by Charles Philip Fox
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by Marc Hartzman
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by Francine Homberger
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Step Right Up: Stories of Carnivals, Sideshows, and the Circus by Nathaniel Knaebel |
The Circus Age: Culture and Society under the American Big Top by Janet M. Davis |
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Editorial Reviews
From Publishers Weekly
Dispensing entirely with circus clich‚s, Sloan (Hoaxes, Humbugs, and Spectacles) presents the photographs of Glasier (1865-1950), a commercial photographer in Brockton, Mass., who shot promotional photos of the various circuses that repeatedly came through town over the years. His photos, printed fully rather than as they were cropped for ads, reveal a subculture presenting itself unapologetically (even defiantly)-and fascinatingly. Sloan writes: "As a sustained document of circus life at this time, there is no known equivalent": "The Illeson Sisters, Acrobats" finds two child performers perched on large balls, hoisting the smallest (in a near perfect split) between them, with their prideful looks questioning the assumption of total exploitation; in "Sparks Circus, 1923," a clown, via barely perceptible wires, tows a skeleton behind him that seems to float as it mimics his movements; a group shot of a circus wedding party (the ceremony itself often "held in the center ring in front of the spectators during intermission") shows the participants extolling a solemnity-within-spectacle that also displays their intelligence and deliberate self-fashioning. An introduction by essayist Timothy Tegge ("born and raised performing as a clown in his family's one-ring circus," the press chat notes) vividly traces circus history back to Rome. Anyone interested in American cultural history will find that these 62 b&w photos reveal a great deal about how performers-often from a great diversity of backgrounds-comport themselves toward their art.
Copyright 2003 Reed Business Information, Inc.
From Booklist
A form of entertainment that claims to be the greatest show on earth had better deliver. That the circus does is confirmed by the photos F. W. Glasier made during the traveling spectacle's heyday--even more unequivocally than Edward J. Kelty's group portraits of circus personnel (see Miles Barth and others' Step Right This Way [BKL N 15 02]). For while Glasier also made portraits, he liked to get relatively candid shots, which the cumbersomeness of Kelty's huge "banquet" camera didn't allow. So here in this 10-by-11-inch album, we see people milling before the sideshow tent, already marveling at one of the "freaks" playing a violin; elephants lining up after unloading from the circus train; roustabouts driving tent stakes; and an eight-horse team pulling an ornately carved wagon in a small-town parade. Most astonishing is an image worthy of modern sports photography: Alexander Patty of the Ringling Brothers Circus caught between stairs as he does his stuff--hopping downstairs on his head! Hur-ry, hur-ry, and don't be ashamed to gawk. Ray Olson
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
Dispensing entirely with circus clich‚s, Sloan (Hoaxes, Humbugs, and Spectacles) presents the photographs of Glasier (1865-1950), a commercial photographer in Brockton, Mass., who shot promotional photos of the various circuses that repeatedly came through town over the years. His photos, printed fully rather than as they were cropped for ads, reveal a subculture presenting itself unapologetically (even defiantly)-and fascinatingly. Sloan writes: "As a sustained document of circus life at this time, there is no known equivalent": "The Illeson Sisters, Acrobats" finds two child performers perched on large balls, hoisting the smallest (in a near perfect split) between them, with their prideful looks questioning the assumption of total exploitation; in "Sparks Circus, 1923," a clown, via barely perceptible wires, tows a skeleton behind him that seems to float as it mimics his movements; a group shot of a circus wedding party (the ceremony itself often "held in the center ring in front of the spectators during intermission") shows the participants extolling a solemnity-within-spectacle that also displays their intelligence and deliberate self-fashioning. An introduction by essayist Timothy Tegge ("born and raised performing as a clown in his family's one-ring circus," the press chat notes) vividly traces circus history back to Rome. Anyone interested in American cultural history will find that these 62 b&w photos reveal a great deal about how performers-often from a great diversity of backgrounds-comport themselves toward their art.
Copyright 2003 Reed Business Information, Inc.
From Booklist
A form of entertainment that claims to be the greatest show on earth had better deliver. That the circus does is confirmed by the photos F. W. Glasier made during the traveling spectacle's heyday--even more unequivocally than Edward J. Kelty's group portraits of circus personnel (see Miles Barth and others' Step Right This Way [BKL N 15 02]). For while Glasier also made portraits, he liked to get relatively candid shots, which the cumbersomeness of Kelty's huge "banquet" camera didn't allow. So here in this 10-by-11-inch album, we see people milling before the sideshow tent, already marveling at one of the "freaks" playing a violin; elephants lining up after unloading from the circus train; roustabouts driving tent stakes; and an eight-horse team pulling an ornately carved wagon in a small-town parade. Most astonishing is an image worthy of modern sports photography: Alexander Patty of the Ringling Brothers Circus caught between stairs as he does his stuff--hopping downstairs on his head! Hur-ry, hur-ry, and don't be ashamed to gawk. Ray Olson
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
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