Exhibition dates: 14th February – 23rd April, 2023
Paul Strand (American, 1890-1976)
Parmesan, LuzzaraāØ
1953
Gelatin silver print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Balance of forces
Look at the “colour” of the Parmesan cheese in Strand’s photograph Parmesan, LuzzaraāØ (1953, above). If we think of Ansel Adam’s ‘Zone System’ (the 11 zones in the system from 0-10) where pure black is Zone 0, mid grey (the colour of a Kodak Grey Card) is Zone 5 and pure white is Zone 10… then in “real life” the colour of the wheel of Parmesan would fall in about Zone 5. But what does Strand do? He places the “colour” of the Parmesan wheel in Zone 2-3, much darker than in real life.
In Strand’s “continuous search for a photographic formalism” ā that is, the most important aspect of the photograph being its form, the way it is made and its purely visual aspects rather than its narrative content or its relationship to the visible world ā then we would ignore Strand’s moving zones, his dark, brooding cheese.
I think not.
Strand’s formalism does not stand alone, for his photographs breathe the subject he is photographing. They are not just surfaces (which is what formalism is), for the viewer is invited to imbibe (absorb or assimilate (ideas or knowledge)) of the intensity and feeling of the culture and people from which these photographs emerge. Feel the intensity of the gaze of Young Boy, Gondeville, Charente, France (1951, below). Imagine placing yourself in the ethereal space of Tir a’Mhurain, Isle of South Uist, Outer Hebrides (1954, below). Dark cheese.
Strand’s photographs are formal and yet they contain a luminiferous ether/real ā transmitting light, but also acting as a medium for the transmission and propagation of spirit.
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.
Through each trip, Paul Strand tries to tell the real life of people: humble people, affected by wars, bad weather, diseases, oppressive regimes… The artist highlights those who fight for their freedom, for their happiness. Touching stories, which give all their power to these photographs.
Art and documentary research, social and political involvement and the desire to remain objective: these ambivalences bring great strength to Paul Strand’s work. It is these opposing imperatives that make his photographs so interesting, so exciting for us as viewers.
CĆ©cile D. “Exhibition Paul Strand Or The Balance of Forces, A Journey in Photos at the HCB Foundation,” on the Sotir Paris website February 13, 2023 [Online] Cited 19/03/2023
The Fondation HCB offers a new perspective on the work of American photographer Paul Strand (1890-1976) from the collections of the FundaciĆ³n MAPFRE, Madrid. While Strand is often celebrated as a pioneer of straight photography, this exhibition also addresses the deeply political dimension of his work.
Interview de ClĆ©ment ChĆ©roux sur l’exposition Paul Strand ou l’Ć©quilibre des forces
Martine Franck (British-Belgian, 1938-2012)
Photographer Paul Strand in his garden, Orgeval
1972
Ā© Martine Franck / Magnum Photos
Paul Strand (American, 1890-1976)
Wall Street, New York
1915
Platinum/palladium Print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Sandwich Man, New York
1916
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Blind Woman, New York
1916
Gelatin silver print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
In the mid 1910s Paul Strand produced a series of images of New York portraying a truly genuine perspective of the city. Strand, a young photographer at the time, connected with modern art and incorporated some of its tendencies into a series of unprecedented views of the metropolis. Anticipating Straight Photography, he made images that distanced themselves from the precepts of Pictorialism through a direct portrayal of reality.
His photographs rapidly found favourable reception within the pages of Camera Work, the legendary magazine directed by Alfred Stieglitz who dedicated the last two issues of the publication to Strand’s compositions. Almost half of the images that appeared were close-up portraits shot with a rudimentary system that allowed Strand to photograph his subjects without them noticing. These surprising shots offered a lively perspective of the city and focused on some of its figures, who were marginal albeit ubiquitous, and seldom represented. With this attention to the periphery of urban life, Strand manifested his commitment to reality rooted in the example of his mentor Lewis Hine.
Blind Woman is one of the most iconic images in the history of North American photography. Published in 1917 by Stieglitz it combines the compositional strength and sharp clarity characteristic of Strand’s work.
Text from the FundaciĆ³n MAPFRE Collections website
Paul Strand (American, 1890-1976)
Abstraction, Bowls, Twin Lakes, Connecticut
1916
Gelatin silver print
22.5 Ć 16.5cm
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Abstraction, Porch Shadows
1916
Silver gelatin print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Portrait, Washington Square Park, New York
1916 (negative); 1917 (photogravure)
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
The Fondation HCB offers a new perspective on the work of American photographer Paul Strand (1890-1976) from the collections of the FundaciĆ³n MAPFRE, Madrid. While Strand is often celebrated as a pioneer of straight photography, this exhibition also addresses the deeply political dimension of his work.
“Opposites are cured by opposites,” goes the saying. American photographer Paul Strand (1890-1976) was heir to two great traditions in photography, often presented as opposed. He had a formalist approach that sought to prove photography an art, and a social approach, which saw photography as more of a documentary instrument serving political ends. Perhaps this is explained by the fact that Alfred Stieglitz and Lewis Hine, who occupy the two poles in photography history, were both Strand’s mentors in his formative years.
While in the mid-1910s Strand photographed faces of the people on the streets of New York, the first period of his work is especially marked by formalism. In 1917, when Stieglitz dedicated the latest issue of his famous magazine Camera Work to Strand, it was above all to show that photography had its own artistic language. Starting with a journey to Mexico City (1932-1934), then Moscow (1935), his approach became more political. He joined the American Labor Party and worked with more than twenty organisations classified “anti-American” during the McCarthy era, leading to his departure from the United States for France. Many of Strand’s choices were deliberated through this political conscience: his choice of subject, places he photographed, writers he worked with, the book as main vector for distributing his work.
In the past few decades, numerous exhibitions have been held on Strand focusing on his formalism. By no means minimising this perspective, the current project seeks to recontextualise Strand, emphasising the importance of his political commitments. Between formalist pursuits and social concerns, the two forces at work in his art are brought into balance here. If Strand often stands among the 20th century’s major photographers, it is precisely because he knew how to offer just equilibrium between the two poles.
The exhibition presents almost 120 prints from the collections of the FundaciĆ³n MAPFRE, Madrid, the film Manhatta made by Paul Strand and Charles Sheeler in 1921 as well as several prints lent by the Centre Pompidou.
Biography
Born in 1890 in New York, Paul Strand entered the New York Ethical Culture School (ECS) in 1907 where he studied under Lewis Hine, who introduced him to the Photo Secession gallery, founded by Alfred Stieglitz at 291 Fifth Avenue. Stieglitz had an important influence on Paul Strand’s work from the beginning. In 1916, his work was published for the first time in Stieglitz’s magazine, Camera Work, of which he was an avid reader, and then exhibited at 291 in the exhibition Photographs from New York and Other Places. During the war, Paul Strand worked as a hospital radiographer and, after his close-ups of machines, began to take an interest in surgical technique. In 1919 he travelled to Nova Scotia in Canada where he photographed his first landscapes and rock piles.
In 1921, Paul Strand made the film Manhatta with the photographer and painter Charles Sheeler. Between 1925 and 1932, various exhibitions of his work were shown in New York galleries. He travelled to Mexico from 1932 to 1934, during which time he had a solo exhibition at the Sala de Arte in Mexico City, was appointed Head of Film and Photography at the Mexican Secretariat of Education, and directed the film The Revolts of Alvarado (Redes) for the Mexican government.
Paul Strand travelled to the USSR in 1935, where he met Sergei Eisenstein. He then joined the Nykino group, around Leo Hurwitz, Ralph Steiner and Lionel Berman. Two years later, he became president of Frontier Film, a non-profit educational film production company, with former Nykino members.
In 1943, Paul Strand returned to photography after more than ten years in the film industry. In 1945, MoMA gave him a solo exhibition. From 1949 to 1957, the photographer undertook several trips to Europe, from which several books were written, and began an exile outside the United States, which coincided with the period of McCarthyism. He settled in Orgeval, France, where he remained until his death in 1976.
Press release from the Fondation HCB
ManhattaĀ (1921) | Paul Strand ā Charles Sheeler
In 1920 Paul Strand and artist Charles Sheeler collaborated on Manhatta, a short silent film that presents a day in the life of lower Manhattan. Inspired by Walt Whitman’s book “Leaves of Grass,” the film includes multiple segments that express the character of New York. The sequences display a similar approach to the still photography of both artists. Attracted by the cityscape and its visual design, Strand and Sheeler favoured extreme camera angles to capture New York’s dynamic qualities. Although influenced by Romanticism in its view of the urban environment, Manhatta is considered the first American avant-garde film.
Paul Strand (American, 1890-1976)
St. Francis Church, Ranchos de Taos, New Mexico
1931
Platinum/palladium Print
17.1 Ć 21.8cm
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Men of Santa Ana, Lake PƔtzcuaro, MichoacƔn
1933
Gelatin silver print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Man with Hoe ā Los Remedios
1933
Gelatin silver print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Cristo with Thorns – Huexotla
1933
Silver gelatin print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Mr. Bolster, Weston, Vermont
1943
Silver gelatin print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Mr. Bennett, West River Valley, Vermont
1944
Gelatin silver print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
In 1945 a major exhibition dedicated to the work of Paul Strand took place at the Museum of Modern Art in New York that included 172 photographs, becoming the greatest retrospective devoted to a photographer to date. The project was conceived by Nancy Newhall, Head of the Department of Photography at the institution, who during the show’s preparation proposed to collaborate with Strand on a book about New England, a region located in the northeastern United States.
For a little over a month and a half Strand travelled with his camera throughout the region. His previous experience in Mexico had provided him with an attentive eye for capturing the social and cultural reality of the territory; in this instance through photographs of landscapes, diverse forms of architecture, and through his characteristic portraits. Resulting from this process his first photobook, Time in New England, was published in 1950, with texts by Nancy Newhall. The project’s outcome and his successful collaboration with Newhall inspired Strand to initiate a series of publications that coincided with a growing demand for travel books.
Text from the FundaciĆ³n MAPFRE Collections website
Paul Strand (American, 1890-1976)
CafƩ Planchon, France
1950
Gelatin silver print on baryta paper
24.4 Ć 19.4cm
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
In 1950 Paul Strand left the United States due in great measure to the increasingly hostile social and political environment generated by the “witch hunt” of McCarthyism. Together with Hazel Kingsbury, who would become his third wife, Strand arrived in France. After their wedding that following year, they traveled the country together. Resulting from this journey and following the format of joining image and text that was established in his book Time in New England, the artist produced La France de Profil [France in Profile] in 1952. The book was published by renowned Swiss publisher Guilde du Livre, with texts by the writer and poet Claude Roy, whose points of view on the social reality and the ethical commitment of artists coincided with Strand’s.
In CafĆ© Planchon Paul Strand presents a rhetoric characteristic of the avant-garde, one of texts that belie the visual reality they attempt to portray, which grants them an inevitable and warm ironical distance. The image also contains a sense of artistic joy that is not merely related to the formal composition but is manifested in the proliferation of the vegetation, in the tactility of textures, and in the charming gradation of light that is finally enveloped by shadow. The richness of the image arises as a result of the photographer’s attention to this particular reality, which is celebrated in the book, as well as his technical prowess and the dedication he poured into the prints made in the darkroom.
Text from the FundaciĆ³n MAPFRE Collections website
Paul Strand (American, 1890-1976)
Fisherman, Banyuls, PyrƩnƩes-Orientales, France
1950-1951
Silver gelatin print
16.1 Ć 12.5cm
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Young Boy, Gondeville, Charente, France
1951
Gelatin silver print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
In 1952 Paul Strand published La France de profil [France in Profile] which included the photographs he took during his trip throughout the country. With texts by Claude Roy, the book was published by Swiss publisher Guilde du Livre, which had been producing a collection of travel books since the 1940s containing texts by well known writers such as Paul Ćluard and Jacques PrĆ©vert, and photographs by artists such as Robert Doisneau and Michel Huet.
In a similar fashion to how he had articulated a unique perspective far from the hegemonic exoticising of Mexico during the 1930s, Strand portrayed France in a way that did not settle on its most picturesque features. As inferred by the title, the series is an oblique perspective on the territory materialised through an assortment of images that are arranged in a singular style. Towns, landscapes, examples of vernacular architecture, and faces of elderly people and fishermen appear next to photographs detailing small objects that ā beyond their documentary value ā join the artistic language of images while simultaneously evoking the time that is inscribed within them.
Young Boy captures the characteristic intensity of the gamut of black and white hues in Strand’s work. The beauty hidden within the heroic ruggedness of the boy’s face, emphasised by the artist’s treatment of light, exemplifies the way in which Strand’s attention to the artistic values he upholds effectuates his political commitment.
Text from the FundaciĆ³n MAPFRE Collections website
Paul Strand (American, 1890-1976)
Anna Attinga Frafra, Accra, Ghana
1951
Gelatin silver print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Throughout the 1960s, during the Cold War, Paul Strand continued his documentary work traveling to different socialist countries such as Romania, Egypt, and Ghana. As evidenced by the series of photobooks that he published, Strand’s perspective on these realities is translated into portraits, landscapes, and images of the communitiesā daily life and their objects. Nevertheless, although direct references to political issues are eloquently scarce in his photographs, some elements can be observed that subtly point to the positive aspects of the revolutionary processes occurring in these countries.
Such is the case of the portrait of Anna Attinga Frafra ā included in Ghana: An African Portrait (New York, Aperture, 1976) ā in which the simplicity of the composition points to one dissonant element: the books balanced on the girl’s head. The symbolic character of the image serves as a reference to the literacy and education campaigns planned for the Ghanaian populations, which included women, and has an undoubtedly, albeit subtle, propagandistic nature. Nevertheless, the photograph makes sense and coexists seamlessly with the other images that make up the series. As a whole, they offer a vision that is an alternative from ethnographic typology, incorporating the reality of the aspirations, efforts, and hopes of the community without becoming crude propaganda.
Text from the FundaciĆ³n MAPFRE Collections website
Paul Strand (American, 1890-1976)
The Lusetti Family, Luzzara, Italy
1953
Gelatin silver print
16.9 Ć 21.3cm
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Luzzara
1953
Gelatin silver print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Postmistress and Daughter, Luzzara, Italy
1953
Silver gelatin print
33.3 Ć 26.4cm
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
House, Benbecula, Isle of South Uist, Outer Hebrides
1954
Silver gelatin print
14.9 Ć 11.7cm
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Milly, John and Jean MacLellan, South Uist, Hebrides
1954
Silver gelatin print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Agnes MacDonald, Morag and Ewen MacLellan, Isle of South Uist, Outer Hebrides
1954
Silver gelatin print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Tir a’Mhurain, Isle of South Uist, Outer Hebrides
1954
Silver gelatin print
14.8 Ć 12.4cm
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand (American, 1890-1976)
Un paese
1955
Silver gelatin print
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
300,000 lire, 10 sheets, 10 pillowcases, 10 towels, 10 parures and the bedroom are not enough to marry me, you can’t do less. He has to go into the army, otherwise we’d get married right away even if there’s little work. This year he has done less than a thousand hours of work.
Text by Zavattini, photographs by Paul Strand, Turin, Einaudi, 1955, p. 73
Paul Strand (American, 1890-1976)
Iordache Ciaocata, Bicaz, Romania
1960
Silver gelatin print
33.2 Ć 35.7cm
Ā© Aperture Foundation Inc., Paul Strand Archive. FundaciĆ³n MAPFRE Collections
Paul Strand book covers
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