Between the limits of the discipline, as it is taught in graduate schools, and the structure of museological functions, exhibitions of drawings usually adhere to a restricted range of formats, which, while continuing to be viable for institutions and the public and useful for scholars in the field, can be felt as constricting for those who conceive and execute them. The scope of drawings exhibitions can be determined by time and/or place (stylistic categories), or an artistic personality (monographic), or collection ("Treasures on Paper from..."), and perhaps a few others. When a curator is faced with such a project, he may may find himself wrestling with an urge to break the mold and create something new.
This handsome, modestly (and conveniently!) -sized book was put together with a light, subtle hand, artists' hands, and the reader will be immediately seduced by the striking photographic work which is its primary raison d'être, but Human Documents: Eight Photographers was founded on a precise argument, which Robert Gardner makes quite clear with his spare, patrician prose in the introductory essay. Eliott Weinberger introduces variations on it (as well as further points of view of his own) in his supplementary essay, "Photography and Anthropology (a Contact Sheet)." The book is intended to bear witness to the connections between photography and anthropology, and both Gardner and Weinberger discuss the historical background to this inevitable, but not always easy relationship.