography classes, taught past photographer Frank DiPerna, at the Corcoran College of Art and Blueprint.^[13]

DiPerna assigned each class member to photo a model in an unusual location in metropolitan Washington. Highsmith chose the crumbling Willard Hotel, which had been closed since 1968.^{[14] [fifteen]} Her mostly black-and-white photos taken at that place reaffirmed her center for detail and solidified her interest in photographic fine art.^[sixteen]

Ballad 1000. Highsmith photograph of model in Willard Hotel

Ballad M. Highsmith and Frances Benjamin Johnston [edit]

It was at the Willard that Highsmith commencement learned of Frances Benjamin Johnston, and where she began her photography career. The in one case-opulent hotel was deserted, stripped of its effects and fixtures, and slated for demolition. "[The Willard'southward] principal tenant was a bum who was setting fires on the sixth floor," Highsmith told the New York Times when the paper recounted the hotel's long history in 2006. "There were rats the sizes of cats. If I didn't accept pictures, what would it look like in a few more years?"^[17] In its Winter 1995 issue, Sometime House Interiors magazine likewise quoted her: "I started to remember, if this can happen to America'due south Chief Street, what other buildings are decomposable that nosotros don't fifty-fifty know about, and who'due south documenting them?".^[18]

Frances Benjamin Johnston became Highsmith's professional inspiration.^[xvi] Johnston, as well, had washed a full study of the Beaux-Arts hotel in 1901, when it expanded from 100 to 389 rooms. When the decrepit Willard was finally saved through the efforts of a spirited "Don't Tear it Down" campaign, and then restored for its reopening in 1986, the only record available to those who re-created many of the hotel's lavish features were Johnston's faded, blackness-and-white images. Not a single pattern or artist's cartoon had survived the gutting of the historic hotel.^[18]

"I was sucked into a moment of history," the Washington media quoted Highsmith in a 1988 profile. "I didn't care if I got paid. I didn't care if I ate. I had to have those photographs. When the Willard opened, people chosen me from all over the world. I was the just 1 who had any images of the famous hotel."^{[ citation needed ]}

For a year after the grand hotel re-opened, it displayed an extensive exhibit of Highsmith and Johnston's work in an alcove off the "Peacock Alley" corridor.^[19] That exhibit remains as a permanent drove in smaller form.

In 2006, the American Plant of Architects would mount a 4-month comparative showroom of Highsmith and Johnston's piece of work called "2 Windows on the Willard." Like another AIA 1-person exhibit of Highsmith'due south work, titled "Structures of our Times: 31 Buildings That Changed Modern Life" in 2002, the "Two Windows" study traveled to several locations beyond the country.^[xx]

By that time, Highsmith was well into her photography career, having left radio behind in 1984. She had pieced together a small-scale, primarily architectural, photography do.

In a 1987 Washington Mail service story headlined, "Doing What Comes Naturally," Don Oldenburg wrote of Highsmith's mid-career change:

"'You only sit and stare into infinite and call back nearly what you'd actually like to be doing,' the 41-year-old District resident recalls of her final months at WMAL radio five years ago. That was earlier she quit to make her dream career come true. She wanted to be a photographer....

"Ironically, those dreams of the ideal occupation that now and then distract nigh people from the workday grind, have traditionally been derided every bit detours from the American Dream. Those few individuals who actually act on their career fantasies have long been considered ne'er-do-wells, malingerers and daydreamers. Until they succeed. . . . 'It carved out a niche for me,' says Highsmith from her studio at 13th and Thousand streets NW, where she employs vii assistants and charges upward to $i,500 a twenty-four hour period. The Willard photographs already are destined to go function of the photographic archives of compages at the Library of Congress. Highsmith says she still gets goose bumps to think she'south a professional person photographer.

"Bob Fellow believes that people like Highsmith, who make their fantasies their business organization, are 'the wave of the very nigh future.' The chairman of Boyfriend & Swain Inc., a New York outplacement business firm, bases that prediction partly on a recent survey he conducted of his clients—predominantly midlevel managers and professionals who take been 'displaced' by their corporations and sent to Swain for career counseling.

"'Eighty-two per centum of them admitted wanting to do something similar that ... there is conspicuously a tendency to fantasize,' says Swain. 'Eighteen percent actually practise it.'"^[21]

Asked her personal motto by the Washington Times in 1989 in one of the newspaper's periodic profile of "doers," Highsmith replied, "A petty hard work never injure anyone."^[22]

Various projects [edit]

Nelson Atkins Museum in Kansas City

Highsmith landed a contract to photograph another edifice on Pennsylvania Artery. Information technology was a turreted edifice called Sears House, where Mathew Brady had operated the studios in which he and his assistants photographed Washington luminaries during and after the Civil War. Her work at Sears House would lead to Highsmith's get-go photographic honor, a 1985 Laurels of Excellence from Communication Arts magazine.^[23]

In 1987, Highsmith'due south tie to "The Avenue of Presidents" solidified when she was hired past the Pennsylvania Avenue Development Committee to document its wave of renovations on the avenue.^[24]

Pennsylvania Artery: America's Main Street, published by the American Found of Architects' AIA Press in 1988, became the start of her dozens of books. Detailing the transition of the artery's south side into the "Federal Triangle" and the methodical redevelopment of its shoddy due north side, the book was augmented by celebrated photographs and a text past Ted Landphair—who had been WMAL's news director in the 1970s but barely knew Highsmith before leaving the station to piece of work in other markets.

When Landphair returned to Washington to join the Voice of America in 1986, he and Highsmith reconnected, and they married ii years later on equally the Pennsylvania Avenue book was going to press. Ballad Thousand. Highsmith had added a collaborator husband and iv stepchildren to her busy life.

"Every bit you both know, it took twoscore years, 8 presidents, and a great succession of Congressional enactments" to "revive the Avenue," U.S. Sen. Daniel Patrick Moynihan, who had spearheaded Pennsylvania Avenue's renovation since his days equally an aide to President John F. Kennedy in the 1960s, wrote Highsmith and Landphair in 2000. "And you deserve a considerable share of the credit."^{[ citation needed ]}

In 1992, the Library of Congress accepted 500 of Highsmith's photographs as the commencement installment of her continuing work to document architectural transitions in the nation'southward capital.^[25] The collection would grow and become nationwide as Highsmith began to travel to other states to produce photographs for her books on American cities, states, and regions.

That same year, 1992, the D.C. Preservation League exhibited Highsmith's cibachrome photos of Washington celebrated landmarks. "Her photographic camera peers into dark, shaded porches in a shot of turn-of-the-century houses ... and then glances down the clapboards of spare, wooden row houses build a decade before," the Washington Postal service reported.^[26] "With the exception of a canal boat gliding along the C&O [Canal], in that location'south nix touristy here. It's Washington equally the locals know it."

And in 1992 likewise, the National Endowment for the Arts presented Highsmith with its largest individual grant, a $twenty,000 Pattern Arts fellowship and private project laurels.^[27] The award funded her and Landphair'southward travels to the western United States, including Alaska and Hawaii, to photograph examples of historic restoration for the America Restored book.

Highsmith deepened her affinity for compages by documenting diverse stages of buildings' renewal for contractors, architects, and developers. "Shooting enormous spaces in uncertain lighting weather condition, her large format images reveal high quality and fine detail, capturing the splendor of the bailiwick matter, be it a building in the midst of destruction or the elegance of a formal room," American Photographers magazine commented in 1989.^[28]

From 2000 to 2002, a three-year grant from the Annie Due east. Casey Foundation enabled Highsmith to photograph disadvantaged families in 22 cities where the foundation is active.^[29]

Later, the library's online Prints & Photographs Itemize description of the growing Carol M. Highsmith Archive noted that, "starting in 2002, Highsmith provided scans or photographs she shot digitally with new donations to permit rapid online admission throughout the globe. Her generosity in dedicating the rights to the American people for costless access also makes this Archive a very special resource".^[two]

In March 2009, the Library of Congress profiled four women, including Highsmith, during Women'south History Month. The others were suffragist leader Susan B. Anthony, early-20th-century magazine illustrator Elizabeth Shippen Green, and retired U.Due south. Supreme Court Justice Sandra Twenty-four hour period O'Connor.^[xxx]

Big Tex at Fair Park in Dallas

Highsmith's travels took her to more remote destinations, capturing covered bridges from Vermont to Indiana, murals and neon figures, archetype cars and onetime motor courts and a giant blueish concrete whale along U.S. Route 66, "doo wop" motels on the New Jersey shore, a mining tipple in Wyoming and shuttered gas stations in Southside Virginia, abandoned steel mills and plantation ruins in Alabama, kudzu-covered barns in the Carolinas,^{[ which? ]} roadside curiosities such as a four-story donut and a giant "Aunt Jemima" that is now a gift shop, storefront churches and bulldoze-in theaters and brick sections of the old National Route alongside a mod interstate highway.^[31]

From this work, she developed a subspecialty that she calls "Disappearing America."^[32] "Later interviewing Highsmith as she was photographing the Torrey Pines Golf game Course in 2013, San Diego Marriage-Tribune reporter John Wilkens wrote: "She ... has a passion for things that are disappearing, which made the tree the golf course is named after an highly-seasoned focal indicate. The Torrey is the rarest pine in the U.South."^[33]

"I piece of work every day with a heartfelt delivery to document the living history and built environment of our times," Highsmith told officials of the This is America! Foundation, which is raising funds to send her on yet another l-state photographic exploration. "I consider my work an indestructible record of our vast nation, including sites that are fast fading, fifty-fifty disappearing, in the wake of growth, development, and decay."^[34]

Photography career [edit]

According to C. Ford Peatross, director of the Center for Architecture at the Library of Congress, "The donation of Carol Highsmith's photography is one of the greatest acts of generosity in the history of the Library of Congress."^[35] In 2013, Peatross told the San Diego Spousal relationship-Tribune newspaper, "[She] is not only taking photographs merely creating a permanent record of the state and its people for the mutual good."^[36]

On April 28, 2013, the CBS goggle box news magazine "CBS This Morning" featured Highsmith's work in a lengthy segment titled, "Saving America for Posterity at the Library of Congress". CBS Correspondent Martha Teichner told in her report: "Highsmith is at piece of work on a decades-long project photographing all 50 states and the District of Columbia. Her pictures, thousands of them, are going to the Library of Congress and are being made available complimentary for anyone to use."^[37] The CBS Sunday Morn report connected, "Highsmith's images likewise capture a disappearing America. Two weeks after she photographed Big Tex, the mascot of the Texas Country Fair, he burned down. Her photograph of the New York skyline, just before 9/11, is also in the Library of Congress."^[38] CBS included more than than thirty of Carol'southward images in the online version of its study.^[38]

In its December 2007 upshot, the Library of Congress's Data Bulletin included a "Conversation with Carol Highsmith." In the commodity, Jeremy Adamson, the director of Collections and Services at the library, said, "Highsmith's color images are certainly of the highest technical and artistic quality. Simply more chiefly, she has the uncanny ability to identify, focus on and capture for posterity the essential features of our social mural and physical environment, both natural and man-made. A photo by Carol Highsmith is a document of rare precision and dazzler, revealing with exacting clarity the look and feel of people and places across our great nation."^[39]

Professional photography and publishing [edit]

Houston, Texas Skyline image is part of the Lyda Hill Texas Collection at the Library of Congress

Her work has been featured in more than 50 hardback java-table books, virtually published by Crescent Books, an banner of Random Firm in New York, and past Preservation Printing, the publishing arm of the National Trust for Celebrated Preservation.

Highsmith too photographed, and her publishing visitor, Chelsea Publishing, Inc., published six boosted books: Forgotten No More, about the Korean State of war Veterans' Memorial;^[forty] Union Station: A Decorative History, about Washington's historic railroad train concluding;^[41] Reading Concluding and Market: Philadelphia's Gateway and Grand Convention Center;^[42] The Mount Washington: A Century of Grandeur; and Houston: Deep in the Heart.

Early in her career, Highsmith photographed interior and outside compages. Only as she and her author-husband, Ted Landphair, traveled the country to every country and major urban center to work on the Random House "Photographic Bout" and smaller "Pictorial Gift" book serial, her telescopic broadened to be a photographic documentarian. She photographed ordinary people and everyday sites as well as soaring architecture, natural landscapes, national parks and monuments, Civil War battlefields, and applied science marvels.^[43]

Horse in field in Lyndon B. Johnson National Historical Park in Johnson City, Texas

Her book subjects included the cities San Francisco, New Orleans, Washington, and Chicago; New York's five boroughs; the states of Florida, Colorado, and Virginia; the Pacific Northwest and New England Coast; also as lighthouses, barns, Amish civilisation, and the Appalachian Trail.^[44]

Yosemite National Park is part of the Jon B. Lovelace Drove at the Library of Congress

In 1998, Random Firm sent Highsmith and Landphair to Ireland, where they photographed every county of Northern Ireland and the Irish Democracy, for Ireland: A Photographic Tour, their only book set up outside the Usa.^[45]

In early on 2002, Crescent Books published World Trade Centre: Tribute and Remembrance, about the 2001 September xi attacks in New York and exclusively featuring Highsmith's photographs. She had taken aerial photographs of the Twin Towers 2 months before they fell.^[46]

That aforementioned twelvemonth, Highsmith and Landphair collaborated on Deep in the Centre, a book virtually Houston, Texas, financed by that city'south International Protocol Brotherhood. They also produced The Mount Washington: A Century of Grandeur, on the White Mountains resort. Highsmith collaborated with architectural writer Dixie Legler on Celebrated Bridges of Maryland, published past that state'southward department of transportation.^[47]

In 2007, Highsmith photographed, and writer Ryan Coonerty described, 52 monuments and other public sites in a National Geographic volume Etched in Stone.^[48]

Having previously privately produced a 265-page coffee-table volume for the funder of her photographic excursion to the state of Alabama in 2010, Highsmith in 2013 produced a like book, with a foreword past Librarian of Congress James Billington and short text by California historian Kevin Starr, about the Golden State. Entitled "California," information technology was published by Chelsea Publishing, Inc., and publicly sold.^[49]

Library of Congress [edit]

Old cerise barn near Muscle Shoals in northern Alabama

Young cowboy in Fort Worth, Texas

In 2009, the Library of Congress acquired Carol Highsmith's 21st Century America "born digital" drove (photographs that originated in the digital format rather than as film transferred to digital) and expect it to grow to the largest photographic built-in digital collection at the Library of Congress. This archive, "Ballad M. Highsmith'southward America: Documenting the 21st Century", includes 1,000 images taken across the country. The collection emphasizes what Highsmith calls "Disappearing America," including 200 shots taken along U.Due south. Route 66 in Arizona, New United mexican states, Texas, and Oklahoma.^[16]

"The more she travels beyond the land, the more convinced she is about the need to capture in photographs a speedily changing America," noted a Library of Congress message. "'The America I knew is disappearing at lightning speed,' [Highsmith] observed."^[16]

Highsmith also produced a visual study consisting of more 400 color digital photographs of the Library of Congress's own, iconic Thomas Jefferson Building, which opened in 1897, toward the cease of America's "Gilded Age" of ornate compages.^[fifty]

In Feb 2010 Highsmith began a journey to photograph every state in the United States—land by state in months-long studies, all in her lifetime in a series to exist called "This is America,"—also donating these images, complimentary of royalties, to the Library of Congress. "She acknowledges that getting all 50 is going to take a while—15 more than years, by her estimate," would write CityLab magazine, the online publication of The Atlantic mag, five years afterward. "But Highsmith's non deterred, nor will she narrow her scope. 'Everywhere is of import,' she says. 'Y'all tell me I don't need to become to Joplin, Missouri? Things happen. Things change. I will work on this until I die.'"^[51]

Highsmith is sometimes called "America'due south Photographer," well-nigh recently in a banner headline in an August 15, 2017 story near her career in the print edition of the Greensboro, N Carolina, News-Record paper. "And so far, Highsmith has donated most 42,000 photographs to the Library of Congress," the newspaper reported. "She aims to donate 100,000 images before she'southward washed. 'It'south my legacy," she said. "But it'southward our [nation's] legacy.'"^[52]

The first state in Highsmith'southward "This is America" study Alabama became the George F. Landegger Alabama Library of Congress Collection.^[53]

George F. Landegger likewise donated funds to the Library of Congress to certificate Washington, D.C. neighborhoods^[54] and the state of Connecticut.^[55] The Connecticut study, intermingled with Highsmith'due south examinations of the two states (California and Texas) that followed Alabama. The Connecticut work, completed in 2015, culminated in both an annal of Highsmith images in the Library of Congress collection and a coffee-tabular array book, merely titled Connecticut, published by Chelsea Publishing Inc. the aforementioned year.^[56]

On ii photographic expeditions over a six-calendar month period, first in belatedly 2012 and and then in early on 2013, Highsmith worked in California, producing images for her Library of Congress collection.^[57] This body of piece of work, titled The Jon B. Lovelace California Library of Congress Collection, was donated in honour of Lovelace, who died in 2011. Lovelace managed the Capital letter Group and was chairman of the J. Paul Getty Trust.^[58]

In an April 16, 2013, news release from the California Department of Parks and Recreation, Jenan Saunders, California's deputy state celebrated officeholder, wrote of Highsmith's work in the Aureate Country, "Highsmith's efforts produced glorious views of California's lush valleys and rocky shores, forbidding deserts, remarkable buildings, bountiful fields and stunning state and national parks. Her center fell frequently on California's land parks. At that place are images from more 35 California Country Parks included in the visual compilation, from Jedediah Smith Redwoods State Park on the north coast to Salton Sea State Recreation Area in the south."^[59]

Likewise in 2013, Artepublishing, a division of the fine-art book publisher Hugh Fifty. Levin LLC, produced an electronic book, "Great Photographs From the Library of Congress," that included more than than 700 images from the library'southward Prints & Photographs Sectionalisation. Most were black-and-white historical photos, going back to the Ceremonious War work of Mathew Brady, only 22—more than than any devoted to whatsoever other photographer—were chosen from Ballad Thousand. Highsmith's archive of belatedly-20th- and early-21st-century photographs.^[lx]

In June 2015, Highsmith began work in her fifth and sixth states—Colorado and Wyoming—to exist visually studied in depth. The plan for this work calls for return working trips to these states in Jan 2016 and again in June 2016. These photographic explorations are underwritten by the Gates Frontiers Fund, a individual, Colorado-based charitable organization.^[61]

Upon her return to her Washington, D.C.-expanse dwelling house in October 2015, Highsmith was the keynote speaker in the commencement of several planned online seminars (or "Webinars,") organized by the Library of Congress's Education Division. She described her career and answered online attendees' questions about possible applications of her drove to the classroom.^[62]

Inspiration [edit]

Carol M. Highsmith was straight influenced by two female photographers: Frances Benjamin Johnston and Dorothea Lange.^[10]

Johnston produced studies of southern plantations, African-American and American Indian schools, national parks, and studio portraits of prominent Americans from the 1890s to 1950s.^[63] Highsmith became aware of Johnston's work in the early on 1980s, post-obit her first meaning photography commission that took her into Washington's Willard Hotel in the early 1980s. There, she learned non only that Johnston had photographed the Willard at the time of its thou reopening in 1901, just also that her photos were the only available record from which artisans could recreate its early grandeur when the hotel was once once again restored after nearly falling to the wrecker's ball during Highsmith'southward fourth dimension there near a century subsequently.^[16] It was during this time that Highsmith was told most Johnston's donation of her lifetime trunk of photographic work to the Library of Congress; she immediately informed the Library's Prints & Photographs Division's curators that she intended to do too.^[16]

Lange is remembered for her fieldwork for the federal Farm Security Administration amidst migrant workers and other dispossessed families during the Great Low of the 1930s.^[64] Decades after Lange's work, Highsmith photographed surviving shacks in the Weedpatch "Okie" camp in Kern County, California, that was the setting for much of John Steinbeck's novel The Grapes of Wrath.^[65]

"2 hundred years from now, people might want to report what types of screws were sold, and they will be able to study my images and detect detail to understand how things have inverse," Highsmith said in 2008 "These photos can tell a one thousand thousand and 1 stories. That's what sets still photography apart. With such tremendous quality, you can sit for hours and study a photograph."^[66]

Milestones [edit]

ninety-yr-former Kate Carter in Due north Carolina log motel

Siegfried & Roy by Carol M. Highsmith

In 2007, the American Establish of Architects marked its 150th anniversary past inviting the public to vote on the AIA Spider web site for their favorite 150 U.S. architectural sites. In one case the winners were selected—the Empire State Building finished first—the AIA used existing Highsmith photographs for more than 100 of the sites and commissioned her to photo all but 2 of the remaining ones.^[67] Ane of the 2—New York's Penn Station, no longer stood, and the other, the Mauna Kea Beach Hotel on Hawaiʻi Island, had been desperately damaged in an convulsion; historical photographs illustrated those sites. Enlargements of Highsmith's photos for the "AIA 150" appeared in an exhibit at the Establish's headquarters at the Octagon House in Washington, DC, and remain on the AIA 150 Spider web site.^[68]

In April 2009, Highsmith was one of four women included in the Library of Congress'southward Women'southward History Month Profiles on its web site.^[69]

Each year since 1999, Highsmith has photographed monumental federal buildings beyond the nation for a unit of the Full general Services Administration,^[70] and has separately photographed art in federal buildings, including works commissioned by the Treasury Department and Works Progress Administration during the Groovy Depression of the 1930s.^[71]

Highsmith has photographed several National Trust for Historic Preservation properties, including architect Ludwig Mies van der Rohe'southward Farnsworth House in Illinois, Philip Johnson's Glass Business firm in Connecticut, the Drayton Hall plantation house in Southward Carolina, and the Shadows-on-the-Teche manor home in Louisiana.^[72]

For the Trust'south Preservation Press in 1994, Highsmith and Landphair produced their first national book, America Restored, besides equally a volume on Washington's foreign embassies.^[73] America Restored detailed ii restoration projects in each state, including the extensive renovations of the Fordyce Bathhouse in Hot Springs, Arkansas; the Sheraton Palace Hotel in San Francisco; Rockwood Manor House in Wilmington, Delaware; Georgia's Jekyll Island Historic District; the covered bridges of Rush Canton, Indiana; Parlange Plantation in Louisiana; Broome County, New York's, carousels; and the Battleship Texas in Houston.^[74]

On commission from the National Park Service, Highsmith photographed homes, personal belongings, and collections of four presidents (Lincoln, Eisenhower, Truman, and Theodore Roosevelt) as well every bit poet Carl Sandburg, abolitionist Frederick Douglass, Confederate commander Robert E. Lee, African-American businesswoman and instructor Maggie Walker, the pioneer American nurse, Clara Barton, and the Nez Perce American Indian Nation. The Park Service produced a "virtual multi-media exhibit" of Highsmith'due south presidential collection photographs.^[75] In 2016 and 2017, Highsmith was the featured photographer in a Smithsonian National Museum of Natural History exhibit of national park images saluting the National Park Service'southward 100th ceremony.^[76] In a story, "Renowned Lensman Captures America's Natural Treasures," the Voice of America displayed side-past-side photos of Highsmith's inspiration, photographic pioneer Frances Benjamin Johnston and Highsmith perched in the same location beneath a rock germination in Yellowstone National Park, a century apart. "'Practice I non get that there are millions and billions of photographs being taken every 24-hour interval?'" Highsmith asked rhetorically," the VOA story quotes the photographer. "'I practice. But unfortunately, most of those won't exist effectually over fourth dimension.'"^[77]

In 2002 the U.Southward. Mail service chose Highsmith'south photograph of the Jefferson Memorial as the epitome for its new Priority Mail stamp.^[78] 11 years afterwards, in 2013, the USPS selected another Highsmith image, a close-upward, black-and-white image of Abraham Lincoln at the Lincoln Memorial in Washington, for a new issue of its "second ounce," meaning 20-cent denomination, stamp. According to the postal service declaration, "In designing the stamp, art director Derry Noyes chose to work with a photograph of a sculpted portrait of Lincoln rather than a more traditional illustration or painting. Carol M. Highsmith'due south photograph of this iconic Lincoln statue offered a fresh take. Noyes selected a detail of the image in order to highlight the President'south features most effectively."^[79]

"America is e'er irresolute and the people and places that shape our everyday lives must exist captured to tell the important stories of our present and our past to future generations," Richard Moe, the president of the National Trust for Celebrated Preservation, wrote. "I tin't think of a meliorate photographer to undertake [the] immensely important task of documenting America than Carol Highsmith."^[eighty]

Getty Images/Alamy lawsuit [edit]

In July 2016, Highsmith instituted a $1.35 billion lawsuit against two stock photography organizations, Getty Images and Alamy, and their agents, over their attempts to assert copyright over, and charge fees for the employ of, 18,755 of her images, after Getty sent her a beak for i of the images, which she used on her own website.^{[81] [82] [83]} In November 2016, afterwards the judge hearing the instance dismissed much of Highsmith'southward case on grounds that she had relinquished her claim of copyright when she donated much of her piece of work to the Library of Congress (and thus to the public domain), the residue of the lawsuit was settled by the parties out of court.^[84]

On August 18, 2016, Artistic Commons, a nonprofit American system that problems "public copyright licenses" enabling the free distribution of otherwise copyrighted work, said of the photographer on its website, "Highsmith's project predates our work as Creative Commons, simply her work is very much in the spirit of our community. By removing copyright restrictions from her photographs, Highsmith is engaged in the of import work of growing a robust commons built on gratitude and usability; her singular archive at the Library of Congress is a testament to 1 woman's passion and generosity."^[85]

Annenberg Space for Photography Exhibit [edit]

In 2018, Carol M. Highsmith'south work was featured in a 6-month-long exhibition at the Annenberg Space for Photography in Los Angeles, California—assembled by American photography curator Anne Wilkes Tucker—showcasting images selected from more 14 million visual items permanently housed at the Library of Congress. Of the 440 photographs in what was called "Not an Ostrich: and Other Images from America's Library," 48 were Highsmith'southward.^[86] For a documentary film that accompanied the exposition, a crew followed Highsmith "on the road" in Clarksdale, Mississippi and elsewhere a year earlier, in 2017.^[87]

The exhibit's championship was borrowed from a 1930 photograph in the national library'due south collection of a rare, fluffy-feathered goose held past an actress at a Madison Square Garden poultry show, thought to be taken by an unnamed photographer in the employ of the Underwood & Underwood Co. that produced stereograph views.^[88]

In what the Annenberg museum described equally "a captivating conversation," Highsmith was the featured speaker at an "Iris Nights" lecture serial presentation, conducted past curator Tucker, of "the dazzler, humour, and humanity of America." They discussed Highsmith's "decades-long project to photograph America with images from all 50 states. The conversation as well covered her conclusion to donate all of her images from the project to the Library of Congress, her experiences 'on the route,' [she had just completed a study of Arizona and was headed to united states of Washington, Oregon, New York, and Rhode Isle], and the influence of other trailblazing women photographers, such as Dorothea Lange and Frances Benjamin Johnston, both of whom take inspired Highsmith."^[89]

Horse jingle in rural Texas

In a review of the exhibit past the online LensCulture gimmicky-photography magazine, Gena Williams wrote, "Juxtapositions are an important function of Not an Ostrich. One wall features Carol Highsmith's gleaming (and often scenic) images of Americana. 'Highsmith's view of America is a positive one. She has an center for beauty,' [curator] Tucker says, comparison her work to photographers such every bit Ansel Adams."^[90] The Lensculture review also published four of Highsmith's photographs, including one of a giant, lighted "MOM" creative installation taken at the 2009 Burning Man "community and art" celebration in Blackness Rock Desert, Nevada.^[90]

Commissions and awards [edit]

• Award of Excellence, Communications Arts Magazine, 1985^[23]
• Pennsylvania Avenue Development Commission, 1987^[16]
• Crescent Books Imprint, Random House Publishers, 36 books, 1997–2003^[91]
• Photography of historic Federal buildings and fine art, for the General Services Administration, from 1999^[lxx]
• Photography of presidential and other notables' property for the Museum Management Program of the National Park Service^[92]
• Jefferson Memorial image chosen for first USPS Priority Mail stamp, 2002^[93]
• Exclusive photographer of the American Institute of Architects (AIA) 150, America's Favorite Architecture, 2007^[94]
• Library of Congress'due south Women's History Month Profile, (1 of iv women profiled) 2008^[thirty]
• Full general Services Administration Design Award, 2009^[95]
• The Library of Congress featured Highsmith'southward "born-digital" America Drove ("built-in digital" refers to images originally produced by a digital camera, rather than those digitized from film) and shows her work on the Prints and Photographs website^[32]
• In 2010, Highsmith photographed Alabama as the kickoff state in her "21st Century America" projection, funded by man of affairs George F. Landegger, whose family had operated pulp plants in the state. Landegger and then donated funds to the Library of Congress for Highsmith to go along documentation of the American states.^[96]
• In 2011, the Library of Congress acquired vi,500 images from Highsmith's pic collection of her piece of work in America that dates from 1980 to 2001. Nigh of the images are on iv" × 5" film. The motion-picture show has been scanned and converted to high-resolution digital files.^[32]
• During 2012 and 2013 Highsmith worked throughout California, visually documenting the entire state. The collection, known as the Jon B. Lovelace California Collection at the Library of Congress, was funded past the Capital Grouping, a California investment firm, in memory of Lovelace, who died in 2011.^[57]

References [edit]

1. ^ Library of Congress, Prints and Photographs Online Itemize, accessed Baronial 4, 2012.
2. ^ ^{a b} "Highsmith (Carol M.) Archive". Library of Congress . Retrieved April ii, 2010.
3. ^ ^{a b c d eastward} "Q&A with Carol Highsmith". C-Bridge. May 24, 2011. Retrieved April 7, 2013.
4. ^ Carter, Howard Williston (1994). Carter, a genealogy of the descendants of Thomas Carter of Reading and Weston, Mass., and of Hebron and Warren, Ct. Also some account of the descendants of his brothers, Eleazer, Daniel, Ebenezer and Ezra, sons of Thomas Carter and grandsons of Rev. Thomas Carter, beginning minister of Woburn, Massachusetts, 1642. Salem, Massachusetts: Higginson Book Co. ISBN978-0-89459-212-6. OCLC 32899671. ^{[ page needed ]}
5. ^ "Q&A Carol Highsmith, May 24 2011 - Video - C-Span.org". C-SPAN.org.
6. ^ "Folk artist Bennie Carter (1st cousin of photographer Carol K. Highsmith) amid some of his creations outside his home, Rockingham County, N Carolina". Library of Congress. 1980.
7. ^ ^{a b} "Archived re-create". Archived from the original on October 3, 2013. Retrieved May 2, 2013. {{cite web}}: CS1 maint: archived copy as title (link)
8. ^ http://cdn1.creativecirclemedia.com/ncpress/files/9eb554fc04.pdf^{[ full citation needed ]}
9. ^ Minnehaha Academy Arrow, Spring 2013, p. 26
10. ^ ^{a b c} "Carol Highsmith, on a 16-year quest to photograph America for the Library of Congress". washingtonpost.com . Retrieved September 2, 2015.
11. ^ http://library.gwu.edu/ead/ms2029.xml^{[ verification needed ]}
12. ^ Harden, Frank; Weaver, Jackson; Meyer, Ed (1983). On the radio with Harden and Weaver. Morrow. p. 82. OCLC 1150960882.
13. ^ "Ballad M. Highsmith: Photos and biography of Carol M. Highsmith, purchase p…". Archived from the original on June 28, 2013.
14. ^ "Restoration work on the historic Willard Hotel in the 1980s, Washington, D.C." Library of Congress. 1980.
15. ^ (77 other Highsmith photos from this period at loc.gov
16. ^ ^{a b c d east f g} Maya, Raquel (December 2007). "A Conversation with Ballad Highsmith". Information Bulletin. 66 (12).
17. ^ Clemetson, Lynette (January 4, 2006). "A Hotel Preens as the Center of Political Attentions". The New York Times.
18. ^ ^{a b} Cole, Regina (Winter 1995). "Profile". Old House Interiors. 1 (4): 22–28.
19. ^ "21st-Century America (October 2010) – Library of Congress Data Bulletin". loc.gov . Retrieved September two, 2015.
20. ^ "Two Windows on the Willard: The Photographs of Carol M. Highsmith and Frances Benjamin Johnston". American Architectural Foundation. Archived from the original on September 7, 2009. Retrieved April 3, 2010.
21. ^ Oldenburg, Don (August 25, 1987). "Doing what comes naturally". Washington Mail.
22. ^ "Who said, 'a little hard work never hurt anyone'". chacha.com . Retrieved September 2, 2015. ^{[ dead link ]}
23. ^ ^{a b} "Blueprint Annual 26". Advice Arts. 27 (seven): 6–7. November 1985. ASIN B00534M06A.
24. ^ "This Is California". thisiscalifornia.us. Archived from the original on October 18, 2014. Retrieved September 2, 2015.
25. ^ "Through the Lens". Library of Congress Data Bulletin. 66 (12): 239. December 2007.
26. ^ McCoy, Mary (July 23, 1992). "VISUAL ARTS" – via world wide web.washingtonpost.com.
27. ^ "Ballad Thousand Highsmith". Fine Art America . Retrieved September ii, 2015.
28. ^ Les Krantz (1989). American photographers: an illustrated who's who amidst leading contemporary Americans. Facts on File. ISBN978-0-8160-1419-iv.
29. ^ "Highsmith (Carol M.) Annal – Background and Scope". world wide web.loc.gov. February 3, 1980.
30. ^ ^{a b} "Women'due south History Month".
31. ^ "This Is California". thisiscalifornia.us. Archived from the original on Feb vii, 2016. Retrieved September 2, 2015.
32. ^ ^{a b c} "Carol Grand. Highsmith". outlookseries.com . Retrieved September 2, 2015.
33. ^ "Lensman capturing San Diego for posterity". The San Diego Union-Tribune . Retrieved September 2, 2015.
34. ^ "THIS IS ALABAMA". thisisalabama.united states. Archived from the original on July 20, 2015. Retrieved September 2, 2015.
35. ^ Maya, Raquel. "A Photographic Souvenir to the Nation". Library of Congress. Retrieved May 18, 2013.
36. ^ Wilkens, John (May 17, 2013). "Capturing San Diego for posterity". U-T San Diego . Retrieved May xviii, 2013.
37. ^ "Saving America for posterity at the Library of Congress". CBS News.
38. ^ ^{a b} "Saving America for posterity at the Library of Congress", CBS News, 28 Apr 2013.
39. ^ Urschel, Donna. "21st-Century America Lensman Carol Highsmith Documents a Nation". Library of Congress. Retrieved May 18, 2013.
40. ^ Ballad M. Highsmith; Ted Landphair (January 1995). Forgotten No More than: The Korean War Veterans Memorial story. Chelsea Publishing. ISBN978-0-9620877-3-eight.
41. ^ Carol M. Highsmith; Ted Landphair (June 1988). Spousal relationship Station: A Decorative History of Washington'south Grand Terminal. Chelsea Publishing. ISBN978-0-9620877-0-vii.
42. ^ Carol Chiliad. Highsmith; James L. Holton (January 1994). Reading Final and Market: Philadelphia'due south Gateway and Grand Convention Eye. Chelsea Publishing. ISBN978-0962087714.
43. ^ Carol K. Highsmith; Ted Landphair (August 1997). Colorado: A Photographic Tour story. Crescent Books. ISBN978-0517186084. (and 14 additional "Photographic Bout" books published by Crescent).
44. ^ "Highsmith (Ballad M.) Archive: Selected Bibliography", Library of Congress.
45. ^ Ballad Yard. Highsmith; Ted Landphair (Feb 10, 1998). Republic of ireland: A Photographic Tour. Crescent Books. ISBN978-0-517-18757-9.
46. ^ Carol M. Highsmith (2001). Globe Trade Center: Tribute And Remembrance . Crescent Books. ISBN978-0-517-22092-4.
47. ^ Dixie Legler; Carol G. Highsmith (2002). Historic Bridges of Maryland. Maryland Historical Trust Press. ISBN978-0962087714.
48. ^ Ryan Coonerty; Ballad Highsmith (March 20, 2007). Etched in stone: indelible words from our nation'south monuments. National Geographic Books. ISBN978-1-4262-0026-vii.
49. ^ Highsmith, Carol M.; Starr, Kevin (November 20, 2013). California Book: Ballad M. Highsmith, Kevin Starr: 9780962087721: Amazon.com: Books. ISBN978-0962087721.
50. ^ "The LOC.GOV Wise Guide : The Library Exposed". loc.gov . Retrieved September 2, 2015.
51. ^ "Run across the Woman Creating a Consummate, Copyright-Free Visual Record of America".
52. ^ dawn.kane@greensboro.com, Dawn DeCwikiel-Kane. "Photographer Carol Highsmith's work for Library of Congress is her calling".
53. ^ Jerry Hayes (May 9, 2010). "Capturing Project Alabama in 100 days". WHNT19 News . Retrieved June 2, 2010.
54. ^ "Search Results: "Washington D.C. Landegger" – Prints & Photographs Online Catalog (Library of Congress)". www.loc.gov.
55. ^ "Search Results: "Connecticut" – Prints & Photographs Online Catalog (Library of Congress)". www.loc.gov.
56. ^ "The Picture Not Taken". ctexplored.org. September 29, 2015.
57. ^ ^{a b} "Library of Congress to Larn California Images – News Releases (Library of Congress)". loc.gov . Retrieved September 2, 2015.
58. ^ "Coin & Company". Los Angeles Times. November 17, 2011. Retrieved September 2, 2015.
59. ^ "California State Parks Prominent in Library of Congress Photo Exhibit Featuring Renowned Photographer Carol M. Highsmith" (PDF) (Printing release). California Department of Parks and Recreation. April 16, 2013. Retrieved June 15, 2021.
60. ^ "Artepublishing :: Our Publications :: Nifty Photographs from the Library of Congress". artepublishing.com.
61. ^ Kocher, Jen. "A movie of America".
62. ^ "Library Announces Its First Online Briefing for Educators". Library of Congress.
63. ^ "Photographs and papers of Frances Benjamin Johnston". Library of Congress . Retrieved Apr iii, 2010.
64. ^ "Migrant Workers: Lensman: Dorothea Lange". Documenting America. Library of Congress. 1935.
65. ^ "Dorothea Lange's "Migrant Female parent" Photographs in the Farm Security Administration Drove: An Overview (Library of Congress)". loc.gov . Retrieved September 2, 2015.
66. ^ Beth Rowen. "Renowned Photographer Plans a Cross-Land Trip to Photograph America: Carol M. Highsmith will donate her photos to the Library of Congress". Infoplease spider web site . Retrieved April 2, 2010.
67. ^ "AIA Homepage – The American Found of Architects". favoritearchitecture.org. Archived from the original on December 24, 2013. Retrieved September 2, 2015.
68. ^ "America's Favorite Architecture". American Institute of Architects. 2007. Archived from the original on May ten, 2011. Retrieved April two, 2010.
69. ^ "Carol G. Highsmith (b. 1946)". Women'southward History Month. The Library of Congress. Retrieved March 2, 2010.
70. ^ ^{a b} "Historic Building Photographs". gsa.gov . Retrieved September two, 2015.
71. ^ "Art in Architecture Program". gsa.gov . Retrieved September 2, 2015.
72. ^ "Carol Thou. Highsmith". carolhighsmith.com . Retrieved September 2, 2015.
73. ^ Carol Thousand. Highsmith; Ted Landphair (1992). Embassies of Washington. Preservation Press. ISBN978-0-89133-170-four.
74. ^ Carol Thou. Highsmith; Ted Landphair (1994). America restored. Preservation Printing, National Trust for Historic Preservation. ISBN978-0-89133-228-2.
75. ^ "National Park Service – Museum Management Program". nps.gov . Retrieved September 2, 2015.
76. ^ "Archived re-create". Archived from the original on May 18, 2017. Retrieved May 5, 2017. {{cite web}}: CS1 maint: archived copy as title (link)
77. ^ Taboh, Julie. "Renowned Lensman Captures America's National Treasures".
78. ^ "three.85-dollar Jefferson Memorial". National Postal Museum. Smithsonian Institution.
79. ^ "2014 First Look: Abraham Lincoln Memorial Statue". uspsstamps.com . Retrieved September 2, 2015.
80. ^ "Carol M. Highsmith". carolhighsmithamerica.com . Retrieved September 2, 2015.
81. ^ Dunne, Carey (July 27, 2016). "Lensman Files $1 Billion Suit Against Getty for Licensing Her Public Domain Images". Hyper Allergic . Retrieved July 28, 2016.
82. ^ Masnick, Mike. "Lensman Sues Getty Images For $1 Billion For Claiming Copyright On Photos She Donated To The Public". Techdirt . Retrieved July 28, 2016. includes a copy of the lawsuit
83. ^ Text of Highsmith 5 Getty and others
84. ^ "$1 Billion Getty Images Lawsuit Ends Not with a Blindside, merely a Whimper". November 22, 2016.
85. ^ ""This is my time and I'm recording information technology": Carol Highsmith and the nature of giving – Creative Commons". August 18, 2016.
86. ^ "Not an Ostrich: And Other Images from America's Library".
87. ^ "Guitarist Beak Abel performs at the Hopson Plantation's converted commissary edifice, now a jazz venue and bar, on the outskirts of Clarksdale, in Mississippi's Delta region". Library of Congress. 2017.
88. ^ "Not an ostrich - but the oddly plumed "Floradora Goose" displayed at the poultry show a rare goose, decorated with fluffy united nations-gooselike feathers, being held by Miss Isla Bevan at the 41st annual Poultry Show at Madison Square Garden. It is called the Floradora Goose, and is a prizewinner". Library of Congress. 1930.
89. ^ "Carol M. Highsmith & Anne Wilkes Tucker: The Dazzler, Humor, and Humanity of America".
90. ^ ^{a b} Williams, Gena. "Rediscovering America with Anne Wilkes Tucker". LensCulture . Retrieved January 24, 2021.
91. ^ "Highsmith (Carol Grand.) Archive – Selected Bibliography". www.loc.gov. Feb 3, 1980.
92. ^ "National Park Service – Museum Management Program". www.nps.gov.
93. ^ "Arago: 3.85-dollar Jefferson Memorial". si.edu . Retrieved September two, 2015.
94. ^ Highsmith credit appears on 148 of 150 images; the other 2 were historical, black-and-white images; see "Archived re-create". Archived from the original on May ten, 2011. Retrieved 2011-06-05 . {{cite web}}: CS1 maint: archived copy as title (link)
95. ^ "p. ix" (PDF). Archived from the original (PDF) on September 27, 2013. Retrieved May xviii, 2013.
96. ^ "Highsmith Launches 21st-Century America Project – News Releases (Library of Congress)". loc.gov . Retrieved September 2, 2015.

External links [edit]

• Official website
• Carol Thousand. Highsmith Collection at the Library of Congress
• This is America! Foundation Web site featuring Highsmith images of America
• Melissa Parker (July 15, 2010), Carol M. Highsmith Interview: Famed Photojournalist Documents America for the Library of Congress, Smashing Interviews
• Appearances on C-SPAN

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