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1

1936-, Christenberry William, Palais des Beaux-Arts (Brussels, Belgium), and Stiftung Kultur Photographische Sammlung, eds. William Christenberry. Düsseldorf: Richter, 2001.

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2

Christenberry, William. William Christenberry. Montgomery, Ala. (One Museum Dr., Montgomery): Montgomery Museum of Fine Arts, 1989.

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3

1936-, Christenberry William, Tullos Allen 1950-, University of Arizona. Center for Creative Photography., and University of Arizona. Museum of Art., eds. Christenberry reconstruction: The art of William Christenberry. Jackson, Miss: University Press of Mississippi, 1996.

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4

Brigance, Albert H. Christenberry/Christenbury genealogy. Maryville, Tenn: Brigance Enterprises, 1988.

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5

Press, Nazraeli, and Hemphill Fine Arts, eds. William Christenberry, W/P. Tucson, AZ: Nazraeli Press, 2005.

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6

Museum, Ogden, ed. William Christenberry: Art & family. New Orleans: Ogden Museum of Art, Univeristy of New Orleans, 2000.

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7

1936-, Christenberry William, and Morris Museum of Art (Augusta, Ga.), eds. William Christenberry: The early years, 1954-1968. Augusta, Ga: Morris Museum of Art, 1996.

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8

1936-, Christenberry William, and Morris Museum of Art (Augusta, Ga.), eds. William Christenberry: The early years, 1954-1968. Tuscaloosa: University of Alabama Press, 1998.

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9

Southall, Thomas. Of time & place: Walker Evans and William Christenberry. [San Francisco]: Friends of Photography, 1990.

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10

Christenberry, William. William Christenberry: The Albrecht-Kemper Museum of Art. St. Joseph, Mo: The Museum, 1994.

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11

Southall, Thomas W. Of time & place: Walker Evans and William Christenberry. San Francisco, Calif: Friends of Photography, 1990.

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12

Christenberry, William. William Christenberry: Architecture/archetype : October 5-November 21, 2001, Dorothy W. and C. Lawson Reed, Jr. Gallery. Cincinnati, Ohio: DAAP Galleries, University of Cincinnati, 2001.

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13

William Christenberry's Black Belt. Tuscaloosa, AL: University of Alabama Press, 2007.

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14

Murphy, Ruth Christopher. A pioneer family: A history of Dennis and Mary (Dye) Murphy of Virginia, Illinois, and Indiana, 1818-1987 : also allied families of Christenberry, Dye, Hicks, Hillenburg, Moulder, Parker, Osborn, and Ragsdale. [California]: R. Murphy, 1989.

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15

Wegner, Hans-Helmut. Die latènezeitlichen Funde vom Christenberg bei Münchhausen, Kreis Marburg-Biedenkopf. Wiesbaden: Selbstverlag des Landesamtes für Denkmalpflege Hessen, 1989.

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16

Walter, Hopps, Fox Howard N, and Grundberg Andy, eds. William Christenberry. New York: Aperture : Smithsonian American Art Museum, 2006.

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17

Lange, Susanne, Claudia Schubert, Allan Tullos, and William Christenberry. William Christenberry: Disappearing Places. Richter Verlag, 2002.

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18

Mapfre, Fundación, and Centro José Guerrero, eds. William Christenberry: Fundacion Mapfre, Madrid, September-November 2013, Centro Jose Guerrero, Granada, December 2013-March 2014. 2013.

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19

Lee Friedlander : The Mind and the Hand: Richard Benson, William Christenberry, William Eggleston, Walker Evans, John Szarkowski, Garry Winogrand. Eakins Press Foundation, 2019.

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20

Christenberry, William. William Christenberry's Black Belt. University Alabama Press, 2007.

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21

Matthews, Scott L. Capturing the South. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646459.001.0001.

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This expansive history of documentary work in the South during the twentieth century examines the motivations and methodologies of several pivotal documentarians, including sociologists Howard Odum and Arthur Raper, photographers Jack Delano and Danny Lyon, and music ethnographer John Cohen. It also explores the contentious history of documentary work in Hale County, Alabama, a place immortalized by writer James Agee and photographer Walker Evans in their collaborative book, Let Us Now Praise Famous Men, as well by other documentary artists such as William Christenberry, Martha Young, and J.W. Otts. The work of these documentarians salvaged and celebrated folk cultures threatened by modernization or strived to reveal and reform problems linked to the region's racial caste system and exploitative agricultural economy. Images of alluring primitivism and troubling pathology often blurred together, neutralizing the aims of documentary work carried out in the name of reform during the Progressive era, New Deal, and civil rights movement. Black and white southerners in turn often resisted documentarians' attempts to turn their private lives into public symbols. Hale County, Alabama and other places in the region became not only an iconic sites of representation but also battlegrounds where black and white residents challenged the right of documentarians to represent them. The accumulation of influential and, occasionally, controversial documentary images of the South created an enduring, complex, and sometimes self-defeating mythology about the region that persists into the twenty-first century.
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22

Der Christenberg bei Munchhausen: Fuhrungsheft zu der fruhkeltischen Burg und der karolingischen Kesterburg im Burgwald, Landkreis Marburg-Biedenkopf. Wiesbaden: Archao.Denkmalpflege im Landesamt fur Denkmalpflege Hessen, 1989.

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