Exhibition: ‘Weegee, Autopsy of the Spectacle’ at the Foundation Henri Cartier-Bresson, Paris

Exhibition dates: 30th January – 19th May, 2024

Exhibition curator: Clément Chéroux, director, Fondation Henri Cartier-Bresson

 

Weegee (American, 1899-1968) 'Self-Portrait, Weegee with Speed Graphic Camera' 1950

 

Weegee (American, 1899-1968)
Self-Portrait, Weegee with Speed Graphic Camera
1950
Gelatin silver print
© International Center of Photography. Collection Friedsam

 

 

To see ourselves as others see us

This exhibition attempts to reconcile the two sides of the work of American photographer Weegee (Arthur Felig, 1899-1968) – “First are his stories for the New York press from 1935-1945. Then, photo-caricatures of public personalities developed during his Hollywood period, between 1948-1951, which he continued to produce for the rest of his life” – by showing that, beyond formal differences, the photographer’s approach is a critically coherent investigation into the omnipresence of the spectacle in modern society.

The spectacle is a central notion in the Situationist theory, developed by Guy Debord in his 1967 book The Society of the Spectacle:

“Debord traces the development of a modern society in which authentic social life has been replaced with its representation… The spectacle is the inverted image of society in which relations between commodities have supplanted relations between people, in which “passive identification with the spectacle supplants genuine activity”. “The spectacle is not a collection of images,” Debord writes, “rather, it is a social relation among people, mediated by images.””1


While both halves of Weegee’s photographic work picture the spectacle, I believe that they are a different but connected order of being. Like yin and yang, Weegee’s scenes of chaos “Murder is my business” and “photo-caricatures” emerge from the same psyche but image equal opposites which both repel, attract and complement each other.

Weegee’s photographs which tell stories for the New York press are external representations or emanations captured from the world around us, whereas his later photo-caricatures of public personalities feel to me to be internalised, dream-like representations of his own feelings towards the celebrity people he observed and photographed as much as they are offer insights into their personality.2 Thus, Weegee’s photographs are an examination of a body (an autopsy) both external and internal.

Personally I don’t think that it is necessary to reconcile both halves of Weegee’s work. The bodies exist for what they are: perceptive insights into the existence and spirit of the world and the human race, spec(tac)ular images that mirror a social relation among people which don’t necessarily have to be conflated one with the other.

Dr Marcus Bunyan

 

1/ Debord, Guy (1994)[1967] The Society of the Spectacle, translation by Donald Nicholson-Smith (New York: Zone Books), p. 4 quoted in “The Society of the Spectacle,” on the Wikipedia website [Online] Cited 10/05/2024

2/ “external exaggeration high-lights internal character and distortion offers surprising insights into personality”
“How your TV heroes look to Weegee’s magic camera” in Look magazine


Many thank to the Foundation Henri Cartier-Bresson for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“The curious […], they’re always in a hurry […], but they still find the time to stop and look.


Weegee

 

“Crime was my oyster,” Weegee wrote in his 1961 memoir, Weegee by Weegee. “I was friend and confidant to them all. The bookies, madams, gamblers, call girls, pimps, con men, burglars and jewel fencers.” … Weegee’s photos from the 1930s and ’40s defined Manhattan as a film noir nightscape of gangsters, bums, slumming swells and tenement dwellers.”


John Strausbaugh. “Crime Was Weegee’s Oyster,” on The New York Times website June 20, 2008 [Online] Cited 13/04/2024

 

“Weegee is not the first nor the only person to have taken interest in people watching. Not long before him, in 1937, Henri Cartier-Bresson photographed spectators at the Coronation of George VI for Ce Soir. And a quarter century prior, in 1912, Eugène Atget photographed passers-by observing a solar eclipse at Place de la Bastille. But Weegee took the idea even further. He systematised it. He made it a principle he never shied from applying at the first opportunity. It’s a way of placing things at a distance, pushing the viewers to ask themselves about the manner in which they look, making them aware of the fact that they themselves, like the people watching in the photo, are in a voyeuristic position. It’s also a critique of how American society transforms news into spectacle.”


Clément Chéroux

 

 

There’s still a mystery to Weegee. The American photographer’s career seems to be split in two. First are his stories for the New York press from 1935-1945. Then, photo-caricatures of public personalities developed during his Hollywood period, between 1948-1951, which he continued to produce for the rest of his life. How can these diametrically opposed bodies of work coexist? Critics have enjoyed highlighting the opposition between the two periods, praising the former and disparaging the latter. This project seeks to reconcile the two parts of Weegee by showing that, beyond formal differences, the photographer’s approach is critically coherent.

The spectacle is omnipresent in Weegee’s work. In the first part of his career, coinciding with the rise of the tabloid press, he was an active participant in transforming news into spectacle. To show this, he often included spectators or other photographers in the foreground of his images. In the second half of his career, Weegee mocked the Hollywood spectacular, its ephemeral glory, adoring crowds, and social scenes. Some years before the Situationist International, his photography presented an incisive critique of the Society of the Spectacle.

Curator Clément Chéroux

Wall text from the exhibition

 

Installation view of the exhibition 'Weegee, Autopsy of the Spectacle' at the Foundation Henri Cartier-Bresson, Paris

 

Installation view of the exhibition Weegee, Autopsy of the Spectacle at the Foundation Henri Cartier-Bresson, Paris showing at left, Self-Portrait, Weegee with Speed Graphic Camera (1950, above); at second left, “Chevrolet”. Weegee in front of his typewriter, installed in the trunk of a 1938 Chevrolet, New York (c. 1943, below); at third left bottom, Weegee covering the morning line-up at police headquarters, New York (c.  1939, below); at fourth left, Self-portrait (1950,below); at fifth left, Frank Pape, Arrested for Homicide (1944, below); at sixth left, Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces (1942, below); and at eighth left, Man Arrested for Cross-Dressing, New York (Gay Deceiver) (1939, below)

 

Weegee (American, 1899-1968) '"Chevrolet". Weegee in front of his typewriter, installed in the trunk of a 1938 Chevrolet, New York' c. 1943

 

Weegee (American, 1899-1968)
“Chevrolet”. Weegee in front of his typewriter, installed in the trunk of a 1938 Chevrolet, New York
c. 1943
Gelatin silver print
© Weegee Archive / International Center of Photography, New York / Collection Galerie Berinson, Berlin

 

Weegee Himself: “I have always been a doer and not a thinker.” Weegee enjoyed putting himself in front of the camera, re-enacting circumstances he was confronted with in his daily work. In the name of pedagogy, and probably a little out of narcissism and self-advertisement, he took pictures of himself writing captions for his photographs in the back of his car, in police wagons and behind bars, never without his camera.

Wall text from the exhibition

 

Unidentified photographer. 'Untitled [Weegee covering the morning line-up at police headquarters, New York]' c. 1939

 

Unidentified photographer
Untitled [Weegee covering the morning line-up at police headquarters, New York]
c.  1939
Gelatin silver print
© International Center of Photography

 

Weegee (American, 1899-1968) 'Self-portrait' 1950

 

Weegee (American, 1899-1968)
Self-portrait
1950
Gelatin silver print
© International Center of Photography

 

 

Weegee Tells How

Arthur Fellig, better known as Weegee, was a New York city freelance news photographer from the 1930s to the 1950s. Here he talks about his career and gives advice to those wanting to become news photographers.

 

Weegee (American, born Ukraine (Austria), Złoczów (Zolochiv) 1899 - 1968 New York) 'Frank Pape, Arrested for Homicide' 1944

 

Weegee (American, 1899-1968)
Frank Pape, Arrested for Homicide
1944
Gelatin silver print
© International Center of Photography

 

Weegee (American, 1899-1968) 'Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces' 1942

 

Weegee (American, 1899-1968)
Charles Sodokoff and Arthur Webber Use Their Top Hats to Hide Their Faces
1942
Gelatin silver print
© International Center of Photography. Louis Stettner Archives, Paris

 

Weegee (American, 1899-1968) 'Man Arrested for Cross-Dressing, New York (Gay Deceiver)' 1939

 

Weegee (American, 1899-1968)
Man Arrested for Cross-Dressing, New York (Gay Deceiver)
1939
Gelatin silver print
© International Center of Photography. Louis Stettner Archives, Paris

 

Installation view of the exhibition 'Weegee, Autopsy of the Spectacle' at the Foundation Henri Cartier-Bresson, Paris showing at second left, Weegee's 'Man Arrested for Cross-Dressing, New York (Gay Deceiver)' (1939); and at top right, a magazine print of his photograph 'Untitled [Young man smoking cigarette in crashed car while waiting for ambulance, New York]' (1941)

 

Installation view of the exhibition Weegee, Autopsy of the Spectacle at the Foundation Henri Cartier-Bresson, Paris showing at second left, Weegee’s Man Arrested for Cross-Dressing, New York (Gay Deceiver) (1939, above); and at top right, a magazine print of his photograph Untitled [Young man smoking cigarette in crashed car while waiting for ambulance, New York] (1941, below)

 

Off Road: “Sudden death for one… sudden shock for the other.” American culture is fascinated by twisted metal. In the 19th century, a railroad company staged public collisions between locomotives destined for the junkyard. Weegee photographed many traffic accidents introducing the “car crash” genre, later adopted by other figures, such as Andy Warhol, J.G. Ballard, David Cronenberg, etc.

Wall text from the exhibition

 

Weegee (American, 1899-1968) 'Untitled [Young man smoking cigarette in crashed car while waiting for ambulance, New York]' 1941

 

Weegee (American, 1899-1968)
Untitled [Young man smoking cigarette in crashed car while waiting for ambulance, New York]
1941
Gelatin silver print
© Photo Weegee/ICP New York

 

Installation view of the exhibition Weegee, Autopsy of the Spectacle at the Foundation Henri Cartier-Bresson, Paris showing at right, Weegee's photograph 'Henry Rosen (left) and Harvey Stemmer (centre) cover their faces with handkerchiefs after their arrest for bribery and conspiracy to fix a US college basketball match' (25 January 1945)

 

Installation view of the exhibition Weegee, Autopsy of the Spectacle at the Foundation Henri Cartier-Bresson, Paris showing at right, Weegee’s photograph Henry Rosen (left) and Harvey Stemmer (centre) cover their faces with handkerchiefs after their arrest for bribery and conspiracy to fix a US college basketball match (25 January 1945)

 

Weegee (American, 1899-1968) 'Holiday Accident in the Bronx' 1941

 

Weegee (American, 1899-1968)
Holiday Accident in the Bronx
1941
Gelatin silver print
© International Center of Photography

 

 

Exhibition

There’s a mystery to Weegee. The American photographer’s career seems to be split in two. One side includes his sensational photography printed in North American tabloids: corpses of gangsters lying in pools of their own blood, bodies trapped in battered vehicles, kingpins looking sinister behind the bars of prison wagons, dilapidated slums consumed by fire, and other harrowing documents on the lives of the underprivileged in New York from 1935 to 1945. Then come the festive photographs – glamorous parties, performances by entertainers, jubilant crowds, openings and premieres – to which we must add a vast array of portraits of public figures that Weegee delighted in distorting using a rich palette of tricks between 1948 and 1951, a practice he pursued until the end of his life.

How can these diametrically opposed bodies of work coexist? Critics have enjoyed highlighting the opposition between the two periods, praising the former and disparaging the latter. The exhibition Autopsy of the Spectacle seeks to reconcile the two parts of Weegee by showing that, beyond formal differences, the photographer’s approach is critically coherent.

The spectacle is omnipresent in Weegee’s work. In the first part of his career, which coincides with the rise of the tabloid press, he was an active participant in transforming news into spectacle. To show this, he often included spectators, or other photographers, in the foreground of his images. In the second half of his career, Weegee mocked the Hollywood spectacular: its ephemeral glory, adoring crowds and social scenes. Some years before the Situationist International, his photography presented an incisive critique of the Society of the Spectacle.

With a new perspective on Weegee’s oeuvre, Autopsy of the Spectacle presents the photographer’s iconic images beside lesser-known works, including images not-yet-exhibited in France.

Biography

Weegee was born Usher Fellig on June 12, 1899, to a Jewish family in Zolochiv, a small town in Galicia, then part of the Austro-Hungarian Empire, today in western Ukraine. At 11 years old, he joined his father who’d emigrated to the United States. At the immigration station Ellis Island, he became Arthur Fellig. Living in the slums of the Lower East Side, he left school at 14 to earn money to support his family. After working in different professions, he became a traveling photographer, worked for photographers Duckett & Adler, then in the lab of ACME Newspictures agency.

Starting in 1935, he was self-employed as photo-reporter. Towards 1937, he began using the pseudonym Weegee, and around 1941, started marking the backs of his prints with a stamp in the form of a self-fulfilling prophecy: “Weegee the Famous.” For 10 years, connected to Police radio, he took photographs, mainly at night, of crime, arrests, fires, accidents and other news items. Though the photographer most certainly had connections within the Police, without whom his work would not have been possible, he also frequented left-wing circles. He was very close to the Photo League, a group of independent photographers who firmly believed in emancipation through the image and fought for social justice. In 1945, he published his best photographs in a book entitled Naked City, which met with great success both in its reception and sales.

In the spring of 1948, he moved to Hollywood to work in cinema as a technical advisor, sometimes as an actor. He photographed the endless party and developed different photographic techniques used to create his caricatures of celebrities. In December of 1951, after four years on the West Coast, he returned to New York with no intention of resuming his former practice. Up until his death on December 26, 1968, the majority of his work involved taking advantage of his notoriety to publish other books, go on tour, and promote his photo-caricatures in newspapers.

Text from the Foundation Henri Cartier-Bresson website

 

Installation view of the exhibition 'Weegee, Autopsy of the Spectacle' at the Foundation Henri Cartier-Bresson, Paris showing at centre, 'Afternoon Crowd at Coney Island, Brooklyn' (1940)

Installation view of the exhibition 'Weegee, Autopsy of the Spectacle' at the Foundation Henri Cartier-Bresson, Paris

 

Installation view of the exhibition Weegee, Autopsy of the Spectacle at the Foundation Henri Cartier-Bresson, Paris showing at left, Performer Jimmy Armstrong (c. 1943, below); at second left, Ladies keep their money in their stockings… (1944, below); and at centre, Afternoon Crowd at Coney Island, Brooklyn (1940, below)

 

Weegee (American, 1899-1968) 'Performer Jimmy Armstrong' c. 1943

 

Weegee (American, 1899-1968)
Performer Jimmy Armstrong
c. 1943
Gelatin silver print
© International Center of Photography

 

Weegee (American, 1899-1968) 'Ladies keep their money in their stockings...' 1944

 

Weegee (American, 1899-1968)
Ladies keep their money in their stockings…
1944
Gelatin silver print
© International Center of Photography

 

“There is no cover charge nor cigarette girl, and a vending machine dispenses cigarettes. Neither is there a hat check girl. Patrons prefer to dance with their hats and coats on. But there is a lively floor show… the only saloon in the Bowery with a cabaret license.”

Weegee

 

Weegee (American, 1899-1968) 'Afternoon Crowd at Coney Island, Brooklyn' 1940

 

Weegee (American, 1899-1968)
Afternoon Crowd at Coney Island, Brooklyn
1940
Gelatin silver print
© International Center of Photography. Courtesy Galerie Berinson, Berlin

 

Weegee (American, 1899-1968) 'Sleeping at the Circus, Madison Square Garden, New York' 1943

 

Weegee (American, 1899-1968)
Sleeping at the Circus, Madison Square Garden, New York
1943
Gelatin silver print
© International Center of Photography

 

Installation view of the exhibition 'Weegee, Autopsy of the Spectacle' at the Foundation Henri Cartier-Bresson, Paris

 

Installation view of the exhibition Weegee, Autopsy of the Spectacle at the Foundation Henri Cartier-Bresson, Paris showing at centre left, Opening night at the Metropolitan Opera (1943); In the Lobby at the Metropolitan Opera, Opening Night (1943); and at centre right, The Critic (1943, below)

 

Weegee (American, 1899-1968) 'The Critic' November 22, 1942

 

Weegee (American, 1899-1968)
The Critic
November 22, 1942
Gelatin silver print
© International Center of Photography. Collection Friedsam

 

Even his most popular photograph was a set-up, says Wallis: “The Critic, which was taken in 1943, was surely staged and shows the wealthy Mrs George Washington Cavanaugh and Lady Decies arriving at the opera, greeted by a staggering drunk who seems to be mocking them and who Weegee reportedly rounded up at Sammy’s bar on the Bowery.

“This picture is a good example of how Weegee previsualized a scene, developed a punchy satirical narrative, and staged the picture. The Critic was widely reproduced at the time, and even shown at the Museum of Modern Art.”

Boo Paterson. “Big guns to big top: Weegee at circus,” on the Boo York City website [Online] Cited 13/04/2024

 

In Weegee’s day similar culture clashes happened at Sammy’s Bowery Follies (267 Bowery, between East Houston and Stanton Streets), which from 1934 to 1970 attracted what The New York Times once described as a mixed crowd of “drunks and swells, drifters and celebrities, the rich and the forgotten.” …

Among the regulars, he wrote in his 1945 book, “Naked City,” was a woman they called Pruneface and a midget who walked the streets dressed as a penguin to promote cigarettes. When the midget got drunk, Weegee wrote, he “offered to fight any man his size in the house.”

Weegee held two book parties there. At the photography center Mr. George showed me silent-film footage taken in 1946 at the party for Weegee’s second book, “Weegee’s People.” Pretty uptown blondes and dowagers in pearls mingle with toothless crones and panhandlers, as models parade in their foundation garments, and a man with a flea circus puts his tiny performers through their paces.

John Strausbaugh. “Crime Was Weegee’s Oyster,” on The New York Times website June 20, 2008 [Online] Cited 13/04/2024

 

Installation view of the exhibition 'Weegee, Autopsy of the Spectacle' at the Foundation Henri Cartier-Bresson, Paris showing Weegee's photographs in magazine layouts

 

Installation view of the exhibition Weegee, Autopsy of the Spectacle at the Foundation Henri Cartier-Bresson, Paris showing his photographs in magazine layouts

 

"Il Fotografo cattivo", Epoca, Vol. XIII, No. 636, December 1962

 

“Il Fotografo cattivo”, Epoca, Vol. XIII, No. 636, December 1962
© International Center of Photography. Collection privée Paris

 

"Weegee Looks At Dali"

 

Weegee Looks At Dali

 

Weegee spoofs the new spring hats 1957

 

Weegee spoofs
the
new spring hats

Custom milliners often go to extremes. This spring, the have outdone themselves by creating 1957 version of the most exaggerated hats of the last fifty years. Here again are the flapper cloche, the slouch had Garbo wore in the ’30’s, the heavy veiling of the early 1900’s, the turban of the World War I era, the perennial mad profusion of fruit and flowers. Look had Michael A. Vaccaro photograph examples of these hats as they really are. Then camera artist Weegee turned out satirical prints, with these startling results.

Look magazine 1957

 

"How your TV heroes look to Weegee's magic camera" in Look magazine

 

WAIT. Don’t reach for a drink. Don’t reach for your glasses. And don’t – please don’t – write us an indignant letter. What you think you see on these pages is there, all right. It’s the work of a zany photographer named Weegee (few know his first name) who has a wicked sense of caricature and an outrageous sense of humor.

The subjects were not photographed under water. Wedge simply prints his negatives through bubbles glass, wire screens, press, kaleidoscopes or whatever gives him the characterization he is after. It’s a sort of three-way-stretch technique in which Weegee is assisted by photographic color expert Mike Lavelle.

The results of Weegee’s impudent manipulation of reality are both perceptive and astonishing: Faces take on a certain ga-ga verity; external exaggeration high-lights internal character and distortion offers surprising insights into personality. Weegee calls this “Photo-Caricature.” There was a man who might have enjoyed revelations like these. His name was Bobbie Burns and he wrote in one of his poems: “O wad some Pow’r the giftie gie us to see oursels as others see us.”

“How your TV heroes look to Weegee’s magic camera” in Look magazine

 

Weegee Modern Women Aren't Human!

 

“”Modern Women Aren’t Human!’ … If You Don’t Believe It … This Man Tells Why” in the National Enquirer, 1967

 

 

There’s a mystery to Weegee. The American photographer’s career seems to be split in two. One side includes his sensational photography printed in North American tabloids: corpses of gangsters lying in pools of their own blood, bodies trapped in battered vehicles, kingpins looking sinister behind the bars of prison wagons, dilapidated slums consumed by fire, and other harrowing documents on the lives of the underprivileged in New York from 1935 to 1945. Then come the festive photographs – glamorous parties, performances by entertainers, jubilant crowds, openings and premieres – to which we must add a vast array of portraits of public figures that Weegee delighted in distorting using a rich palette of tricks between 1948 and 1951, a practice he pursued until the end of his life. How can these diametrically opposed bodies of work coexist? Critics have enjoyed highlighting the opposition between the two periods, praising the former and disparaging the latter. The exhibition Autopsy of the Spectacle seeks to reconcile the two parts of Weegee by showing that, beyond formal differences, the photographer’s approach is critically coherent.

The spectacle is omnipresent in Weegee’s work. In the first part of his career, which coincides with the rise of the tabloid press, he was an active participant in transforming news into spectacle. To show this, he often included spectators, or other photographers, in the foreground of his images. In the second half of his career, Weegee mocked the Hollywood spectacular: its ephemeral glory, adoring crowds and social scenes. Some years before the Situationist International, his photography presented an incisive critique of the Society of the Spectacle.

With a new perspective on Weegee’s oeuvre, Autopsy of the Spectacle presents the photographer’s iconic images beside lesser-known works, including images not-yet-exhibited in France.

Curator Clément Chéroux

Press release from the Henri Cartier-Bresson Foundation

 

Weegee (American, 1899-1968) 'Their First Murder' c. 1936

 

Weegee (American, 1899-1968)
Their First Murder
c. 1936
Gelatin silver print
© Weegee Archive / International Center of Photography

 

Weegee (American, 1899-1968) 'Drowning victim, Coney Island' c. 1940

 

Weegee (American, 1899-1968)
Drowning victim, Coney Island
c. 1940
Gelatin silver print
© Weegee Archive / International Center of Photography, New York / Collection Galerie Berinson, Berlin

 

Weegee (American, 1899-1968) 'Mrs Bernice Lythcott and her son Leonard looking through a window broken by stones thrown by thugs, Harlem, New York' October 18, 1943

 

Weegee (American, 1899-1968)
Mrs Bernice Lythcott and her son Leonard looking through a window broken by stones thrown by thugs, Harlem, New York
October 18, 1943
Gelatin silver print
© Photo Weegee/ICP New York

 

Weegee (American, 1899-1968) 'Untitled [Tenement sleeping during heat spell, Lower East Side, New York]' May 23, 1941

 

Weegee (American, 1899-1968)
Untitled [Tenement sleeping during heat spell, Lower East Side, New York]
May 23, 1941
Gelatin silver print
© Photo Weegee/ICP New York

 

Son of a Jewish immigrant from Ukraine, Weegee knew the slums, like those children seeking coolness on the fire escape ladder. He produced “real social documents” on the living conditions of the poor.

 

“In Central Park the lawns were crowded before darkness with family groups,” reported the July 10, 1936 New York Times; the temperature had reached an astounding 106 degrees the day before. “On the Lower East Side traffic was seriously impeded as small armies of persons emerged from tenement houses with chairs, boxes and even beds which they set up in the streets.”

And from the Times on August 4, 1938, when the mercury hit 93 degrees:

“More than 3,000 persons slept on the sand at Coney Island and Brighton Beach to escape the heat last night, the police estimated. Ten additional patrolmen were assigned to the area to prevent molestation of the sleepers, many of whom brought blankets and sheets.”

Anonymous. “How New Yorkers survived hot summer nights,” on the Ephemeral New York website Nd [Online] Cited 14/04/2024

 

Weegee (American, 1899-1968) 'Untitled [Fire in loft building, New York]' 1947

 

Weegee (American, 1899-1968)
Untitled [Fire in loft building, New York]
1947
Gelatin silver print
© Photo Weegee/ICP New York

 

Weegee (American, 1899-1968) 'Simply adding boiling water' 1943

 

Weegee (American, 1899-1968)
Simply adding boiling water
1943
Gelatin silver print
© Photo Weegee/ICP New York

 

Weegee (American, 1899-1968) 'Lovers at the Palace Theater' c. 1953

 

Weegee (American, 1899-1968)
Lovers at the Palace Theater
c. 1953
Gelatin silver print
© Photo Weegee/ICP New York

 

Weegee (American, 1899-1968) 'Anthony Esposito, Booked on Suspicion of Killing a Policeman' 1941

 

Weegee (American, 1899-1968)
Anthony Esposito, Booked on Suspicion of Killing a Policeman
1941
Gelatin silver print
© International Center of Photography. Louis Stettner Archives, Paris

 

 

At noon Fifth Avenue was crowded. Alfred Klausman, middle-aged office manager of a linen firm, walked across the street from his office to the bank on the corner and drew the weekly pay roll: $649.

As the genial, round-faced Klausman walked back, two men silently threaded through the crowd behind him, two strange, grey-coated creatures washed up from the depths of New York City’s criminal world. One was Anthony Esposito, 35, a long-nosed, horse-faced hoodlum who had been in & out of New York’s prisons and reformatories for 16 years, had once been deported to Italy and sneaked back in. His brother William, 29, had robbed drunks, snatched pocketbooks, done a seven-year stretch in Sing Sing. Their father had served time for forgery. Their brother was in Clinton Prison, Dannemora, N. Y. for parole violation. Their lives had been spent in squalor, petty crime, prison and torpid, hard-eyed loafing.

Klausman entered the elevator to his office. The Esposito brothers stepped in after him. Between the second and third floors they drew revolvers from their overcoat pockets, ordered the operator to stop, face the door. He heard Klausman cry “No! No! No!” – then one of the gunmen put his revolver to Klausman’s head and pulled the trigger.

They ordered the operator to take the elevator down, ducked out into the street, disappeared into B. Altman’s big department store.

Out into the street the operator yelled “Holdup! Murder!” The cry spread. Two patrolmen raced from the corner, into the store, a long way behind.

Down the crowded aisles of the store darted the Espositos, through the block-long building. At the far entrance they climbed into a cab, put a gun at the driver’s head. But Madison Avenue was jammed with traffic; they were trapped. “Get going. Make it fast. Get moving or we’ll kill you.” Back in the store panic was spreading as police with drawn revolvers moved down the aisles shouting, “Get down!” The cab stalled behind a bus. Like men leaping over a cliff, the brothers jumped out into the traffic. At sight of the two running men, waving revolvers, people flattened themselves against the buildings or ducked to the sidewalk. A taxi driver ran to Patrolman Edward Maher, directing traffic on the corner, yelled “Stick-up!” and pointed at the fleeing men. Maher raced after them, only 20 feet behind, afraid to shoot into the crowd. Motorists left their cars and joined the chase. Maher saw a clear space, shot twice, and William Esposito staggered sideways, fell face downward, one arm outstretched, one twisted under him, apparently dead.

A little crowd collected around him. Patrolman Maher held the gunman by the overcoat, started to turn him over, turned to warn the crowd away. “Back up, please,” he said, “someone’s liable to get hurt.” As he rolled William over, the gunman’s .38 came up. William Esposito pulled the trigger and Patrolman Maher slumped over, dead.

The crowd surged back, then forward. A taxi driver named Leonard Weisberg leaped on the prone gunman. He grabbed for the revolver, missed. Esposito jerked it back a few inches, fired again. Weisberg, clutching his throat, gasping for breath, fell to the sidewalk.

Esposito, still lying down, drew another gun from his overcoat pocket. Two men leaped on him. Then the crowd closed in, kicking and beating.

Anthony ran on when his brother fell. Behind him the police fired into the air. He shot a few times, wildly, apparently to clear crowds out of his way on Fifth Avenue. He ducked into Woolworth’s, bowling over the women shoppers. He plunged to the basement, put away his guns, walked up again to hide in the crowd – and met six policemen at the head of the stairs, went down with revolver butts thudding on his skull.

The Espositos went to the hospital, to the lineup, to indictment for murder. Leonard Weisberg, recovering from his throat wound, was promised a new cab of his own, and won a hero’s praise. The Nazi press gleefully played up the crime as evidence of democratic depravity.

Anonymous. “National Affairs: SLAUGHTER ON FIFTH AVENUE,” in TIME Monday, Jan. 27, 1941 on the TIME website [Online] Cited 14/04/2024

 

Weegee (American, born Ukraine (Austria), Złoczów (Zolochiv) 1899 - 1968 New York) '[Outline of a Murder Victim]' 1942

 

Weegee (Arthur Fellig) (American born Ukraine (Austria), Złoczów (Zolochiv) 1899 – 1968 New York)
[Outline of a Murder Victim]
1942
Gelatin silver print
33.9 x 27.4cm (13 3/6 x 10 13/16 in.)
Gift of Bruce A. Kirstein, in memory of Marc S. Kirstein, 1978
© Weegee / International Center of Photography

 

Weegee (American, 1899-1968) 'Harry Maxwell shot in a car' 1941

 

Weegee (American, 1899-1968)
Harry Maxwell shot in a car
1941
Gelatin silver print
© Photo Weegee/ICP New York

 

Weegee (American, 1899-1968) '"Hopper's Topper" Hedda Hopper Hollywood' c. 1948

 

Weegee (American, 1899-1968)
“Hopper’s Topper” Hedda Hopper Hollywood
c. 1948
Gelatin silver print
© Photo Weegee/ICP New York

 

Weegee (American, 1899-1968) 'Marilyn Monroe, Distortion' c. 1955

 

Weegee (American, 1899-1968)
Marilyn Monroe, Distortion
c. 1955
Gelatin silver print
© Weegee Archive / International Center of Photography, New York / Friedsam Collection, Frankfurt am Main

 

Weegee (American, 1899-1968) 'Charlie Chaplin, Distortion' 1950

 

Weegee (American, 1899-1968)
Charlie Chaplin, Distortion
1950
© International Center of Photography

 

Weegee (American, 1899-1968) 'Self-Portrait' 1963

 

Weegee (American, 1899-1968)
Self-Portrait
1963
Gelatin silver print
© International Center of Photography

 

This book accompanies the exhibition 'Weegee, Autopsie du Spectacle' presented from January 30, 2024 to May 19, 2024 at the Henri Cartier-Bresson Foundation

 

Weegee (author)
Textual, Henri Cartier-Bresson Foundation (editor)
January, 2024 (release)
ISBN 9782845979901
208 pages
55 euros

This book accompanies the exhibition Weegee, Autopsie du Spectacle presented from January 30, 2024 to May 19, 2024 at the Henri Cartier-Bresson Foundation.

There is a Weegee conundrum. His photographs fall into two distinct categories. On the one hand, there are his images of news items taken in New York during the 1940s, in a documentary, direct and raw approach. And on the other, photographs of starlets, politicians and other socialites taken in Hollywood in the following decade, for which he willingly resorted with special effects. Declaring himself “bewitched by the mystery of the murders,” Weegee stood out for his ability to arrive promptly at the crime scene or to wait for the salad baskets to arrive on the steps of the police stations to capture the defendants on the spot. Nevertheless, he strives to bring onlookers, often from the working classes, into his framework, or even to be interested only in them. Made up of around a hundred photographs – the best known, but also many images never highlighted – this book shows the coherence of Weegee’s work based on a radical and incisive critique of the Society of the Spectacle, borrowing from an unexpected empathy towards the disadvantaged.

Weegee (1899-1968) was an American photojournalist known for his images of a New York marked by crime. In 1941, New York’s Photo League dedicated an exhibition to him which was followed by that of MoMA in 1943. He published his first book Naked City in 1945 and his autobiography Weegee by Weegee in 1961.

Hardcover
20 x 26cm
Texts by Isabelle Bonnet, David Campany,
Clément Chéroux and Cynthia Young.
Texts in French

Translated from the French by Google Translate from the Foundation Henri Cartier-Bresson website

 

 

Fondation Henri Cartier-Bresson
79 rue des Archives
75003 Paris

Opening hours:
Tuesday – Sunday 11am – 7pm
Closed Mondays

Henri Cartier-Bresson Foundation website

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Exhibition: ‘Casa Susanna’ at the Art Gallery of Ontario

Exhibition dates: 23rd December, 2023 – 14th April, 2024

Co-curators: Sophie Hackett, AGO Curator of Photography and photography art historian, writer and curator Isabelle Bonnet

 

Unknown photographer (American) 'Susanna at Casa Susanna' 1964-1969

 

Unknown photographer (American)
Susanna at Casa Susanna
1964-1969
Gelatin silver print
Collection Art Gallery of Ontario, Toronto.
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

 

A very private club / This is me

There has been much written about these photographs of crossdressers at Casa Susanna and the issues surrounding them – for example, privacy of the individuals; gender roles in culture; oppression, criminalisation and anti-cross-dressing laws; how they were mainly white and from a higher socio-economic background (1950s stereotypes of white, middle-class womanhood); and celebrity adulation – to name but a few. I will let you read the text below to find out more.

What I will say is that it is a delight to see these intimate snapshot photographs of humans, being who they want to be without prejudice… “the healthy expression of fun and joy.”

“Most guests at Casa Susanna were married, and considered themselves heterosexual men who enjoyed cross-dressing, but many others later identified as transgender and lived out their lives as women, including Virginia Prince and Susanna herself.” (Wikipedia)

“Photography was essential to them,” said Michel Hurst. “Photography was proof that they existed.”

The photograph Large group in the living room with Louise Lawrence (1963, below) shows a large group of crossdressers in a New York apartment. Attached to the photograph is a note: “This is me” with an arrow pointing to a crossdresser in the photo.

I find it poignant that “This is me” possesses a double meaning: being both a photographic representation of the person and also how they would like to be seen as a crossdresser, a declamation of the freedom to express themselves in the light of day … without the fear of being arrested or institutionalised, losing their jobs and being ostracised by their families and communities.

Dr Marcus Bunyan


Many thankx to the Art Gallery of Ontario for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

For the first time, three photography collections of Casa Susanna will be brought together, including the one from Cindy Sherman, Betsy Wollheim, and the AGO, which acquired the albums previously owned by Swope and Hurst. The show delves deeper into the narratives and ideals of the community’s protagonists, illuminating their radical approach to femininity and the importance of photography in sustaining identity and ideology.

 

From the mid-1950s until 1969, Susanna Valenti and her wife, Marie, operated two resorts for masculine-to-feminine cross-dressers in upstate New York: the Chevalier d’Eon Bungalows and Casa Susanna. The resorts provided a safe haven for visitors to explore alternative forms of gender expression. Guests spent weekends revelling in the freedom to dress in women’s clothing and accessories – something they could not do in day-to-day life – talking, performing skits, sharing fashion and makeup tips, and photographing one another. The snapshots, taken by the participants themselves, are typically candid and full of camaraderie: groups of friends at parties, enjoying a summer afternoon, celebrating birthdays. But many also feature individuals playing different female roles, including the femme fatale and the matron, highlighting a keen awareness of image, appearance, and gender roles in the culture.

The quiet banality of these scenes belies the violence and ridicule the subjects might have faced in the world at large. At the time, laws in Canada and the U.S. criminalized queer life. In New York, for instance, if an individual wore fewer than three items of clothing of their supposed gender, they could be arrested on charges of “sexual deviancy.” For decades, anti-cross-dressing laws were a flexible tool used by police to enforce normative notions of gender. These laws have now been repealed, human rights laws have been passed, and trans visibility has increased dramatically in recent years.

Anonymous. “Casa Susanna,” on the Contact Photography Festival website, May 2016 [Online] Cited 10/03/2024

 

 

“The resort itself is secluded, way off the highway. The guests are never introduced to each other by their real names. Each gives a first name (a girl’s name of course) and that’s all. Discretion is a “must”… But to make things really fool proof, the management of the Resort maintains most cordial and friendly relations with the town’s chief of Police. He protects us!! ~ Susanna Says,” May 1960

“To take TV pictures it isn’t always necessary to stand in front of the camera making believe we are some sort of Rita Hayworth or Elizabeth Taylor… we decided to register on film the healthy expression of fun and joy that pervades a TV gathering… candid camera style… unposed and unexpected…these show the TV as she really looks to others.  ~ Susanna Says,” December 1965

 

“Through these wonderfully intimate shots-perhaps never intended to see the light of day outside the sanctum of the “house”-Susanna and her gorgeous friends styled era-specific fashion shows and dress-up Christmas and tea parties. As gloriously primped as these documentary snaps are, it is in the more private and intimate life at Casa Susanna, where the girls sweep the front porch, cook, knit, play Scrabble, relax at the nearby lake and, of course, dress for the occasion, that the stunning insight to a very private club becomes nothing less than brilliant and awe inspiring in its pre-glam, pre-drag-pose ordinariness and nascent preening and posturing in new identities. It is not glamour for the stage but for each other, like other women who dress up to spend time with friends, flaunting their own sense of style. There is an evident pleasure of being here, at Casa Susanna, that is a liberation, a simplification of the conflicts inherent in a double life.”


Michel Hurst and Robert Swope. “About The Casa Susanna Book,” on the Simon & Schuster website Nd [Online] Cited 16/03/2024

 

But there was just one catch: no openly homosexual men were allowed. Living and working at a time when both gender expression and sexuality were criminalized, Tornell and Valenti restricted admittance to self-professed heterosexual men and their wives. The presence of wives signified deference to patriarchal notions of heterosexual gender roles, simultaneously averting unfounded fears of the presence of queer desires that upended the status quo. …

“Virginia Prince was a polarising figure in the queer and trans communities because she stuck to very rigid ideas of crossdressing: that you were a straight man who sometimes liked to wear women’s clothing,” says Sophie Hackett. “Her whole project was to normalise it but not everyone wanted to adhere to those dictates or the Ladies Home Journal kind of femininity that she and Susanna advocated.”


Miss Rosen. “Inside case Susanna,” on the Blind Magazine website July 12, 2023 [Online] Cited 14/03/2024

 

 

 

CASA SUSANNA | Trailer | AMERICAN EXPERIENCE | PBS

In the 1950s and ’60s, an underground network of transgender women and cross-dressing men found refuge at a modest house in the Catskills region of New York. Known as Casa Susanna, the house provided a safe place to express their true selves and live for a few days as they had always dreamed – dressed as and living as women without fear of being incarcerated or institutionalised. Told through the memories of those who visited the house, CASA SUSANNA provides a moving look back at a secret world where the persecuted and frightened found freedom, acceptance and, often, the courage to live out of the shadows.

 

 

Casa Susanna: An Inside Look

York University Professor, Michael Gilbert, also known as Miqqi Alicia, is a life-long cross-dresser who spoke with us about Casa Susanna, a safe haven and resort for cross-dressers in upstate New York during the ’50s and ’60s.

 

Susanna and Marie

 

Unknown photographer (American) 'Susanna in a pink, green and yellow dress, sitting with friends' 1960s

 

Unknown photographer (American)
Susanna in a pink, green and yellow dress, sitting with friends
1960s
Chromogenic print
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Attributed to Andrea Susan. 'Susanna in black lingerie' 1960s

 

Attributed to Andrea Susan
Susanna in black lingerie
1960s
Chromogenic print
© Art Gallery of Ontario

 

Unknown photographer (American) 'Susanna looking in the mirror' 1955-1963

 

Unknown photographer (American)
Susanna looking in the mirror
1955-1963
Chromogenic print
8.9 × 12.8cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Attributed to Andrea Susan. 'Susanna standing in the road' October 1964

 

Attributed to Andrea Susan
Susanna standing in the road
October 1964
Chromogenic print
Sheet: 13.5 × 9cm
Purchase, with funds generously donated by Martha LA McCain, 2015
© Art Gallery of Ontario

 

Unknown photographer (American) 'Susanna in a shiny gown on the stage at the Chevalier d'Eon, Hunter, NY' 1960-1963

 

Unknown photographer (American)
Susanna in a shiny gown on the stage at the Chevalier d’Eon, Hunter, NY
1960-1963
Gelatin silver print
14 x 9cm
Collection of Cindy Sherman

 

Unknown photographer (American) 'Susanna, Edith, and Marie with a man holding a cable release, Chevalier d'Éon, Hunter, NY' 1960-1963

 

Unknown photographer (American)
Susanna, Edith, and Marie with a man holding a cable release, Chevalier d’Éon, Hunter, NY
1960-1963
Gelatin silver print
11 × 8.5cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

 

Exhibition overview

From the mid-1950s to the late 1960s, a network of crossdressers found refuge in the Catskills region of New York State. Susanna with her wife Marie created safe spaces at two modest resorts for guests to freely crossdress en femme at a time of strictly defined gender roles. Guests used photography to build their femme identities and their network. These snapshots – candid, playful, and at times staged, blending family and fashion photography conventions – have since come to be known collectively as the Casa Susanna photographs.

Casa Susanna brings together for the first time three collections of photographs created by this network of crossdressers: from the AGO’s holdings, from the personal collection of artist Cindy Sherman, and from the collection of Betsy Wollheim. Seen together, these 250 images, provide insight into this historically significant crossdressing scene, allowing us to develop an understanding of this world and its connection to the lives of trans and crossdressing people today. These affirming photographs circulated among crossdressers by mail, as well as in the pages of Transvestia, a community magazine, copies of which will also be on view

The exhibition is accompanied by an illustrated publication that brings together recent research, an expansive selection of photographs, and pages of Transvestia, adding another important account of the ways photographs have served to build queer communities. Co-published by Editions Textuel, it includes essays by co-curators French photo historian, Isabelle Bonnet and AGO Curator of Photography, Sophie Hackett, as well as noted American scholar of trans history Susan Stryker.

Casa Susanna is coproduced by the Art Gallery of Ontario and the Rencontres D’Arles.

 

New York City / Parties

 

Unknown photographer (American) 'Large group in the living room with Louise Lawrence' 1963

 

Unknown photographer (American)
Large group in the living room with Louise Lawrence
1963
Chromogenic print
8.8 × 19cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Unknown photographer (American) 'Gloria in Susanna and Marie's New York City apartment' 1960-1963

 

Unknown photographer (American)
Gloria in Susanna and Marie’s New York City apartment
1960-1963
Chromogenic print
8.9 × 9cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Unknown photographer (American) 'Susanna and two friends showing some leg in Susanna and Marie’s New York City apartment' 1960s

 

Unknown photographer (American)
Susanna and two friends showing some leg in Susanna and Marie’s New York City apartment
1960s
Gelatin silver print
9 × 9cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Attributed to Andrea Susan. 'Susanna and three friends on stage' July 1961

 

Attributed to Andrea Susan
Susanna and three friends on stage
July 1961
Chromogenic print
Sheet: 6.1 × 8.6cm (2 3/8 × 3 3/8 in.)
Art Gallery of Ontario. Purchase, with funds generously donated by Martha LA McCain, 2015
© Art Gallery of Ontario

 

Unknown photographer (American) 'Vicky in the living room in a white evening gown, New York City apartment' January 1962

 

Unknown photographer (American)
Vicky in the living room in a white evening gown, New York City apartment
January 1962
Chromogenic print
12.5 × 9cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

 

“If the photographs had been revealed 50 years prior, people like Susanna Valenti, Katherine Cummings and Diana Merry-Shapiro could have been arrested or institutionalized, lost their jobs and been ostracized by their families and communities. For more than a century, cross-dressing was criminalized in the United States through statutes like “masquerade laws,” which were used to persecute many forms of gender expression in public spaces under the guise of limiting prostitution and “immoral performances” – an echo of the drag-show bans currently being passed in Tennessee and other states. …

More recently, several states have introduced laws to limit or ban drag shows as part of a wider attack on LGBTQ+ rights around the country. Nearly 500 anti-LGBTQ+ bills have been filed in state legislatures this year, according to the American Civil Liberties Union, which is tracking legislation across the country. An Associated Press analysis showed lawmakers have been motivated to file these bills by a handful of conservative interest groups, not constituent demand.”

Maria M. Silva. “Casa Susanna, a onetime underground Catskills LGBTQ+ haven,” on the Times Union website June 15, 2023 [Online] Cited 05/03/2024

 

“Some of these snapshots are black and white, some in colour. The photographer was often either the subject herself (using a self-timer or cable release, both relatively new at the time) or a trusted member of the community (easily obtainable in group settings). Initially, many would develop the pictures themselves rather than risk involvement of an external lab. As the Polaroid instant camera became more affordable it revolutionized photography for this community, which was a critical tool for them to image / imagine themselves for their own use or for sharing with others in their society. …

Some pictures were taken at home, or in a hotel room, with the curtains carefully drawn, to ensure privacy and create a little world where freedom was momentarily possible. They are typically deliberately posed, with a definite sense of happiness and an aura of breaking a constricting taboo. Other photographs were shot at one of the resorts, often outdoors. The joy here is quite evident, with a strong quality of relief. The pictures taken later on seem to become less performative, and show people simply being.

In constructing their female appearance and persona, the subjects here (who were almost all white) leaned heavily on 1950s stereotypes of white, middle-class womanhood. There would seem to be an irony in that they thereby leveraged a patriarchy that oppressed them. However, from my perspective, their goal (which I instinctively understand) was to externalize an inner truth in a way that was meaningful to them, that could be seen by select others, and by themselves in a mirror or in their photographs; and in this they were successful.

One display was a case containing a distinctive snapshot and a short biography for each of 18 different individuals who appear in the pictures. These are poignant reminders of the humanity of this community and the serious challenges that they faced. And it provided positive proof that my intuition from 2014 was correct, my personal sisterhood was indeed there. First, I hasten to stress that even without physical transition one can still be a woman, it is an internal identification; however, when someone assigned male at birth followed that path (especially during that era) it is very suggestive of a female gender. With that in mind, it was personally moving to find that one of the 18, whose name was Gloria, and who happened to be a millionaire, used her fortune to support women seeking (pioneering at that time) gender affirmation surgery in Mexico, before, during and afterwards; and that two others, Kate and Irène, successfully underwent the procedure.”

Jennifer Wenn is a trans-identified writer from London, Ontario, Canada.

Jennifer Wenn. “Casa Susanna, at the Art Gallery of Ontario,” on the Centred.ca website January 4, 2024 [Online’ Cited 05/03/2024

 

Casa Susanna

 

Attributed to Andrea Susan. 'Daphne sitting on a lawn chair with Ann, Susanna, and a friend outside, Casa Susanna, Hunter, NY' 1964-1968

 

Attributed to Andrea Susan
Daphne sitting on a lawn chair with Ann, Susanna, and a friend outside, Casa Susanna, Hunter, NY
1964-1968
Chromogenic print
8.9 × 10.8cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Attributed to Andrea Susan. 'Photo shoot with Lili, Wilma, and friends, Casa Susanna, Hunter, NY' 1964-1967

 

Attributed to Andrea Susan
Photo shoot with Lili, Wilma, and friends, Casa Susanna, Hunter, NY
1964-1967
Chromogenic print
8.4 × 10.8cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Unknown photographer. 'Lili on the diving board, Casa Susanna, Hunter, NY' September 1966

 

Unknown photographer
Lili on the diving board, Casa Susanna, Hunter, NY
September 1966
Chromogenic print
12.8 × 8.8cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Unknown photographer. 'Lili on the diving board, Casa Susanna, Hunter, NY' September 1966

 

Unknown photographer
Lili on the diving board, Casa Susanna, Hunter, NY
September 1966
Chromogenic print
12.8 × 8.8cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Unknown photographer. 'Lili on the diving board, Casa Susanna, Hunter, NY' September 1966

 

Unknown photographer
Lili on the diving board, Casa Susanna, Hunter, NY
September 1966
Chromogenic print
12.8 × 8.8cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Chevalier

 

Unknown photographer (American) 'Susanna and Felicity in the kitchen, Chevalier d'Éon, Hunter, NY' 1960-1963

 

Unknown photographer (American)
Susanna and Felicity in the kitchen, Chevalier d’Éon, Hunter, NY
1960-1963
Chromogenic print
6.4 × 8.4cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Unknown photographer (American) 'Halloween 1962: Virginia at left, Felicity at right at Chevalier D'Eon Resort' 1962

 

Unknown photographer (American)
Halloween 1962: Virginia at left, Felicity at right at Chevalier D’Eon Resort
1962
Photo © AGO

 

Of particular note is the gathering of 71 transvestites at the Chevalier D’Eon Resort for Halloween 1962, held a day after the New York police unusually raided the annual National Variety Artists costume ball and 30 cross-dressed “men” were arrested. The guests at Chevalier D’Eon Resort included Virginia Prince, Katherine Cummings, Felicity Chandelle, Darrell Raynor and Gail Wilde, and psychologists Hugo Beigel and Wardell Pomeroy. Raynor, Cummings and Beigel later wrote about the event.

Both Virginia and Susanna were upset by one guest who not only did not bother to shave, he also smoked a cigar. This brought Susanna closer to Virginia’s point of view that a cultivation of ‘inner femininity’ distinguished true transvestites from drag queens and fetishists. She expressed this opinion in her column several times. Initially ‘fetishism’ had been equated with partial dressing, but FPE increasingly identified as fetishistic those who fully dressed as female but failed or didn’t bother to fashion themselves as truly feminine. A few years later Sheila Niles would propose the term ‘whole girl fetishist’.

Anonymous. “Susanna Valenti (192? – 1996) translator, broadcaster, activist” on the A Gender Variance Who’s Who website 1st February 2012 [Online] Cited 11/03/2024

 

Attributed to Andrea Susan. 'Carlene playing scrabble, Chevalier d'Éon, Hunter, NY' 1955-1963

 

Attributed to Andrea Susan
Carlene playing scrabble, Chevalier d’Éon, Hunter, NY
1955-1963
Gelatin silver print
10.7 × 8.6cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Unknown photographer (American) 'Susanna by the Chevalier d'Éon sign, Hunter, NY' November 1960

 

Unknown photographer (American)
Susanna by the Chevalier d’Éon sign, Hunter, NY, November
1960
Chromogenic print
12.6 × 8.9cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Edith Eden (American) 'Audrey, Edith, and Irene in the front yard, Chevalier d'Éon, Hunter, NY' 1960-1963

 

Edith Eden (American)
Audrey, Edith, and Irene in the front yard, Chevalier d’Éon, Hunter, NY
1960-1963
Gelatin silver print, 8.8 × 11.2 cm. Purchase, with funds generously donated by Martha LA McCain, 2015. Photo © AGO

 

Attributed to Andrea Susan. 'Susanna and three friends on stage' July 1961

 

Attributed to Andrea Susan
Audrey, Edith, Susanna, and Doreen on stage at the Chevalier d’Éon, Hunter, NY
July 1961
Chromogenic print
6.1 × 8.6cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Unknown photographer (American) 'Anita and Gloria on stage, Chevalier d'Éon' 1960s

 

Unknown photographer (American)
Anita and Gloria on stage, Chevalier d’Éon
1960s
Chromogenic print
12 × 8.2cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

 

This winter, the Art Gallery of Ontario and Rencontres D’Arles present Casa Susanna, an exhibition of snapshots taken by members of the earliest known American crossdressing network, which operated in upstate New York from the mid-1950s through the end of the 1960s. Co-curated by Sophie Hackett, the AGO’s curator of photography and Dr. Isabelle Bonnet, a photography historian and independent curator, this is the first museum exhibition dedicated to what are collectively known as the Casa Susanna photographs and features previously unseen images.

“These joyful snapshots provide insight into a historically significant crossdressing scene, allowing us to develop an understanding of this world and its connection to the lives of trans and crossdressing people today,” says Sophie Hackett, AGO Curator of Photography. “Looking at these snapshots, I am not only touched by their familial atmosphere and conviviality, but also reminded of the ways photography has been – and continues to be – used as a powerful tool for affirming personal identity and forging community.”

“At a time when trans people – and more broadly, 2SLGBTQ+ people – are attacked from many sides, I think that this exhibition and this book serve a public purpose: the story of the members of Casa Susanna, which is that of thousands of people across the world throughout the centuries, call for respect and tolerance,” says Dr. Isabelle Bonnet. “The personalities that gradually emerged during my research, notably those of Gloria, Kate, Vicky, Felicity, Gail, Susanna and Marie, filled me with admiration and I hope to pass it on to those who come to see the exhibition.”

Bringing together three collections of amateur photographs for the first time – from the AGO’s holdings, from the personal collection of artist Cindy Sherman, and from the collection of Betsy Wollheim, the exhibition tells the story of a community of men, including Wollheim’s own father, who regularly met at two upstate New York retreats organized by Susanna Valenti and her wife Marie, where they were free to safely dress as women and express their feminine identities. Organised thematically, the exhibition shines a spotlight on many of the community’s leading figures and describes how and where they came gathered and the feminine ideals they celebrated.

Snapshots of and by the community – all White, upper middle-class professionals – reveal days spent dressing up, swimming, playing cards, and generally enjoying life as women. The photographs bring to light the type of femininity they aspired to, drawn from images in their visual culture, for instance widely seen in magazines like Ladies Home Journal: traditional and appropriate, even as the crossdressers defied the strict gender prescriptions of their time. The exhibition includes copies of Transvestia magazine, a clandestine publication founded by Virginia Prince in 1960 that provided a vital forum for connection, information, and images to crossdressers across the United States and beyond. It also highlights the radical nature of this community, and the role photographs played in affirming and sustaining trans identities.

A leader in the presentation and research of vernacular photography, the AGO has acquired numerous collections showcasing historically underrepresented photographers, makers, and subjects, among them the Casa Susanna Collection. First discovered at the 26th Street flea market in New York City by furniture dealers Michel Hurst and Robert Swope in 2004, the AGO’s collection of 340 Casa Susanna photographs – acquired in 2015 – originally belonged to Susanna Valenti.

Accompanying the exhibition is a 480-page illustrated publication, edited by co-curators Sophie Hackett and Isabelle Bonnet. Bringing together recent research, an expansive selection of photographs, and pages of Transvestia, Casa Susanna was shortlisted for the Paris Photo – Aperture Foundation Photobook Awards 2023. Published by Editions Textuel in both English and French, Casa Susanna is available at shopAGO for $73.

Press release from the Art Gallery of Ontario

 

Feminine Identity

 

Attributed to Andrea Susan. '(Lee in white dress)' 1961

 

Attributed to Andrea Susan
Lee in a white dress, Chevalier d’Éon, Hunter, NY
October 1961
Chromogenic print
12.1 × 8.3cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Attributed to Andrea Susan. 'Christmas card, Gloria in a red suit at home, Clarion, Michigan' 1962

 

Attributed to Andrea Susan
Christmas card, Gloria in a red suit at home, Clarion, Michigan
1962
Chromogenic print
17.7 × 9cm
Purchase, with funds generously donated by Martha LA McCain, 2015. Photo © AGO

 

Attributed to Andrea Susan. 'Gloria in a red suit at home, Clarion, Michigan' 1962

 

Attributed to Andrea Susan
Gloria in a red suit at home, Clarion, Michigan
1962
Chromogenic print
17.7 × 9cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Attributed to Andrea Susan. 'Donna (Buff/Cynthia) in a navy dress in Susanna and Marie's New York City apartment' 1960s

 

Attributed to Andrea Susan
Donna (Buff/Cynthia) in a navy dress in Susanna and Marie’s New York City apartment
1960s
Chromogenic print
12.9 × 9cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

Unknown photographer (American) 'Beverly Holding a Copy of Vogue' 1960's

 

Unknown photographer (American)
Beverly Holding a Copy of Vogue
1960’s
Gelatin Silver Print
10.8 x 8.5cm
Collection of the Art Gallery of Ontario. Purchase, with funds generously donated by Martha LA McCain, 2015
© Art Gallery of Ontario

 

Attributed to Andrea Susan. 'Bobbie at the mirror' 1960s

 

Attributed to Andrea Susan
Bobbie at the mirror
1960s
Chromogenic print
12.7 × 9cm
Purchase, with funds generously donated by Martha LA McCain, 2015
Photo © AGO

 

 

Isabelle Bonnet, Sophie Hackett
Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968
Thames and Hudson Ltd, January 2024
480 pp softback

[This book] Brings together a wealth of research and an expansive selection of photographs to create an enduring account of America’s first known trans network, Casa Susanna.

In the 1950s and 60s, an underground network of transgender women and cross-dressing men found refuge at a modest house in the Catskills region of New York. Known as Casa Susanna, the house provided a safe place to express their true selves and live for a few days as they had always dreamed – dressed as and living as women without fear of being incarcerated or institutionalised for their self-expression.

This book opens up that now-lost world. The photographs – mostly discovered by chance in a New York flea market in 2004 – chronicle the experiences of men who dressed as women, gender nonconforming people, and trans women in states of relaxation, experimentation, connection and joy. All of this was made possible by Susanna Valenti who – on her own journey toward womanhood – created Casa Susanna, a protected space where others could crossdress and live freely as women. Supplementing the images are excerpts from Transvestia, a magazine that allowed those who had been cast out by a rigidly binary society to connect in a different medium.

The people who came to Casa Susanna found a spot where they could explore and celebrate their own and each other’s femininity, as they could not do elsewhere. Their creations are also a reminder that there were, and still are, many ways to explore the boundaries of gender.

Isabelle Bonnet is an independent curator, currently completing a thesis in history / visual culture devoted to the crime scene in contemporary photography. Sophie Hackett is the Curator, Photography at the Art Gallery of Ontario, Toronto. Susan Stryker is professor of gender and women’s studies at the University of Arizona.

Text from the Thames & Hudson Australia website

 

'Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968' book cover

 

Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968 book cover

 

'Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968' book cover

 

Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968 book cover

 

'Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968' book text

 

Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968 book text

 

'Transvestia' magazine covers

 

Transvestia magazine covers, pp. 68-69 from the book Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968

 

'Transvestia' magazine pages

 

Transvestia magazine pages, pp. 102-103 from the book Casa Susanna: The Story of the First Trans Network in the United States, 1959-1968

 

 

Art Gallery of Ontario
Musée des beaux-arts de l’Ontario

317 Dundas Street West
Toronto Ontario Canada M5T 1G4

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Closed Mondays

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Exhibition: ‘Dorothea Lange: Seeing People’ at the National Gallery of Art, Washington Part 1

Exhibition dates: 5th November 2023 – 31st March 2024

 

Dorothea Lange (American, 1895-1965) 'Child of Impoverished Black Tenant Family Working on Farm, Alabama' July 1936

 

Dorothea Lange (American, 1895-1965)
Child of Impoverished Black Tenant Family Working on Farm, Alabama
July 1936
Gelatin silver print
Image: 20 x 19.2cm (7 7/8 x 7 9/16 in.)
Sheet: 25.4 x 20.2cm (10 x 7 15/16 in.)
Mat: 14 x 14 in.
Frame (outside): 15 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

 

A humungous two-part posting on the work of American photographer Dorothea Lange (1895-1965) which features over 110 of her photographs many of which were unknown to me.

Of course, the posting features the photographs for which she is rightly famous (Migrant Mother; White Angel Breadline; Nettie Featherston; Migratory cotton picker with his cotton sack slung over his shoulder rests at the scales before returning to work in the field; Once a Missouri farmer, now a Migratory Farm Laborer) but others are a surprise for the senses, especially the Irish portrait photographs.

See my comment on the photographs in Part 2 of the posting.

Dr Marcus Bunyan


Many thankx to the National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

During her long, prolific, and groundbreaking career, the American photographer Dorothea Lange made some of the most iconic portraits of the 20th century. Dorothea Lange: Seeing People reframes Lange’s work through the lens of portraiture, highlighting her unique ability to discover and reveal the character and resilience of those she photographed.

Featuring some 100 photographs, the exhibition addresses her innovative approaches to picturing people, emphasising her work on social issues including economic disparity, migration, poverty, and racism.

 

 

“The portrait is made more meaningful by intimacy – an intimacy shared not only by the photographer with his subject but by the audience.”


Dorothea Lange

 

“The power of her pictures – their ability to speak to the character and resilience of those she photographed – lies not only in her desire to effect social change, but also in her deep humanism, her abiding interest in people, and the skills and insights she learned as a portrait photographer.”


Sarah Greenough

 

 

Dorothea Lange (American, 1895-1965) 'White Angel Breadline, San Francisco, California' 1933

 

Dorothea Lange (American, 1895-1965)
White Angel Breadline, San Francisco, California
1933
Gelatin silver print
Image/sheet: 34 x 26.5cm (13 3/8 x 10 7/16 in.)
Mat: 20 x 16 in.
Frame (outside): 21 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

A growing desire to capture the Depression’s impact drew Lange to the White Angel Jungle, a San Francisco soup kitchen run by Lois Jordan, the “White Angel.” There Lange photographed this downtrodden man leaning on a barricade, his jaw clenched, shoulders hunched, back to the crowd, and eyes covered by the brim of his hat. Though anonymous, he drew Lange’s sympathetic eye and became a symbol of the nameless masses who faced economic hardship as the United States plunged deep into financial crisis.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Street Demonstration, San Francisco' 1934

 

Dorothea Lange (American, 1895-1965)
Street Demonstration, San Francisco
1934
Gelatin silver print
Image: 24.4 x 19.1cm (9 5/8 x 7 1/2 in.)
Mount: 27.9 x 20.2cm (11 x 7 15/16 in.)
Mat: 20 x 16 in.
Frame (outside): 21 x 17 in.
National Gallery of Art, Washington, Diana and Mallory Walker Fund and Robert Menschel and the Vital Projects Fund, in Honor of the 25th Anniversary of Photography at the National Gallery of Art
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

In spring and summer 1934, a longshoremen’s strike gripped San Francisco and demonstrations took place throughout the city. Protesters also advocated for Japanese unions, which were being threatened by anti-labor forces in Japan. Lange wrote in her notes, “This was just before the New Deal during a time when Communists were very active. A few blocks away … soup was being distributed daily to the unemployed.”

Lange focused on a lone policeman standing before a crowd of protesters holding placards in English and Japanese. The policeman projects authority through his firm stance, crisp uniform, and shiny badge, creating a barrier between the photographer and the crowd.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Mexican Workers Leaving for Melon Fields, Imperial Valley, California' June 1935, printed 1940s

 

Dorothea Lange (American, 1895-1965)
Mexican Workers Leaving for Melon Fields, Imperial Valley, California
June 1935, printed 1940s
Gelatin silver print
Image: 45 x 58cm (17 11/16 x 22 13/16 in.)
Sheet: 50.2 x 67.5cm (19 3/4 x 26 9/16 in.)
Mat: 24 x 28 in.
Frame (outside): 25 x 29 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

In the summer of 1935, Lange traveled with Paul Taylor, working with his research team on a study of migrant labourers funded by California’s State Emergency Relief Administration. Mexican farm labourers, like this trio of cantaloupe harvesters, saw wages plummet during the Depression as thousands of westbound American migrants flooded the labour market. Angling her camera upward, Lange silhouetted the workers against a hazy sky, producing a striking group portrait. Working together solidified Lange and Taylor’s professional relationship, which developed into a romantic partnership and marriage later that same year.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Once a Missouri farmer, now a Migratory Farm Laborer. San Joaquin Valley, California' February 1936, printed c. 1965

 

Dorothea Lange (American, 1895-1965)
Once a Missouri farmer, now a Migratory Farm Laborer. San Joaquin Valley, California
February 1936, printed c. 1965
Gelatin silver print
Image/sheet: 44.6 x 39.5cm (17 9/16 x 15 9/16 in.)
Mat: 26 x 22 in.
Frame (outside): 27 x 23 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Although this farm labourer from Missouri seems to be alone behind the wheel of his car, he is actually seated beside his wife, in the passenger seat. Her overcoat and right arm are easily overlooked at the bottom left. By focusing only on the driver, with his gaunt features and intense gaze, Lange heightens our sense of his isolation to create an evocative portrait of a man grappling with the consequences of dislocation. The photograph also calls attention to the automobile as a means of transport and escape for some Depression-era migrants.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Former Tenant Farmer on Relief Grant in the Imperial Valley, California' March 1937

 

Dorothea Lange (American, 1895-1965)
Former Tenant Farmer on Relief Grant in the Imperial Valley, California
March 1937
Gelatin silver print
Image/sheet: 9.5 x 9cm (3 3/4 x 3 9/16 in.)
Mat: 14 x 11 in.
Frame (outside): 15 x 12 3/4 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Eighteen-Year-Old Mother from Oklahoma, now a California Migrant' March 1937

 

Dorothea Lange (American, 1895-1965)
Eighteen-Year-Old Mother from Oklahoma, now a California Migrant
March 1937
Gelatin silver print
Image: 18.9 x 24.5cm (7 7/16 x 9 5/8 in.)
Sheet: 20.6 x 25.5cm (8 1/8 x 10 1/16 in.)
Mat: 13 x 16 in.
Frame (outside): 14 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Displaced Tenant Farmers, Goodlett, Hardeman County, Texas' July 1937, printed 1950s

 

Dorothea Lange (American, 1895-1965)
Displaced Tenant Farmers, Goodlett, Hardeman County, Texas
July 1937, printed 1950s
Gelatin silver print
Image: 19 x 24 cm (7 1/2 x 9 7/16 in.)
Sheet: 20.3 x 25.2 cm (8 x 9 15/16 in.)
Mat: 14 x 16 in.
Frame (outside): 15 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

During the 1930s, machines began to replace people in some cotton-growing regions like Hardeman County in Northeast Texas; consequently, many tenant farmers were evicted from their land. Already reckoning with severe drought and economic depression, these “tractored out” farmers were forced to seek work as day labourers, a precarious livelihood offering little security. In this picture, five displaced tenant farmers congregate outside the screened porch of a small house. Although they are united by a common plight, each man seems utterly alone, unable to find solace or support within an eroding agricultural system.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Nettie Featherston, Wife of a Migratory Laborer with Three Children, near Childress, Texas, from The American Country Woman' June 1938

 

Dorothea Lange (American, 1895-1965)
Nettie Featherston, Wife of a Migratory Laborer with Three Children, near Childress, Texas, from The American Country Woman
June 1938
Gelatin silver print
Image: 34 x 26.8cm (13 3/8 x 10 9/16 in.)
Sheet: 35.2 x 28cm (13 7/8 x 11 in.)
Mount: 45.4 x 38.3cm (17 7/8 x 15 1/16 in.)
Mat: 22 x 18 in.
Frame (outside): 23 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

When Lange photographed her on a North Texas farm, 40-year-old Nettie Featherston was accustomed to a life of hard labor and poverty. She and her family had left Oklahoma seeking work in California when they ran out of money in Texas and found work picking cotton. Lange’s portrait reveals a gaunt survivor of the Dust Bowl, her right arm echoing the shape of the storm cloud behind her – a symbol of the difficult road ahead for migrant families looking for work. Reflecting on the photograph of herself years later, Featherston said, “It seems like … I have too much on my mind. I can just be burdened so bad, awful burdens they’ll be.”

Label text from the exhibition

 

Nettie Featherston

Lange met Nettie Featherston while working on that same FSA project. Like Turpen, Featherston’s family had been forced off their farm in Oklahoma. On their way to California to find work, they ran out of money and found themselves stranded in Childress, Texas.

The Featherstons sold their car for money to buy food. That left them with no way out of the dry and dusty landscape we seen behind Featherston. She looks desperate and distraught. “This county’s a hard county. They won’t help bury you here. If you die, you’re dead, that’s all,” she told Lange.

Decades later photographer and author Bill Ganzel tracked down Featherston. Then in her 80s, she still remembered how difficult that time had been. “Your kids would cry for something to eat, and you couldn’t give it. We cooked with black-eyed peas until I never wanted to ever see another black-eyed pea.”

Anonymous. “The Real Lives of People in Dorothea Lange’s Portraits,” on the National Gallery of Art website November 03, 2023 [Online] Cited 25/02/2024

 

Dorothea Lange (American, 1895-1965) 'Arkansas mother come to California for a new start, with husband and eleven children. Now a rural rehabilitation client. Tulare County, California, from The American Country Woman' November 1938, printed 1965

 

Dorothea Lange (American, 1895-1965)
Arkansas mother come to California for a new start, with husband and eleven children. Now a rural rehabilitation client. Tulare County, California, from The American Country Woman
November 1938, printed 1965
Gelatin silver print
Image/sheet: 35.5 x 27.9cm (14 x 11 in.)
Mat: 20 x 16 in.
Frame (outside): 21 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'On the Plains a Hat Is More Than a Covering' 1938, printed c. 1965

 

Dorothea Lange (American, 1895-1965)
On the Plains a Hat Is More Than a Covering
1938, printed c. 1965
Gelatin silver print
Image/sheet: 32 x 26.3cm (12 5/8 x 10 3/8 in.)
Mat: 20 x 18 in.
Frame (outside): 21 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Lange wrote in her field notes that a “hat is more than a covering against sun and wind … it is a badge of service … linking past and present.” This artfully cropped photograph of James Abner Turpen, a 70-year-old Texas tenant farmer, focuses on Turpen’s hand as his fingers curl around the brim of a hat. Both hand and hat are weathered, aged by time and work, and portray Turpen without showing his face.

Label text from the exhibition

 

James Abner Turpen

From 1936 to 1939, Lange worked for the Resettlement Administration (which later became the Farm Security Administration). In Texas she documented the impacts of mechanisation on farmers. In the town of Goodlett she met James Abner Turpen, a 70-year-old tenant farmer who was about to be “tractored out” of his farm. Realising that agricultural machines like tractors could replace many farmers, landowners would evict their tenant farmers.

Turpen’s sons had already been tractored out. In her caption, Lange recorded his distress. “What are my boys going to do?” he asked. He believed the government was partly to blame. “They’re not any up there in Congress but what are big landowners and they’re going to see that the program is in their interest.”

Lange cropped one image to focus on Turpen’s weathered hand grasping his hat. The photograph is titled On the Plains a Hat Is More Than a Covering. But curator Philip Brookman inspected the image closely and compared it with others to confirm that Turpen is the subject.

Anonymous. “The Real Lives of People in Dorothea Lange’s Portraits,” on the National Gallery of Art website November 03, 2023 [Online] Cited 25/02/2024

 

Dorothea Lange (American, 1895-1965) 'Migratory Field Worker Picking Cotton in San Joaquin Valley, California' from 'An American Exodus' November 1938, printed later

 

Dorothea Lange (American, 1895-1965)
Migratory Field Worker Picking Cotton in San Joaquin Valley, California from An American Exodus
November 1938, printed later
Gelatin silver print
Image/sheet: 19 x 24cm (7 1/2 x 9 7/16 in.)
Mat: 14 x 18 in.
Frame (outside): 15 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

This photograph of hard stoop labor appeared in Lange and Paul Taylor’s 1939 book An American Exodus. According to Taylor’s field notes, “These pickers are paid seventy-five cents per hundred pounds of picked cotton. Strikers organising under CIO union (Congress of Industrial Organizations) are demanding one dollar. A good male picker, in good cotton, under favourable weather conditions, can pick about two hundred pounds in a day’s work.”

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Cotton Pickers and Farm Owners, Bakersfield, California' 1938, printed c. 1950s

 

Dorothea Lange (American, 1895-1965)
Cotton Pickers and Farm Owners, Bakersfield, California
1938, printed c. 1950s
Gelatin silver print
Image: 19 x 24cm (7 1/2 x 9 7/16 in.)
Sheet: 20.32 x 25.4cm (8 x 10 in.)
Mat: 13 x 16 in.
Frame (outside): 14 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Yazoo Delta, Mississippi' from 'An American Exodus' 1938, printed 1965

 

Dorothea Lange (American, 1895-1965)
Yazoo Delta, Mississippi from An American Exodus
1938, printed 1965
Gelatin silver print
Image/sheet: 34.2 x 44.7cm (13 7/16 x 17 5/8 in.)
Mat: 20 x 24 in.
Frame (outside): 21 x 25 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Edison, Kern County, California. Young migratory mother, originally from Texas. On the day before the photograph was made, she and her husband traveled 35 miles each way to pick peas. They worked 5 hours each and together earned $2.25. They have two young children... Live in auto camp' April 11, 1940, printed 1950s

 

Dorothea Lange (American, 1895-1965)
Edison, Kern County, California. Young migratory mother, originally from Texas. On the day before the photograph was made, she and her husband traveled 35 miles each way to pick peas. They worked 5 hours each and together earned $2.25. They have two young children… Live in auto camp.
April 11, 1940, printed 1950s
Gelatin silver print
Image/sheet: 30.1 x 24cm (11 7/8 x 9 7/16 in.)
Mount: 30.8 x 24 cm (12 1/8 x 9 7/16 in.)
Mat: 20 x 16 in.
Frame (outside): 21 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Children of the Weill Public School Shown in a Flag Pledge Ceremony, San Francisco, California' April 1942, printed c. 1965

 

Dorothea Lange (American, 1895-1965)
Children of the Weill Public School Shown in a Flag Pledge Ceremony, San Francisco, California
April 1942, printed c. 1965
Gelatin silver print
Image: 23.5 x 17.4 cm (9 1/4 x 6 7/8 in.)
Mat: 18 x 14 in.
Frame (outside): 19 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'End of Shift, 3:30, Shipyard Construction Workers, Richmond, California' September 1943

 

Dorothea Lange (American, 1895-1965)
End of Shift, 3:30, Shipyard Construction Workers, Richmond, California
September 1943
Gelatin silver print
Image: 24 x 19 cm (9 7/16 x 7 1/2 in.)
Sheet: 25.4 x 20.32 cm (10 x 8 in.)
Mat: 18 x 14 in.
Frame (outside): 19 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Fortune magazine commissioned Lange to document the bustling shipyards in Richmond, north of Oakland, where newly desegregated defence firms were rapidly constructing transport, cargo, and warships for the United States Navy. With its tight cropping and dynamic configuration, End of Shift focuses on the rushing legs and torsos of shipbuilders leaving a wartime facility. Lange expressed the urgency of their work in defence production without showing their individual features. The angled composition and complex interplay of light and shadow demonstrate Lange’s understanding of how modern design techniques could convey the force and energy of a group working together on a project critical to the nation’s defence.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'War Babies, Richmond, California' 1944, printed c. 1965

 

Dorothea Lange (American, 1895-1965)
War Babies, Richmond, California
1944, printed c. 1965
Gelatin silver print
Image/sheet: 26.4 x 25.6cm (10 3/8 x 10 1/16 in.)
Mat: 18 x 18 in.
Frame (outside): 19 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

While in Richmond, Lange photographed not only shipyard workers but also local people on the street, such as this pair of young mothers. Cradling swaddled infants, with a knee-high toddler between them, the two women personify the prosperity and growth generated by the wartime boom, which brought renewed economic stability to many Californians. Lange’s pictures from Richmond capitalise on the symbolism presented by the backdrop of expanding production. In this photograph, for example, cruciform utility poles seem to watch over the women and children like industrial guards, symbolically guiding them away from the poverty of the Depression years.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Lyde Wall, friend and neighbor, who makes "the world's best apple pie," and knows everything going on for miles around, Berkeley, California' from 'The American Country Woman' 1944

 

Dorothea Lange (American, 1895-1965)
Lyde Wall, friend and neighbor, who makes “the world’s best apple pie,” and knows everything going on for miles around, Berkeley, California, from The American Country Woman
1944
Gelatin silver print
Image/sheet: 35.1 x 27.9cm (13 13/16 x 11 in.)
Mount: 35.2 x 28 cm (13 7/8 x 11 in.)
Mat: 22 x 18 in.
Frame (outside): 23 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

 

During her prolific and groundbreaking career, the American photographer Dorothea Lange (1895-1965) made some of the most iconic portraits of the 20th century. Dorothea Lange: Seeing People examines Lange’s decades-long investigation into how portrait photography could embody the humanity of the people she depicted. It demonstrates how her photographs helped shape contemporary documentary practice by connecting everyday people with moments of history – from the Great Depression through the mid-1960s – that still resonate with our lives in the 21st century. Featuring 101 photographs, the exhibition addresses her innovative approaches to picturing people, emphasising her work on various social issues including economic disparity, migration, poverty, and racism. The exhibition is on view from November 5, 2023, through March 31, 2024, in the West Building of the National Gallery of Art.

“Throughout the course of her 50-year career, Lange created an intensely humanistic body of work that sought to transform how we see and understand people,” said Kaywin Feldman, director of the National Gallery of Art. “Merging her skills as a portrait artist, a social documentary photographer, and a storyteller, she helped redefine photography through images that emphasise social issues.”

 

About the Exhibition

Dorothea Lange: Seeing People examines how Lange’s portraits have shaped our contemporary understanding of documentary photography as well as its importance to her vision and creative practice. Divided into six thematic sections, the exhibition features portraits ranging from her early career as a San Francisco studio photographer – the earliest work is from 1919 – and her powerful coverage of the Great Depression through expressive photographs of everyday people and communities during the 1950s and early 1960s.

Among the works on view are portraits of Indigenous people in Arizona and New Mexico from the 1920s and early 1930s; later depictions of striking labourers, migrant farmworkers, rural African Americans during the Jim Crow era, Japanese Americans denied their civil rights during World War II, and postwar baby boomers; and portraits of people in Ireland, Korea, Vietnam, Egypt, and Venezuela that Lange made in the decade before her death in 1965.

Lange began her career as a commercial studio photographer in San Francisco in 1918. Her studio became a gathering spot for artists who had serious discussions about photography and art. In 1920 she married Maynard Dixon, a painter of western subjects, who encouraged Lange to take her photography outside. She accompanied him on trips through the American Southwest, photographing rural landscapes and Dixon at work, along with the Indigenous communities he was portraying.

She started to work in the streets of San Francisco in 1933, making photographs such as White Angel Breadline, San Francisco, California (1933) that capture the effects of the Great Depression and the plight of the city’s dispossessed men and women. Lange also photographed labor organisers and protesters at May Day events around San Francisco’s Civic Center Plaza: she focused on the protesters speaking, listening, or holding signs, and vowed to produce prints within 24 hours, as in May Day, San Francisco, California (1934). She also documented ensuing strikes, creating portraits of speakers and demonstrators with placards as well as photographs of the police presence in works such as Street Demonstration, San Francisco (1934). When she met the labor economist Paul Schuster Taylor in 1934, Lange began to photograph the plight of migrant farmers who had moved to California from the South and Midwest seeking new livelihoods.

From 1935 to 1943, while working for the for the US Resettlement Administration, Farm Security Administration, and War Relocation Authority, Lange focused on the resilience of Depression-era families, farmworkers, rural cooperative communities, migrant camps, and the forced incarceration of Japanese Americans in the early days of World War II. The resulting images illustrate the human and economic impact wrought across the United States by farm tenancy, racism, the legacy of slavery, climate change, and migrations. These portraits, sometimes combined with interviews, added a personal element to Lange’s stark pictures of makeshift housing and agricultural fields and cemented her documentary style.

During World War II Lange produced one of her most powerful series for the War Relocation Authority, depicting the forced incarceration of California’s Japanese Americans at Manzanar, in works on view such as Grandfather and Grandson of Japanese Ancestry at a War Relocation Authority Center, Manzanar, California (July 1942). She also photographed the shifts in California’s social fabric as its rising economy – sparked by growing defence industries – drew African Americans from the South and women into previously male-dominated and segregated businesses such as shipbuilding. In the 1950s, Lange continued to pursue stories about people and their communities for personal projects, as well as for Life magazine, that include her first photographs from Europe. Asia, South America, and North Africa.

 

Exhibition Publication

Published by the National Gallery of Art and distributed by Yale University Press, this 208-page illustrated volume explores Dorothea Lange’s decades-long investigation of how photography, through articulating people’s core values and their sense of self, helped to expand our current understanding of portraiture and the meaning of documentary practice. Lange’s sensitive, humane portraits of often-marginalised people galvanised public understanding of important social problems in the 20th century.

Compassion guided Lange’s early portraits of Indigenous people in Arizona and New Mexico from the 1920s and 1930s, as well as her depictions of striking workers, migrant farmers, rural African Americans during the Jim Crow era, Japanese Americans in internment camps, and the people she met while traveling in Europe, Asia, Venezuela, and Egypt. Drawing on new research, Philip Brookman, Sarah Greenough, Andrea Nelson, and Laura Wexler, examine Lange’s roots in studio portraiture and demonstrate how her influential and widely seen photographs addressed issues of identity as well as social, economic, and racial inequalities – topics that remain as relevant for our times as they were for hers.

Press release from the National Gallery of Art

 

Dorothea Lange (American, 1895-1965) 'Mexican American Child, San Francisco' 1928

 

Dorothea Lange (American, 1895-1965)
Mexican American Child, San Francisco
1928
Gelatin silver print
Image/sheet: 34 x 29.8cm (13 3/8 x 11 3/4 in.)
Mat: 16 x 20 in.
Frame (outside): 16 1/2 x 16 1/4 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Maynard and Dan Dixon' 1930, printed c. 1960s

 

Dorothea Lange (American, 1895-1965)
Maynard and Dan Dixon
1930, printed c. 1960s
Gelatin silver print
Image: 19 x 24cm (7 1/2 x 9 7/16 in.)
Sheet: 20.32 x 25.4 cm (8 x 10 in.)
Mat: 14 x 17 in.
Frame (outside): 15 1/4 x 18 1/4 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

In fall 1919 Lange met Maynard Dixon, a painter and illustrator of western subjects and one of the best-known artists in California. Early the following year, Lange and Dixon were married. Their first son, Daniel, was born in 1925 and their second, John, in 1928. This intimate portrait presents a close-up view of Dixon’s hands holding Dan in a gentle embrace, with the boy’s tiny fingers quietly resting on top of his father’s. Here Lange directed their pose to express both character and personal narrative, which recalls her training in New York portrait studios, as well as Alfred Stieglitz’s “portraits” of Georgia O’Keeffe that focused on her hands to convey her personality.

Label text from the exhibition

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe – Hands' 1917

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe – Hands
1917
Silver-platinum print
National Gallery of Art, Alfred Stieglitz Collection

 

Dorothea Lange (American, 1895-1965) 'Mary Ann Savage, a Faithful Mormon All Her Life, Toquerville, Utah' 1931, printed c. 1950

 

Dorothea Lange (American, 1895-1965)
Mary Ann Savage, a Faithful Mormon All Her Life, Toquerville, Utah
1931, printed c. 1950
Gelatin silver print
Image/sheet: 35.2 x 27.9cm (13 7/8 x 11 in.)
Mount: 38.2 x 28cm (15 1/16 x 11 in.)
Mat: 22 x 18 in.
Frame (outside): 23 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Mary Ann Savage
was a faithful Mormon all her life.
She was a plural wife.
She was a pioneer.
She crossed the plains in 1856
with her family
when she was six years old.
Her mother
pushed her little children
across plain and desert
in a hand-cart.
A sister died along the way.
“My mother wrapped her in a blanket
and put her to one side.”

From Dorothea Lange Looks at the American Country Woman

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'San Francisco Waterfront' 1934

 

Dorothea Lange (American, 1895-1965)
San Francisco Waterfront
1934
Gelatin silver print
Image/sheet: 11.8 x 9.1cm (4 5/8 x 3 9/16 in.)
Mat: 14 x 11 in.
Frame (outside): 15 x 12 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'May Day, San Francisco, California' 1934, printed c. 1960s

 

Dorothea Lange (American, 1895-1965)
May Day, San Francisco, California
1934, printed c. 1960s
Gelatin silver print
Image: 24 x 19 cm (9 7/16 x 7 1/2 in.)
Sheet: 25.4 x 20.32 cm (10 x 8 in.)
Mat: 16 x 14 in.
Frame (outside): 17 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Dispossessed Arkansas farmers. These people are resettling themselves on the dump outside of Bakersfield, California' from 'An American Exodus' 1935

 

Dorothea Lange (American, 1895-1965)
Dispossessed Arkansas farmers. These people are resettling themselves on the dump outside of Bakersfield, California from An American Exodus
1935
Gelatin silver print
Image: 24.1 x 18.8cm (9 1/2 x 7 3/8 in.)
Sheet: 25.3 x 20.7cm (9 15/16 x 8 1/8 in.)
Mat: 16 x 14 in.
Frame (outside): 17 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Black Woman Working in Field near Eutaw, Alabama' 1936

 

Dorothea Lange (American, 1895-1965)
Black Woman Working in Field near Eutaw, Alabama
1936
Gelatin silver print
Image/sheet: 20.5 x 13.8cm (8 1/16 x 5 7/16 in.)
Mount: 21.2 x 14.5 cm (8 3/8 x 5 11/16 in.)
Mat: 15 x 12 in.
Frame (outside): 16 x 13 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Calipatria (vicinity), California. Native of Indiana in a migratory labor contractor's camp. "It's root hog or die for us folks."' February 1937

 

Dorothea Lange (American, 1895-1965)
Calipatria (vicinity), California. Native of Indiana in a migratory labor contractor’s camp. “It’s root hog or die for us folks.”
February 1937
Gelatin silver print
Image/sheet: 24.1 x 19.1 cm (9 1/2 x 7 1/2 in.)
Mat: 16 x 14 in.
Frame (outside): 17 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Line of men inside a division office of the State Employment Service office at San Francisco, California, waiting to register for unemployment benefits January' 1938, printed c. 1960s

 

Dorothea Lange (American, 1895-1965)
Line of men inside a division office of the State Employment Service office at San Francisco, California, waiting to register for unemployment benefits
January 1938, printed c. 1960s
Gelatin silver print
Image: 19 x 24cm (7 1/2 x 9 7/16 in.)
Sheet: 25.08 x 20.32cm (9 7/8 x 8 in.)
Mat: 14 x 17 in.
Frame (outside): 15 x 18 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Funeral Cortege, San Joaquin Valley, California' 1938, printed early 1950s

 

Dorothea Lange (American, 1895-1965)
Funeral Cortege, San Joaquin Valley, California
1938, printed early 1950s
Gelatin silver print
Image: 20 x 19 cm (7 7/8 x 7 1/2 in.)
Sheet: 25.08 x 20.32 cm (9 7/8 x 8 in.)
Mat: 16 x 14 in.
Frame (outside): 17 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Hitch-hiking from Joplin, Missouri, to a sawmill job in Arizona. On U.S. 66 near Weatherford, western Oklahoma' August 12, 1938, printed c. 1960s

 

Dorothea Lange (American, 1895-1965)
Hitch-hiking from Joplin, Missouri, to a sawmill job in Arizona. On U.S. 66 near Weatherford, western Oklahoma
August 12, 1938, printed c. 1960s
Gelatin silver print
Image: 24 x 19.5cm (9 7/16 x 7 11/16 in.)
Sheet: 25.4 x 20.32cm (10 x 8 in.)
Mat: 16 x 13 in.
Frame (outside): 17 x 14 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Formerly Enslaved Woman, Alabama' from 'The American Country Woman' 1938, printed 1950s

 

Dorothea Lange (American, 1895-1965)
Formerly Enslaved Woman, Alabama from The American Country Woman
1938, printed 1950s
Gelatin silver print
Image/sheet: 20.3 x 27.9cm (8 x 11 in.)
Mat: 14 x 18 in.
Frame (outside): 15 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

This formerly enslaved woman, whom Lange does not name, would have witnessed several events that transformed the nation. She would have experienced the tragedy of chattel slavery in the United States and the victory for enslaved people in the South through Emancipation, as well as the ups and downs of Reconstruction, the passage of Jim Crow laws that permitted segregation, and the Great Depression. The dilapidated home, falling and standing simultaneously, suggests her own perseverance amid a lifetime of racial, gender, and class oppression.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Formerly Enslaved Woman, Alabama' from 'The American Country Woman' 1938, printed c. 1955

 

Dorothea Lange (American, 1895-1965)
Formerly Enslaved Woman, Alabama from The American Country Woman
1938, printed c. 1955
Gelatin silver print
Image: 24 x 19cm (9 7/16 x 7 1/2 in.)
Sheet: 25 x 20cm (9 13/16 x 7 7/8 in.)
Mat: 16 x 13 in.
Frame (outside): 17 x 14 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Lange’s portraits of Depression-era people have inspired other artists, such as Elizabeth Catlett, to remember that time. In Survivor, Catlett translated the power of Lange’s photograph of a formerly enslaved woman into a linocut, an image cut into a linoleum block, inked, and then pressed onto paper, which prints it in reverse from the original.

Label text from the exhibition

 

Elizabeth Catlett (American, 1915-2012) 'Survivor' 1983

 

Elizabeth Catlett (American, 1915-2012)
Survivor
1983
Linocut
National Gallery of Art
Purchased as the Gift of the Roy Lichtenstein Foundation in Honor of Mary Lee Corlett

 

Dorothea Lange (American, 1895-1965) 'Member of the congregation of Wheeley's church who is called "Queen." She is wearing the old-fashioned type of sunbonnet. Her dress and apron were made at home. Near Gordonton, North Carolina' from 'The American Country Woman' July 1939, printed no later than 1965

 

Dorothea Lange (American, 1895-1965)
Member of the congregation of Wheeley’s church who is called “Queen.” She is wearing the old-fashioned type of sunbonnet. Her dress and apron were made at home. Near Gordonton, North Carolina from The American Country Woman
July 1939, printed no later than 1965
Gelatin silver print
Image: 38.7 x 31.9cm (15 1/4 x 12 9/16 in.)
Sheet: 39.5 x 34.1cm (15 9/16 x 13 7/16 in.)
Mat: 20 x 18 in.
Frame (outside): 21 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Wheeley’s Church was a congregation of Primitive Baptists, conservative practitioners located primarily in the South. Lange had a knack for building rapport with people from various religious communities and worked to gain their trust and respect to make photographs. This portrait features one church member, “Queen” Bowes, a devout widow shaded by her elaborate sunbonnet. Lange captured her stern expression, with piercing eyes and a tightly closed mouth that hid her false teeth.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Scandinavian Homesteader, Great Plains, South Dakota' from 'The American Country Woman' 1939, printed 1950s

 

Dorothea Lange (American, 1895-1965)
Scandinavian Homesteader, Great Plains, South Dakota from The American Country Woman
1939, printed 1950s
Gelatin silver print
Image/sheet: 25.9 x 26.6cm (10 3/16 x 10 1/2 in.)
Mat: 18 x 18 in.
Frame (outside): 19 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Near Coolidge, Arizona. Migratory cotton picker with his cotton sack slung over his shoulder rests at the scales before returning to work in the field' November 1940, printed c. 1965

 

Dorothea Lange (American, 1895-1965)
Near Coolidge, Arizona. Migratory cotton picker with his cotton sack slung over his shoulder rests at the scales before returning to work in the field
November 1940, printed c. 1965
Gelatin silver print
Image/sheet: 31.5 x 41cm (12 3/8 x 16 1/8 in.)
Mat: 24 x 20 in.
Frame (outside): 21 x 25 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Edison, Kern County, California. Young girl looks up from her work. She picks and sacks potatoes on large-scale ranch' April 11, 1940

 

Dorothea Lange (American, 1895-1965)
Edison, Kern County, California. Young girl looks up from her work. She picks and sacks potatoes on large-scale ranch
April 11, 1940
Gelatin silver print
Image: 18.7 x 24cm (7 3/8 x 9 7/16 in.)
Sheet: 20.2 x 25.3 cm (7 15/16 x 9 15/16 in.)
Mat: 13 x 16 in.
Frame (outside): 14 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser

 

Dorothea Lange (American, 1895-1965) 'Riley Savage, Toquerville, Utah' 1953, printed c. 1965

 

Dorothea Lange (American, 1895-1965)
Riley Savage, Toquerville, Utah
1953, printed c. 1965
Gelatin silver print
Image/sheet: 27.9 x 21.5cm (11 x 8 1/2 in.)
Mat: 18 x 14 in.
Frame (outside): 19 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Riley Savage, son of Mary Ann Savage (pictured in the photograph nearby), was a third-generation Mormon settler whose grandmother had crossed the plains to the Utah Territory in 1856.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Man Walking Down a Country Road from the Kenneally Family Farm, County Clare, Ireland' from 'The Irish Countryman' 1954

 

Dorothea Lange (American, 1895-1965)
Man Walking Down a Country Road from the Kenneally Family Farm, County Clare, Ireland from The Irish Countryman
1954
Gelatin silver print
Image/sheet: 31.2 x 26cm (12 5/16 x 10 1/4 in.)
Mat: 19 x 17 in.
Frame (outside): 20 x 18 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Man Walking Down a Country Road from the Kenneally Family Farm, County Clare, Ireland' from 'The Irish Countryman' 1954

 

Dorothea Lange (American, 1895-1965)
Man Walking Down a Country Road from the Kenneally Family Farm, County Clare, Ireland from The Irish Countryman
1954
Gelatin silver print
Image/sheet: 26.5 x 21.5cm (10 7/16 x 8 7/16 in.)
Mat: 18 x 16 in.
Frame (outside): 19 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Nora Kenneally, Widow, County Clare, Ireland' from 'The Irish Countryman' 1954

 

Dorothea Lange (American, 1895-1965)
Nora Kenneally, Widow, County Clare, Ireland from The Irish Countryman
1954
Gelatin silver print
Image/sheet: 22.6 x 28.5cm (8 7/8 x 11 1/4 in.)
Mount: 47.8 x 37.8cm (18 13/16 x 14 7/8 in.)
Mat: 22 x 18 in.
Frame (outside): 23 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Patrick Flanagan on Tubber Green, County Galway, Ireland' from 'The Irish Countryman' 1954, printed no later than 1965

 

Dorothea Lange (American, 1895-1965)
Patrick Flanagan on Tubber Green, County Galway, Ireland from The Irish Countryman
1954, printed no later than 1965
Gelatin silver print
Image/sheet: 30.7 x 28.4cm (12 1/16 x 11 3/16 in.)
Mat: 19 x 18 in.
Frame (outside): 20 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Irish Child, County Clare, Ireland' from 'The Irish Countryman' 1954

 

Dorothea Lange (American, 1895-1965)
Irish Child, County Clare, Ireland from The Irish Countryman
1954
Gelatin silver print
Image: 25.4 x 25.4cm (10 x 10 in.)
Sheet: 35.2 x 27.9 cm (13 7/8 x 11 in.)
Mat: 16 x 18 in.
Frame (outside): 17 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

On assignment for Life magazine in 1954, Lange spent six weeks in Ireland with her son, Dan Dixon – her first time overseas. They stayed in Ennis, a small town in County Clare, and traveled extensively; Lange took some 2,400 photographs. Twenty-two of these were featured in Life the following year. Lange enjoyed working in Ireland and was particularly fond of this portrait of a smiling girl in a rain bonnet, which she pinned to a corkboard in her home kitchen. “Isn’t that a beautiful face?” she declared. “That’s pure Ireland.”

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'A Young Girl in Ennis, County Clare, Ireland' from 'The Irish Countryman' 1954, printed c. 1965

 

Dorothea Lange (American, 1895-1965)
A Young Girl in Ennis, County Clare, Ireland from The Irish Countryman
1954, printed c. 1965
Gelatin silver print
Image: 30.9 x 29cm (12 3/16 x 11 7/16 in.)
Sheet: 34.1 x 29.3cm (13 7/16 x 11 9/16 in.)
Mount: 35 x 29.7cm (13 3/4 x 11 11/16 in.)
Mat: 19 x 17 in.
Frame (outside): 20 x 18 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Rebecca Dixon Chambers, Sausalito, California' from 'The American Country Woman' 1954

 

Dorothea Lange (American, 1895-1965)
Rebecca Dixon Chambers, Sausalito, California from The American Country Woman
1954
Gelatin silver print
Image: 22 x 29.6cm (8 11/16 x 11 5/8 in.)
Mount: 47.7 x 37.5cm (18 3/4 x 14 3/4 in.)
Mat: 20 x 18 in.
Frame (outside): 21 x 19 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Hand of Dancer, Java, Indonesia' 1958

 

Dorothea Lange (American, 1895-1965)
Hand of Dancer, Java, Indonesia
1958
Gelatin silver print
Image: 34 x 26.5cm (13 3/8 x 10 7/16 in.)
Sheet: 35.2 x 27.9 cm (13 7/8 x 11 in.)
Mat: 20 x 16 in.
Frame (outside): 21 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

During a 1958 trip to Indonesia with Paul Taylor, Lange observed a practice session of traditional gamelan music and Javanese dance. In this photograph, she focused on a gesture known as Ngrayung / Nangreu. Although such gestures can carry different meanings depending on the choreography, each highly controlled movement is believed to embody an expression of the soul and requires deep concentration.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Vietnam' 1958

 

Dorothea Lange (American, 1895-1965)
Vietnam
1958
Gelatin silver print
Image/sheet: 26.3 x 31cm (10 3/8 x 12 3/16 in.)
Mat: 16 x 20 in.
Frame (outside): 17 x 21 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Venezuela' 1960

 

Dorothea Lange (American, 1895-1965)
Venezuela
1960
Gelatin silver print
Image/sheet: 35.5 x 23.4cm (14 x 9 3/16 in.)
Mat: 20 x 16 in.
Frame (outside): 21 x 17 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Lange joined Taylor on a trip to Venezuela, where he was consulting on agrarian reform. Here, she captured a man holding an axe in one hand and a machete in the other – blades used to clear corn stalks in the field. The presence of these sharp tools, along with the man’s torn clothing and bare feet, hint at the physical and economic vulnerability of farm labourers working on the land.

Label text from the exhibition

 

Dorothea Lange (American, 1895-1965) 'Egypt' 1963

 

Dorothea Lange (American, 1895-1965)
Egypt
1963
Gelatin silver print
Image: 30.2 x 19.6cm (11 7/8 x 7 11/16 in.)
Mat: 18 x 14 in.
Frame (outside): 19 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

Dorothea Lange (American, 1895-1965) 'Egypt' 1963

 

Dorothea Lange (American, 1895-1965)
Egypt
1963
Gelatin silver print
Image: 23.1 x 33.9cm (9 1/8 x 13 3/8 in.)
Mat: 18 x 14
Frame (outside): 19 x 15 in.
National Gallery of Art, Washington, Gift of Daniel Greenberg and Susan Steinhauser
© The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

 

 

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Exhibition: ‘Arthur Tress: Rambles, Dreams, and Shadows’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 31st October, 2023 – 18th February, 2024

Warning: This posting contains photographs of male nudity and sexual activity.

 

Installation view of the exhibition 'Arthur Tress: Rambles, Dreams, and Shadows' at the J. Paul Getty Museum, Los Angeles showing the work 'Boy in Flood Dream, Ocean City, Maryland' 1971

 

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing the work Boy in Flood Dream, Ocean City, Maryland 1971

 

 

Arthur Tress: fantastical photographer

Definition of ‘fantastical’
1. strange, weird, or fanciful in appearance, conception, etc.
2. created in the mind; illusory.


I honour the work of Arthur Tress. Strange and wonderful, like something out of a fairytale or a nightmare, Arthur Tress’ ‘imaginary’ stories take the viewer out of themselves and into a different realm of being and believing. His staged, performative “magic realism” photographs – featuring the inclusion of fantastic or mythical elements into seemingly realistic fiction – emerge from the psyche of the artist, from his deepest thoughts, feelings and dreams.

Taking advice from that another gay photographer, American Duane Michals (who works in sequences of images to tell stories), Michals told Tress that “a photograph can be anything”. As Michals insightfully observes,

“I believe in the imagination. What I cannot see is infinitely more important than what I can see…

Everything we experience is in our mind. It is all mind. What you are reading now, hearing now, feeling now…

There is not one photography. There is no photography. The only value judgment is the work itself. Does it move, touch, fill me?”1


It’s all in the mind.

Tress discovered his own way to tell stories, his own signature style, that was completely different from anything being accomplished in New York at the time by (for example) Robert Mapplethorpe, Peter Hujar, Diane Arbus, David Wojnarowicz, or Nan Goldin. Through the transmutation of metal into gold, or dream into photograph, Tress placed himself outside the trendy happenings of the Big Apple. In images such as the early Woman with Coin Operated Binoculars, Coit Tower, San Francisco (1964, below) – redolent of what was to follow – the disturbing Boy with Root Hands, New York (1970, below), Bride and Groom, New York, New York (1970, below) and Boy in Flood Dream, Ocean City, Maryland (1971, below), Tress reaches out an illuminates the dreams, desires and fears of children and adults.

What is disappointing is that neither the media images nor the accompanying text include any images from or text about what I feel is one of Tress’ strongest bodies of work, his photographs of gay fantasies. Can we not include these images for fear of upsetting delicate conservative sensibilities? I don’t know whether there were any included in the exhibition either, having not seen the presentation in person.

Again, created from the artist’s fantasies and imagination these works posses a tremendous élan vital, a celebration of sexuality and life. They also possess intelligence and wit a plenty. Witness, Band-aid Fantasy (1978, below) which is clever and sensitive in its fetishisation of the removal of a Band-aid from a friend; or the look on the face of Superman and the male subject in Superman Fantasy (1977, below) where one cock belongs to both: the penis of the male “standing” in for that of the super man, standing in for the always hidden power of Superman’s cock represented by the (irony: cut-out cardboard) phallic armoured body of the hyper-masculine hero, desired by the male with his lustful look. The photograph makes me laugh. If you are so further inclined, there are six pages of these wonderful gay fantasies on the Stanford Libraries Arthur Tress Photograph Collection web pages. Well worth a visit.

To my mind, Arthur Tress has always been an underrated artist. A courageous and dedicated photographer who forged an extra-ordinary magical path, it is a pleasure to see his work exhibited at the Getty.

Dr Marcus Bunyan

 

1/ Duane Michals June 20, 1976 September 1, 1976


Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“Tress credits his friend and fellow photographer Duane Michals with opening his eyes to the possibilities of his chosen medium in the 1960s, back when Tress’ photographs hewed more closely to the prevalent “documentary” style of the day. “He said a photograph can be anything,” Tress says, describing Michals’ approach. “It can be a sequence, you can write on the photograph, paint on it, make collages, tell a story. In the ’60s, that was revolutionary.”

As it turned out, Tress was a receptive audience for Michals’ manifesto. By the time the Brooklyn native had secured his breakthrough assignment in 1969 to photograph what he describes as the “endangered folk cultures” of Appalachia, Tress was already pushing against the dispassion of the documentary style.”

Ben Marks. “How One Artist Makes New Art From Old Coloring Books and Found Photos,” on the Collectors Weekly website August 26th, 2021 [Online] Cited 10/11/2023

 

 

The first exhibition to chronicle the early career of Arthur Tress, one of the most innovative American photographers of the postwar era. During his first decade as an emergent professional in the New York photography world (1968-1978), his artistic practice evolved from being rooted in the social documentary tradition to a bold new approach drawing inspiration from the inner worlds of fantasies, daydreams, and nightmares.

 

Arthur Tress (American, b. 1940) 'Boy in Flood Dream, Ocean City, Maryland' 1971

 

Arthur Tress (American, b. 1940)
Boy in Flood Dream, Ocean City, Maryland
1971
From the series Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

One of Tress’s best known images from his Dream Collectors photobook, the photograph depicts a child emerging out of a discarded roof on a pier in Ocean City, Maryland. The effectiveness of this composition is remarkable given that Tress stumbled on the site and the subject by chance.

Wall label

 

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing 'Boy in Flood Dream, Ocean City, Maryland' (1971)

 

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing Boy in Flood Dream, Ocean City, Maryland (1971, above)

 

Installation view of the exhibition 'Arthur Tress: Rambles, Dreams, and Shadows' at the J. Paul Getty Museum, Los Angeles showing works from his 'Shadows' series

Installation view of the exhibition 'Arthur Tress: Rambles, Dreams, and Shadows' at the J. Paul Getty Museum, Los Angeles

 

Installation views of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing works from his Shadows series in the bottom image

 

 

Arthur Tress’s Magic Realism Comes to Getty

Drawn from his imagination, dreams, and queer identity, Arthur Tress’s photography presents a surrealist world with fantastical subjects In the field of staged photography, Arthur Tress (American, born 1940) was a trailblazer, directing his subjects in fictional and often surreal scenes.

The first exhibition to chronicle his early career, Arthur Tress: Rambles, Dreams, and Shadows, on view October 31, 2023 – February 18, 2024 at the Getty Center, examines how his artistic practice evolved from being rooted in the social documentary tradition to a bold new approach drawing inspiration from fantasies, daydreams, and nightmares.

“Tress’s early work from his Dream Collector and other related series constitutes a remarkable artistic achievement and a major contribution to the history of post-war photography and the photo book,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the J. Paul Getty Museum. “In a series of increasingly radical projects, Tress delved deeply into the worlds of surrealism and the unconscious, establishing himself as one of the most interesting mavericks of his generation.”

Born in Brooklyn, New York, Tress began his career as a documentary photographer in the late 1960’s, focusing his lens on the people of New York and the Appalachian region of the eastern United States. Initially concerned with such societal issues as poverty, pollution, and lack of open space for urban recreation, by the mid-1970s he began channeling his creative energy into more personal artistic projects that reflected his imagination, dreams, and his own queer identity.

This exhibition presents highlights from Tress’s major photographic projects dating from 1968 to 1978: Appalachia: The Disturbed Land; Open Space in the Inner City; The Dream Collector; Shadow; Theater of Mind; and The Ramble.

Tress’s early work is rooted in the social documentary tradition, recalling photographs made by Depression-era artists for the U.S. government. Tress’s Appalachia: The Disturbed Land captures scenes of poverty and environmental degradation in coal mining communities. The work was originally exhibited at the Sierra Club’s gallery in New York where it garnered positive reviews.

Tress’s next major project, Open Space in the Inner City, also reflects his concern for the environment as well as his interest in documenting problems facing young people. Set primarily in New York City and its environs, the photographs show polluted streetscapes and waterways, housing projects, junkyards, factories, and parking lots, and include both candid and posed images of children, families, and commuters. A central theme of the series is the general lack of open space for recreation.

Appearing as his first major photo book in 1972, The Dream Collector visualises children’s fantasies and nightmares. This body of work cemented Tress’s reputation for staging macabre and fantastic subjects at a time when the photography world was largely dedicated to prosaic realism.

Between 1972 and 1975 Tress created a series of photographs centered on his own shadow. The images reproduced in his photobook Shadow trace the mystical dream journey of an individual soul through birth, death, and enlightenment. Tress chose to use a wide-angle lens that alters the perspective and imparts a dreamlike quality. His only light source was the sun, which made early morning or late afternoon the ideal times to shoot, as the raking light lengthened the shadows, making them more dramatic.

In Theater of the Mind Tress explored his personal anxieties as well as the complexities of family relationships. He convinced his subjects to play out dramatic and sometimes disturbing scenes for the camera which were informed by the artist’s own psychic intuitions. Afterwards, when he shared the photographs with them, his sitters often remarked on his having illuminated an important but hitherto hidden aspect of their family dynamic.

One of Tress’s most personal bodies of work is an extraordinary series depicting the Ramble, a wooded section of Central Park in New York City known as a gay cruising ground. The Ramble was a personal photographic project that he did not exhibit or publish, as doing so could have exposed his subjects to embarrassment, harassment, or violence. Tress was still struggling with his sexuality at this time and making these pictures helped allay his anxieties, giving him something else to focus on in the Ramble aside from his own furtive sexual encounters.

“By revisiting an energetic decade of professional and personal work from 1968 to 1978, this exhibition enabled me to see more clearly how these early explorative years marked the beginning of a very personal vision, unique to myself, as an emerging photo artist – a peculiar combination of documentary realism and emotional responsiveness to the hidden mysteries of everyday life,” says Arthur Tress.

“I’m excited to have this amazing opportunity both in our exhibition and its accompanying catalogue to share an extraordinary body of work that is not well known to the general public, and to narrate the remarkable story behind Tress’s early career that has remained untold,” says Jim Ganz, senior curator in the Getty Museum’s Department of Photographs.

Arthur Tress: Rambles, Dreams, and Shadows is curated by Jim Ganz with Paul Martineau, curator in the Department of Photographs. Related programming includes Magic Realism: An Evening with Arthur Tress, where Tress will discuss his bold approach to photography, and the world premiere of Arthur Tress: Water’s Edge, an immersive journey into the life and unique vision of acclaimed photographer Arthur Tress. The exhibition is also accompanied by a catalogue, Arthur Tress: Rambles, Dreams, and Shadows.

Anonymous. “Arthur Tress’s Magic Realism Comes to Getty,” on the Getty website Oct 18, 2023 [Online] Cited 28/10/2023

 

 

Arthur Tress: Water’s Edge – Trailer

Trailer for feature length documentary about fantasist/surrealist photographer Arthur Tress. Directed by Stephen B. Lewis

 

Arthur Tress (American, b. 1940) 'Woman with Coin Operated Binoculars, Coit Tower, San Francisco' 1964

 

Arthur Tress (American, b. 1940)
Woman with Coin Operated Binoculars, Coit Tower, San Francisco
1964
Gelatin silver print
© Arthur Tress Archive LLC

Not sure whether this photograph is in the exhibition. Used under fair use conditions for the purpose of education, research, review and comment

 

Arthur Tress (American, b. 1940) 'Girl and Moon Dream, New York, New York' 1968

 

Arthur Tress (American, b. 1940)
Girl and Moon Dream, New York, New York
1968
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Girl with Doll's Head, Capels, West Virginia' 1968

 

Arthur Tress (American, b. 1940)
Girl with Doll’s Head, Capels, West Virginia
1968
From the series Appalachia: The Disturbed Land
Gelatin silver print
20.4 × 15.7cm (8 1/16 × 6 3/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of the Ottersons
© Arthur Tress Archive LLC

 

Arthur Tress 'Appalachia: The Disturbed Land' proof sheet 1968

 

Arthur Tress Appalachia: The Disturbed Land proof sheet 1968

 

Arthur Tress (American, b. 1940) 'Boy with Hockey Gloves (Hockey Glove Fantasy)' 1968

 

Arthur Tress (American, b. 1940)
Boy with Hockey Gloves (Hockey Glove Fantasy)
1968
Gelatin silver print
© Arthur Tress Archive LLC

 

 

A Kind of Magic

Photographer Arthur Tress’s “shaman vision quest dream journey”

Photographer Arthur Tress revels in the weird and fantastic – a hand sticking out of a bus seat, boys blending in with trees, children and adults playing against backdrops of rubble and trash – dark, spooky, unnerving images.

Tress, who spent time in his early career as a documentary photographer and traveled widely, staged his photographs to set a mood and tell a story.

Tress is one of the foremost practitioners of staged photography. He’s well known for his surreal photobooks, especially The Dream Collector (1972), but his career began earlier, in the 1960s, with commercial projects that encouraged his artistic development and anticipated his later fantastical works.

Arthur Tress: Rambles, Dreams, and Shadows (out now from Getty) looks closely at the artist’s early career, from 1968 to 1978, from his travels abroad through his return to the United States, stopping in Sweden, Russia, Appalachia, New York, San Francisco, and many other places. The images and quotations below are drawn from the exhibition catalog and take you into his world.

Tress traveled to Appalachia several times early in his career, and he became increasingly passionate about accurately representing the character of the destitute yet beautiful region and its people. Photographs curator Mazie Harris writes that the twisted branches and lonely image reflect the region’s “barren future.”

In 1969 Tress photographed “the Ramble,” known as a gay cruising ground in New York’s Central Park. But he never published this work, says photographs curator James Ganz, “because doing so could have exposed the photographer and his subjects to embarrassment or harassment.” Even the act of taking these pictures was dangerous at the time. This body of work is a deeply personal, intimate expression and probing of Tress’s identity as a gay man and also reflects much about the culture of the time and the anxieties, fears, and longings experienced by members of his community.

The image Hobby Horses, Harlem River, Bronx, New York (1970, below) is part of Tress’s series Open Space in the Inner City (1969-1971). It shows his environmentalism, which he cultivated throughout his travels, especially in his exploration of Appalachia. Having settled in New York after living in Sweden, Tress was shocked by the rampant urban blight and crowding in the city and how few open spaces there were for people to play, thrive, and live. His series helped bring attention to this widespread civic issue and was shown by institutions like the Sierra Club and the New York State Council on the Arts.

While Tress was at work on what would become his Dream Collector series, he sought the advice of famed children’s author Maurice Sendak, who is most widely known for the book Where the Wild Things Are. At the end of their visit, Tress offered Sendak the choice of one of Tress’s photographs, and Sendak picked Wild Man of the Forest, Central Park, New York (1969, below) which “evoke[s] the archetypal figure of the medieval wild man of the woods.”

Between 1972 and 1975 Tress created a series and photobook called Shadow. The work Shadow, Cannes, France (negative 1974; print 1975, below), featuring the artist and shadows cast by a sculpture of birds, appeared toward the end of the book in a section titled “Magic Flight.” Curator of photographs Paul Martineau says this picture – juxtaposed with other images of imprisoned shadows – symbolises freedom and “traces a mystical dream journey of an individual soul from the past to the present and into the future, through birth, death, and enlightenment.”

“[This] photograph of my father in a snowstorm is, in fact, a kind of surrogate self-portrait that mirrors my own hollow fearfulness about my own body’s decline and disappearance into a cold emptiness,” Tress wrote in a 2022 letter to curator Paul Martineau. [Last Portrait of My Father, New York, New York, 1978 below]

In 1970 Tress wrote about the magical properties of a photograph, and, surely, he is a visual magician, an artist possessed of a creative vision and intuition that allows him to connect to his subjects in a deep, revelatory way. Tress’s images pull you into his imagined, constructed worlds. His work is mysterious, surprising, surreal, and dreamlike. His images, the product of personal experiences and feelings, are universal in their play on and exploration of human fears, desires, and longings. He once described his series Shadow as a “shaman vision quest dream journey.”

Rachel Barth. “A Kind of Magic,” on the Getty website Nov 07, 2023 [Online] Cited 10/11/2023

 

Arthur Tress (American, b. 1940) 'My Face in Store Window, New York, New York' 1969

 

Arthur Tress (American, b. 1940)
My Face in Store Window, New York, New York
1969
Gelatin silver print
Collection David Knaus
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Cemetery, Queens, New York' 1969

 

Arthur Tress (American, b. 1940)
Cemetery, Queens, New York
1969
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Boy in Burnt-Out Furniture Store, Newark, New Jersey' 1969

 

Arthur Tress (American, b. 1940)
Boy in Burnt-Out Furniture Store, Newark, New Jersey
1969
Gelatin silver print
© Arthur Tress Archive LLC

 

In July 1969, while photographing the site of the Newark race riots that had occurred two summers earlier, Tress wrote to his sister that the police took him in for questioning. “They could have arrested me for being in the abandoned buildings – so I was very polite to them.”

Wall label

 

Arthur Tress (American, b. 1940) 'Wild Man of the Forest, Central Park, New York' 1969

 

Arthur Tress (American, b. 1940)
Wild Man of the Forest, Central Park, New York
1969
Gelatin silver print
13 3/4 x 10 3/4 in.
J. Paul Getty Museum, Los Angeles
Gift of Trixy Castro
© Arthur Tress Archive LLC

 

While Tress was at work on what would become his Dream Collector series, he sought the advice of famed children’s author Maurice Sendak, who is most widely known for the book Where the Wild Things Are. At the end of their visit, Tress offered Sendak the choice of one of Tress’s photographs, and Sendak picked Wild Man of the Forest, Central Park, New York, which “evoke[s] the archetypal figure of the medieval wild man of the woods.”

 

Arthur Tress (American, b. 1940) 'Woman in Railroad Yard, Brooklyn, New York' 1969

 

Arthur Tress (American, b. 1940)
Woman in Railroad Yard, Brooklyn, New York
1969
From the series Open Space in the Inner City
Gelatin silver print
J. Paul Getty Museum, Los Angeles
Gift of David A. Cohen and Laurie K. Cohen
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Boy on Bike Crossing Williamsburg Bridge, New York' 1969

 

Arthur Tress (American, b. 1940)
Boy on Bike Crossing Williamsburg Bridge, New York
1969
From the series Open Space in the Inner City
Gelatin silver print
40.2 × 50cm (15 13/16 × 19 11/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of Gregory V. Gooding
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Two Men Cruising, Central Park, New York' 1969

 

Arthur Tress (American, b. 1940)
Two Men Cruising, Central Park, New York
1969
From the series The Ramble
Gelatin silver print
Collection David Knaus
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Dog Walker, Central Park, New York' 1969, printed 2007

 

Arthur Tress (American, b. 1940)
Dog Walker, Central Park, New York
1969, printed 2007
From the series The Ramble
Gelatin silver print
Collection David Knaus
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Young Man in Woods, Central Park, New York' 1969

 

Arthur Tress (American, b. 1940)
Young Man in Woods, Central Park, New York
1969
Gelatin silver print
9 3/4 x 7 3/4 in.
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Boy in Central Park (Rambles), New York City' 1969

 

Arthur Tress (American, b. 1940)
Boy in Central Park (Rambles), New York City
1969
Gelatin silver print
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Gay Activists at First Gay Pride Parade, Christopher Street, New York' Negative 1970

 

Arthur Tress (American, b. 1940)
Gay Activists at First Gay Pride Parade, Christopher Street, New York
Negative 1970
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Bruce at Dawn, Paper Flower Maker, East Village, New York' 1970

 

Arthur Tress (American, b. 1940)
Bruce at Dawn, Paper Flower Maker, East Village, New York
1970
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Friends Playing Cards, Sheepshead Bay, Brooklyn, New York' 1970

 

Arthur Tress (American, b. 1940)
Friends Playing Cards, Sheepshead Bay, Brooklyn, New York
1970
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Boy with Root Hands, New York' 1970

 

Arthur Tress (American, b. 1940)
Boy with Root Hands, New York
1970
From the series Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Teenage Boys, Bronx High School of Science, Bronx, New York' 1970, printed later

 

Arthur Tress (American, b. 1940)
Teenage Boys, Bronx High School of Science, Bronx, New York
1970, printed later
From the series Open Space in the Inner City
Gelatin silver print
J. Paul Getty Museum, Los Angeles
Gift of Jon and Ellen Vein Family
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Hobby Horses, Harlem River, Bronx, New York' 1970

 

Arthur Tress (American, b. 1940)
Hobby Horses, Harlem River, Bronx, New York
1970
Gelatin silver print
8 7/8 x 7 13/16 in.
J. Paul Getty Museum, Los Angeles
Gift of J. Patrick and Patricia A. Kennedy
© Arthur Tress Archive LLC

 

The above image is part of Tress’s series Open Space in the Inner City (1969-1971). It shows his environmentalism, which he cultivated throughout his travels, especially in his exploration of Appalachia. Having settled in New York after living in Sweden, Tress was shocked by the rampant urban blight and crowding in the city and how few open spaces there were for people to play, thrive, and live. His series helped bring attention to this widespread civic issue and was shown by institutions like the Sierra Club and the New York State Council on the Arts.

 

Arthur Tress (American, b. 1940) 'Boy with Basketball, Bronx, New York' 1970

 

Arthur Tress (American, b. 1940)
Boy with Basketball, Bronx, New York
1970
From the series The Dream Collector
Gelatin silver print
34 × 26.6cm (13 3/8 × 10 1/2 in.)
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Woman in Shopping Center Parking Lot, Lackawanna, New York' 1970

 

Arthur Tress (American, b. 1940)
Woman in Shopping Center Parking Lot, Lackawanna, New York
1970
From the series Open Space in the Inner City
Gelatin silver print
23.3 × 19.6cm (9 3/16 × 7 11/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of J. Patrick and Patricia A. Kennedy
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Minette as Gloria Swanson in Ruins of Fox Theater, Brooklyn, New York' 1971

 

Arthur Tress (American, b. 1940)
Minette as Gloria Swanson in Ruins of Fox Theater, Brooklyn, New York
1971
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Boy in Tin Cone, Bronx, New York' 1972

 

Arthur Tress (American, b. 1940)
Boy in Tin Cone, Bronx, New York
1972
From the series The Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Hand on Train, Staten Island, New York' 1972

 

Arthur Tress (American, b. 1940)
Hand on Train, Staten Island, New York
1972
From the series The Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Girl With Dunce Cap, P.S. 3, New York, New York' 1972 (installation view)

 

Arthur Tress (American, b. 1940)
Girl With Dunce Cap, P.S. 3, New York, New York
1972
From the series The Dream Collector
Gelatin silver print
26.4 × 26.4cm (10 3/8 × 10 3/8 in.)
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Girl With Dunce Cap, P.S. 3, New York, New York' 1972

 

Arthur Tress (American, b. 1940)
Girl With Dunce Cap, P.S. 3, New York, New York
1972
From the series The Dream Collector
Gelatin silver print
26.4 × 26.4cm (10 3/8 × 10 3/8 in.)
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing 'Hockey Player, New York' (1972)

 

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing Hockey Player, New York (1972, below)

 

Arthur Tress (American, b. 1940) 'Hockey Player, New York' 1972

 

Arthur Tress (American, b. 1940)
Hockey Player, New York
1972
Gelatin silver print
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Shadow, Cannes, France' Negative 1974; print 1975

 

Arthur Tress (American, b. 1940)
Shadow, Cannes, France
Negative 1974; print 1975
Gelatin silver print,
19.4 × 19.2cm (7 5/8 × 7 9/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of John V. and Laure M. Knaus
© Arthur Tress Archive LLC

 

Between 1972 and 1975 Tress created a series and photobook called Shadow. The above work, featuring the artist and shadows cast by a sculpture of birds, appeared toward the end of the book in a section titled “Magic Flight.” Curator of photographs Paul Martineau says this picture – juxtaposed with other images of imprisoned shadows – symbolises freedom and “traces a mystical dream journey of an individual soul from the past to the present and into the future, through birth, death, and enlightenment.”

 

Arthur Tress (American, b. 1940) 'Dream Therapist, Harold Ellis, New York, New York' 1975

 

Arthur Tress (American, b. 1940)
Dream Therapist, Harold Ellis, New York, New York
1975
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Girl Running Away from Dinosaur, Santa Cruz, CA' Nd

 

Arthur Tress (American, b. 1940)
Girl Running Away from Dinosaur, Santa Cruz, CA
Nd
Gelatin silver print
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Last Portrait of My Father, New York, New York' 1978

 

Arthur Tress (American, b. 1940)
Last Portrait of My Father, New York, New York
1978
Gelatin silver print
15 1/8 x 14 7/8 in.
Collection of David Knaus
© Arthur Tress Archive LLC

 

“[This] photograph of my father in a snowstorm is, in fact, a kind of surrogate self-portrait that mirrors my own hollow fearfulness about my own body’s decline and disappearance into a cold emptiness,” Tress wrote in a 2022 letter to curator Paul Martineau.

In 1970 Tress wrote about the magical properties of a photograph, and, surely, he is a visual magician, an artist possessed of a creative vision and intuition that allows him to connect to his subjects in a deep, revelatory way. Tress’s images pull you into his imagined, constructed worlds. His work is mysterious, surprising, surreal, and dreamlike. His images, the product of personal experiences and feelings, are universal in their play on and exploration of human fears, desires, and longings. He once described his series Shadow as a “shaman vision quest dream journey.”

Rachel Barth. “A Kind of Magic,” on the Getty website Nov 07, 2023 [Online] Cited 10/11/2023

 

Installation view of the exhibition 'Arthur Tress: Rambles, Dreams, and Shadows' at the J. Paul Getty Museum, Los Angeles showing the work 'Bride and Groom, New York, New York' 1970

 

Installation view of the exhibition Arthur Tress: Rambles, Dreams, and Shadows at the J. Paul Getty Museum, Los Angeles showing the work Bride and Groom, New York, New York 1970 (below)

 

Arthur Tress (American, b. 1940) 'Bride and Groom, New York, New York' 1970

 

Arthur Tress (American, b. 1940)
Bride and Groom, New York, New York
1970
From the series Theater of the Mind
Gelatin silver print
41.7 × 40.2cm (16 7/16 × 15 13/16 in.)
J. Paul Getty Museum, Los Angeles
Gift of Gregory V. Gooding
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Hermaphrodite between Venus and Mercury, East Hampton, New York' 1973

 

Arthur Tress (American, b. 1940)
Hermaphrodite between Venus and Mercury, East Hampton, New York
1973
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

 

Arthur Tress (American, b. 1940) 'Self-Portrait with Lobster, Bar Harbor, Maine' 1974

 

Arthur Tress (American, b. 1940)
Self-Portrait with Lobster, Bar Harbor, Maine
1974
Gelatin silver print
17.7 x 17.7cm
Collection of the artist

 

Arthur Tress (American, b. 1940) 'Boot Fantasy, New York' 1977

 

Arthur Tress (American, b. 1940)
Boot Fantasy, New York
1977
Gelatin silver print
26 x 26cm
J. Paul Getty Museum, Los Angeles
Gift of David Knaus

 

Arthur Tress (American, b. 1940) 'Superman Fantasy' 1977

 

Arthur Tress (American, b. 1940)
Superman Fantasy
1977
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

 

Arthur Tress (American, b. 1940) 'Drill Fantasy' 1977

 

Arthur Tress (American, b. 1940)
Drill Fantasy
1977
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

 

Arthur Tress (American, b. 1940) 'Two Men, Two Rooms' 1977

 

Arthur Tress (American, b. 1940)
Two Men, Two Rooms
1977
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

 

Arthur Tress (American, b. 1940) 'Band-aid Fantasy' 1978

 

Arthur Tress (American, b. 1940)
Band-aid Fantasy
1978
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

 

Arthur Tress (American, b. 1940) 'Lumberjack Fantasy' 1980

 

Arthur Tress (American, b. 1940)
Lumberjack Fantasy
1980
Gelatin silver print
© Arthur Tress Archive LLC

Used under fair use conditions for the purpose of education, research, review and comment

 

Arthur Tress (American, b. 1940) 'Two Surfers, Ft. Lauderdale' 1980

 

Arthur Tress (American, b. 1940)
Two Surfers, Ft. Lauderdale
1980
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

Arthur Tress (American, b. 1940) 'Child's Dream of Redwood Monster, Santa Cruz, California' 1971

 

Arthur Tress (American, b. 1940)
Child’s Dream of Redwood Monster, Santa Cruz, California
1971
From the series The Dream Collector
Gelatin silver print
J. Paul Getty Museum, Los Angeles
© Arthur Tress Archive LLC

 

'Arthur Tress: Rambles, Dreams, and Shadows' book Edited by James A. Ganz

 

Child’s Dream of Redwood Monster, Santa Cruz, CA, 1971 on the cover

 

Arthur Tress: Rambles, Dreams, and Shadows book

Edited by James A. Ganz, with contributions by Mazie M. Harris and Paul Martineau

This richly illustrated volume is the first critical look at the early career of Arthur Tress, a key proponent of magical realism and staged photography.

Arthur Tress (b. 1940) is a singular figure in the landscape of postwar American photography. His seminal series, The Dream Collector, depicts Tress’s interests in dreams, nightmares, fantasies, and the unconscious and established him as one of the foremost proponents of magical realism at a time when few others were doing staged photography.

This volume presents the first critical look at Tress’s early career, contextualising the highly imaginative, fantastic work he became known for while also examining his other interrelated series: Appalachia: People and Places; Open Space in the Inner City; Shadow; and Theater of the Mind. James A. Ganz, Mazie M. Harris, and Paul Martineau plumb Tress’s work and archives, studying ephemera, personal correspondence, unpublished notes, diaries, contact sheets, and more to uncover how he went from earning his living as a social documentarian in Appalachia to producing surreal work of “imaginative fiction.” This abundantly illustrated volume imparts a fuller understanding of Tress’s career and the New York photographic scene of the 1960s and 1970s.

This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center from October 31, 2023, to February 18, 2024.

James A. Ganz is senior curator in the Department of Photographs at the J. Paul Getty Museum.

“Along with several others of his cohort, Arthur Tress spearheaded the resurgence of the directorial mode in the 1970s, as well as his generation’s engagement with previously taboo subject matter. With his unique blend of documentary and surrealist approaches, he has made a major contribution to his medium.”

~ A. D. Coleman, photography critic and historian

264 pages
9 1/2 x 11 inches
17 color and 198 b/w illustrations
ISBN 978-1-60606-861-8
hardcover

Getty Publications
Imprint: J. Paul Getty Museum

 

Arthur Tress book cover

 

Arthur Tress: Rambles, Dreams, and Shadows book cover

 

Tress Rambles pp. 30-31

 

Arthur Tress: Rambles, Dreams, and Shadows pp. 30-31

 

Tress Rambles pp. 40-41

 

Arthur Tress: Rambles, Dreams, and Shadows pp. 40-41

 

Tress Rambles pp. 82-83

 

Arthur Tress: Rambles, Dreams, and Shadows pp. 82-83

 

 

The J. Paul Getty Museum
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Los Angeles, California 90049

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Exhibition: ‘Nan Goldin’ at the National Gallery of Australia, Canberra

Exhibition dates: 8th July 2023 – 28th January 2024

Curator: Anne O’Hehir, Curator, Photography

 

Nan Goldin (American, b. 1953) 'Cookie at Tin Pan Alley, New York City' 1983

 

Nan Goldin (American, b. 1953)
Cookie at Tin Pan Alley, New York City
1983
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

 

Putting a spell on you

In a February 2017 posting on Art Blart on Goldin’s The ballad of sexual dependency I commented:

“There is little love and tenderness here, little magic or generosity of spirit. Goldin’s attitude to the world at the time seems to be one of hostility and resentment. It’s all very well portraying the underbelly of society – the depravity, violence and degradation – but if your point of departure is one of anger and animosity, this is always going to be reflected in your art. I remember going out with my friends partying in the 1980s, the drugs, the sex, the pushing it to the edge, but you know what – we cared about each other. Nothing could be further from the truth in Goldin’s hedonistic (not heuristic) approach to her aura. …”


Over six years later it was time to reevaluate my feelings towards the work by looking again. Had my feelings changed in the intervening years? Or was I just being an obtuse human at the time who couldn’t see what everyone else could see, the genius of the work?

I have reflected long and hard on my feelings in relation to these photographs. Perhaps I was too close to the subject matter, that the series cut too close to the bone: many years of partying in London taking drugs, so many friends and lovers lost to HIV/AIDS. But that is not the case.

The problem for me with this work is its rather sad detachment from life and a pervading sadness attached to each of these photographs. While Goldin announces that “For me it is not a detachment to take a picture” I feel the opposite is true: Goldin seems uber detached when taking these photographs. The artist goes “diving for pearls” hoping to create some magical, random psychological subtexts where the subconscious is made visible, but she doesn’t ever know whether it’s her or the camera’s subconscious that is revealed or who (the camera or the artist) is doing the work. So much for knowing thyself, being responsible to the world, to others, and to oneself, intellectually, morally, and practically.

While the diaristic photographs of this “seminal” body of work feature intimate moments of love and loss, moments of bohemian sex, transgression, beauty, spontaneity, and suffering captured in photographs of “unflinching candour, rich hues, and a keen sense of empathy and lyricism” where is the real Goldin in all of this observational performance (Goldin says her photographs ‘come out of relationships, not observation’.) I’ll just leave that one there…

What I would really like to see is the full 700 slide sequence, live, with the music that was supposed to go with these slides. I want to feel the context of these photographs and their intimacies in the flesh with the freshness and passion of what was happening at the time in New York:

Images and words and music

the real memory
the real experience

HIV/AIDS
death
life
bitterness
love
anger
immediacy

Mark Morrisroe
David Wojnarowicz
Peter Hujar
Cookie Mueller
Keith Haring
Kiki Smith

addiction
music with the ballad of sexual dependency = I put a spell on you
witness… to life, to the hurt
conformity and denial
rebellion


Each period reframes issues surrounding gender, sex, drug use and death … and what it means to be free. These images would feel totally different in 1980s New York but today, they feel cold, desperate and sad and I can’t identify with them or their photographic pathology, their study of suffering.

Have my feelings changed towards this work six years on. Yes they have. I more fully appreciate their photographic snapshot composition, their colour, their diaristic bravado. But I still don’t like their energy…. nor their masochistic indulgence.

Perhaps I just want to feel the real memory, the real experience (the energy and atmosphere of being in New York at the time) not viewed through the prism of this distanced, distancing monologue.

Dr Marcus Bunyan


Many thankx to the National Gallery of Australia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

The photographs in Nan Goldin’s The ballad of sexual dependency depict the everyday lives, often in intimate detail, of people in Goldin’s immediate community during the late 1970s and early 1980s. Please be advised that works of art in this exhibition depict explicit nudity, sexual acts, drug use, and the impacts of violence against women. Viewer discretion is advised. This exhibition is not suitable for children under the age of 15.

 

‘For me it is not a detachment to take a picture. It’s a way of touching somebody – it’s a caress, I think that you can actually give people access to their own soul.’


Nan Goldin

 

‘The people who have been photographed extensively by me feel that my camera is as much a part of their life as any other aspect of their life with me. It then becomes perfectly natural to be photographed. It ceases to be an external experience and becomes a part of the relationship, which is heightened by the camera, not distanced. The camera connects me to the experience and clarifies what is going on between me and the subject.’


Nan Goldin, wall text from the exhibition

 

“Since David Armstrong and I were young he always referred to photography as “diving for pearls.” If you took a million pictures you were lucky to come out with one or two gems. … I never learned control over my machines. I made every mistake in the book. But the technical mistakes allowed for magic. … Random psychological subtexts that I never would have thought to intentionally create. The subconscious made visible – though whether mine or the camera’s I don’t know …”

Nan Goldin. “Diving for Pearls,” quoted in Hilton Als. “Nan Goldin’s Life in Progress,” on The New Yorker website, July 4, 2016 [Online] Cited 18/11/2021

 

‘Nan Goldin’s nostalgic snapshots depict intimate moments of bohemian sex, transgression, beauty, spontaneity, and suffering. Her frames are marked by unflinching candour, rich hues, and a keen sense of empathy and lyricism. Goldin’s most famous work, ‘The Ballad of Sexual Dependency’ (1985), is a slideshow that presents nearly 700 images from her life in New York [and around the world] during the 1970s and ’80s; throughout the reel, the artist lies in bed with her lover, drag queens kiss in bars, and the AIDS epidemic ravages the photographer’s community.’


Anonymous text from the Artsy website

 

 

All The Beauty And The Bloodshed Official Trailer

Directed by Academy Award-winning filmmaker Laura Poitras, All the Beauty And The Bloodshed is an epic, emotional and interconnected story about internationally renowned artist and activist Nan Goldin told through her slideshows, intimate interviews, ground-breaking photography, and rare footage of her personal fight to hold the Sackler family accountable for the overdose crisis.

 

Installation view, 'Nan Goldin: the ballad of sexual dependency', National Gallery of Australia, Kamberri/Canberra, 2023

Installation view, 'Nan Goldin: the ballad of sexual dependency', National Gallery of Australia, Kamberri/Canberra, 2023

Installation view, 'Nan Goldin: the ballad of sexual dependency', National Gallery of Australia, Kamberri/Canberra, 2023

Installation view, 'Nan Goldin: the ballad of sexual dependency', National Gallery of Australia, Kamberri/Canberra, 2023

Installation view, 'Nan Goldin: the ballad of sexual dependency', National Gallery of Australia, Kamberri/Canberra, 2023

Installation view, 'Nan Goldin: the ballad of sexual dependency', National Gallery of Australia, Kamberri/Canberra, 2023

Installation view, 'Nan Goldin: the ballad of sexual dependency', National Gallery of Australia, Kamberri/Canberra, 2023

Installation view, 'Nan Goldin: the ballad of sexual dependency', National Gallery of Australia, Kamberri/Canberra, 2023

 

Installation views, Nan Goldin: the ballad of sexual dependency, National Gallery of Australia, Kamberri / Canberra, 2023
Photos: Karlee Holland

 

 

The ballad of sexual dependency is a defining artwork of the 1980s. Nan Goldin’s extended photographic study of her chosen family – her ‘tribe’ – began life as a slide show screened in the clubs and bars of New York where Goldin and her friends worked and played. The slide show was then distilled to a series of 126 photographs, which has recently become part of the National Gallery’s collection.

Goldin takes photographs to connect, to keep the people she loves in her memory. She is committed to the idea that photography can faithfully record a time and place, and do so in a way that has real social purpose. Using a documentary, snapshot style, she lays bare her life in the manner of a family album. We see her alongside her friends and lovers as they live their lives – hanging out, falling in and out of love, having children. But this is a community that would be decimated by HIV / AIDS and drug-related deaths. The ballad has become as much a testament to how much Goldin and her community have lost, as it is a record of the look and feel of a past time.

Goldin refers to The ballad as her ‘public diary’, stating that her photographs ‘come out of relationships, not observation’. The work’s overriding themes, she has stated, are those of love and empathy and the tension between autonomy and interdependence in relationships—relationships in which all genders struggle to find a common language.

Text from the NGA website

 

Nan Goldin (American, b. 1953) 'Mark tattooing Mark, Boston' 1978

 

Nan Goldin (American, b. 1953)
Mark tattooing Mark, Boston
1978
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Couple in Bed, Chicago' 1977

 

Nan Goldin (American, b. 1953)
Couple in Bed, Chicago
1977
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, born 1953) 'Buzz and Nan at the Afterhours, New York City' 1980

 

Nan Goldin (American, b. 1953)
Buzz and Nan at the Afterhours, New York City
1980
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Flaming car, Salisbury Beach, N.H.' 1979

 

Nan Goldin (American, b. 1953)
Flaming car, Salisbury Beach, N.H.
1979
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Brian's face, West Berlin' 1984

 

Nan Goldin (American, b. 1953)
Brian’s face, West Berlin
1984
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan and Brian in Bed, New York City' 1983

 

Nan Goldin (American, b. 1953)
Nan and Brian in bed, New York City
1983
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Suzanne in the green bathroom, Pergamon Museum, East Berlin' 1984

 

Nan Goldin (American, b. 1953)
Suzanne in the green bathroom, Pergamon Museum, East Berlin
1984
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Millie with the cheeseburger radio at home, New York City' 1980

 

Nan Goldin (American, b. 1953)
Millie with the cheeseburger radio at home, New York City
1980
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Edwidge behind the bar at Evelyne's, New York City' 1985

 

Nan Goldin (American, b. 1953)
Edwidge behind the bar at Evelyne’s, New York City
1985
From the series The ballad of sexual dependency, 1973-1986
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Greer on the bed, New York City' 1983

 

Nan Goldin (American, b. 1953)
Greer on the bed, New York City
1983
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Dieter on the train, Sweden' 1984

 

Nan Goldin (American, b. 1953)
Dieter on the train, Sweden
1984
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Brian with the Flintstones, New York City' 1981

 

Nan Goldin (American, b. 1953)
Brian with the Flintstones, New York City
1981
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Cookie and Vittorio's wedding, New York City' 1986

 

Nan Goldin (American, b. 1953)
Cookie and Vittorio’s wedding, New York City
1986
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Twisting at my birthday party, New York City' 1980

 

Nan Goldin (American, b. 1953)
Twisting at my birthday party, New York City
1980
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Bruce on top of French Chris, Fire Island, N.Y.' 1979

 

Nan Goldin (American, b. 1953)
Bruce on top of French Chris, Fire Island, N.Y.
1979
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'French Chris on the convertible, New York City' 1979

 

Nan Goldin (American, b. 1953)
French Chris on the convertible, New York City
1979
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, born 1953) 'Philippe H. and Suzanne Kissing at Euthanasia, New York City' 1981

 

Nan Goldin (American, b. 1953)
Philippe H. and Suzanne Kissing at Euthanasia, New York City
1981
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, born 1953) 'Rise and Monty Kissing, New York City' 1980

 

Nan Goldin (American, b. 1953)
Rise and Monty Kissing, New York City
1980
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, born 1953) 'Heart-Shaped Bruise, New York City' 1980

 

Nan Goldin (American, b. 1953)
Heart-Shaped Bruise, New York City
1980
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, born 1953) 'Nan and Dickie in the York Motel, New Jersey' 1980

 

Nan Goldin (American, b. 1953)
Nan and Dickie in the York Motel, New Jersey
1980
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

 

Nan Goldin is one of the world’s most influential photographers and her iconic series of 126 photographs The ballad of sexual dependency is a defining artwork of the 1980s. The National Gallery recently acquired the last, complete edition of this cornerstone work, which will be shown at the Gallery from 8 July.

Decades in the making, Goldin’s extended photographic study of her chosen family – her ‘tribe’ – is a deeply moving portrayal of life in the 1970s and 1980s, as the artist and her loved ones navigate a time of unrelenting energy and extremes.

National Gallery Curator of Photography Anne O’Hehir said Goldin’s rich and evocative series explores themes of sexual identity, community, and love and loss against the backdrop of New York City and has shaped a generation who’ve fallen in love with the unvarnished intimacy of her storytelling.

‘Goldin takes photographs to connect, to keep the people she loves in her memory. She is committed to the idea that photography can faithfully record a time and place and do so in a way that has real social purpose,’ O’Hehir said.

‘Using a documentary, snapshot style, she lays bare her life in the manner of a family album. We see her alongside her friends and lovers as they live their lives – hanging out, falling in and out of love, having children. But this is a community that would soon be decimated by HIV / AIDS and drug-related deaths.

The ballad of sexual dependency has become as much a testament to how much Goldin and her community have lost, as it is a record of the look and feel of a past time.’

O’Hehir said this engaged and at times moving series urges you to empathise with stories and experiences that are rarely depicted. ‘Goldin is committed to making public that which is usually hidden and private, and to the truthful recording of her life,’ O’Hehir said.

Goldin refers to The ballad of sexual dependency as her ‘public diary’, stating that her photographs ‘come out of relationships, not observation’. The work’s overriding themes, she has stated, are those of love and empathy and the tension between autonomy and interdependence in relationships – relationships in which all genders struggle to find a common language.

The ballad of sexual dependency began its life as a slideshow presented by Goldin at parties and in clubs and bars in New York City’s downtown art scene. The slide show was then distilled to a series of 126 photographs, which are now part of the national collection.

The opening of The ballad of sexual dependency at the National Gallery coincides with the release of Goldin’s acclaimed documentary All The Beauty And The Bloodshed on DocPlay. Directed by Academy Award®-winning filmmaker Laura Poitras, All The Beauty And The Bloodshed is an epic, emotional and interconnected story about Goldin’s life, work and activism, focussing on her recent fight to hold the Sackler family accountable for the opioid crisis. The biographical film will also be screened at the National Gallery on Saturday 22 July.

Nan Goldin’s The ballad of sexual dependency is free and will be on display at the National Gallery in Kamberri / Canberra from 8 July 2023 – 28 Jan 2024. This exhibition is part of the National Gallery of Australia’s 40th Anniversary celebrations and continues the Know My Name gender equity initiative. Nan Goldin’s exhibition The ballad of sexual dependency is supported by DocPlay, the streaming home of the world’s best documentaries.

Curator: Anne O’Hehir, Curator, Photography

Press release from the National Gallery of Australia

 

Nan Goldin (American, b. 1953) 'The Hug, New York City' 1980

 

Nan Goldin (American, b. 1953)
The Hug, New York City
1980
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Mark Dirt, New York City' 1981

 

Nan Goldin (American, b. 1953)
Mark Dirt, New York City
1981
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Thomas shaving, Boston' 1977

 

Nan Goldin (American, b. 1953)
Thomas shaving, Boston
1977
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Scarpota at the Knox bar, West Berlin' 1984

 

Nan Goldin (American, b. 1953)
Scarpota at the Knox bar, West Berlin
1984
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Brian on the Bowery roof, New York City' 1982

 

Nan Goldin (American, b. 1953)
Brian on the Bowery roof, New York City
1982
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'C.Z. and Max on the beach, Truro, Mass.' 1976

 

Nan Goldin (American, b. 1953)
C.Z. and Max on the beach, Truro, Mass.
1976
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Vivienne in the green dress, New York City' 1980

 

Nan Goldin (American, b. 1953)
Vivienne in the green dress, New York City
1980
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

Nan Goldin (American, b. 1953) 'Bruce with his portrait, New York City' 1981

 

Nan Goldin (American, b. 1953)
Bruce with his portrait, New York City
1981
From the series The ballad of sexual dependency, 1973-1986
Cibachrome print
National Gallery of Australia, Kamberri/Canberra
Purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022
© Nan Goldin

 

"Ballads of Sexual Dependency" Nan Goldin poster

 

“Ballads of Sexual Dependency” Nan Goldin poster

 

"Ballads of Sexual Dependency" Nan Goldin poster

 

“Ballads of Sexual Dependency” Nan Goldin poster

 

'The Ballad of Sexual Dependency' Slide Show by Nan Goldin poster

 

The Ballad of Sexual Dependency Slide Show by Nan Goldin poster

 

 

National Gallery of Australia
Parkes Place, Canberra
Australian Capital Territory 2600
Phone: (02) 6240 6411

Opening hours:
Open daily 10.00am – 5.00pm
(closed Christmas day)

National Gallery of Australia website

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Exhibition: ‘Ruth Orkin: Bike Trip, USA, 1939’ at the Fondation Henri Cartier-Bresson, Paris

Exhibition dates: 19th September, 2023 – 14th January, 2024

Curator: Clément Chéroux, director, Fondation HCB

 

Ruth Orkin (American, 1921-1985) 'My shadow down the hill' San Francisco, 1938

 

Ruth Orkin (American, 1921-1985)
My shadow down the hill
San Francisco, 1938
© 2023 Ruth Orkin Photo Archive

 

 

Wishing all readers of Art Blart a Happy New Year … but first, a glorious posting to finish the year 2023!

What a joy it is to see a young seventeen-year-old artist spreading their wings and taking such accomplished photographs. “Her photographs of street scenes, of buildings cut by subtle lighting effects, her poetic and touching images” are remarkable for their pictorial construction – framing, understanding and use of light and shadow, perspective – and how they tell the story in a single, beautiful image.

Of particular interest is

1/ How Orkin uses the bicycle and its shadow to frame subject matter, showing an implicit understanding of modernist photography. Images such as Thru the wheels of Commerce, Frisco dockyards on the photo album page San Francisco 1939 (below) are almost Duchampian in their conceptualisation. The artist’s use of near / far, high / low and the reverse of that perspective is exceptional.

2/ How Orkin constructs the pages of the photo album, neatly gridded in either horizontal or vertical photographs (never mixed). Through collective images and text this girded visualisation formalises the journey in her mind, illuminating what a transformative experience it must have been – a rite of passage between youth and adulthood (I have no details on when or why the photo album was constructed). What adventures she must have had, shooting-the-streets at 6am in the morning before going to an Italian grocery store for breakfast!

Further, in the photo album page San Francisco 1939 No’s 33-39 (below) we can observe in the young artist an understanding of how to sequence photographs in their ebb and flow: the bicycle framing the vanishing point in 33 leads to its inversion in Orkin’s shadow in 34; this shadow is echoed in the positive in the sculpture of Voleenteer Firemen (complete with misspelling) in 35 which then leads into the thrusting Italian Church of 36 … but here it is the hanging vegetation which is of import, for the vertical drapery is then inverted in the perspective of the ground shadow in 37 Weeping willows; the opening of the light in that image is echoed in the vista between the bicycle frame in 38 Bay from Cort Tower, this negative space then itself inverted in the self-portrait in 39.

3/ How the addition of text can provide a different interpretation to the images for the viewer. The media images were shorn of the text from the photo album pages (being cropped without text) – lack of con/text which to my eyes denudes them of Orkin’s interpretation and feelings about her images.

For example, the photograph captioned in the press images These people are standing in the middle of Washington St & reading the blackboard wall bulletins, on a newspaper office, Boston, 1939 (below) – reminiscent of Atget’s photograph Pendant l’éclipse (During the eclipse) 1912 (below) – is actually inscribed, These people are standing in the middle of Washington St & reading the blackboard wall bulletins, on a newspaper office. Sept 1.

Some may wonder why the deletion of “Sept 1” is so important… until you realise that Sept 1, 1939 was the day that Hitler’s Nazi Germany invaded Poland leading to the official start of World War 2 (although war had been raging in Manchuria between China and Japan since 1931). Without that word and number all we have in that photograph is a varied group of people looking up at news bulletins. But with their addition, and Orkin knew this only too well, the photograph assimilates the significance of world events into its very being … and then reflects back to the viewer an understanding of how those events will subsequently affect every person in that photograph. If that word and number is not there (as in the press images title) we would have never known the import of the moment that Orkin captured.


Finally, I would acknowledge the precocious talent of Ruth Orkin and her perspicacious (from Latin perspicax, perspicac– ‘seeing clearly’) nature. On this road trip she was young  and full of joys of taking photographs, perceptive and aware of the world around her. For me the photographs are more than sketches that map out the beginnings of her photographic style – they are her style, fully formed and eloquent in their subtle, formal beauty. What an accomplishment for any artist no matter their age.

Dr Marcus Bunyan


Many thankx to the Fondation Henri Cartier-Bresson for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

 

L’exposition Ruth Orkin – Bike Trip, USA, 1939

Curator: Clément Chéroux

 

In 1939, at the age of 17, Ruth Orkin crossed the United States alone with her bike, her camera and only $25 in her pocket. This “bike trip” across the United States took her from Los Angeles to New York, where she planned to visit the World’s Fair. Her journey and her audacity, exceptional for the time, aroused the curiosity of the local press, which devoted numerous reports to her while she was there. It was during this epic bicycle trip that Ruth Orkin sketched out the beginnings of her photographic style. Her photographs of street scenes, of buildings cut by subtle lighting effects, her poetic and touching images, in which she doesn’t hesitate to stage her metal steed, will be shown for the first time in France at an exhibition at the Henri Cartier-Bresson Foundation. In 1951, having become a professional photographer (after working as a courier for MGM studios), Ruth Orkin produced her most famous image, American Girl in Italy, showing a woman travelling alone, under the gaze of the men who surround her and occupy public space, as a nod to her personal experience.

Text from the Fondation Henri Cartier-Bresson website

 

Ruth Orkin (American, 1921-1985) 'My shadow down the hill' San Francisco, 1938

 

Ruth Orkin (American, 1921-1985)
My shadow down the hill
San Francisco, 1938
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'Bay from Coit Tower, Treasure Island at left' San Francisco, 1938

 

Ruth Orkin (American, 1921-1985)
Bay from Coit Tower, Treasure Island at left
San Francisco, 1938
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'Bay from Coit Tower, Treasure Island at left' San Francisco, 1938

 

Ruth Orkin (American, 1921-1985)
Bay from Coit Tower, Treasure Island at left
San Francisco, 1938
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'San Francisco 1939' 1939

 

Ruth Orkin (American, 1921-1985)
San Francisco 1939
1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

Eugène Atget (French, 1857-1927) 'Pendant l'éclipse' 1912

 

Eugène Atget (French, 1857-1927)
Pendant l’éclipse (During the eclipse)
1912
Albumen print

 

Although the moon is not visible in this photograph by Eugène Atget, its presence and appeal are implied. The crowd gathered in Paris’s Place de la Bastille on April 17, 1912, was observing a solar eclipse through viewing apparatuses. Atget, rather than recording the astronomical event itself, turned his attention to its spectators. Though Atget made more than 8,500 pictures of Paris and its environs in a career that spanned over thirty years – most documenting the built environment – this photograph is an unusual example that focuses on a crowd of people.

Text from the MoMA website

 

Ruth Orkin (American, 1921-1985) 'These people are standing in the middle of Washington St & reading the blackboard wall bulletins, on a newspaper office' Boston, 1939

 

Ruth Orkin (American, 1921-1985)
These people are standing in the middle of Washington St & reading the blackboard wall bulletins, on a newspaper office
Boston, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'These people are standing in the middle of Washington St & reading the blackboard wall bulletins, on a newspaper office. Sept 1.' Boston, 1939

 

Ruth Orkin (American, 1921-1985)
These people are standing in the middle of Washington St & reading the blackboard wall bulletins, on a newspaper office. Sept 1.
Boston, 1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'Chicago 1939' 1939

 

Ruth Orkin (American, 1921-1985)
Chicago 1939
1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985)'U.S. Continent and Chicago 1939' 1939

 

Ruth Orkin (American, 1921-1985)
U.S. Continent and Chicago 1939
1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

 

Exhibition

For the first time in France, the Fondation Henri Cartier-Bresson presents a solo exhibition on American photographer Ruth Orkin (1921-1985), internationally known for her photograph American Girl in Italy (1951), an iconic image of a women travelling alone. While still a teenager, Orkin undertook a pioneering journey across the United States from West to East.

In 1939, at 17 and still living with her parents in Los Angeles, Ruth Orkin decided to cross the United States solo, from the Pacific to the Atlantic. She travelled less by bicycle than with a bicycle, crossing long distances by car, train, and bus, using her bicycle to explore big cities: Chicago, Philadelphia, Washington, New York, Boston and San Francisco.

Over a four-month period, she took 350 photographs: urban scenes, numerous self-portraits and striking compositions framed by her bicycle. In each city she visited, local newspapers covered her story, interviewing and photographing her. With the unexpected publicity, she was invited everywhere, given tickets to shows, and even received a new two-wheeler.

Orkin’s stated aim upon departure was to visit the New York World’s Fair, but the transcontinental adventure proved far more decisive. It was a defining moment in her personal and artistic development, confirming the old adage: it’s not the destination, it’s the journey.

The exhibition brings together around forty photographs and archival documents, including Ruth Orkin’s manuscript on this adventure.

 

Biography

Born in Boston in 1921, Ruth Orkin grew up in Hollywood. At the age of 10, she received her first camera and began photographing her friends and teachers at school. In 1938, at 17 years old, she took a monumental bicycle trip across the United States from Los Angeles to New York City to see the 1939 World’s Fair, and she photographed along the way.

In 1943, the photographer moved to New York where worked for all the major magazines, including LIFE, which sent her to Israel in 1951. She then went to Italy, where she met Jinx Allen, an art student and fellow American, who became the subject of American Girl in Italy. The photograph was part of a series titled When You Travel Alone, about what they encountered as women traveling alone in Europe after the war.

On her return to New York, Orkin married the photographer and filmmaker Morris Engel. Together they produced two feature films, including Little Fugitive, which was nominated at the Oscar in 1953. From their New York apartment overlooking Central Park, Orkin photographed numerous events (marathons, parades, concerts) and the beauty of the changing seasons. Ruth Orkin passed away in 1985.

Text from the Fondation Henri Cartier-Bresson website

 

Ruth Orkin (American, 1921-1985) 'Conn & the Sound. Nearly lost my camera taking these because of wind' New England, 1939

 

Ruth Orkin (American, 1921-1985)
Conn & the Sound. Nearly lost my camera taking these because of wind
New England, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'Conn & the Sound. Nearly lost my camera taking these because of wind' New England, 1939

 

Ruth Orkin (American, 1921-1985)
Conn & the Sound. Nearly lost my camera taking these because of wind
New England, 1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

Long Island Sound is a marine sound and tidal estuary of the Atlantic Ocean. It lies predominantly between the U.S. state of Connecticut to the north and Long Island in New York to the south. From west to east, the sound stretches 110 mi (180 km) from the East River in New York City, along the North Shore of Long Island, to Block Island Sound. A mix of freshwater from tributaries, and saltwater from the Atlantic Ocean, Long Island Sound is 21 mi (34 km) at its widest point and varies in depth from 65 to 230 feet (20 to 70 m).

Text from the Wikipedia website

 

Ruth Orkin (American, 1921-1985) 'Washington 1939' 1939

 

Ruth Orkin (American, 1921-1985)
Washington 1939
1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'Washington Monument as seen from the Lincoln Memorial & reflected in the Mall' Washington D.C., 1939

 

Ruth Orkin (American, 1921-1985)
Washington Monument as seen from the Lincoln Memorial & reflected in the Mall
Washington D.C., 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'Washington Monument as seen from the Lincoln Memorial & reflected in the Mall' Washington D.C., 1939

 

Ruth Orkin (American, 1921-1985)
Washington Monument as seen from the Lincoln Memorial & reflected in the Mall
Washington D.C., 1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) '"Through the Wheels of Justice" The Supreme Court across from Capitol Hill' Washington D.C., 1939

 

Ruth Orkin (American, 1921-1985)
“Through the Wheels of Justice” The Supreme Court across from Capitol Hill
Washington D.C., 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) '"Through the Wheels of Justice" The Supreme Court across from Capitol Hill' Washington D.C., 1939

 

Ruth Orkin (American, 1921-1985)
“Through the Wheels of Justice” The Supreme Court across from Capitol Hill
Washington D.C., 1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) '"EI" running over a slum street. Municipal building in background' New York, 1939

 

Ruth Orkin (American, 1921-1985)
“EI” running over a slum street. Municipal building in background
New York, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) '"EI" running over a slum street. Municipal building in background' New York, 1939

 

Ruth Orkin (American, 1921-1985)
“EI” running over a slum street. Municipal building in background
New York, 1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'Sunset over lower Manhattan' New York, 1939

 

Ruth Orkin (American, 1921-1985)
Sunset over lower Manhattan
New York, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'Sunset over lower Manhattan' New York, 1939

 

Ruth Orkin (American, 1921-1985)
Sunset over lower Manhattan
New York, 1939
From the series Ruth Orkin: Bike Trip, USA, 1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) '17-Year-Old Girl Pedals Bicycle From Los Angeles to Boston, newspaper clipping from Boston' August 1939

 

Ruth Orkin (American, 1921-1985)
17-Year-Old Girl Pedals Bicycle From Los Angeles to Boston, newspaper clipping from Boston
August 1939
© 2023 Ruth Orkin Photo Archive

 

Map describing the route taken by car 1939

 

Map describing the route taken by car
1939
© 2023 Ruth Orkin Photo Archive

 

Ruth Orkin (American, 1921-1985) 'An American Girl in Italy' Florence, 1951

 

Ruth Orkin (American, 1921-1985)
An American Girl in Italy
Florence, 1951
© 1952, 1980 Ruth Orkin Photo Archive

 

 

Fondation Henri Cartier-Bresson
79 rue des Archives
75003 Paris

Opening hours:
Tuesday – Sunday 11am – 7pm
Closed on Mondays

Fondation Henri Cartier-Bresson website

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Vale Larry Fink (American, 1941-2023)

December 2023

 

Larry Fink (American, 1941-2023) 'John Sabatine and Molly' 1980

 

Larry Fink (American, 1941-2023)
John Sabatine and Molly
1980
Gelatin silver print

 

 

“To try to see more and better is not a matter of whim or curiosity or self-indulgence. To see or to perish is the very condition laid upon everything that makes up the universe, by reason of the mysterious gift of existence.”

Teilhard de Chardin, “Seeing” 1947

 

Being human

Another master photographer has died. We are losing so many important visionaries who were born pre-Second World War, during the war and post-war period.

While I have sequenced this posting to highlight the dichotomy in Fink’s exploration of social class in America, that is, between the haves and the have-nots, between the hedonistic party people of Studio 54, the urban New Yorkers of “high society” and rural, working-class Pennsylvanians1 – as ever in life, Fink’s work is much more complex and nuanced than that.

Fink acknowledged that the photographs in his series “Social Graces” of New York “high society” at play were hard of heart. “I used to judge people out of the hardness of my heart. So, I went into these very voluptuous and elegant bourgeois circumstances, and I would judge these people as if they were the enemy.” That does not make these photographs any less valuable as a record of that brief moment of encounter between photographer and subject. For he observed, “The moment that we have is the only moment we will ever have, insofar as it is fleeting. Every breath counts. So does every moment and perception.”

Thus, in any of his photographs you have to admire his skill at capturing that fleeting moment: marvel at the flying pigtail in Studio 54 (1977, below) and feel the immediacy of hand gesture in Pat Sabatine’s 8th Birthday Party (1977, below) or the contemptuous look on the woman’s face in Pat Sabatine’s 11th Birthday Party (1980, below) to understand that.

In later life Fink – an empathetic human with an inquiring mind who obviously worked on his inner growth, who had acquired knowledge and a little wisdom – was aware how he had wronged himself and others during the taking of the photographs for “Social Graces”.

“When age had given me entry into life’s harder organic experiences – my back, my heart, my prostate, my hip – I started to look at my own face in the mirror and see the results of pain. I would see that many of the judgments I had made in the early days, based on an ideal sense of a physical equilibrium, were absolutely and horrendously bigoted. I was not at all sensitive to either the inner or external trappings of what it means to just be alive and all its various, vulnerable complexities.”2

With every breath he understood that when he took photographs he was attempting to touch the eternal, an expression of admiration and gratitude at being alive.

“I am involved with the idea of reaching deeply into the pulsing matter of what it means to be alive and being vulnerable and seeing if I can cast an emotional legacy about being human.”

The emotional legacy of his photographs attests to his enduring spirit.

Dr Marcus Bunyan

 

1/ “He paired the tales of these two worlds – the chilly anomie of the haute monde and the lively, messy domesticity of the Sabatines – in a collection of photographs he called “Social Graces,” which was first shown in an exhibition at the Metropolitan Museum of Art in 1979 and then published in a book of the same title in 1984, now considered a collector’s item.”

Penelope Green. “Larry Fink, Whose Photographs Were ‘Political, Not Polemical,’ Dies at 82,” on The New York Times website Nov. 30, 2023 [Online] Cited 02/12/2023

2/ Larry Fink quoted in Adriana Teresa. “A Moment With Larry Fink,” on The New York Times website Jan. 6, 2011 [Online] Cited 02/12/2023


Please click on the photographs for a larger version of the image.

 

 

“The goal, I suspect, through harmonies and edges and everything that we have in our command, is to take a dumb two-dimensional picture and make it something that a viewer enters and doesn’t want to leave.”


Larry Fink

 

“It’s about empathy. But the necessary methodology is conventionally in-your-face. Not like other practitioners, who are in your face for the sake of being in your face, I am in your face because I want to be your face. I like to say that if I was not a photographer, I would be in jail. I want to touch everything. My life is profoundly physical. Photography for me is the transformation of desire. …

I don’t like to hurt people. I go after something and I start pointing the camera at somebody, looking for those hard, edgy things I know I am going to find. My pictures will be out of bounds in terms of the convention of how this person wants to be represented. It gives me pause. I don’t feel I have the right to do that. But I do it nevertheless. After all, a picture is not a murder. It is simply a moment which suggests so many things. …

I was severely analytical when I was young, like when I was doing “Social Graces.” I was a good-looking kid. My mother was very vain, competitive and judgmental, and I took on the same characteristics as a younger person. I used to judge people out of the hardness of my heart. So, I went into these very voluptuous and elegant bourgeois circumstances, and I would judge these people as if they were the enemy. I believed the work to be analytical, in a political fashion.

When age had given me entry into life’s harder organic experiences – my back, my heart, my prostate, my hip – I started to look at my own face in the mirror and see the results of pain. I would see that many of the judgments I had made in the early days, based on an ideal sense of a physical equilibrium, were absolutely and horrendously bigoted. I was not at all sensitive to either the inner or external trappings of what it means to just be alive and all its various, vulnerable complexities. …

The moment that we have is the only moment we will ever have, insofar as it is fleeting. Every breath counts. So does every moment and perception. It’s a way to be alive. I am involved with the idea of reaching deeply into the pulsing matter of what it means to be alive and being vulnerable and seeing if I can cast an emotional legacy about being human.”


Larry Fink quoted in Adriana Teresa. “A Moment With Larry Fink,” on The New York Times website Jan. 6, 2011 [Online] Cited 02/12/2023

 

 

Larry Fink. 'Studio 54, New York City, May 1977' 1977

 

Larry Fink (American, 1941-2023)
Studio 54
1977
Gelatin silver print

 

 

Larry Fink was born in Brooklyn in 1941. In the 1960s, he studied with noted photographer Lisette Model. This photograph from Studio 54, made in 1977 in the hedonistic heyday of the disco era, is a well know image from Fink’s series “Social Graces,” which explored social class in America by comparing two different worlds: that of urban New Yorkers of “high society” and that of rural, working-class Pennsylvanians through social events like birthday parties. Fink has described his approach to his subject in a straightforward, non-judgmental manner, “The one thing I was trained in being was non-hierarchical. I don’t have an internal class system. Who you are is who is in front of me and who I am in the same, and that’s how we have to relate to each other.”

 

Larry Fink (American, 1941-2023) Pat Sabatine's 8th Birthday Party' 1977

 

Larry Fink (American, 1941-2023)
Pat Sabatine’s 8th Birthday Party
1977
Gelatin silver print

 

Larry Fink (American, 1941-2023) 'Russian Ball, New York City' 1976

 

Larry Fink (American, 1941-2023)
Russian Ball, New York City
1976
Gelatin silver print

 

Larry Fink (American, 1941-2023) 'Pat Sabatine's 11th Birthday Party' 1980

 

Larry Fink (American, 1941-2023)
Pat Sabatine’s 11th Birthday Party
1980
Gelatin silver print

 

Larry Fink (American, 1941-2023) 'Benefit, MoMA, New York' 1977

 

Larry Fink (American, 1941-2023)
Benefit, MoMA, New York
1977
Gelatin silver print

 

 

Larry Fink, a kinetic photographer whose intimate black-and-white on-the-fly portraits of rural Pennsylvanians, Manhattan society figures, Hollywood royalty, boxers, musicians, fashion models and many others were both social commentary on class and privilege and an exuberant document of the human condition, died on Saturday at his home in Martins Creek, Pa. He was 82. …

… in the early 1970s he turned to overt social commentary, infiltrating the society benefits, debutante parties and watering holes of Manhattan’s privileged tribes and their hangers-on. He was fueled, he once wrote, both by curiosity and by his own rage at the privileged class – “its abuses, voluptuous folds, and unfulfilled lives.”

A few years later, he and his wife at the time, the painter Joan Snyder, moved to a farm in Pennsylvania, where he began photographing his rural neighbors, a charismatic family called the Sabatines who embraced him as one of their own. He went on to capture years’ worth of the family’s baptisms, birthdays and graduations.

He paired the tales of these two worlds — the chilly anomie of the haute monde and the lively, messy domesticity of the Sabatines – in a collection of photographs he called “Social Graces,” which was first shown in an exhibition at the Metropolitan Museum of Art in 1979 and then published in a book of the same title in 1984, now considered a collector’s item.

“Social Graces” placed Mr. Fink firmly in the photographic canon. It drew comparisons to the street photos of Weegee and Diane Arbus and even to the paintings of Caravaggio. (Mr. Fink was a master of shadow and light.) When the pictures were shown in 2001 at the Yancey Richardson gallery in Manhattan’s Chelsea section, Ken Johnson, writing in The New York Times, described them as “wonderfully absorbing, funny, skewed, ethereally glowing documents of human situations.”

Penelope Green. “Larry Fink, Whose Photographs Were ‘Political, Not Polemical,’ Dies at 82,” on The New York Times website Nov. 30, 2023 [Online] Cited 02/12/2023

 

Larry Fink (American, 1941-2023) 'Skating Rink' 1980

 

Larry Fink (American, 1941-2023)
Skating Rink
1980
Gelatin silver print

 

Larry Fink (American, 1941-2023) 'Studio 54, New York City' May 1977

 

Larry Fink (American, 1941-2023)
Studio 54, New York City
May 1977
Gelatin silver print

 

Larry Fink (American, 1941-2023) 'Oslin's Graduation Party' 1977

 

Larry Fink (American, 1941-2023)
Oslin’s Graduation Party
1977
Gelatin silver print

 

Larry Fink (American, 1941-2023) 'N.Y.C. Club Cornich', from the portfolio '82 Photographs 1974 to 1982' 1977; printed 1983

 

Larry Fink (American, 1941-2023)
N.Y.C. Club Cornich
1977, printed 1983
From the portfolio 82 Photographs 1974 to 1982
Gelatin silver print

 

Larry Fink (American, 1941-2023) 'Melzer Family Picnic, Eastport, Long Island, New York' June 2002

 

Larry Fink (American, 1941-2023)
Melzer Family Picnic, Eastport, Long Island, New York
June 2002
Gelatin silver print

 

Larry Fink (b. 1941) 'Peter Beard's, East Hampton', from the portfolio '82 Photographs 1974 to 1982' 1982; printed 1983

 

Larry Fink (American, 1941-2023)
Peter Beard’s, East Hampton
1982, printed 1983
From the portfolio 82 Photographs 1974 to 1982
Gelatin silver print

 

Larry Fink (American, 1941-2023) 'Jean Sabatine and Molly' 1983

 

Larry Fink (American, 1941-2023)
Jean Sabatine and Molly
1983
Gelatin silver print

 

Larry Fink (American, 1941-2023) 'Benefit, Corcoran Museum, Washington DC' 1975

 

Larry Fink (American, 1941-2023)
Benefit, Corcoran Museum, Washington DC
1975
Gelatin silver print

 

 

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Vale Elliott Erwitt (1928-2023)

December 2023

 

Elliott Erwitt (American born France, 1928-2023) 'New York City' 1955

 

Elliott Erwitt (American born France, 1928-2023)
New York City
1955
Gelatin silver print

 

The essence of what happens

Elliott Erwitt’s “art of observation” is a gift of the eye and the mind, where the artist must be truly aware of the world around them in order to capture the mosaic of reality.

Look at the photograph Jackie Kennedy, Arlington, Virginia (1963, below). Observe the split second that particular look of despair was present on Jackie’s face. And there was Erwitt fully aware, in the moment, with his gift of the eye and the mind – and he knew, he absolutely knew that was the moment to take the photograph.

As with much of his work it is the subtle cadences within the image that create their emotional power and magic: sadness, happiness, whimsy, comedy, anger, loneliness, joy – all captured through the reality of the visual language of the image, fully acknowledged in the heart and the mind of the viewer when they imbibe (absorb the ideas) of their spirit.

Dr Marcus Bunyan

Please click on the photographs for a larger version of the image.

 

“You either see, or you don’t see.”


Elliott Erwitt

 

“The work I care about is terribly simple … I observe, I try to entertain, but above all I want pictures that are emotion.”


Elliott Erwitt. Personal Exposures. W. W. Norton & Company, 1988

 

“You can take a picture of the most wonderful situation and it’s lifeless, nothing comes through… Then you can take a picture of nothing, of someone scratching his nose, and it turns out to be a great picture.”


Elliott Erwitt

 

“The whole point of taking pictures is so that you don’t have to explain things with words. To me, photography is an art of observation. It’s about finding something interesting in an ordinary place… I’ve found it has little to do with the things you see and everything to do with the way you see them.”


Elliott Erwitt

 

“All the technique in the world doesn’t compensate for the inability to notice.”


Elliott Erwitt

 

 

Elliott Erwitt (American born France, 1928-2023) 'Pasadena, California, USA' Nd

 

Elliott Erwitt (American born France, 1928-2023)
Pasadena, California, USA
Nd
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'USA. California. Berkeley' 1956

 

Elliott Erwitt (American born France, 1928-2023)
USA. California. Berkeley
1956
Gelatin silver print

 

 

Photographers with a comic outlook on life seldom win the acclaim granted to exalters of nature or chroniclers of war and squalor. Elliott Erwitt, who died at 95 on Wednesday at his home in Manhattan, was an exception.

For more than six decades he used his camera to tell visual jokes, finding material wherever he strolled. His sharp eye for silly, sometimes telling conjunctions – a dog lying on its back in a cemetery, a glowing Coca-Cola machine amid a public display of missiles in Alabama, a mangy potted plant in a tacky Miami Beach ballroom – earned him constant assignments as well as the affection of a public that shared his sweet, Chaplin-esque sense of the absurd.

Richard B. Woodward. “Elliott Erwitt, Whose Photos Are Famous, and Often Funny, Dies at 95,” on The New York Times website Nov. 30, 2023 [Online] Cited 03/12/2023

 

Elliott Erwitt (American born France, 1928-2023) 'USA. New York, New York' 1953

 

Elliott Erwitt (American born France, 1928-2023)
USA. New York, New York
1953
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Felix, Gladys and Rover (New York, USA)' New York City, 1974

 

Elliott Erwitt (American born France, 1928-2023)
Felix, Gladys and Rover (New York, USA)
New York City, 1974
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Moscow, USSR' 1959

 

Elliott Erwitt (American born France, 1928-2023)
Moscow, USSR
1959
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Jackie Kennedy, Arlington, Virginia' 1963. © Elliott Erwitt/MAGNUM PHOTOS

 

Elliott Erwitt (American born France, 1928-2023)
Jackie Kennedy, Arlington, Virginia
1963
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Wilmington, North Carolina' 1950

 

Elliott Erwitt (American born France, 1928-2023)
Wilmington, North Carolina
1950
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Paris, France' 1989

 

Elliott Erwitt (American born France, 1928-2023)
Paris, France
1989
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'USA. New York City' 1988

 

Elliott Erwitt (American born France, 1928-2023)
USA. New York City
1988
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Pittsburgh, USA' 1950

 

Elliott Erwitt (American born France, 1928-2023)
Pittsburgh, USA
1950
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Brazil. Buzios' 1990

 

Elliott Erwitt (American born France, 1928-2023)
Brazil. Buzios
1990
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Guanajuato, Mexico' 1957

 

Elliott Erwitt (American born France, 1928-2023)
Guanajuato, Mexico
1957
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'France, Paris, Lucienne Van Kan' 1952

 

Elliott Erwitt (American born France, 1928-2023)
France, Paris, Lucienne Van Kan
1952
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Fort Dix, USA' 1951

 

Elliott Erwitt (American born France, 1928-2023)
Fort Dix, USA
1951
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Bakersfield, USA' 1983

 

Elliott Erwitt (American born France, 1928-2023)
Bakersfield, USA
1983
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Bal, Paris, France' 1967

 

Elliott Erwitt (American born France, 1928-2023)
Bal, Paris, France
1967
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Spain, Valencia' 1952

 

Elliott Erwitt (American born France, 1928-2023)
Spain, Valencia
1952
Gelatin silver print

 

Elliott Erwitt (American born France, 1928-2023) 'Huntsville, Alabama' 1974

 

Elliott Erwitt (American born France, 1928-2023)
Huntsville, Alabama
1974
Gelatin silver print

 

 

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Exhibition: ‘Peter Hujar: Performance and Portraiture’ at the Art Institute of Chicago

Exhibition dates: 13th May – 9th October 2023

Curators: Grace Deveney, David C. and Sarajean Ruttenberg Associate Curator, Photography and Media

 

Peter Hujar (American, 1934-1987) 'Nude Self-Portrait Series #5' 1967

 

Peter Hujar (American, 1934-1987)
Nude Self-Portrait Series #5
1967
Pigmented ink print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

 

What can I say … more from that ecstatic photographer Peter Hujar. One of my top ten photographers of all time.

I can’t get enough of his uncomplicated, fleeting photographs of people who have the bravery to be themselves. Photographs that haunt my memory.

A big thank you to Nick Henderson for allowing me to use the photographs that he took of the exhibition in the posting.

Dr Marcus Bunyan


Many thankx to the Art Institute of Chicago for allowing me to publish some of the photographs in the posting. Please click on the photographs for a larger version of the image. All installation images courtesy of and with thankx to Nick Henderson.

 

Installation view of the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago

 

Installation view of the exhibition Peter Hujar: Performance and Portraiture at the Art Institute of Chicago showing Hujar’s Nude Self-Portrait Series #5 (1967, above)
Photo: Nick Henderson

 

 

While photography has long been associated with documentation and memory, Peter Hujar (American, 1934-1987) sought to produce images that construct a new reality through subtle exchanges between himself and his subjects. He created direct yet enigmatic portraits of people and animals, pictures of performers, and sexually charged male nudes. These were influenced by various dimensions of his experience, including a childhood spent on his grandparents’ farm, a lifelong interest in dance and theatre, and his identity as a gay man.

In the early 1970s Hujar lived in a loft in downtown Manhattan, amid numerous performers, choreographers, and playwrights who were exploring new approaches to representation. Operating in modes ranging from experimental dance to drag, they challenged the distinction between art and everyday life. Hujar created portraits of many members of these creative communities, and his work embodies the same sense of experimentation that his subjects pursued in their live and performance.

Hujar sought not to document a person or moment but instead to create a reality that exists only within the photograph. This exhibition connects these new realities with the worlds their subjects were making through performance. In keeping with the spirit of collaboration and exchange that typified the downtown New York scene, this exhibition also includes artwork by some of those in his circle.

Wall text from the exhibition

 

Installation view of the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago

 

Installation view of the exhibition Peter Hujar: Performance and Portraiture at the Art Institute of Chicago showing Hujar’s Nude Self-Portrait Series #5 (1967, above)
Photo: Nick Henderson

 

Installation view of the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago

 

Installation view of the exhibition Peter Hujar: Performance and Portraiture at the Art Institute of Chicago showing at left, Gary in Contortion (2) (1979, below), and at second right Gary Indiana Veiled (1981, below)
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'Gary in Contortion (2)' 1979

 

Peter Hujar (American, 1934-1987)
Gary in Contortion (2)
1979
Gelatin silver print
Courtesy of the Peter Hujar Archive and Pace Gallery
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Gary Indiana Veiled' 1981

 

Peter Hujar (American, 1934-1987)
Gary Indiana Veiled
1981
Gelatin silver print
Courtesy of the Peter Hujar Archive and Pace Gallery
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Installation view of the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago

 

Installation view of the exhibition Peter Hujar: Performance and Portraiture at the Art Institute of Chicago showing at fifth from left, Hujar’s John Flowers Backstage at the Palm Casino Revue (1974, below); and at right, Hujar’s Larry Ree Backstage (1974, below) with ‘Experimental and Camp Performance’ exhibition text to the extreme right
Photo: Nick Henderson

 

'Experimental and Camp Performance' exhibition text

 

Wall text from the exhibition
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'John Flowers Backstage at the Palm Casino Revue' 1974

 

Peter Hujar (American, 1934-1987)
John Flowers Backstage at the Palm Casino Revue
1974
Courtesy of the Peter Hujar Archive and Pace Gallery
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Larry Ree Backstage' 1974 (installation view)

 

Peter Hujar (American, 1934-1987)
Larry Ree Backstage (installation view)
1974
Collection of Randall Kroszner and David Nelson
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'Larry Ree Backstage' 1974

 

Peter Hujar (American, 1934-1987)
Larry Ree Backstage
1974
Collection of Randall Kroszner and David Nelson
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Palermo Catacombs #6 (Girl with Gloves)' 1963

 

Peter Hujar (American, 1934-1987)
Palermo Catacombs #6 (Girl with Gloves)
1963
Gelatin silver print
Image: 37.4 × 37.5cm (14 3/4 × 14 13/16 in.)
Paper: 50.5 × 40.5cm (19 15/16 × 16 in.)
Ruttenberg Curatorial Endowment and Photography and Media Purchase funds
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Wall text from the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago

 

Wall text from the exhibition
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) Nude Self-Portrait Series #1 1967 (installation view)

 

Peter Hujar (American, 1934-1987)
Palermo Catacombs #10 (Girl with Flowers)
1963
Gelatin silver print
Image: 38.4 × 38.3cm (15 1/8 × 15 1/8 in.)
Paper: 50.8 × 40.4cm (20 × 15 15/16 in.)
Promised gift of Randall Kroszner and David Nelson
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

 

While photography has long been associated with documentation and memory, Peter Hujar (American, 1934-1987) sought to produce images that construct a new reality through subtle exchanges between himself and his subjects.

He created direct yet enigmatic portraits of people and animals, pictures of performers, and sexually charged male nudes in close dialogue with the performance and movement study scene emerging in New York’s East Village in the 1970s. His subject matter was influenced by various dimensions of his experience, including a childhood spent on his grandparents’ farm, a lifelong interest in dance and theatre, and his identity as a gay man.

In the early 1970s, Hujar was living in a loft in lower Manhattan as, nearby, Robert Wilson founded the Byrd Hoffman School of Byrds, a performance group dedicated to exploring new approaches to theatre and choreography. Byrd Hoffman is just one of the groups Hujar would go on to photograph extensively, along with the Ridiculous Theatrical Company, an absurdist project founded by Charles Ludlam, and The Cockettes, a psychedelic theatre troupe based in San Francisco. Hujar photographed performances by these companies but often paid more attention to capturing the actors and dancers backstage, in moments of transition – as they put on their costumes and make-up, preparing to embody the characters they would play.

This exhibition connects both the experimentation Hujar and his subjects pursued and the new realities they each created – whether through photographs or performance. The presentation includes over 60 works by Hujar, and in keeping with the spirit of collaboration and exchange that typified the downtown New York scene, also includes artwork by some of the artists and performers in his circle, including works by Greer Lankton, Sheryl Sutton, and David Wojnarowicz.

Text from the Art Institute of Chicago website

 

Peter Hujar (American, 1934-1987) Nude Self-Portrait Series #1 1967 (installation view)

 

Peter Hujar (American, 1934-1987)
Nude Self-Portrait Series #1 (installation view)
1967
Pigmented ink print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

Wall text from the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago

 

Wall text from the exhibition
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'Nude Self-Portrait Series #3' 1967

 

Peter Hujar (American, 1934-1987)
Nude Self-Portrait Series #3
1967
Pigmented ink print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Iggy Pop Lying Down' 1969

 

Peter Hujar (American, 1934-1987)
Iggy Pop Lying Down
1969
Gelatin silver print
Courtesy of the Peter Hujar Archive and Pace Gallery
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Orgasmic Man' 1969 (installation view)

 

Peter Hujar (American, 1934-1987)
Orgasmic Man (installation view)
1969
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

Wall text from the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago 'Orgasmic man'

 

Wall text from the exhibition
Photo: Nick Henderson

 

Peter Hujar. 'Orgasmic Man' 1969

 

Peter Hujar (American, 1934-1987)
Orgasmic Man
1969
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Orgasmic Man (I)' 1969

 

Peter Hujar (American, 1934-1987)
Orgasmic Man (I)
1969
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Orgasmic Man (I)' 1969 (installation view)

 

Peter Hujar (American, 1934-1987)
Orgasmic Man (I) (installation view)
1969
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

'Transitions' wall text from the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago

 

Wall text from the exhibition
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'Candy Darling on Her Deathbed' 1973 (installation view)

 

Peter Hujar (American, 1934-1987)
Candy Darling on Her Deathbed (installation view)
1973
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

'Candy Darling on Her Deathbed' wall text from the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago

 

Wall text from the exhibition
Photo: Nick Henderson

 

Peter Hujar. 'Candy Darling on Her Deathbed' 1973

 

Peter Hujar (American, 1934-1987)
Candy Darling on Her Deathbed
1973
Courtesy of the Peter Hujar Archive and Pace Gallery
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Sheryl Sutton' 1977

 

Peter Hujar (American, 1934-1987)
Sheryl Sutton
1977
The Art Institute of Chicago, Ruttenberg Curatorial Endowment Fund
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Arthur Rimbaud in New York' 1978-1979 (installation view)

 

Peter Hujar (American, 1934-1987)
Arthur Rimbaud in New York (installation view)
1978-1979
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'Arthur Rimbaud in New York' 1978-1979

 

Peter Hujar (American, 1934-1987)
Arthur Rimbaud in New York
1978-1979
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'David Brintzenhofe Applying Makeup' 1982 (installation view)

 

Peter Hujar (American, 1934-1987)
David Brintzenhofe Applying Makeup (installation view)
1982
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'David Brintzenhofe Applying Makeup' 1982

 

Peter Hujar (American, 1934-1987)
David Brintzenhofe Applying Makeup
1982
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Canal Street Piers: Luis Frangella Painting' 1983 (installation view)

 

Peter Hujar (American, 1934-1987)
Canal Street Piers: Luis Frangella Painting (installation view)
1983
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

'Canal Street Piers: Luis Frangella Painting' wall text from the exhibition 'Peter Hujar: Performance and Portraiture' at the Art Institute of Chicago

 

Wall text from the exhibition
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'Greer Lankton's Legs' 1983 (installation view)

 

Peter Hujar (American, 1934-1987)
Greer Lankton’s Legs (installation view)
1983
Gelatin silver print
The Art Institute of Chicago, purchased with funds provided by Pamela Phillips Weston
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

'Greet Lankton and the Body Transformed' wall text from the exhibition

 

Wall text from the exhibition
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'Greer Lankton's Legs' 1983

 

Peter Hujar (American, 1934-1987)
Greer Lankton’s Legs
1983
Gelatin silver print
The Art Institute of Chicago, purchased with funds provided by Pamela Phillips Weston
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Hujar’s representation of artist Greer Lankton’s legs evokes tropes of feminine glamor and imagery such as fashion photographs and pin-ups, while also recalling the fragmentation of the body Lankton effected in her sculptures.

 

Peter Hujar (American, 1934-1987) 'Dean Savard Reclining' 1984

 

Peter Hujar (American, 1934-1987)
Dean Savard Reclining
1984
Courtesy of the Peter Hujar Archive and Pace Gallery
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

Peter Hujar (American, 1934-1987) 'Merce Cunningham and John Cage' 1986 (installation view)

 

Peter Hujar (American, 1934-1987)
Merce Cunningham and John Cage (installation view)
1986
Gelatin silver print
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

Wall text from the exhibition 'David Wojnarowicz and countercultural cityscapes'

 

Wall text from the exhibition
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) David Wojnarowicz Reclining (II) 1981 (installation view)

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz Reclining (II) (installation view)
1981
Pigmented ink print
Collection of Randall Kroszner and David Nelson
© The Peter Hujar Archive / Artists Rights Society (ARS), NY
Photo: Nick Henderson

 

Peter Hujar (American, 1934-1987) 'David Wojnarowicz Reclining (II)' 1981

 

Peter Hujar (American, 1934-1987)
David Wojnarowicz Reclining (II)
1981
Pigmented ink print
Collection of Randall Kroszner and David Nelson
© The Peter Hujar Archive / Artists Rights Society (ARS), NY

 

 

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Exhibition: ‘Berenice Abbott’s New York Album, 1929’ at the Metropolitan Museum of Art, New York

Exhibition dates: 2nd March – 4th September 2023

 

Walker Evans (American, 1903-1975) [Berenice Abbott] 1929-1930

 

Walker Evans (American, 1903-1975)
[Berenice Abbott]
1929-1930
Gelatin silver print
16.9 x 11.8cm (6 5/8 x 4 5/8 in.)
Metropolitan Museum of Art
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1997
© Walker Evans Archive, The Metropolitan Museum of Art

 

Abbott appraises the camera with cool assurance in this portrait, made just after her return from Paris to New York. Her gamine-short hair and bare face affect a chic nonchalance that intrigued Evans. Describing her to a friend after their first meeting, he wrote: “You would like Berenice Abbott, with her hair brushed forward and her woozy eyes.” Her work likewise impressed the young photographer, then finding his footing in the field. Evans’s picture betrays admiration for his new acquaintance, whose burgeoning career offered a model for his own.

 

 

American visionary

What a wonderful photographer Berenice Abbott developed into and what a debt of gratitude we owe her for saving the archive of French photographer Eugène Atget whose photographs initially influenced her urban(e) style.

“Abbott felt the changing city [New York] needed an equivalent to the French photographer Eugène Atget (1857-1927), who had documented Paris during a critical period of transition in the late 19th and early 20th centuries with what Abbott called “the shock of realism unadorned.””

It is interesting to analyse Abbott’s New York photographs in relation to Atget. In photographs such as the grouping on Album Page 9: Fulton Street Fish Market and Lower East Side, Manhattan (1929, below) there is an almost symbiotic relationship between Atget’s photographs of street Petits Métiers (trades and professions) and those of Abbott. “The subjects were not sensational, but nevertheless shocking in their very familiarity,” she said of seeing Atget’s photographs in Man Ray’s studio in 1926. Similarly, we can recognise in Abbott’s grouping in Album Page: City Hall Park and Brooklyn Bridge Vicinity, Manhattan (1929, below) and Pingpank Barbershop, 413 Bleecker Street, Manhattan (1938, below) an affinity with Atget’s photographs of architectural details of door handles and the front of shops.

A step away from Atget’s aesthetic are Abbott’s photographs such as Brooklyn Bridge, With Pier 21, Pennsylvania R.R. (1937, below), West Street (1936, below) and Henry Street from Market, Looking West, Manhattan (1935, below) where the foreground of each photograph mimics Atget’s photographs of Old Paris whilst the soaring background of skyscrapers and bridges is all modernist New York, the near / far of the picture plane becoming old / new. Abbott chronicled “the changing aspect of the world’s great metropolis. … Its hurrying tempo, its congested streets, the past jostling the present.”

Still further away from Atget’s aesthetic are Abbott’s photographs grouped in Album Page 1: Financial District, Broadway and Wall Street Vicinity, Manhattan (1929, below) where the artist uses with the chiaroscuro (the treatment of light and shade) within the canyons of skyscraper New York – and modernist almost constructivist photographs such as Canyon, Broadway and Exchange Place (1936, below) and Manhattan Bridge, Looking Up (1936, below) where the artist plays with pictorial perspective by pointing her camera skywards.

Finally, there are Abbott’s photographs that bear no relation to those of Atget, where Abbott as an artist has stepped out of the older artist’s shadow and developed her own artistic signature. Those wonderfully abstract and enigmatic photographs at lower left and right in Album Page 5: Pier 17, South Street Seaport, Manhattan push the boundaries of 1930s photographic language. In other glorious photographs such as The El at Columbus and Broadway (1929, below) and The El, 2nd and 3rd Avenue Lines, Bowery and Division Street, Manhattan (1936, below) Abbott captured the random disorder of urban activity with a focused intensity of vision that produces magical images… and by that I mean, images that transport you into other spaces, other states of being. Her dadaist poet Tristan Tzara put it this way: “We leave with those leaving arrive with those arriving / leave with those arriving arrive when the others leave.”

Dr Marcus Bunyan


Many thankx to the Metropolitan Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

In January 1929, after eight years in Europe, the American photographer Berenice Abbott (1898-1991) boarded an ocean liner to New York City for what was meant to be a short visit. Upon arrival, she found the city transformed and ripe with photographic potential. “When I saw New York again, and stood in the dirty slush, I felt that here was the thing I had been wanting to do all my life,” she recalled. With a handheld camera, Abbott traversed the city, photographing its skyscrapers, bridges, elevated trains, and neighbourhood street life. She pasted these “tiny photographic notes” into a standard black-page album, arranging them by subject and locale.

Consisting of 266 small black-and-white prints arranged on thirty-two pages, Abbott’s New York album marks a key turning point in her career – from her portrait work in Paris to the urban documentation that culminated in her federally funded project, Changing New York (1935-1939). Berenice Abbott’s New York Album, 1929 presents a selection of unbound pages from this unique album, shedding new light on the creative process of one of the great photographic artists of the twentieth century. For context, the exhibition also features views of Paris by Eugène Atget (French, 1857-1927), whose extensive photographic archive Abbott purchased and publicised; views of New York City by her contemporaries Walker Evans, Paul Grotz, and Margaret Bourke-White; and photographs from Changing New York. The exhibition is made possible by The Robert Mapplethorpe Foundation, Inc.

Text from the Metropolitan Museum of Art website

 

MAP

 

This map charts some of the locations across Manhattan that Berenice Abbott photographed in her New York Album (1929). As the album bears almost no notations, identifying the exact sites depicted in the photographs had to be done through visual recognition of streets, buildings, and other urban landmarks.

Some of the iconic places Abbott photographed, such as the main branch of the New York Public Library and Trinity Church on Wall Street, haven’t changed much since 1929. Others, such as the city’s four elevated train lines and Harlem’s famed Lafayette Theater, have vanished completely. Several sites have gone through multiple transformations within the past century. The National Winter Garden Theater on Houston Street and Second Avenue opened in 1912 as a cinema and vaudeville theatre. By the time Abbott photographed it in 1929, it had been converted to a burlesque house; today, it’s a Whole Foods. The map is an invitation to explore Abbott’s photographs beyond the confines of the Museum’s galleries, and, like the artist herself, to cherish New York as a vibrant metropolis that is, and always has been, defined by change.

For their invaluable help with the historical research, The Met is grateful to the Jones Family Research Collective: former Manhattan Borough Historian Celedonia “Cal” Jones; his daughter, Diane Jones Randall; and his son, Kenneth Jones. Explore Abbott’s 1929 images of New York here with images of each album page.

 

Berenice Abbott (American, 1898-1991) 'Eugène Atget' 1927

 

Berenice Abbott (American, 1898-1991)
Eugène Atget
1927
Gelatin silver print
4 3/8 × 3 5/16 in. (11.1 × 8.4cm)
Metropolitan Museum of Art
Gift of Maria Morris Hambourg, in honour of John Szarkowski, 2020
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

Born in Ohio, Berenice Abbott moved to Paris and in 1923 became Man Ray’s darkroom assistant. In 1927 she made this photograph of Atget, the renowned documentarian of the streets of Paris and an unwitting hero of the surrealists; when she returned to his apartment to deliver a print of her portrait, Abbott learned of the elderly artist’s death. The unfortunate circumstance put in motion a process that led to Abbott’s purchase of Atget’s archive of five thousand photographs and one thousand negatives, the first (1930) monograph on Atget (edited by Abbott), and the collection’s eventual acquisition by MoMA in 1968.

In the spring of 1927, Abbott invited Atget to sit for a portrait in her Paris studio. She made only three exposures that day: a standing pose, a frontal view, and this profile view. Unfortunately, Atget never saw the photographs. When Abbott arrived at his apartment a few months later to deliver the proofs, she found that the elderly photographer had died suddenly. This portrait was used as the frontispiece in the first book devoted to his work, Atget, Photographe de Paris (1930), displayed in the case nearby.

 

Berenice Abbott (American, 1898-1991) 'James Joyce' 1926

 

Berenice Abbott (American, 1898-1991)
James Joyce
1926
Gelatin silver print
23.3 x 17.4cm (9 3/16 x 6 7/8in.)
Metropolitan Museum of Art
Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

Berenice Abbott opened a photographic portrait studio in Paris in 1926 after having worked for three years as an assistant to Man Ray, whom she had met in New York. Although her Paris portraits are indebted stylistically to Man Ray’s, she brought to them a sympathetic eye that was very much her own. Her portraits of women are notable for their empathic understanding of her subjects, but she reached a depth of expression in her photographs of James Joyce (1882-1941). Abbott photographed Joyce on two occasions, the first in 1926 at his home, the second in 1928 at her studio, as was her more customary practice. In spite of Abbott’s annotation on the back of the print, this portrait belongs to the earlier session, when Joyce was photographed both with and without the patch over his eye, worn because of his sadly degenerating sight. For this particular exposure Joyce removed the patch and held it, with his glasses, in his right hand; his forehead still bears the diagonal impression of the ribbon. This intimate portrait, with its softly diffused lighting, suggests the complex, introverted character of Joyce’s imagination. It is with good reason that Abbott’s are considered the definitive portraits of the author of “Ulysses” and “Finnegan’s Wake.”

 

Berenice Abbott (American, 1898-1991) 'Djuna Barnes' 1925

 

Berenice Abbott (American, 1898-1991)
Djuna Barnes
1925
Gelatin silver print
22.6 x 17.1cm (8 7/8 x 6 3/4 in.)
Purchase, Joyce and Robert Menschel Gift, 1987

 

Abbott lived with the American writer Djuna Barnes when she moved from Ohio to Greenwich Village in 1918, and the two women remained friends, and occasional romantic rivals, throughout their lives. In this portrait, made in Man Ray’s Paris studio, Barnes is elegantly attired and addresses the camera with a smouldering gaze above a slight smile. A decade later, Barnes would publish Nightwood (1936), a classic of lesbian fiction inspired by her tormented affair with the American artist Thelma Wood (1901-1970), who also had a brief relationship with Abbott.

 

Berenice Abbott (American, 1898-1991) 'Buddy Gilmore, Paris' 1926-1927

 

Berenice Abbott (American, 1898-1991)
Buddy Gilmore, Paris
1926-1927
Gelatin silver print
23.1 x 17.2cm (9 1/8 x 6 3/4 in.)
Purchase
Gift of the Polaroid Corporation and matching funds from the National Endowment for the Arts, 1981

 

Gilmore was an American jazz drummer known for his acrobatic dexterity and energetic solos. After seeing him perform at Zelli’s, a nightclub in Paris, Abbott invited him to her studio to pose for this action portrait with his drum set. “I was simply crazy about his playing,” she recalled.

 

Berenice Abbott (American, 1898-1991) 'Fifth Avenue, Nos. 4, 6, 8, Manhattan' March 20, 1936

 

Berenice Abbott (American, 1898-1991)
Fifth Avenue, Nos. 4, 6, 8
1936
Gelatin silver print
19.2 x 24.4cm (7 9/16 x 9 5/8 in.)
Metropolitan Museum of Art
Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

In 1929, after eight years in Paris, Abbott returned to America, bringing with her an immense collection of photographs by Eugène Atget and the ideas of European modernist photographers. Her first pictures of New York show the modernist influence in the sharply angled viewpoints and tendency toward abstraction. By the mid-1930s, however, Atget emerged as the stronger influence, as Abbott’s style became more straightforward and documentary.

In 1935 Abbott embarked on a series documenting New York funded by the Federal Art Project, and during the next four years she made hundreds of images of the city’s monuments and architecture. Ninety-seven of these, including “Fifth Avenue, Nos. 4, 6, 8,” were published in “Changing New York” (1939). The caption for this picture informs us that “No. 8 was once the home of the art collection which formed a part of the original Metropolitan Museum of Art.” It was built in 1856 for John Taylor Johnston, president of the Central Railroad of New Jersey. A leading collector of American art, Johnston was a founder of The Met and was elected its first president in 1870.

 

The New York Album

Abbott sailed for New York in January 1929, hoping to find an American publisher for a proposed book of Atget’s photographs and to promote her own portrait work. She brought with her a new handheld Curt Bentzin camera, thinking she might make some views of the city to sell to publishers in Europe. Inspired by the towering skyscrapers that had reshaped the American metropolis in the 1920s, Abbott pointed her camera up, down, and at skewed angles, creating dynamic compositions with sharp contrasts of light and shadow. She wandered all over Manhattan, photographing storefronts in Harlem, construction sites in midtown, and street vendors and tenement buildings in Chinatown and on the Lower East Side. She paid special attention to the city’s transportation infrastructure: bridges, elevated train lines, railroad terminals, ships docked on the waterfront.

Without access to a darkroom, Abbott had her negatives processed and printed at local drug stores and commercial labs. She pasted the little prints onto the pages of a standard photo album, creating a kind of sketchbook of subjects and themes. When The Met acquired it between 1978 and 1984, the album had already been disbound. Abbott reconstructed the sequence of the first eleven pages displayed here for a publication in 2013; the order of the remaining pages is unknown.

 

Changing New York

Abbott’s New York album laid the groundwork for her ambitious documentary project Changing New York (1935-1939). Comprising more than 300 negatives and a wealth of research, the project was funded by the Federal Art Project of the Works Progress Administration, a government program dedicated to supporting unemployed artists during the Great Depression. Aided by a team of researchers, field assistants, and darkroom technicians, Abbott chronicled “the changing aspect of the world’s great metropolis. … Its hurrying tempo, its congested streets, the past jostling the present.” She returned to many of the locations she visited in 1929, but the new photographs, made with a large-format view camera like the one Atget used, are more straightforward and less influenced by the jazzy, sharp-angled style of European modernism. The project culminated in a book, published in 1939, featuring ninety-seven photographs with captions by Abbott’s companion, the art critic Elizabeth McCausland. The photographs were widely exhibited and complete sets of the final images were distributed to high schools, libraries, and other public institutions throughout the New York area.

 

Berenice Abbott (American, 1898-1991) [Album Page 1: Financial District, Broadway and Wall Street Vicinity, Manhattan] 1929

 

Berenice Abbott (American, 1898-1991)
[Album Page 1: Financial District, Broadway and Wall Street Vicinity, Manhattan]
1929
Gelatin silver prints
Images: approx. 2 1/4 × 3 1/4 in. (5.7 × 8.2cm), and the reverse
Album Page: 10 × 13 in. (25.4 × 33cm), irregular
Metropolitan Museum of Art
© Berenice Abbott / Commerce Graphics Ltd. Inc.
Gift of Emanuel Gerard, 1984

 

Berenice Abbott (American, 1898-1991) [Album Page 1: Financial District, Broadway and Wall Street Vicinity, Manhattan] 1929 (detail)

 

Berenice Abbott (American, 1898-1991)
[Album Page 1: Financial District, Broadway and Wall Street Vicinity, Manhattan] (detail)
1929
Gelatin silver prints
Images: approx. 2 1/4 × 3 1/4 in. (5.7 × 8.2cm), and the reverse
Album Page: 10 × 13 in. (25.4 × 33cm), irregular
Metropolitan Museum of Art
© Berenice Abbott / Commerce Graphics Ltd. Inc.
Gift of Emanuel Gerard, 1984

 

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

Berenice Abbott (American, 1898-1991) 'Page from New York Album' 1929-1930 (detail)

 

Berenice Abbott (American, 1898-1991)
[Album Page 1: Financial District, Broadway and Wall Street Vicinity, Manhattan] (details)
1929
Gelatin silver prints
Images: approx. 2 1/4 × 3 1/4 in. (5.7 × 8.2cm), and the reverse
Album Page: 10 × 13 in. (25.4 × 33cm), irregular
Metropolitan Museum of Art
© Berenice Abbott / Commerce Graphics Ltd. Inc.
Gift of Emanuel Gerard, 1984

 

If you were an American artist or writer in the 1920s, Paris was where you wanted to be. Springfield, Ohio-born photographer Berenice Abbott (1898-1991) arrived there in 1921 by way of New York, and by early 1929 she had managed to establish herself in the French capital’s flourishing interwar avant-garde scene – first working as an assistant to Man Ray and later taking her own celebrated portraits of luminaries such as James Joyce and Djuna Barnes. She even changed the spelling of her name from “Bernice” to the more Gallic “Berenice.”

Yet somehow this magnet for culturally minded expatriates lost its hold on Abbott the moment she set foot in Lower Manhattan – on a messy January day, no less – at the beginning of what was supposed to be a short trip back to the United States. She had lived in New York once, just eight years before, but in her absence the city had been scaled up: new skyscrapers were rising, the population was exploding, and every block, it seemed, was abuzz with commerce and construction. (The market crash of October 1929 was still many months away). Suddenly, Paris was passe. “When I saw New York again, and stood in the dirty slush,” she later recalled, “I felt that here was the thing I had been wanting to do all my life.”

“Berenice Abbott’s New York Album, 1929,” a small but inspiring show at the Metropolitan Museum, channels the exhilaration Abbott felt upon arriving in the city. The exhibition’s focus is a disbound scrapbook with seven to nine photographs per page, all taken over the course of that year, as Abbott paced the streets (and piers, bridges and train platforms) with a hand-held camera and a compulsion to capture New York’s unruly, cutthroat modernity.

With its 32 pages of small contact prints processed at drugstores and commercial labs (or as Abbott called them, “tiny photographic notes”), the album can be seen as a rough draft of her well-known Works Progress Administration project of the 1930s, “Changing New York.” (Several examples from this later series are in the Met show, including a disconcertingly ethereal view of Seventh Avenue taken from the top of a 46-story building in the garment district.) But Abbott’s “New York Album” is a fascinating artwork in its own right, an adrenalized and ambitious alignment of artist and subject.

Abbott felt the changing city needed an equivalent to the French photographer Eugène Atget (1857-1927), who had documented Paris during a critical period of transition in the late 19th and early 20th centuries with what Abbott called “the shock of realism unadorned.” She had come to New York as part of an impassioned effort to promote Atget’s oeuvre, one that included purchasing the photographer’s archive after his death and making her own prints from his glass-plate negatives; in the “New York Album” she goes further, becoming, in effect, his heir.

The Met’s exhibition incorporates several Atget photographs from the museum’s collection, including one that Abbott was known to admire; it shows an early automobile garage in the Fifth Arrondissement, with a Renault parked in a cobblestoned courtyard. A similar appreciation for the collision of the newfangled with the outmoded can be seen throughout Abbott’s “New York Album,” in shots of skyscrapers looming over rows of tenements and, in one more subtle and almost surreal case, an overhead view of an equine statue photographed from the Ninth Avenue El.

Although the album is not strictly organized by location, it has a distinct cartography. Abbott gravitated to certain neighborhoods that, for her, showed the face of the new city emerging. Many of them were in lower Manhattan; multiple pages are devoted to the Lower East Side, where she was drawn to storefronts and their simultaneously poetic and transactional signage, and the Financial District, where she often pointed her camera skyward to exaggerate the intimidating height of new corporate towers.

Unlike peers such as Walker Evans, she did not take much of an interest in the human subject – or, at least, in individuals. To her, the city was a human construction and humanity was implicit in every part of it. “You’re photographing people when you’re photographing a city,” she explained in a documentary film about her life. “You don’t have to have a person in it.”

As Abbott’s biographer has noted, she was influenced by the French literary movement of Unanimism, which emphasized collective consciousness and expression. You can sense this especially in her shots of the city’s elevated train system, which revel in the formal modernism of all that interlaced steel and cast iron without losing sight of its function of moving millions of people.

As an extension of the exhibition, the Met has created a helpful digital map that identifies some of the subjects in Abbott’s album and updates them with present-day photographs (a collaboration between the Met curator of photography who organized the exhibition, Mia Fineman, and the Jones Family Research Collective, led by the Manhattan borough historian emeritus, Celedonia Jones, until his death last April). It reveals, for example, that the site of a burlesque theater on Houston Street photographed by Abbott is now a Whole Foods.

Visitors to the exhibition can spend a lot of time testing their own knowledge of the city’s geography, but the pleasures of the show have more to do with the drive and dynamism behind the pictures. “Berenice Abbott’s New York Album, 1929” takes us back to an invigorating moment in the history of the metropolis, captured on the fly by an emergent modern artist.

During her upbringing in Ohio, Abbott had planned to be a journalist – she attended Ohio State University’s School of Journalism before turning to art – and it’s clear from her photography that she never lost that instinct for wanting to be where the story was. In those early months of 1929 she recognized that New York was the big story; looking at her “New York Album” gives us hope that it could be again.

Karen Rosenberg. “Berenice Abbott Captured Manhattan in the Throes of Heady Change,” on the New York Times website August 16, 2023 [Online] Cited 21/08/2023

 

Unanimism

Unanimism (French: Unanimisme) is a movement in French literature begun by Jules Romains in the early 1900s, with his first book, La vie unanime, published in 1904. It can be dated to a sudden conception Romains had in October 1903 of a ‘communal spirit’ or joint ‘psychic life’ in groups of people. It is based on ideas of collective consciousness and collective emotion, and on crowd behaviour, where members of a group do or think something simultaneously. Unanimism is about an artistic merger with these group phenomena, which transcend the consciousness of the individual. Harry Bergholz writes that “grossly generalising, one might describe its aim as the art of the psychology of human groups”. Because of this collective emphasis, common themes of unanimist writing include politics and friendship.

Text from the Wikipedia website

 

Berenice Abbott (American, 1898-1991) [Album Page: Madison Square Park, Third Avenue and Ninth Avenue Elevated Train Lines, Manhattan] 1929

 

Berenice Abbott (American, 1898-1991)
[Album Page: Madison Square Park, Third Avenue and Ninth Avenue Elevated Train Lines, Manhattan]
1929
Gelatin silver prints
Images: 5.3 x 7.8cm (2 1/16 x 3 1/16 in.)
Sheet: 6.4 x 8.7cm (2 1/2 x 3 7/16 in.)
Album Page: 25.4 x 30.3cm (10 x 11 15/16in.)
Metropolitan Museum of Art
© Berenice Abbott / Commerce Graphics Ltd. Inc.
Gift of Emanuel Gerard, 1978

 

In 1921 Ohio-native Abbott left New York to study in Paris. Returning to the city in 1929, she found it transformed and ripe with photographic potential. Following the model of the French photographer Eugène Atget, whose street views of Paris she admired, Abbott ventured around New York photographing seemingly incidental, but often profound, scenes that captured the city’s changing character. This page of small-scale photographs is one example of many of similar album pages in the Metropolitan’s collection. Assembled by Abbott, the album from which they derive comprised a kind of photographer’s sketchbook for subjects and themes.

 

Berenice Abbott (American, 1898-1991) [Album Page: City Hall Park and Brooklyn Bridge Vicinity, Manhattan] 1929

 

Berenice Abbott (American, 1898-1991)
[Album Page: City Hall Park and Brooklyn Bridge Vicinity, Manhattan]
1929
Gelatin silver print
Album Page: 25.4 x 33.2 cm (10 x 13 1/16 in.), irregular
Metropolitan Museum of Art
© Berenice Abbott / Commerce Graphics Ltd. Inc.
Gift of Emanuel Gerard, 1981

 

Berenice Abbott (American, 1898-1991) [Album Page 5: Pier 17, South Street Seaport, Manhattan] 1929

 

Berenice Abbott (American, 1898-1991)
[Album Page 5: Pier 17, South Street Seaport, Manhattan]
1929
Gelatin silver prints
Images: approx. 5.6 x 8.2cm (2 1/4 x 3 1/4 in.), and the reverse
Album Page: 25.3 x 30.5cm (9 15/16 x 12 in.), irregular
Metropolitan Museum of Art
© Berenice Abbott / Commerce Graphics Ltd. Inc.
Gift of Emanuel Gerard, 1982

 

Berenice Abbott (American, 1898-1991) [Album Page 9: Fulton Street Fish Market and Lower East Side, Manhattan] 1929

 

Berenice Abbott (American, 1898-1991)
[Album Page 9: Fulton Street Fish Market and Lower East Side, Manhattan]
1929
Gelatin silver print
Images: approx. 5.6 x 8.2cm (2 1/4 x 3 1/4 in.), and the reverse
Album Page: 25.3 x 30.5 cm (9 15/16 x 12 in.), irregular
Metropolitan Museum of Art
© Berenice Abbott / Commerce Graphics Ltd. Inc.
Gift of Emanuel Gerard, 1981

 

Berenice Abbott (American, 1898-1991) [Sumner Healy Antique Shop, 942 3rd Avenue near 57th Street, Manhattan] 1930s, printed 1936

 

Berenice Abbott (American, 1898-1991)
[Sumner Healy Antique Shop, 942 3rd Avenue near 57th Street, Manhattan]
1930s, printed 1936
Gelatin silver print
8 1/8 × 9 15/16 in. (20.6 × 25.2cm)
Metropolitan Museum of Art
Gift of Phyllis D. Massar, 1971
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

In 1935 Abbott embarked on a series of photographs documenting New York City. Funded by the Federal Art Project, during the next four years she made hundreds of images of the city’s monuments and architecture, including this one of Sumner Healey’s shop. Attracted to the “extraordinary montage of antiques” – anchored by a ten-foot-tall figurehead of Mars from an eighteenth-century battleship – Abbott also captured the owner’s cat, seemingly trapped on either side by the decorative dogs flanking the store’s entrance. Healey died soon after Abbott made this photograph, and the shop closed two years later.

 

Berenice Abbott (American, 1898-1991) 'Pingpank Barbershop, 413 Bleecker Street, Manhattan' 1938

 

Berenice Abbott (American, 1898-1991)
Pingpank Barbershop, 413 Bleecker Street, Manhattan
1938
Gelatin silver print
24.5 × 19.7cm (9 5/8 × 7 3/4 in.)
Twentieth Century Photography Fund, 2013

 

With its subtle interplay of reflection and interior, this slightly oblique view of a barbershop window reveals the influence of Atget’s photographs of Parisian storefronts. When Abbott made this image, August Pingpank was eighty-seven and was said to be the oldest barber in New York City. He lamented to Federal Art Project researchers that he would soon have to retire due to the invention of the safety razor: “It’s different now with men shaving themselves every morning at home.”

 

 

Berenice Abbott’s New York Album, 1929 presents selections from a unique unbound album of photographs of New York City created by American photographer Berenice Abbott (1898-1991), shedding light on the creative process of one of the great artists of the 20th century. Consisting of 266 small black-and-white prints arranged on 32 pages, the album is a kind of photographic sketchbook that offers a rare glimpse of an artist’s mind at work. In addition to some 25 framed album pages, the exhibition features photographs from The Met collection of Paris streets by Eugène Atget, whose archive Abbott purchased and promoted; views of New York by her contemporaries Walker Evans and Margaret Bourke-White; and selections from Abbott’s grand documentary project, Changing New York (1935-1939).

“Berenice Abbott’s groundbreaking work in photography continues to inspire and captivate audiences today, nearly a century after she first began documenting the world around her,” said Max Hollein, Marina Kellen French Director of The Met. “Abbott’s insightful and powerful images provide a window into the New York of the past, while also reminding us of the city’s enduring vitality and resilience.”

Born in Ohio, Abbott moved to New York City in 1918 and to Paris in 1921. She learned photography as a darkroom assistant in Man Ray’s studio and soon established herself as a prominent portraitist of the Parisian avant-garde. Through Man Ray, Abbott met the ageing French photographer Eugène Atget, whose documentation of Paris and its environs struck her as a model of modern photographic art. Following Atget’s sudden death in 1927, she purchased his archive of some 8,000 prints and 1,500 glass negatives and set about promoting his work through exhibitions and publications.

In January 1929, after eight years in Europe, Abbott boarded an ocean liner to New York City for what was intended to be a short visit. Upon arrival, she found the city transformed and ripe with photographic potential. “When I saw New York again, and stood in the dirty slush, I felt that here was the thing I had been wanting to do all my life,” she recalled. Inspired by Atget, Abbott traversed the city with a handheld camera, photographing its skyscrapers, storefronts, bridges, elevated trains, and neighbourhood street life. She pasted these “notes” into a standard black-page album, arranging them by subject and locale. As the immediate precursor to her 1930s WPA project, Changing New York, Abbott’s New York album marks a key moment of transition in her career: from Europe to America and from studio portraiture to urban documentation. The exhibition will be accompanied by an online feature that identifies, for the first time, the locations of many of the photographs in the album.

Berenice Abbott’s New York Album, 1929 is organised by Mia Fineman, Curator in the Department of Photographs, with assistance from Virginia McBride, Research Assistant in the Department of Photographs, both at The Met.

Press release from the Metropolitan Museum of Art

 

Berenice Abbott (American, 1898-1991) 'The El at Columbus and Broadway' 1929

 

Berenice Abbott (American, 1898-1991)
The El at Columbus and Broadway
1929
15.0 x 20.3cm (5 15/16 x 8 in.)
Metropolitan Museum of Art
Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

Following her eight years of expatriate life in Paris, Abbott saw New York with European eyes. In this view, made shortly after her return, she captured the random disorder of urban activity as handily as her friend the dadaist poet Tristan Tzara, who put it this way: “We leave with those leaving arrive with those arriving / leave with those arriving arrive when the others leave.”

 

Berenice Abbott (American, 1898-1991) [The El, 2nd and 3rd Avenue Lines, Bowery and Division Street, Manhattan] 1936

 

Berenice Abbott (American, 1898-1991)
[The El, 2nd and 3rd Avenue Lines, Bowery and Division Street, Manhattan]
1936
Gelatin silver print
Image: 9 11/16 × 7 5/8 in. (24.6 × 19.3cm)
Sheet: 9 7/8 × 7 15/16 in. (25.1 × 20.1cm)
Metropolitan Museum of Art
© Berenice Abbott / Commerce Graphics Ltd. Inc.
Gift of Phyllis D. Massar, 1971

 

Manhattan’s elevated (El) train lines fascinated Abbott when she first photographed the city in 1929. Seven years later, she used her large-format camera to capture this shadowed vista beneath the El in Chinatown. “I was right in the middle of the street on a little island,” she recalled. “This was one of the occasions when it was downright dangerous to document New York, with traffic whizzing by on both sides, but it was very important to get in exactly the right position to make the photograph work.”

 

Berenice Abbott (American, 1898-1991) [Manhattan Bridge] 1936

 

Berenice Abbott (American, 1898-1991)
[Manhattan Bridge]
1936
Gelatin silver print
Metropolitan Museum of Art
Gift of Phyllis D. Massar, 1971
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

The Brooklyn Bridge was New York’s first and most famous, but Abbott favoured the all-steel Manhattan Bridge, completed in 1909. She made this photograph on the southern pedestrian walkway; the vibrations of the suspension bridge required a fast shutter speed to avoid blur. “I seem to veer toward waterfronts,” she later said. “As Melville wrote in Moby Dick, the heart of a port city is around its waterfront, and by nature I seem to head right there. Perhaps I should have been a sailor – boats and bridges have always fascinated me.”

 

Berenice Abbott (American, 1898-1991) [Seventh Avenue Looking South from Thirty-fifth Street, New York] 1935

 

Berenice Abbott (American, 1898-1991)
[Seventh Avenue Looking South from Thirty-fifth Street, New York]
1935
Gelatin silver print
Metropolitan Museum of Art
Gift of Phyllis D. Massar, 1971
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

Abbott made this overhead view of skyscrapers in the garment district from atop the forty-six-story Nelson Tower on Seventh Avenue. The roof of the original Pennsylvania Station, demolished in 1962, can be seen in the lower right corner.

 

Berenice Abbott (American, 1898-1991) 'Canyon, Broadway and Exchange Place' 1936

 

Berenice Abbott (American, 1898-1991)
Canyon, Broadway and Exchange Place
1936
Gelatin silver print
23.8 x 19.3cm (9 3/8 x 7 5/8 in.)
Metropolitan Museum of Art
Gift of Joyce and Robert Menschel, 1991
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

Berenice Abbott (American, 1898-1991) 'Manhattan Bridge, Looking Up' 1936

 

Berenice Abbott (American, 1898-1991)
Manhattan Bridge, Looking Up
1936
Gelatin silver print
24.5 x 19.4cm (9 5/8 x 7 5/8 in.)
Metropolitan Museum of Art
Gift of Phyllis D. Massar, 1971
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

Berenice Abbott (American, 1898-1991) 'Brooklyn Bridge, With Pier 21, Pennsylvania R.R.' 1937

 

Berenice Abbott (American, 1898-1991)
Brooklyn Bridge, With Pier 21, Pennsylvania R.R.
1937
Gelatin silver print
19.4 x 24.4cm (7 5/8 x 9 5/8 in.)
Metropolitan Museum of Art
Gift of Joyce and Robert Menschel, 1991
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

Berenice Abbott (American, 1898-1991) 'West Street' 1936

 

Berenice Abbott (American, 1898-1991)
West Street
1936
Gelatin silver print
19.1 x 24cm (7 1/2 x 9 7/16 in. )
Metropolitan Museum of Art
Gift of Jane and Mark Ciabattari, 2000
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

Berenice Abbott (American, 1898-1991) 'Henry Street from Market, Looking West, Manhattan' 1935

 

Berenice Abbott (American, 1898-1991)
Henry Street from Market, Looking West, Manhattan
1935
Gelatin silver print
19.2 x 24.2cm (7 9/16 x 9 1/2 in.)
Metropolitan Museum of Art
Gift of Joyce F. Menschel, 2012
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

Berenice Abbott (American, 1898-1991) 'Automat, 977 Eighth Avenue, Manhattan' 1936

 

Berenice Abbott (American, 1898-1991)
Automat, 977 Eighth Avenue, Manhattan
1936
Gelatin silver print
Image: 19.4 x 24.6cm (7 5/8 x 9 11/16 in.)
Sheet: 22 x 25.3cm (8 11/16 x 9 15/16 in.)
Metropolitan Museum of Art
Gift of Joyce F. Menschel, 2011
© Berenice Abbott / Commerce Graphics Ltd. Inc.

 

During the Depression, Horn & Hardart’s chain of “waiterless restaurants” served as many as eight hundred thousand freshly prepared meals a day to customers in New York and Philadelphia. With its clean lines, polished chrome details, and mechanical efficiency, the Automat struck Abbott as “an extremely American artefact.” New York’s first Automat opened in Times Square in 1912, but Abbott chose to document the branch at Columbus Circle, popular as a nighttime gathering spot for musicians and cabaret patrons.

 

Eugène Atget (French, 1857-1927)

 

Eugène Atget (French, 1857-1927) Printer: Berenice Abbott (American, 1898-1991) 'Street Musicians' 1898-1999, printed 1956

 

Eugène Atget (French, 1857-1927)
Printer: Berenice Abbott (American, 1898-1991)
Street Musicians
1898-1999, printed 1956
Title page from the portfolio 20 Photographs by Eugène Atget (1856-1927), 1956
Published by Berenice Abbott, New York Gelatin silver print from glass negatives David Hunter McAlpin Fund, 1956

 

In 1956 Abbott produced a portfolio of twenty new prints from Atget’s glass-plate negatives and offered it by subscription to museums, libraries, and private collectors. This photograph of an organ grinder and exuberant female singer belongs to a series of photographs devoted to the rapidly vanishing street trades, or petits métiers, of Paris.

 

Eugène Atget (French, 1857-1927) [Atget's Work Room with Contact Printing Frames] c. 1910

 

Eugène Atget (French, 1857-1927)
[Atget’s Work Room with Contact Printing Frames]
c. 1910
Albumen silver print from glass negative
20.9 x 17.3cm (8 1/4 x 6 13/16 in.)
Metropolitan Museum of Art
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1990

 

This straightforward study by Atget of his own work room offers a rare glimpse of the inner sanctum of an auteur éditeur, as he described his profession. On the table are the wooden frames the photographer used to contact print his glass negatives; at right are several bins of negatives stacked vertically; below the table are his chemical trays; on the shelves above are stacks of paper albums – a shelf label reads escaliers et grilles (staircases and grills). Atget used these homemade albums to organise his vast picture collection from which he sold views of old Paris to clients.

 

Eugène Atget (French, 1857-1927) '15, rue Maître-Albert' 1912

 

Eugène Atget (French, 1857-1927)
15, rue Maître-Albert
1912
Gelatin silver print from glass negative
23.2 x 17.6 cm (9 1/8 x 6 15/16 in.)
Metropolitan Museum of Art
Rogers Fund, 1991
Creative Commons CC0 1.0

 

Eloquent testimony to Atget’s keen regard for the expressions of common folk, this photograph was part of a self-assigned survey of storefronts and commercial signs. Atget ennobled the little grocery with its modest façade and rudimentary display (covered for lunch hour against the midday heat) and framed it simply, thus withdrawing it from the predictable realm of the picturesque.

 

Eugène Atget (French, 1857-1927) 'Courtyard, 7 Rue de Valence, 5th arr.' June 1922

 

Eugène Atget (French, 1857-1927)
Courtyard, 7 Rue de Valence, 5th arr.
1922
Gelatin silver print from glass negative
Image: 17.2 x 22.7cm (6 3/4 x 8 15/16 in.)
Mount: 36.7 x 28.7cm (14 7/16 x 11 5/16 in.)
Metropolitan Museum of Art
Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005

 

Atget found his vocation in photography in 1897, at the age of forty, after having been a merchant seaman, an itinerant actor, and a painter. He became obsessed with making what he termed “documents” of Paris and its environs, and with compiling a visual compendium of the architecture, landscape, and artefacts that distinguish French culture and its history. By the end of his life, Atget had amassed an archive of over 8,000 negatives that he had organised into such categories as Parisian Interiors, Petits Métiers (trades and professions), and Vehicles in Paris.

The subject of this photograph is an early automobile garage occupying a timeworn courtyard near the intersection of rue Mouffetard and rue Monge in the fifth arrondissement. Although Atget’s interest was primarily in the texture of old Paris – not the city’s new promenades and modern monuments – he did make a few studies of automobiles, signs of modern times, beginning in 1922. Beside a pair of motorcycles rests an early-model Renault touring car, probably dating from 1908. It, too, may be a relic: its four-cylinder engine lies beside it.

 

Eugène Atget (French, 1857-1927) Printer: Berenice Abbott (American, 1898-1991) 'Fête du Trône' 1925, printed c. 1929

 

Eugène Atget (French, 1857-1927)
Printer: Berenice Abbott (American, 1898-1991)
Fête du Trône
1925, printed c. 1929
Matte gelatin silver print from glass negative
23.4 x 17cm (9 3/16 x 6 11/16 in.)
Metropolitan Museum of Art
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1999

 

Abbott made new contact prints from Atget’s glass-plate negatives, experimenting with various photographic papers and processes to try to approximate the clarity and detail of Atget’s own prints. Sometime early in 1930, Walker Evans visited Abbott’s studio in New York’s Hotel des Artistes, where she stored her vast Atget archive. Deeply affected by the French photographer’s work, Evans left that day with four of Abbott’s Atget prints: this one, Boutique, Marché aux Halles (displayed to the right), and two others. Although Atget’s work was never exhibited during his lifetime, his soulful documentation of Paris had a profound impact on both Abbott and Evans, and contributed to the emergence of a documentary style in twentieth-century American art photography.

 

Learning from Atget

When Abbott met Eugène Atget in 1926, he had been photographing Paris for thirty years. Working with a large wooden-view camera, Atget made what he modestly called “documents” of the city, compiling a vast visual archive of Parisian streets, courtyards, gardens, shop windows, architectural details, apartment interiors, and tradespeople. Atget’s studio was on the same street in Montparnasse as that of Man Ray, who purchased several dozen of his photographs, publishing four of them in the journal La Révolution surréaliste. Abbott was instantly captivated by Atget’s photographs when she encountered them in Man Ray’s studio. “Their impact was immediate and tremendous,” she recalled. “There was a sudden flash of recognition – the shock of realism unadorned. The subjects were not sensational, but nevertheless shocking in their very familiarity.” In 1927 Abbott persuaded Atget to sit for a portrait in her own studio on the rue du Bac. Months later, following his sudden death at age seventy, she purchased his archive of some 8,000 prints and 1,500 glass negatives and set about promoting his work through exhibitions, publications, and sales of the prints, a selection of which are on display here. When she moved to New York in 1929, Abbott brought the archive with her, and eventually sold it to the Museum of Modern Art in 1968.

 

Eugène Atget (French, 1857-1927) Printer: Berenice Abbott (American, 1898-1991) 'Boutique, Marché aux Halles, Paris' 1925, printed c. 1929

 

Eugène Atget (French, 1857-1927)
Printer: Berenice Abbott (American, 1898-1991)
Boutique, Marché aux Halles, Paris
1925, printed c. 1929
Matte gelatin silver print from glass negative
23.1 x 17cm (9 1/8 x 6 11/16 in. )
Metropolitan Museum of Art
Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1999
Creative Commons CC0 1.0

 

Eugène Atget (French, 1857-1927) 'Rue Laplace and Rue Valette, Paris' 1926

 

Eugène Atget (French, 1857-1927)
Rue Laplace and Rue Valette, Paris
1926
Gelatin silver print from glass negative
Image: 22 x 17.6cm (8 11/16 x 6 15/16 in.)
Metropolitan Museum of Art
The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, by exchange, 1970
Creative Commons CC0 1.0

 

Eugène Atget (French, 1857–1927) 'Avenue des Gobelins' 1927

 

Eugène Atget (French, 1857-1927)
Avenue des Gobelins
1927
Gelatin silver print from glass negative
36.8 x 28.6cm (14 1/2 x 11 1/4 in.)
Metropolitan Museum of Art
Purchase, Rogers Fund, and Joyce and Robert Menschel and Harriette and Noel Levine Gifts, 1994

 

In this headless mannequin, clothed in a simple white uniform, Atget recognised a modern version of the commedia dell’arte clown Gilles, depicted by the eighteenth-century painter Jean Antoine Watteau, for example. It was for the type of transforming vision seen in this picture, which is among the very last in Atget’s lifelong exploration of Paris, that the artist’s work was so enthusiastically embraced by the Surrealists.

 

 

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