Posts Tagged ‘social documentary photogaphy

20
Dec
20

Exhibition: ‘Bruce Davidson: Brooklyn Gang’ at Cleveland Museum of Art

Exhibition dates: 25th October 2020 – 28th February 2021

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

For a few brief moments, rebels with a cause

This is one of my favourite photo essays of all time. The story Davidson tells of this male-orientated Brooklyn gang and its culture through his photographs is one of brotherhood, friendship, rivalry, love, longing, agony, depression and death at a time of utter poverty and rock ‘n roll rebellion. He produced “unflinchingly honest images of these American youths.” Now, all these years later, the photographs possess a powerful nostalgia for the era mixed with the desolation of destroyed lives and lost youth.

Davidson gets under the skin of his subjects, embeds himself firmly in their milieu. The subjects allow him to photograph their most intimate moments, seemingly free from worry or anxiety. There is an insouciance to their attitude, a knowing insouciance. In one photograph inside Helen’s Candy Store, Bob Powers stares directly and disarmingly at the camera while the girl playing with the yo-yo and the youth in the background also stare directly into the lens, forming a strong compositional triangle of the gaze. Powers said he was voted “most likely to die before I was 21 years old.” He lived with his seven siblings and alcoholic parents in a three-bedroom apartment that had a coal-powered cookstove and no hot water or central heating.

There is a dark undertone to the narrative. While there are moments of joy and happiness, you can sense the isolation and despair of these disaffected youths. Cathy O’Neal, seen in front of a cigarette machine at Coney Island, committed suicide by shotgun. Jimmie and his family were wiped out by drugs. Junior Rice became a heroin dealer. Lefty od’d in bed at 19. “He was the first in the group to die from a drug overdose… within a few years, drugs would claim the lives of many in the gang and in the neighbourhood.” In picturing their lives, the photographs gather moments (in time), enunciating how the gang members railed against the conformity and materialism of 1950s America whilst imbibing its rebellious iconography. Only occasionally does the artist pull back to show us the wider picture, the context of the action, with photographs of New York skyscrapers seen in the distance and the Statue of Liberty.

Davidson does not let his spontaneity slip. He is informed, aware, absent (but present) in all of these photographs waiting for that special moment. In the photograph above, a bird-like creature swoops down on something invisible on the ground. In informal yet tightly focused photographs – of sunbathing or walking the boardwalks of Coney Island, gang members fixing their hair, rolling up their sleeves, dead beat(s) in the back of the bus, making out in the back seat of a car, walking in the park or hooning around on the Metro – Davidson is there to capture the off-beat moments of gang existence and the members relationship to each other.

Through a superb eye, a feeling, a sensibility and connection towards the gang members desperation and isolation, universally acknowledged by the photographer himself, Davidson sets them all on the path to immortality. Do not forget, these photographs seem to be saying. For a few brief moments these people did exist, their lives were valuable, these rebels with a cause.

Dr Marcus Bunyan

.
Many thankx to the Cleveland 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.

 

One of Davidson’s best-known series, Brooklyn Gang was inspired by a news story he read about a teenage gang called the Jokers.

Davidson contacted the Jokers, one of Brooklyn’s roughest gangs, through their social worker. In the summer of 1959, Davidson roamed the streets of New York with these teens, loitered in stores that the Jokers called their own, and sunbathed with them on the beach at Coney Island. Eventually they allowed him to photograph even their most intimate, private moments. He responded by producing unflinchingly honest images of these American youths.

Gang membership was exclusively male, but the members’ girlfriends appear frequently in Davidson’s photographs. Some of the pictures depict the teenagers exploring lust and love and the boys struggling to define and prove their masculinity. Looking back at the series in 1998, Davidson said that he felt “the reason that body of work has survived is that it’s about emotion. That kind of mood and tension and sexual vitality, that’s what those pictures were really about.”

 

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The pleasures and agonies of teenage romance are captured in Bruce Davidson’s photographs of the gang’s dance parties, which were held variously in Brooklyn’s Prospect Park, at a neighbourhood school, and in members’ homes. The basement wallpaper seen here – with its fairy-tale figures, including horses, queens, knights, marionettes, and jokers – suggests a domestic setting. The event could have been a farewell party for an older gang member going off to join the army, which was a common occurrence.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 16 x 23.9cm (6 5/16 x 9 7/16 in.)
Paper: 20.3 x 25.2cm (8 x 9 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

This rooftop view in Park Slope, Brooklyn, was taken from a building in the gang’s “turf,” which was a block anchored by the intersection of 17th Street and 8th Avenue. Davidson spent the summer hanging out with the gang and photographing them. Describing his process, the artist said, “I stay a long time. … I am an outsider on the inside.” Park Slope, now one of New York’s most desirable neighbourhoods, was then a poor, mostly Irish area.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 21.9 x 14.6cm (8 5/8 x 5 3/4 in.)
Paper: 25.1 x 20.2cm (9 7/8 x 7 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Davidson contacted the Jokers, one of Brooklyn’s roughest gangs, through their social worker. In the summer of 1959, Davidson roamed the streets of New York with these teens, loitered in stores that the Jokers called their own, and sunbathed with them on the beach at Coney Island. Eventually they allowed him to photograph even their most intimate, private moments. He responded by producing unflinchingly honest images of these American youths.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The pleasures and agonies of teenage romance are captured in Bruce Davidson’s photographs of the gang’s dance parties, which were held variously in Brooklyn’s Prospect Park, at a neighbourhood school, and in members’ homes.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 16.1 x 24.1cm (6 5/16 x 9 1/2 in.)
Paper: 20.2 x 25.3cm (7 15/16 x 9 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Childhood pastimes like playing yo-yo were a thing of the distant past for 15-year-old Bob Powers, a Joker seen here leaning against a fixture in Helen’s Candy Store. He had already been in and out of the court system numerous times by 1959. Powers stabbed someone when he was 12 and had been incarcerated for bringing zip guns (homemade firearms) and chains to school, where, Powers said, he was voted “most likely to die before I was 21 years old.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The gang members, most of whom were 15 or 16 years old, thought tattoos made them look older and might help them get served at bars. Tattoos were also a demonstration of masculinity and a rite of passage. Bob Powers, seen here at age 15 displaying his first tattoo, recalled years later that “the first time you get a tattoo it’s scary. I was sitting back with a cigarette like it’s nothing. Meanwhile, it was killing me. … I got ‘Bobby’ with stars around it. … They said, ‘Get your name.’ … I hated it forever.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 61 x 50.8cm (24 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

One of the gang members – Bob Powers – suggested that Davidson follow him to a rooftop on the gang’s block. “I remember thinking,” said Davidson, “‘This kid’s going to throw me off the roof and then rob me,’ but he’s pointing down at the stickball game (an informal form of baseball played in the street) and saying, ‘Get that,’ and saying: ‘Oh, there’s the Statue of Liberty. You can see it through all these television antennas.'”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The gang members were very concerned with their appearance, although they did not have much money to spend on grooming or clothes. “If you see a picture of me,” said former gang member Bob Powers, “the broken tooth, my teeth were green because I didn’t go to the dentist. We never had any money even though my father worked. … We used Vaseline petroleum jelly to make our hair stick like iron in a pompadour. We combed our hair constantly, wore sunglasses, and all thought we were Marlon Brandos.”

The Jokers’ slicked-back pompadours … and their clothing echoed the greaser style, a rebellious youth subculture that was promoted by cinematic antiheroes of the era. Role models included Marlon Brando’s portrayal of a motorcycle gang member in The Wild One (1953) and James Dean as a troubled teen in Rebel without a Cause (1955). The “bad boy” image flouted the aspirational role model of the time, the upwardly mobile white-collar worker in a business suit and short haircut.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Petey, a Jokers member who looks out the second-story window here, was injured in that fight. Petey’s best friend, fellow Jokers member Bob Powers, walks by the house. Housing in the gang’s neighbourhood, the then-impoverished Park Slope, Brooklyn, was overcrowded and rundown. Powers lived with his seven siblings and alcoholic parents in a three-bedroom apartment that had a coal-powered cookstove and no hot water or central heating.

 

 

One of the most highly respected and influential American documentary photographers of the past half century, Bruce Davidson spent several months photographing the daily lives of a teenage street gang for his 1959 series Brooklyn Gang. A new exhibition in the Cleveland Museum of Art’s Mark Schwartz and Bettina Katz Photography Gallery, Bruce Davidson: Brooklyn Gang features 50 black-and-white photographs from that series, which are part of a recent anonymous gift to the museum of extensive selections from the artist’s archives. The exhibition is on view now through February 28, 2021.

Brooklyn Gang was Davidson’s first major project after joining the distinguished photo agency Magnum and was the fruit of several months spent immersing himself in the daily lives of the Jokers, one of the many teenage street gangs worrying New York City officials at the time. He recorded the teenagers’ pleasures and frustrations as they attempted to define masculinity and mimic adult behaviour. The photographs reflect the group’s camaraderie but also their alienation from societal norms. While many officials and commentators at the time saw the gangs as evidence of social deterioration resulting from poverty, others regarded them as the most visible manifestations of a socially disengaged generation of males – rebels without a cause.

“Bruce Davidson: Brooklyn Gang presents an intimate portrayal of the teens’ lives,” said William Griswold, director of the Cleveland Museum of Art. “Davidson was an outsider, but one who spent so much time with the gang that he became, as he liked to say, ‘an outsider on the inside.’ Davidson offered an independent look at the lives of these disadvantaged youths; this view of society was quite different from the age of visual and social homogenisation of the 1950s presented in mainstream magazines such as Life and Look and predicts the social turmoil of the 1960s.”

The images reflect the time Davidson spent with the teens hanging out on street corners and in the local candy store and accompanying them to the beach at Coney Island with their girlfriends. Included are several sets of variant images, affording a rare glimpse into Davidson’s working process.

“Despite a more than ten-year age difference, Davidson describes recognising his own repression in his subjects and feeling a connection to their desperation,” said Barbara Tannenbaum, the CMA’s chair of prints, drawings, and photographs and curator of photography.

Press release from the Cleveland Museum of Art

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 40.6 x 50.8cm (16 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The museum owns several groups of images from the series taken during the same shoot at Coney Island. They provide a rare glimpse of the artist’s selection process (see 2018.688, 2018.696, 2018.697, 2018.701, 2018.706, and 2018.735). The size of these prints, and the fact that the artist printed them long after they were shot, suggest he considered all four images worthwhile. In an exhibition print, the white marks on the woman’s cheek here, made by dust on the negative, would have been covered up with ink or dye, a process known as spotting. This may be a work print, made to aid in decisions on exactly how to print this picture. It has become one of the better-known images from Brooklyn Gang.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

In this photograph, gang member Bob Powers talks with friends in one of the many Coney Island bathhouses where people could change, shower, or swim in pools. “We’d come down on a Friday and sometimes we’d stay the whole weekend till Monday, down on the beach, me, Lefty, Junior,” Powers recalled. “The girls would stay too… We would light fires and bury all the cans of beer. I remember stealing cars and driving down there. We’d drive the car under the boardwalk and bring it right onto the bay and leave it there.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 50.8 x 61cm (20 x 24 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Shown here on the Coney Island boardwalk, from left to right, are gang members Junior Rice, Bob Powers, and Lefty, who “was a pretty tough guy in the gang and then he went to jail for about a year,” according to Powers. “He came out and he just lost it. He wasn’t the same guy. Something happened and nobody knew what. … We protected him a bit, but he caught a couple of bad beatings and lost his reputation. He ate a lot of pills one night and never woke up. His mother found him dead. OD’d in bed at 19. He was the first in the group to die from a drug overdose.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 16.1 x 24.1 cm (6 5/16 x 9 1/2 in.)
Paper: 20.2 x 25.3 cm (7 15/16 x 9 15/16 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

This print is vintage – made soon after the picture was shot – and its 8 x 10-inch size was typical of the period and preferred for making reproductions for magazines and books. As photography began gaining acceptance into the gallery and museum world in the 1980s, larger prints became the norm. The museum also owns an unusually large print of the same image, made in the 1990s or 2000s, which was created to be exhibited in galleries and museums. The two may look the same on the computer screen, but do not feel the same when viewed in real life.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Image: 15.8 x 24.1 cm (6 1/4 x 9 1/2 in.)
Paper: 20.1 x 25.4 cm (7 15/16 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

After a day at the beach at Coney Island, the teens “would take the long bus ride back to their neighbourhood,” remembered Bruce Davidson. “As they sat in the rear of the bus, the sunlight burned through the windows, giving them an angelic glow. They would drift into their dreams and awake alert to the mean streets awaiting them.”

 

 

Bruce Davidson

Barbara Tannenbaum

Curator of Photography

A hot topic in the 1950s, gangs were avidly analysed by sociologists, the press, and artists. Gordon Parks’s photographs of a young black Harlem gang leader were published in Life magazine in 1948. The musical West Side Story, which pitted a Polish gang against a Puerto Rican one, debuted on Broadway in 1957. The following year, a seven-part series in the New York Times analysed the social, economic, and psychological causes of this juvenile delinquency.

In the summer of 1959, Bruce Davidson went to Brooklyn to meet and photograph a teenage street gang called the Jokers. Davidson’s series Brooklyn Gang provided an in-depth view into the daily activities of an Irish and Polish gang whose turf was a block in the impoverished Park Slope neighbourhood. The Jokers were teenagers who were mostly students at the neighbourhood Catholic school or dropouts. They shoplifted and fought with members of rival gangs in rumbles that involved bricks, bats, knives, and occasionally zip (homemade) guns.

At age 25, Davidson was an outsider to them. He had been raised in a Jewish family in suburban Chicago and held an MFA in photography from Yale University. His images were being published in major magazines, and he had just joined Magnum, a distinguished, artist-run photographic agency. The Jokers’ role models were the greasers, a rebellious youth subculture promoted by cinematic antiheroes such as Marlon Brando’s motorcycle gang member in The Wild One (1953) and James Dean’s troubled teen in Rebel without a Cause (1955). The gang members’ “bad boy” image, replete with Vaseline-slicked pompadours and blue-collar clothing, flouted the era’s aspirational role model of an upwardly mobile white-collar worker in a business suit and short haircut.

Davidson did not sport a pompadour, but making a living as a freelance photojournalist was itself a rebellion against the nine-to-five office world. He spent the summer with the Jokers, hanging out on street corners, in the local candy store, and on the beach at Coney Island. His images reflect their alienation and anxieties but also their camaraderie. The boys explore male bonding rituals and act out their visions of maleness and adulthood. They may roughhouse, but gang ethics dictated that they were not to hurt each other. Real violence was reserved for rival gangs and, like their criminal acts, was not shown by Davidson.

He did capture the teens’ early experiences with lust and love. The Lothario in the back seat of a car is Lefty, of whom Bob Powers, a gang member who wrote a memoir 40 years later, remarked, “We never thought he was good-looking, but all the girls loved him.” This well-known image of Lefty is joined in the exhibition by three others from that same make-out session. Together they form an almost cinematic progression. Several other groups of related images of events are also included in the exhibition. These rare glimpses into the artist’s shooting and editing processes are all drawn from the recent anonymous gift to the museum of 367 works from Davidson’s archive, selections that span his 70-year career.

Davidson was careful not to pass judgment in his Brooklyn Gang photographs. The youngsters’ hairstyles, tattoos, and underage drinking, smoking, and sex were considered ruinous behaviour at the time. The memoirs of Bob Powers and the reminiscences of other members give the Jokers’ story a dark tone. The best-known image in the series, taken in front of a cigarette machine at Coney Island, shows Artie Giammarino, who later became a transit police detective, and Cathy O’Neal, whom the boys considered “beautiful like Brigitte Bardot.” Cathy is seen here at age 13 or 14, around the time she began dating the “coolest” of the gang, Junior Rice. At 14 she got pregnant. Though they were both under the legal age, they married. They later divorced, and Junior became a heroin dealer and user; within a few years, drugs would claim the lives of many in the gang and in the neighbourhood. Years after their divorce, Cathy committed suicide by shotgun.

Davidson would always remain an outsider to the gang, but his working process allowed for intimacy and trust to grow between the gang members and the photographer. By the end of the summer, Davidson realised that he and the Jokers were all considered outsiders in the conformist, materialistic 1950s. “I could see my own repression in them, and I began to feel a connection to their desperation,” he remembered. “I began to feel their isolation and even my own.”

Cleveland Art, Fall 2020

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 61 x 50.8 cm (24 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Although most of the gang members’ time was spent in their neighbourhood of Park Slope, Brooklyn, the Jokers sometimes took excursions. Few had access to cars, so most travel was by bus and subway. The subway fare of 15 cents – the equivalent of $1.33 today – would take them anywhere in New York City. Here a gang member and his girlfriend wait for a train on the neighbourhood subway platform. The beach at Coney Island was a favourite summer destination for the gang.

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

“We used to hang out in [Brooklyn’s] Prospect Park all the time,” recalled Jokers member Bob Powers. “We did a lot of drinking and sleeping overnight in the park. … The cops with their bats would push us along, tell us to move. We were very defiant. If we moved, we moved ten feet. Then they had to tell us to move another ten feet. We’d kind of like move around in a circle and come back to where we originally started. The cops were mean at that time, but then we weren’t the best of kids either.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 13.9 x 17.6cm (5 1/2 x 6 15/16 in.)
Image: 11.4 x 16.9cm (4 1/2 x 6 5/8 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The Jokers roughhoused and fought among themselves but were not allowed to hurt each other. Real violence was reserved for those in other gangs or occasionally for civilians. “Did we fight with chains and pipes and knives? Yeah,” gang member Bob Powers reminisced years later. “Did people get stabbed? Yeah, people got stabbed. And people got their heads cracked open with bats.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 20.3 x 25.4cm (8 x 10 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 27.9 x 35.6 cm (11 x 14 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

The gang member making out in the back seat of a car on the way home from Coney Island is Lefty, identifiable by his tattoo. “We always wondered why the girls liked him,” recalled Jokers member Bob Powers. “We never thought he was good-looking, but all the girls loved him. It was amazing.”

 

Bruce Davidson (American, b. 1933) 'Untitled' 1959

 

Bruce Davidson (American, b. 1933)
Untitled
1959
Gelatin silver print
Paper: 61 x 50.8 cm (24 x 20 in.)
Gift of an anonymous donor
© Bruce Davidson/Magnum Photos

 

 

Jimmie, an older member of the gang, watched over the younger members with his brother Johnny. In 1998, Jokers member Bob Powers recalled, “Later, the whole family, all six of them … died, wiped out, mostly from drugs. It’s amazing because at this particular time, if you see Jimmie, he’s like the ‘Fonz,’ like James Dean – handsome. He was good-looking, he had the women, and he was always working on cars.”

 

 

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11150 East Boulevard
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19
Oct
19

Exhibition: ‘Once. Again. Photographs in Series’ at the J. Paul Getty Museum, Getty Center, Los Angeles

Exhibition dates: 9th July – 10th November 2019

Curator: Mazie Harris

 

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait' 1918

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait
1918
Gelatin silver print
Image: 11.4 × 8.6 cm (4 1/2 × 3 3/8 in.)
The J. Paul Getty Museum, Los Angeles

 

 

Some fabulous photographs in series in this posting, which document transformations in landscapes or intimate portraits of people at different times in their lives… and some challenging ones as well. My favourite photographs in series are not represented: Duane Michals narrative fairytales; Cindy Sherman’s Untitled Film Stills; and Nicholas Nixon’s The Brown Sisters.

Dr Marcus Bunyan

.
Many thanks 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.

 

Photographers often record change through images in series, registering transformations in the world around them. Artists featured in the exhibition photographed faces and places over minutes, months, or years. Historical and contemporary photographs prompt reflection on the ways the passage of time impacts how we see people and spaces.

 

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait' 1923

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait
1923
Gelatin silver print
Image: 8.9 × 11.7 cm (3 1/2 × 4 5/8 in.)
The J. Paul Getty Museum, Los Angeles

 

Alfred Stieglitz (American, 1864-1946) 'Georgia O'Keeffe: A Portrait' 1933

 

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe: A Portrait
1933
Gelatin silver print
Image: 8.9 × 11.4 cm (3 1/2 × 4 1/2 in.)
The J. Paul Getty Museum, Los Angeles

 

 

Artists have long used cameras to record change, documenting transformations in landscapes or intimate portraits of people at different times in their lives. Once. Again. Photographs in Series, on view July 9-November 10, 2019 at the J. Paul Getty Museum, Getty Center, features historical and contemporary artists who have revisited people and places to make extended photographic series, prompting reflection on the impact of the passage of time – on photographers as well as their subjects.

The exhibition, drawn primarily from the collection of the Getty Museum, takes its cue from artist Gordon Parks’ trips to Brazil over several decades to document the life of Flávio da Silva. Parks’ photographs are on view in Gordon Parks: The Flávio Story, installed in the adjacent galleries of the Center for Photographs.

Photographing friends and family is a familiar pastime for many, and the exhibition includes the work of several artists who made masterful portraits of loved ones over the course of many years. Alfred Stieglitz photographed artist Georgia O’Keeffe frequently during their tumultuous 30 year relationship, and the photographs on view expose shifts in their rapport as well as changes in Stieglitz’s photographic style over time. Series by Harry Callahan of his wife Eleanor, Paul Strand of his wife, artist Rebecca Salsbury, and Julia Margaret Cameron of her niece Julia Jackson similarly offer fascinating reflections on the changes in relationships over time.

The exhibition also includes compelling contemporary portraits, including photojournalist Seamus Murphy’s record of the physical and emotional toll inflicted upon a family living in Afghanistan under rule of the Taliban, and Donna Ferrato’s documentation of a woman who fled an abusive relationship. Both series register the struggles as well as triumphs.

A number of artists in the exhibition document seasonal and man-made changes in the landscape. In a 1953 series by William A. Garnett, aerial photography is used to capture a walnut grove before and after the trees were felled to make way for a housing development. The startling perspective of Garnett’s images came to play an important role in the burgeoning environmental movement. Richard Misrach used his move to a new home in the hills above Berkeley, California, as an opportunity to take hundreds of photographs of the astonishing range of colours and atmospheric conditions surrounding the Golden Gate Bridge at sunset each evening. Several of his richly saturated sunset images are featured in the exhibition. Works by Roni Horn, Jem Southam, and Josef Sudek also trace changes in the natural world, to both political and poetic effect.

Transformations in the built environment also reveal the profound effects of the passage of time. LaToya Ruby Frazier documented the painful process of clearing the rooms of her family home in a series of self-portraits in which she cloaked herself in the familiar belongings of her loved ones. In order to spotlight socioeconomic changes in American neighbourhoods, Camilo José Vergara photographed the dramatic transformation of a single Harlem storefront over 40 years, as it changed hands, changed facades, and split into two establishments. Other artists in the exhibition, including John Divola and William Christenberry, chronicle the disintegration of architecture over time, creating evocative meditations on deterioration.

“‘Once again’ is a phrase repeated in a poem by William Wordsworth,” says Mazie Harris, assistant curator of photographs at the Getty Museum and curator of the exhibition. “He was fascinated by the powerful feeling that arises when revisiting a familiar place. He’s experiencing his surroundings in real time and yet is constantly aware of his memories of being there before. The photographers in this exhibition conjure that same sensation. They offer us the opportunity to see people and places afresh, even as we track the powerful changes wrought by time.”

Once. Again. Photographs in Series, is on view July 9-November 10, 2019 at the J. Paul Getty Museum, Getty Center. The exhibition is curated by Mazie Harris, assistant curator of photographs at the Getty Museum.

Press release from the J. Paul Getty Museum website [Online] Cited 11/08/2019

 

Josef Sudek (Czech, 1896-1976) 'The Window of My Studio' 1940-54

 

Josef Sudek (Czech, 1896-1976)
The Window of My Studio
1940-54
Gelatin silver print
Image: 22.1 × 14.1 cm (8 11/16 × 5 9/16 in.)
The J. Paul Getty Museum, Los Angeles
© I&G Fárová Heirs

 

Josef Sudek (Czech, 1896-1976) 'The Window of My Studio' 1940-54

 

Josef Sudek (Czech, 1896-1976)
The Window of My Studio
1940-54
Gelatin silver print
Image: 17.1 × 10.3 cm (6 3/4 × 4 1/16 in.)
The J. Paul Getty Museum, Los Angeles
© I&G Fárová Heirs

 

Josef Sudek (Czech, 1896-1976) 'The Window of My Studio' 1940-54

 

Josef Sudek (Czech, 1896-1976)
The Window of My Studio
1940-54
Gelatin silver print
Image: 23.5 × 16.5 cm (9 1/4 × 6 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© I&G Fárová Heirs

 

William A. Garnett (American, 1916-2006) 'Walnut Grove Standing' March 21, 1953

 

William A. Garnett (American, 1916-2006)
Walnut Grove Standing
March 21, 1953
Gelatin silver print
Image: 34.3 × 26.7 cm (13 1/2 × 10 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

 

William A. Garnett (American, 1916-2006) 'Walnut Grove Bulldozed' March 21, 1953

 

William A. Garnett (American, 1916-2006)
Walnut Grove Bulldozed
March 21, 1953
Gelatin silver print
Image: 26.5 × 34.3 cm (10 7/16 × 13 1/2 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

 

William A. Garnett (American, 1916-2006) 'Walnut Grove Uprooted by Bulldozers' March 22, 1953

 

William A. Garnett (American, 1916-2006)
Walnut Grove Uprooted by Bulldozers
March 22, 1953
Gelatin silver print
Image (trimmed to mount): 34.1 × 26.5 cm (13 7/16 × 10 7/16 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of William A. Garnett

 

Milton Rogovin (American, 1909-2011) 'Michael and Pam' 1973

 

Milton Rogovin (American, 1909-2011)
Michael and Pam
1973
Gelatin silver print
Image: 17.9 × 17.4 cm (7 1/16 × 6 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Michael and Pam' 1973

 

Milton Rogovin (American, 1909-2011)
Michael and Pam
1973
Gelatin silver print
Image: 17.9 × 17.4 cm (7 1/16 × 6 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Michael and Pam' 1973

 

Milton Rogovin (American, 1909-2011)
Michael and Pam
1973
Gelatin silver print
Image: 17.9 × 17.4 cm (7 1/16 × 6 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Yvonne and Daughter Sonya' 1974

 

Milton Rogovin (American, 1909-2011)
Yvonne and Daughter Sonya
1974
Gelatin silver print
Image: 18 × 17.3 cm (7 1/16 × 6 13/16 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Yvonne and Daughter Sonya' 1974

 

Milton Rogovin (American, 1909-2011)
Yvonne and Daughter Sonya
1974
Gelatin silver print
Image: 17.2 × 17.2 cm (6 3/4 × 6 3/4 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

Milton Rogovin (American, 1909-2011) 'Yvonne and Daughter Sonya' 1974

 

Milton Rogovin (American, 1909-2011)
Yvonne and Daughter Sonya
1974
Gelatin silver print
Image: 18.1 × 16.8 cm (7 1/8 × 6 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Milton Rogovin

 

John Divola (American, born 1949) 'Zuma' 1977

 

John Divola (American, born 1949)
Zuma
1977
Chromogenic print
Image: 24.7 × 30.4 cm (9 3/4 × 11 15/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the Wilson Centre for Photography
© John Divola

 

John Divola (American, born 1949) 'Zuma' 1977

 

John Divola (American, born 1949)
Zuma
1977
Chromogenic print
Image: 24.8 × 30.6 cm (9 3/4 × 12 1/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the Wilson Centre for Photography
© John Divola

 

John Divola (American, born 1949) 'Zuma' 1977

 

John Divola (American, born 1949)
Zuma
1977
Chromogenic print
Image: 24.7 × 30.5 cm (9 3/4 × 12 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the Wilson Centre for Photography
© John Divola

 

John Divola (American, born 1949) 'Zuma' 1977

 

John Divola (American, born 1949)
Zuma
1977
Chromogenic print
Image: 24.8 × 30.6 cm (9 3/4 × 12 1/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the Wilson Centre for Photography
© John Divola

 

Camilo José Vergara (American, born Chile, 1944) '65 East 125th Street, Harlem' December 1977

 

Camilo José Vergara (American, born Chile, 1944)
65 East 125th Street, Harlem
December 1977
Chromogenic print
Image: 38.7 × 58.4 cm (15 1/4 × 23 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Bruce Berman and Lea Russo
© Camilo José Vergara

 

Camilo José Vergara (American, born Chile, 1944) '65 East 125th Street, Harlem' October 1980

 

Camilo José Vergara (American, born Chile, 1944)
65 East 125th Street, Harlem
October 1980
Chromogenic print
Image: 37.8 × 58.5 cm (14 7/8 × 23 1/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Bruce Berman and Lea Russo
© Camilo José Vergara

 

Camilo José Vergara (American, born Chile, 1944) '65 East 125th Street, Harlem' October 1981

 

Camilo José Vergara (American, born Chile, 1944)
65 East 125th Street, Harlem
October 1981
Chromogenic print
Image: 38.7 × 58.4 cm (15 1/4 × 23 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Bruce Berman and Lea Russo
© Camilo José Vergara

 

Seamus Murphy (Irish, born 1959) 'Kabul: November 1994' 1994, print 2015

 

Seamus Murphy (Irish, born 1959)
Kabul: November 1994
1994, print 2015
Gelatin silver print
Image: 22.6 × 34.2 cm (8 7/8 × 13 7/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Ba Deli Family, Kabul: November 1996' 1996, print 2015

 

Seamus Murphy (Irish, born 1959)
Ba Deli Family, Kabul: November 1996
1996, print 2015
Gelatin silver print
Image: 22.4 × 34.5 cm (8 13/16 × 13 9/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Gulbahar, Kapisa Province: June 2003' 2003, print 2015

 

Seamus Murphy (Irish, born 1959)
Gulbahar, Kapisa Province: June 2003
2003, print 2015
Gelatin silver print
Image: 34.6 × 22.6 cm (13 5/8 × 8 7/8 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Gulbahar, Kapisa Province: May 2009' 2009, print 2015

 

Seamus Murphy (Irish, born 1959)
Gulbahar, Kapisa Province: May 2009
2009, print 2015
Gelatin silver print
Image: 22.5 × 34.4 cm (8 7/8 × 13 9/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Kabul: July 2010' 2010, print 2015

 

Seamus Murphy (Irish, born 1959)
Kabul: July 2010
2010, print 2015
Gelatin silver print
Image: 22.6 × 34.7 cm (8 7/8 × 13 11/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Seamus Murphy (Irish, born 1959) 'Kabul: July 2010' 2010, print 2015

 

Seamus Murphy (Irish, born 1959)
Kabul: July 2010
2010, print 2015
Gelatin silver print
Image: 22.6 × 34.7 cm (8 7/8 × 13 11/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of David Knaus
© Seamus Murphy

 

Richard Misrach (American, born 1949) '10.29.97, 4:35 PM' 1997, print 1999

 

Richard Misrach (American, born 1949)
10.29.97, 4:35 PM
1997, print 1999
Chromogenic print
Image: 45.8 × 59 cm (18 1/16 × 23 1/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Daniel Greenberg and Susan Steinhauser
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/ MacGill Gallery, New York and Marc Selwyn Fine Art, Los Angeles

 

Richard Misrach (American, born 1949) '2.21.98, 4:45 PM' 1998, print 2016

 

Richard Misrach (American, born 1949)
2.21.98, 4:45 PM
1998, print 2016
Chromogenic prin
Image: 152.4 × 188 cm (60 × 74 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Sharyn and Bruce Charnas
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/MacGill Gallery, New York and Marc Selwyn Fine Art, Los Angeles

 

Richard Misrach (American, born 1949) '2.16.98, 5:20 PM' 1998, print 1999

 

Richard Misrach (American, born 1949)
2.16.98, 5:20 PM
1998, print 1999
Chromogenic print
Image: 46.2 × 58.9 cm (18 3/16 × 23 3/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Daniel Greenberg and Susan Steinhauser
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/ MacGill Gallery, New York and Marc Selwyn Fine Art, Los Angeles

 

Richard Misrach (American, born 1949) '10.31.98, 5:22 PM' 1998, print 1999

 

Richard Misrach (American, born 1949)
10.31.98, 5:22 PM
1998, print 1999
Chromogenic print
Image: 46.3 × 58.9 cm (18 1/4 × 23 3/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Daniel Greenberg and Susan Steinhauser
© Richard Misrach, courtesy Fraenkel Gallery, San Francisco, Pace/ MacGill Gallery, New York and Marc Selwyn Fine Art, Los Angeles

 

LaToya Ruby Frazier (American, born 1982) Four photographs 2010

 

LaToya Ruby Frazier (American, born 1982)
Clockwise from top left: Wrapped in Gramps’ Blanket, 2010; In Grandma Ruby’s Velour Bottoms, 2010; Covered in Gramps’ Blanket, 2010; In Gramps’ Pajamas, 2010
Gelatin silver prints
Image (each): 43.5 × 58.4 cm (17 1/8 × 23 in.)
The J. Paul Getty Museum, Los Angeles
Purchased with funds provided by the Photographs Council
© LaToya Ruby Frazier

 

Jem Southam (British, born 1950) 'December 1996'

 

Jem Southam (British, born 1950)
December 1996
1996
Chromogenic print
68.6 × 85.7 cm (27 × 33 3/4 in.)
Gift of The Michael G. and C. Jane Wilson 2007 Trust
© Jem Southam

 

Jem Southam (British, born 1950) 'March 1998'

 

Jem Southam (British, born 1950)
March 1998
1998
Chromogenic print
68.6 × 85.7 cm (27 × 33 3/4 in.)
Gift of The Michael G. and C. Jane Wilson 2007 Trust
© Jem Southam

 

Jem Southam (British, born 1950) 'January 2000'

 

Jem Southam (British, born 1950)
January 2000
2000
Chromogenic print
68.6 × 85.7 cm (27 × 33 3/4 in.)
Gift of The Michael G. and C. Jane Wilson 2007 Trust
© Jem Southam

 

Donna Ferrato (American, born 1949) 'Sarah Augusta' 2012

 

Donna Ferrato (American, born 1949)
Sarah Augusta
2012
Pigment print
28.6 × 50.8 cm (11 1/4 × 20 in.)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

'Donna Ferrato (American, born 1949) Sarah Augusta Learning Self Defense' 2013

 

Donna Ferrato (American, born 1949)
Sarah Augusta Learning Self Defense
2013
Pigment print
33.9 × 50.9 cm (13 3/8 × 20 1/16 in.)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

Donna Ferrato (American, born 1949) 'Sarah after a Court Hearing' 2014

 

Donna Ferrato (American, born 1949)
Sarah after a Court Hearing
2014
Pigment print
33.9 × 50.8 cm (13 3/8 × 20 in.)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

Donna Ferrato (American, born 1949) 'Sarah and a member of B.A.C.A. discussing a strategy to protect the boys' 2014

 

Donna Ferrato (American, born 1949)
Sarah and a member of B.A.C.A. discussing a strategy to protect the boys
2014
Pigment print
33.9 × 50.8 cm (13 3/8 × 20 in.)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

Donna Ferrato (American, born 1949) 'Sarah' 2013

 

Donna Ferrato (American, born 1949)
Sarah
2013
Pigment print
50.8 cm x 33.9 (20 in. x 13 3/8)
Gift of The Kevin & Delia Willsey Collection
© Donna Ferrato

 

 

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10 am – 5.30 pm
Saturday 10 am – 9 pm
Sunday 10 am – 5.30 pm
Monday closed

The J. Paul Getty Museum website

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09
Feb
19

Exhibition: ‘Roman Vishniac Rediscovered’ at The Photographers’ Gallery and Jewish Museum London

Exhibition dates: 26th October 2018 – 24th February 2019

Curators: Maya Benton in collaboration with The Photographers’ Gallery curator, Anna Dannemann and Jewish Museum London curator, Morgan Wadsworth-Boyle.

Presented simultaneously at The Photographers’ Gallery and Jewish Museum London, Roman Vishniac Rediscovered is the first UK retrospective of Russian born American photographer, Roman Vishniac (1897-1990).

 

 

Roman Vishniac (1897-1990) 'Interior of the Anhalter Bahnhof railway terminus near Potsdamer Platz, Berlin' 1929-early 1930s

 

Roman Vishniac (1897-1990)
Interior of the Anhalter Bahnhof railway terminus near Potsdamer Platz, Berlin
1929-early 1930s
Courtesy International Center of Photography
On display at The Photographers’ Gallery
© Mara Vishniac Kohn

 

 

Wondrous, glorious images

Apart from the title, Roman Vishniac “Rediscovered” – photographically, I never thought he went away? – this is a magnificent exhibition of Vishniac’s complete works.

Since the press release states, “Roman Vishniac Rediscovered offers a timely reappraisal of Vishniac’s vast photographic output and legacy and brings together – for the first time – his complete works including recently discovered vintage prints, rare and ‘lost’ film footage from his pre-war period, contact sheets, personal correspondence, original magazine publications, newly created exhibition prints as well as his acclaimed photomicroscopy…” perhaps the exhibition should have been titled: Roman Vishniac Reappraised or Roman Vishniac: Complete Works. Each makes more sense than the title the curators chose.

Vishniac’s work is powerful and eloquent, a formal, classical, and yet poetic representation of the time and space of the photographs taking. Modernist yet romantic, monumental, sociological yet playful, his work imbibes of the music of people and place, portraying the rituals of an old society about to be swept away by the maelstrom of war. They are a joy to behold.

Here is happiness and sadness, urban poverty, isolation (as in figures from each other, figures isolated within their world, and within the pictorial frame – see the people walking in every direction in Isaac Street, Kazimierz, Cracow 1935-38, below), and nostalgia (for what has been lost). Here is life… and death.

Here is a handsome man, Ernst Kaufmann, born in Krefeld, Germany, in 1911. Arrested in June 1941 and killed in August of that year in the Mauthausen concentration camp in Austria. Killed at barely 30 years old. As Vishniac recalls of his portrait of the seven year old David Eckstein, ‘I watched this little boy for almost an hour, and in this moment I saw the whole sadness of the world.’ Never forget what human beings are capable of, lest history repeat itself, and all our hard fought freedoms are destroyed.

Despite the hubbub and movement of the people, towns and marketplaces, for me it is the sensitivity of a quiet moment, beautifully observed, that gets me every time. That hand (Exhausted. A Carrier of Heavy Loads, Warsaw c. 1935-38, below), resting on the chest of an exhausted porter, seen in all its clarity and in humanity is transcendent. That intense feeling of an extended, (in)decisive moment, if ever there was one.

In my humble opinion, Vishniac is one of the greatest 20th century social documentary photographers to have ever lived.

Dr Marcus Bunyan

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

 

 

 

Interview with curator Maya Benton

 

Roman Vishniac (1897-1990) 'German family walking between taxicabs in front of the Ufa-Palast movie theater, Berlin' late 1920s-early 1930s

 

Roman Vishniac (1897-1990)
German family walking between taxicabs in front of the Ufa-Palast movie theater, Berlin
late 1920s-early 1930s
Courtesy International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Woman washing windows above Mandtler & Neumann Speditionen (Mandtler & Neumann Forwarding Agents), Ferdinandstrasse, Leopoldstadt, Vienna' 1930s

 

Roman Vishniac (1897-1990)
Woman washing windows above Mandtler & Neumann Speditionen (Mandtler & Neumann Forwarding Agents), Ferdinandstrasse, Leopoldstadt, Vienna
1930s
Courtesy International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Jewish school children, Mukacevo' c. 1935-38

 

Roman Vishniac (1897-1990)
Jewish school children, Mukacevo
c. 1935-38
Courtesy International Center of Photography
On display at Jewish Museum London
© Mara Vishniac Kohn

 

 

From 1935 to 1938, Vishniac made numerous trips to the city of Mukacevo, a major center of religious learning among Jews from Czechoslovakia, Hungary, and the Carpathian region. Mukacevo was widely known for its famous rabbis and yeshivot (religious schools). This image of Jewish schoolchildren appears in cropped form on the cover of Vishniac’s first posthumous publication, To Give Them Light; the recently digitised negative reveals that it represents only one-fifth of the full frame. Vishniac often directed printers or publishers to crop his images to focus on religiously observant Jewish men or boys, identifiable by their dress, an editorial decision that sometimes detracted from the composition by subverting aesthetic considerations to emphasise religious and observant life. The negative reveals Vishniac’s instinctive compositional acumen: a bustling and vibrant street scene, with a boy’s beaming, slightly out-of-focus face in the foreground and numerous hands pushing into and out of the frame, communicating the vitality and liveliness of the students.

Text from the International Center of Photography website

 

Roman Vishniac (1897-1990) 'Man purchasing herring, wrapped in newspaper, for a Sabbath meal, Mukacevo' c. 1935-38

 

Roman Vishniac (1897-1990)
Man purchasing herring, wrapped in newspaper, for a Sabbath meal, Mukacevo
c. 1935-38
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Fish is the Favored Food for the Kosher Table' c. 1935-38

 

Roman Vishniac (1897-1990)
Fish is the Favored Food for the Kosher Table
c. 1935-38
Gelatin silver print
Image (paper): 11 1/2 x 9 3/16 in. (29.2 x 23.3 cm)
Collection Philip Allen
© Mara Vishniac Kohn

 

 

“This image of a boy bending over a vat of herring communicates the excitement of the marketplace and the sheer abundance of herring. The unparalleled quality of the print transmits every detail, from the wet cobblestones and circular motion of the swimming fish to the rapid, eager movement of hands reaching in to grab the herring. Rather than focusing on religious life, these early prints demonstrate the vitality and frantic charm of a town rushing to prepare for the Sabbath.”

.
Maya Benton, ICP Adjunct Curator

 

These rare vintage prints are part of a collection of sixteen recently discovered prints that comprised Vishniac’s first exhibition abroad, and were displayed in the New York office of the Jewish Joint Distribution Committee (JDC) in 1938. Vishniac developed these early prints in his apartment in Berlin, and they are rare early examples of his virtuosic skill as a master printmaker. He gifted all sixteen prints to an employee of the New York office of the JDC who had helped him to organise his first exhibit; these prints are on loan from his son.

The image of a boy bending over a vat of herring communicates the excitement of the marketplace and the sheer abundance of herring. The unparalleled quality of the print transmits every detail, from the wet cobblestones and circular motion of the swimming fish to the rapid, eager movement of hands reaching in to grab the herring. Rather than focusing on religious life, these early prints demonstrate the vitality and frantic charm of a town rushing to prepare for the Sabbath.

Text from the International Center of Photography website

 

Roman Vishniac (1897-1990) 'Young Jewish boys suspicious of strangers, Mukachevo' c. 1935-38

 

Roman Vishniac (1897-1990)
Young Jewish boys suspicious of strangers, Mukachevo
c. 1935-38
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Three women, Mukacevo' c. 1935-38

 

Roman Vishniac (1897-1990)
Three women, Mukacevo
c. 1935-38
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) The notice on the wall reads "Come Celebrate Chanukah." c. 1935-38

 

Roman Vishniac (1897-1990)
The notice on the wall reads “Come Celebrate Chanukah”
c. 1935-38
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Jewish street vendors, Warsaw, Poland' 1938

 

Roman Vishniac (1897-1990)
Jewish street vendors, Warsaw, Poland
1938
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Children playing outdoors and watching a game' c. 1935-37

 

Roman Vishniac (1897-1990)
Children playing outdoors and watching a game
c. 1935-37
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac. 'Children playing on a street lined with swastika flags' mid-1930s

 

Roman Vishniac (1897-1990)
Children playing on a street lined with swastika flags
mid-1930s
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac. 'Nat Gutman's Wife, Warsaw' 1938

 

Roman Vishniac (1897-1990)
Nat Gutman’s Wife, Warsaw
1938
International Center of Photography
© Mara Vishniac Kohn

 

 

Nat Gutman, the porter, Warsaw 1935-1938 from A Vanished World, 1983 is the photograph of her husband. After working as a bank cashier for six years, Nat Gutman was dismissed because he was a Jew. He became a porter. The loads usually weighed forty-five to ninety pounds. This was the kind of work that bank cashier Gutman, a man with a bad hernia, was reduced to in order to support his wife and son. The family were exterminated.

 

Roman Vishniac. 'A street of Kazimierz, Cracow' 1935-38

 

Roman Vishniac (1897-1990)
A street of Kazimierz, Cracow
1935-38
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac. 'Isaac Street, Kazimierz, Krakow' 1935-38

 

Roman Vishniac (1897-1990)
Isaac Street, Kazimierz, Krakow
1935-38
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac. 'Isaac Street, Kazimierz, Cracow' 1935-38

 

Roman Vishniac (1897-1990)
Isaac Street, Kazimierz, Cracow
1935-38
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Window washer balancing on a ladder, Berlin' mid-1930s

 

Roman Vishniac (1897-1990)
Window washer balancing on a ladder, Berlin
mid-1930s
Courtesy International Center of Photography
On display at The Photographers’ Gallery
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Exhausted. A Carrier of Heavy Loads, Warsaw' c. 1935-38

 

Roman Vishniac (1897-1990)
Exhausted. A Carrier of Heavy Loads, Warsaw
c. 1935-38
Gelatin silver print
7 1/2 x 10 in. (19.1 x 25.4 cm)
International Center of Photography
Gift of Mara Vishniac Kohn, 2013
© Mara Vishniac Kohn

 

 

“This unpublished image of a porter at rest in his wagon demonstrates Vishniac’s modern aesthetic and the influence of the avant-garde on his work. The diagonal slope of the central figure, stretched out along a sloping plane, fills the entire frame. The intuitive amalgamation of patterns and textures, one of Vishniac’s greatest talents, is evident throughout the image: the light reflected on the ornamented belt buckle; the double-patterned cable knit of his shrunken wool vest, which barely conceals a plaid shirt; and the round shapes of a wheel and bucket that divide the angular line formed by the central figure. It is a triumph of textures, angles, and lines, yet the worn sign with the name Nuta Hersz and his porter license number reminds us that the subject of the photograph is the victim of anti-Semitic boycotts and the limited job opportunities (only vendors and porters) permitted to Jews in Poland at that time.”

.
Maya Benton, ICP Adjunct Curator

 

Roman Vishniac (1897-1990) 'Villagers in the Carpathian Mountains' c. 1935–38

 

Roman Vishniac (1897-1990)
Villagers in the Carpathian Mountains
c. 1935-38
International Center of Photography
© Mara Vishniac Kohn

 

 

“Vishniac traveled to remote Jewish villages in rural Carpathian Ruthenia throughout the late 1930s, and in many cases was the only photographer to ever document these communities, which had been isolated for hundreds of years, yet maintained an enduring connection to Jewish observance, customs, and traditions.

Every detail of this image makes it a nearly perfect photograph: the sense of movement and the figures’ varied gestures and vibrant expressions; the carefully balanced horizontal bands of shadow and striped fabric; the detail of a woman peering out of a window while a glass pane on the facing structure points in the direction of an impossibly angled triangular building that vertically divides the frame in half; and the collective sense of surprise at encountering the photographer. Like much of Vishniac’s unpublished work, this composition recalls Henri Cartier-Bresson’s description of the decisive moment (a precise organisation of forms that give a time and place its ideal expression) and places Vishniac on par with the great photographers of the 20th century.”

.
Maya Benton, ICP Adjunct Curator

 

Roman Vishniac (1897-1990) '[David Eckstein, seven years old, and classmates in cheder (Jewish elementary school), Brod]' c. 1938

 

Roman Vishniac (1897-1990)
[David Eckstein, seven years old, and classmates in cheder (Jewish elementary school), Brod]
c. 1938
International Center of Photography
© Mara Vishniac Kohn

 

 

“The boy in this photograph has been identified as David Eckstein, a Holocaust survivor currently living in a commune in the American Southwest. Born in 1930 in the small town of Brod, Eckstein was seven years old when Vishniac took several photographs of him, his classmates, and his teacher just before the onslaught of World War II. Vishniac later recalled, ‘I watched this little boy for almost an hour, and in this moment I saw the whole sadness of the world.’ This portrait was later selected as the cover of Vishniac’s first publication, Polish Jews: A Pictorial Record (1947), and reprinted on the cover of I. B. Singer’s National Book Award-winning collection of stories, A Day of Pleasure: Stories of a Boy Growing Up in Warsaw (1969).”

.
Maya Benton, ICP Adjunct Curator

 

Roman Vishniac (1897-1990) '[Grandmother and grandchildren in basement dwelling, Krochmaina Street, Warsaw]' c. 1935-38

 

Roman Vishniac (1897-1990)
[Grandmother and grandchildren in basement dwelling, Krochmaina Street, Warsaw]
c. 1935-38
International Center of Photography
© Mara Vishniac Kohn

 

 

“Vishniac documented urban poverty in Warsaw, often focusing on the dark, cold basement dwellings of families where hungry Jewish children lived in crowded conditions. Vishniac photographed this woman taking care of her grandchildren while their parents searched for work in one of 26 basement compartments, each inhabited by a large family. In June 1941, the National Jewish Monthly published this image with the caption ‘Polish Jewry, once the bulwark of world Jewry, is done for as a community. Even if Hitler were to lose power tomorrow, their institutions and organizations are hopelessly smashed, could not be rebuilt in generations. But individuals remain, starved and persecuted. This picture shows an old grandmother and her grandchildren. What is going to become of them, and of the millions of other innocent victims of Fascist violence and terror?'”

.
Maya Benton, ICP Adjunct Curator

 

Roman Vishniac (1897-1990) 'Sara, sitting in bed in a basement dwelling, with stencilled flowers above her head, Warsaw' c. 1935-37

 

Roman Vishniac (1897-1990)
Sara, sitting in bed in a basement dwelling, with stencilled flowers above her head, Warsaw
c. 1935-37
Courtesy International Center of Photography
On display at The Photographers’ Gallery
© Mara Vishniac Kohn

 

 

Vishniac documented the basement dwellings of Warsaw using the scant natural light that trickled through a few narrow, high windows, necessitating that he shoot during the day, when adults were often out looking for work or peddling their wares and children were sometimes the only inhabitants indoors. This photograph of Sara, one of Vishniac’s most iconic images, was reproduced on charity tins, or tzedakah boxes, and circulated throughout France by Jewish social service organisations, including the American Jewish Joint Distribution Committee (AJDC) in the late 1930s.

Text from the International Center of Photography website

 

 

An extraordinarily versatile and innovative photographer, Vishniac is best known for having created one of the most widely recognised and reproduced photographic records of Jewish life in Eastern Europe between the two World Wars. Featuring many of his most iconic works, this comprehensive exhibition further introduces recently discovered and lesser-known chapters of his photographic career from the early 1920s to the late 1970s. The cross-venue exhibition presents radically diverse bodies of work and positions Vishniac as one of the most important social documentary photographers of the 20th century whose work also sits within a broader tradition of 1930s modernist photography.

Born in Pavlovsk, Russia in 1897 to a Jewish family Roman Vishniac was raised in Moscow. On his seventh birthday, he was given a camera and a microscope which began a lifelong fascination with photography and science. He began to conduct early scientific experiments attaching the camera to the microscope and as a teenager became an avid amateur photographer and student of biology, chemistry and zoology. In 1920, following the Bolshevik Revolution, he immigrated to Berlin where he joined some of the city’s many flourishing camera clubs. Inspired by the cosmopolitanism and rich cultural experimentation in Berlin at this time, Vishniac used his camera to document his surroundings. This early body of work reflects the influence of European modernism with his framing and compositions favouring sharp angles and dramatic use of light and shade to inform his subject matter.

Vishniac’s development as a photographer coincided with the enormous political changes occurring in Germany, which he steadfastly captured in his images. They represent an unsettling visual foreboding of the growing signs of oppression, the loss of rights for Jews, the rise of Nazism in Germany, the insidious propaganda – swastika flags and military parades, which were taking over both the streets and daily life. German Jews routinely had their businesses boycotted, were banned from many public places and expelled from Aryanised schools. They were also prevented from pursuing professions in law, medicine, teaching, and photography, among many other indignities and curtailments of civil liberties. Vishniac recorded this painful new reality through uncompromising images showing Jewish soup kitchens, schools and hospitals, immigration offices and Zionist agrarian training camps, his photos tracking the speed with which the city changed from an open, intellectual society to one where militarism and fascism were closing in.

Social and political documentation quickly became a focal point of his work and drew the attention of organisations wanting to raise awareness and gain support for the Jewish population. In 1935, Vishniac was commissioned by the world’s largest Jewish relief organisation, the American Jewish Joint Distribution Committee (JDC), to photograph impoverished Jewish communities in Eastern Europe. These images were intended to support relief efforts and were used in fundraising campaigns for an American donor audience. When the war broke out only a few years later, his photos served increasingly urgent refugee efforts, before finally, at the end of the war and the genocide enacted by Nazi Germany, Vishniac’s images became the most comprehensive photographic record by a single photographer of a vanished world.

Vishniac left Europe in 1940 and arrived in New York with his family on New Year’s Day, 1941. He continued to record the impact of World War II throughout the 1940s and 50s in particular focusing on the arrival of Jewish refugees and Holocaust survivors in the US, but also looking at other immigrant communities including Chinese Americans. In 1947, he returned to Europe to document refugees and relief efforts in Jewish Displaced Persons camps and also to witness the ruins of his former hometown, Berlin. He also continued his biological studies and supplemented his income by teaching and writing.

In New York, Vishniac established himself as a freelance photographer and built a successful portrait studio on Manhattan’s Upper West Side. At the same time he dedicated himself to scientific research, resuming his interest in Photomicroscopy. This particular application of photography became the primary focus of his work during the last 45 years of his life. By the mid-1950s, he was regarded as a pioneer in the field, developing increasingly sophisticated techniques for photographing and filming microscopic life forms. Vishniac was appointed Professor of Biology and Art at several universities and his groundbreaking images and scientific research were published in hundreds of magazines and books.

Although he was mainly embedded in the scientific community, Vishniac was a keen observer and scholar of art, culture, and history and would have been aware of developments in photography going on around him and the work of his contemporaries. In 1955, famed photographer and museum curator Edward Steichen featured several of Vishniac’s photographs in the influential book and travelling exhibition The Family of Man shown at the Museum of Modern Art. Steichen later describes the importance of Vishniac’s work. “[He]… gives a last minute look at the human beings he photographed just before the fury of Nazi brutality exterminated them. The resulting photographs are among photography’s finest documents of a time and place.”

Roman Vishniac Rediscovered offers a timely reappraisal of Vishniac’s vast photographic output and legacy and brings together – for the first time – his complete works including recently discovered vintage prints, rare and ‘lost’ film footage from his pre-war period, contact sheets, personal correspondence, original magazine publications, newly created exhibition prints as well as his acclaimed photomicroscopy.

Drawn from the Roman Vishniac Archive at the International Center of Photography, New York and curated by Maya Benton in collaboration with The Photographers’ Gallery curator, Anna Dannemann and Jewish Museum London curator, Morgan Wadsworth-Boyle, each venue will provide additional contextual material to illuminate the works on display and bring the artist, his works and significance to the attention of UK audiences. Roman Vishniac Rediscovered is organised by the International Center of Photography.

Press release from The Photographers’ Gallery

 

Roman Vishniac (1897-1990) 'Inside the Jewish quarter, Bratislava' c. 1935-38

 

Roman Vishniac (1897-1990)
Inside the Jewish quarter, Bratislava
c. 1935-38
Courtesy International Center of Photography
On display at Jewish Museum London
© Mara Vishniac Kohn

 

Roman Vishniac. 'Children at Play, Bratislava' c. 1935-38

 

Roman Vishniac (1897-1990)
Children at Play, Bratislava
c. 1935-38
Courtesy International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Vishniac's daughter Mara posing in front of an election poster for Hindenburg and Hitler' 1933

 

Roman Vishniac (1897-1990)
Vishniac’s daughter Mara posing in front of an election poster for Hindenburg and Hitler that reads “The Marshal and the Corporal: Fight with Us for Peace and Equal Rights,” Wilmersdorf, Berlin
1933
Courtesy International Center of Photography
On display at Jewish Museum London
© Mara Vishniac Kohn

 

 

Vishniac’s daughter Mara, age seven, was photographed standing in front of this 1933 poster celebrating Hitler’s recent appointment as German chancellor. The poster advertises a plebiscite to permit withdrawal from the League of Nations and Geneva Disarmament Conference, which restricted Germany’s ability to develop a military. Other posters include the slogans “Mothers, fight for your children!,” “The coming generation accuses you!,” and “In 8 months… 2,250,000 countrymen able to put food on the table. Bolshevism destroyed. Sectionalism overcome. A kingdom and order of cleanliness built… Those are the achievements of Hitler’s rule…”

Text from the International Center of Photography website

 

Roman Vishniac (1897-1990) 'Benedictine nun reading, probably France' 1930s

 

Roman Vishniac (1897-1990)
Benedictine nun reading, probably France
1930s, printed 2012
Photo digital inkjet print
12 x 11 3/8 in. (30.5 x 29 cm)
International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Ernst Kaufmann, center, and unidentified Zionist youth' 1938-39

 

Roman Vishniac (1897-1990)
Ernst Kaufmann, center, and unidentified Zionist youth, wearing clogs while learning construction techniques in a quarry, Werkdorp Nieuwesluis, Wieringermeer, The Netherlands
1938-39
Courtesy International Center of Photography
On display at Jewish Museum London
© Mara Vishniac Kohn

 

 

Ernst Kaufmann was born in Krefeld, Germany, in 1911. He was arrested in June 1941 and killed in August of that year in the Mauthausen concentration camp in Austria.

This photograph is strikingly similar in subject and composition to a bronze relief plaque made in 1935 by Dutch artist Hildo Krop (1884-1970) for the monument on the Afsluitdijk, a dam that was completed in 1933 in the north of the Netherlands. The relief depicts three stoneworkers below the text “A nation that lives builds for the future.” Dutch modernist architect Willem Dudok (1884-1974) designed the Afsluitdijk and in 1935 Krop’s plaque was added. The dam was a triumph of Dutch engineering and a source of national pride. Residents of the Werkdorp probably took Vishniac to the Afsluitdijk; the well-known relief undoubtedly inspired him to stage this shot, an ideal composition for his heroic image of Jewish pioneers in the Werkdorp, and an unusual conflation of Dutch nationalist and Zionist visual sensibilities.

Text from the International Center of Photography website

 

Roman Vishniac (1897-1990) 'Beach dwellers in the afternoon, Nice, France' c. 1939

 

Roman Vishniac (1897-1990)
Beach dwellers in the afternoon, Nice, France
c. 1939
Courtesy International Center of Photography
© Mara Vishniac Kohn

 

Roman Vishniac (1897-1990) 'Boys exercising in the gymnasium of the Jewish Community House of Bensonhurst, Brooklyn' 1949

 

Roman Vishniac (1897-1990)
Boys exercising in the gymnasium of the Jewish Community House of Bensonhurst, Brooklyn
1949
Courtesy International Center of Photography
On display at The Photographers’ Gallery
© Mara Vishniac Kohn

 

 

The Jewish Community House of Bensonhurst, known as the “J,” was established in 1927 to serve the growing population of first-generation American Jews migrating to South Brooklyn. The J’s mission, to “ennoble Jewish youth” by building and fostering a sense of Jewish community, was accomplished through the promotion of arts and recreation for all ages. American Jewish major league baseball legend Sandy Koufax, a regular at the J, had started his sports career there as a basketball player.

In a dramatic departure from his iconic photographs of impoverished children in prewar eastern Europe, here Vishniac focused on the strong, healthy young American children. The children’s vitality is reinforced by the diagonal lines and geometric angles of the ropes, contributing to a forceful and innovative composition reflective of Vishniac’s previously unknown American work from the 1940s.

Text from the International Center of Photography website

 

Roman Vishniac (1897-1990) 'Customers waiting in line at a butcher's counter during wartime rationing, Washington Market, New York' 1941-44

 

Roman Vishniac (1897-1990)
Customers waiting in line at a butcher’s counter during wartime rationing, Washington Market, New York
1941-44
Courtesy International Center of Photography
On display at The Photographers’ Gallery
© Mara Vishniac Kohn

 

 

New York’s Washington Market, famed for its exceptional variety and quantity of food, was established in the eighteenth century. Vishniac documented the mostly female customers waiting for service during a period of wartime restrictions and food rationing. Through careful framing – customers stand against bare counters and voided display cases – he captured disenchanted expressions that can be read as a projection of Vishniac’s own experience as a new immigrant in America, as well as a record of comparative privation in the former plenty of Washington Market. As such, they anticipate the isolation and indifference shown in The Americans by Robert Frank, another Jewish immigrant from war-torn Europe.

Text from the International Center of Photography website

 

 

The Photographers’ Gallery
16-18 Ramillies Street
London
W1F 7LW

Opening hours:
Monday – Saturday: 10.00 – 18.00
Thursday: 10.00 – 20.00 during exhibitions
Sunday: 11.00 – 18.00

 

The Jewish Museum
Raymond Burton House, 129-131 Albert Street,
London NW1 7NB
Phone: +44 (0)20 7284 7384

Opening hours:
Daily 10am – 5pm (Friday 10am – 2pm)

 

The Photographers’ Gallery website

The Jewish Museum, London website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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