Posts Tagged ‘Ted Croner

17
Apr
22

Exhibition: ‘Celebrating the City: Recent Acquisitions from the Joy of Giving Something’ at the Museum of the City of New York

Exhibition dates: 18th February – 31st December 2022

 

William Klein (American, b. 1928) 'Christmas Shoppers' 1954

 

William Klein (American, b. 1928)
Christmas Shoppers
1954
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

Happy Easter to everyone around the world!

I had to have an emergency appendectomy on Wednesday night. Due to complications with low blood pressure and a reaction to the general anaesthetic I nearly didn’t pull through. I turned blue on the operating table, twice, for thirty seconds. Home now but not feeling so well just taking it easy… therefore a short text.

A fabulous exhibition in New York of photographs about New York: working, going, shopping, playing, gathering, loving, gazing, being, reflecting and buildings. Some excellent photographs that I have never seen before which evidence the soul of this imaginative city.

Dr Marcus Bunyan

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Many thank to the Museum of the City of New York for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

Installation view of the exhibition 'Celebrating the City: Recent Acquisitions from the Joy of Giving Something' at the Museum of the City of New York

Installation view of the exhibition 'Celebrating the City: Recent Acquisitions from the Joy of Giving Something' at the Museum of the City of New York

Installation view of the exhibition 'Celebrating the City: Recent Acquisitions from the Joy of Giving Something' at the Museum of the City of New York

Installation view of the exhibition 'Celebrating the City: Recent Acquisitions from the Joy of Giving Something' at the Museum of the City of New York

At left: Joseph Maida. Ben with fan 2001

At right: Mitch Epstein. Untitled [New York #3] 1995

 

Installation views of the exhibition Celebrating the City: Recent Acquisitions from the Joy of Giving Something at the Museum of the City of New York, showing in the bottom photograph at left, Bruce Cratsley’s Brooklyn Bridge Centennial 1983
Photos: Brad Farwell

 

 

Celebrating the City: Recent Photography Acquisitions from the Joy of Giving Something highlights a gift that has dramatically advanced the Museum’s already exceptional photography collection. Juxtaposing striking recent images with work by some of the 20th century’s most important photographers, including the Museum’s first images by Robert Frank and William Klein, the exhibition is a moving celebration of the power of photography to capture New York and New Yorkers.

Since the invention of photography, the streets of New York City have lured picture-makers from across the world. Each borough, neighbourhood, and corner offers and opportunity to see something new through the lens, yielding images as varied as the street life itself. New York’s diverse built environment provides a backdrop for the true subject of many photographers: the varied lives of New Yorkers.

The photographers in this exhibition have immortalised this ever-changing urban centre. Each has created a distinctive vision of the city, providing a window into a vast and complex metropolis. The have also made use of the changing technology of photography itself to produce images whose meanings range from apparently objective reflections of reality to highly crafted expression of the artists’ responses to the people and the city around them.

 

Introduction

New York City may always be in flux, but shared activities and experiences connect New Yorkers across time and space. For more than a century, many of the world’s best photographers have used their cameras to capture iconic scenes of New Yorkers in action – from mundane daily routines to special events of gathering and ritual. They have sought out the deeply personal moments that occur within this city of millions and have capture both the “New Yorkiness” of its inhabitants and he ways New York experiences are linked to the larger human condition.

The photographs in this gallery are arranged into themes that capture these quintessential New York moments without consideration to chronology. The images allow us to see a range of photographic styles applied to experiences that are common to so many New Yorkers, while also highlighting the ever-changing state of the city over many decades.

Wall text from the exhibition

 

 

Working

 

Michael Spano. 'Untitled (Man in street on phone, Police Plaza near Canal Street)' 1994

 

Michael Spano (American, b. 1949)
Untitled (Man in street on phone, Police Plaza near Canal Street)
1994
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

 

Michael Spano has made New York City the constant subject of his work over a long career, while exploring the possibilities of the medium, from print solarisation to collage. This photograph exemplifies Spano’s keen observational eye and attention to composition, with repeating patterns and visual dichotomy produced through light and shadow. Several other examples of work by this artist are on also on view in this gallery, including photographs from the series “Auto Portraits” and “Splits.”

 

William Gordon Shields (American, 1883-1947) 'Flag Day' 1917

 

William Gordon Shields (American, 1883-1947)
Flag Day
1917
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

Joseph Maida (American) 'Pizza Delivery' 2002

 

Joseph Maida (American)
Pizza Delivery
2002
Chromogenic development print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

Mitch Epstein (American, b. 1952) 'Untitled (New York City #21)' 1997

 

Mitch Epstein (American, b. 1952)
Untitled (New York City #21)
1997
Chromogenic development print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

 

Going

 

Inge Morath (Austrian, 1923-2002) 'A Llama in Times Square' 1957

 

Inge Morath (Austrian, 1923-2002)
A Llama in Times Square
1957
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Estate of Inge Morath

 

 

The noted photojournalist Inge Morath made this photograph of a llama in Times Square, easily her most recognisable photograph, for Life magazine in 1952. Although the image looks spontaneous, it was part of a highly planned assignment. The image was published in a one-page story, in the magazine’s humorous “Animals” section, and was entitled “High-paid llama in big city.” The piece featured a menagerie of television animals – including, in addition to the llama, dogs, cats, birds, a pig, a kangaroo, and a miniature bull – living at home with their trainers in a Manhattan brownstone. Morath’s full caption for the image reads, “Linda, the Lama [sic], rides home via Broadway. She is just coming home from a television show in New York’s ABC studios and now takes a relaxed and long-necked look at the lights of one of the world’s most famous streets.”

 

Michael Spano (American, b. 1949) '5th Ave. & the Park' 2005

 

Michael Spano (American, b. 1949)
5th Ave. & the Park
2005
From the series Auto Portraits
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

Ted Croner (American, 1922-2005) 'Going Slushy Street, Times Square' 1948

 

Ted Croner (American, 1922-2005)
Going Slushy Street, Times Square
1948
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Estate of Ted Croner

 

 

Ted Croner (1922-2005) was an American photographer, described as an influential member of the New York school of photography during the 1940s and 1950s. His images are said to represent the best example of this movement.

Born in Baltimore in 1922 and raised in North Carolina, Croner developed an interest in photography while in high school. He honed his skills while serving as an aerial photographer in World War II before settling in New York City in 1947. At the urging of fashion photographer Fernand Fonssagrives, he enrolled in Alexey Brodovitch’s class at The New School where he studied with Diane Arbus, Richard Avedon and Lisette Model. During this period he produced many of his most memorable images including “Taxi, New York Night, 1947-1948”, which appears on the cover of Bob Dylan’s 2006 album, Modern Times. Another of Croner’s photographs was used on the cover of Luna’s album Penthouse.

Croner also had a successful career as a fashion and commercial photographer – his work was published in Harper’s Bazaar and Vogue. He also worked extensively with corporations such as Coca-Cola and Chase Manhattan Bank.

Text from the Wikipedia website

 

Ted Croner (1922-2005) was born in Baltimore, MD. and grew up in Charlotte, N.C. After joining the army during World War II, Croner worked as an aerial photographer with the United States Army Air Corps stationed in the South Pacific. In1946, Croner went to New York where he and Bill Helburn, another former Air Corps photographer, used their G.I. Bill aid to open a small photography studio on West 57th street in Manhattan. Shortly after that, Croner enrolled in Alexey Brodovitch’s photography class at the New School. Perhaps Croner’s best-known work, Taxi – New York Night, 1947-1948, was taken while he was a student in Brodovitch’s legendary “design laboratory”.

In 1948 Edward Steichen, then the director of photography at the Museum of Modern Art in New York, chose to include Croner in two exhibitions at the Museum: “In and Out of Focus” and “Four Photographers” which included three other photographers: Bill Brandt, Harry Callahan and Lisette Model. Other exhibitions of Croner’s work followed. As he continued to accept commercial work at magazines like Harper’s Bazaar and Vogue, Croner pursued his own photography, producing vigorously experimental, cinematic images of cafeterias, solitary diners and the city after dark.

Interest in Croner’s work was revived with the publication of The New York School, Photographs by Jane Livingston in 1992 which followed the 1985 exhibition of the same name at the Corcoran Gallery in Washington, DC. For the cover of the book, Livingston chose a picture by Croner, “New York at Night, 1948” which shows a Manhattan skyline reduced to abstract slashes of white light among black tall buildings against a gun-metal grey sky. This was followed by inclusion in the exhibition “By Night” at The Cartier Foundation in Paris in 1996, the Whitney Museum’s 1999 exhibition “American Century Part II” and in 2005, in the exhibition “At The Crossroads of Time: A Times Square Centennial” at the Axa Gallery in New York, and in “Street Seen: The Psychological Gesture in American Photography 1940-1959” at the Milwaukee Art Museum in 2010.

Anonymous text from the Howard Greenberg Gallery website [Online] Cited 11/02/2022

 

Ted Croner (American, 1922-2005) 'Home of the Brave, Times Square' late 1940s

 

Ted Croner (American, 1922-2005)
Home of the Brave, Times Square
late 1940s
Gelatin silver print
Museum of the City of New York
Courtesy of the Estate of Ted Croner

 

Alfred Stieglitz (American, 1864-1946) 'The Street – Design for a Poster' 1903

 

Alfred Stieglitz (American, 1864-1946)
The Street – Design for a Poster
1903
Photogravure
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

In the late 19th and early 20th centuries, there was perhaps no more important figure for the advancement of photography’s position in the arts than Alfred Stieglitz. At a time when photography was viewed as a fact-based, scientific craft, Stieglitz had an unerring ambition to prove that the medium was as capable of artistic expression as painting or sculpture. This photograph, taken at Fifth Avenue and 30th Street, with its moody scene and soft-focused, impressionistic aesthetic, exemplifies the painterly qualities Stieglitz espoused (sometimes described as Pictorialism). In later years, the photographer changed course and embraced “straight” sharp-focused photography as the best representation of the artistic qualities of the medium.

 

 

Shopping

 

Walter Rosenblum (American, 1919-2006) 'Chick's Candy Store, Pitt Street, NY' 1938

 

Walter Rosenblum (American, 1919-2006)
Chick’s Candy Store, Pitt Street, NY
1938
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

Walter A. Rosenblum (1919-2006) was an American photographer. He photographed the World War II D-Day landing at Normandy in 1944. He was the first Allied photographer to enter the liberated Dachau concentration camp.

Rosenblum was a member of the New York Photo League where he was mentored by Paul Strand and Lewis Hine. He became president of the League in 1941. He taught photography at Brooklyn College for 40 years.

Text from the Wikipedia website

 

Berenice Abbott (American, 1898-1991) 'Stanton and Orchard Streets' 1936

 

Berenice Abbott (American, 1898-1991)
Stanton and Orchard Streets
1936
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

Berenice Abbott (American, 1898-1991) 'Stanton and Orchard Streets' 1936 (detail)

 

Berenice Abbott (American, 1898-1991)
Stanton and Orchard Streets (detail)
1936
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

A llama in Times Square… fireworks over the Brooklyn Bridge… polar bears playing in a pool at the zoo… subways, skylines, shadows, and stolen moments… all these things and more tell the varied story of New York City, captured by the lenses of many of the medium’s greatest photographers. Now, these images will be on view as part of “Celebrating the City: Recent Acquisitions from the Joy of Giving Something,” opening February 18th at Museum of the City of New York. The exhibition will feature approximately 100 photographs selected from the more than 1,000 images recently gifted to the Museum by the Joy of Giving Something (JGS), a non-profit organisation dedicated to the photographic arts.

“Photographs of New York are instantly recognisable and help us celebrate and elevate the many stories of our vibrant city that might otherwise go unnoticed,” says Whitney Donhauser, Ronay Menschel Director of Museum of the City of New York. “As we continue to emerge from the challenges of the COVID pandemic, this magnificent gift from the Joy of Giving Something dramatically advances MCNY’s already stellar 400,000+ image photography collection and gives us an even greater ability to share the stories of our beloved city and its inhabitants.”

“JGS is extremely pleased to donate a substantial group of prints from our collection to the Museum of the City of New York. Most of the work in our donation features New York as subject and it is a great match that the photographs stay in New York to be enjoyed by audiences far and wide,” says Jeffrey Hoone, President of Joy of Giving Something (JGS). “New York continues to be a subject for photographic artists from around the world and JGS is proud to help continue that legacy as we support younger artists through our many different programs. We applaud the Museum for their forward-thinking programs and their commitment to preserving and celebrating New York as a vibrant subject for photographers past, present, and future.”

Devoted to the field of photography, and ever on the search for its very best practitioners, JGS founder Howard Stein never limited himself to a single genre or style. Stein began acquiring photographs in the 1980s, eventually forming one of the most comprehensive collections in private hands, spanning the 19th through the 21st centuries. His understanding of the photographic medium and discerning eye for print quality and condition yielded a remarkable collection shared through exhibition loans around the world.

With images ranging from documentary to quirky, architectural to atmospheric, “Celebrating the City” features selections from this transformative donation, which notably includes works by 30+ creators new to the MCNY collection (see list on Page 4). The exhibition presents multiple images from Helen Levitt‘s dynamic and celebrated street photography; Sylvia Plachy‘s playful and eccentric examination of the people, animals, and moments of NYC; and Michael Spano‘s slice-of-life city shots spanning the 1990s and 2000s. Other key figures in 20th century photography are incorporated into the show, including Ilse Bing, Bruce Davidson, Mitch Epstein, Elliott Erwitt, Robert Frank, William Klein, Saul Leiter, Alfred Stieglitz, Rosalind Solomon, and Paul Strand, to name a few – all capturing indelible, sometimes implausible, intimate, and often incredible moments of the city.

MCNY’s “Celebrating the City” is organised into 10 categories, from working, going shopping, playing, and gathering to loving, gazing, being, reflecting and building, all illustrating the universality of the city and offering the opportunity to compare how some of the best-known photographers have returned to the same subjects again and again.

Some exhibition highlights include:

  • Bruce Cratsley’s “Brooklyn Bridge Centennial” (1983)
  • Bruce Davidson’s “Square Riggers, South Street Seaport” (1996)
  • Elliott Erwitt’s “New York City” (1955)
  • Larry Fink’s “Studio 54” (1977)
  • Ken Heyman’s “Dogs’ Last Swim in Central Park Lake, New York” (1985)
  • Philip-Lorca diCorcia’s “Alice (Alice Rose George)” (1987)
  • Inge Morath’s “A Llama in Times Square” (1957)
  • Sylvia Plachy’s “Baseball Plié” (1982)

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“In addition to offering glimpses of life in the city, ‘Celebrating the City’ juxtaposes various picture-making approaches, showing the different ways in which photographs are created as well as illuminating the decision-making process behind photography, collecting, and curation,” says Sean Corcoran, senior curator of prints and photographs, Museum of the City of New York. “We’ve paired the JGS photographs with a handful of recently acquired works – presented in the anteroom – in an effort to tell the story of a diverse and contemporary city from a range of perspectives.”

Press release from the Museum of the City of New York

 

 

Playing

 

Ken Heyman (American, 1930-2019) 'Dogs' Last Swim in Central Park Lake, New York' 1985

 

Ken Heyman (American, 1930-2019)
Dogs’ Last Swim in Central Park Lake, New York
1985
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Estate of Ken Heyman

 

Paul Himmel (American, 1914-2009) 'Dog in Central Park' c. 1955

 

Paul Himmel (American, 1914-2009)
Dog in Central Park
c. 1955
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Estate of Paul Himmel

 

 

Paul Himmel (1914 – February 8, 2009) was a fashion and documentary photographer in the United States.

Himmel was the son of Ukrainian-Jewish immigrants. He took up photography as a teenager and studied graphic journalism under art director Alexey Brodovitch. From 1947 to 1969, he worked as a professional photographer for Vogue and Harper’s Bazaar, and several of his photographs were included in Edward Steichen’s “Family of Man” exhibition.

In the 1950s, Himmel started his own projects, including series on boxers, the circus and ballet. He experimented with grain structure in his negatives and prints, using a series of silhouetted and elongated forms abbreviated almost to the point of abstraction.

Himmel took his last photograph in 1967, and by 1969, he became disenchanted with photography and retrained as a psychotherapist. An exhibit of his photographs in New York City in 1996 brought him back to public attention. Himmel’s photographs are fresh and unusual. Many are high-contrast, emphasising the design and patterns contained in an image. His subjects ranged from New York City scenes to nudes reduced to grainy vestiges to colour abstractions.

Text from the Wikipedia website

 

Larry Fink (American, b. 1941) 'Studio 54' 1977

 

Larry Fink (American, b. 1941)
Studio 54
1977
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

 

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

 

Joseph Maida (American) 'Soccer Game' 2002

 

Joseph Maida (American)
Soccer Game
2002
Chromogenic development print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

Pablo Delano. 'Merengue Musicians, Upper Broadway' 1994-1995

 

Pablo Delano (Puerto Rican, b. 1954)
Merengue Musicians, Upper Broadway
1994-1995
Gelatin silver print
Museum of the City of New York
Gift of the photographer

 

Pablo Delano (Puerto Rican, b. 1954) 'Dancers at Dominican Day, Parade, Midtown' 1994-1995

 

Pablo Delano (Puerto Rican, b. 1954)
Dancers at Dominican Day, Parade, Midtown
1994-1995
Gelatin silver print
Museum of the City of New York
Gift of the photographer

 

 

Gathering

 

Elliott Erwitt (American born France, b. 1928) 'New York City' 1955

 

Elliott Erwitt (American born France, b. 1928)
New York City
1955
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
© Elliott Erwitt/MAGNUM PHOTOS

 

Dona Ann McAdams (American, b. 1954) 'Group of Hassidic Men, Williamsburg, Brooklyn' 1978

 

Dona Ann McAdams (American, b. 1954)
Group of Hassidic Men, Williamsburg, Brooklyn
1978
From the series Williamsburg, Brooklyn Portfolio
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

Ed Grazda (American, b. 1947) 'Abu Bakr Sedig Mosque, Flushing NY' 1995

 

Ed Grazda (American, b. 1947)
Abu Bakr Sedig Mosque, Flushing NY
1995
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

 

Ed Grazda, from Flushing, Queens, had been photographing in Pakistan and Afghanistan for almost 15 years when the underground garage at the World Trade Center became the site of a car bomb attack, on February 26, 1993. The explosion killed six people and injured more than a thousand; in both print and televised media, the grisly scene was often accompanied by the phrase “Muslim terrorist.” As a counter to the spreading media stereotypes, Grazda began a new effort: to document some of the dozens of communities of New Yorkers who practice Islam. He engaged both the immigrant populations and the native New Yorkers, including converts, the longstanding African-American Muslim community, and a growing Latino-Muslim community. This project was eventually published as the book New York Masjid: The Mosques of New York in 2002.

 

Joseph Maida (American) 'Men in Park' 2001

 

Joseph Maida (American)
Men in Park
2001
Chromogenic development print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.
Courtesy of the Photographer

 

 

Loving

 

Ted Croner (American, 1922-2005) 'Top Hats at Horse Show' 1947-1949

 

Ted Croner (American, 1922-2005)
Top Hats at Horse Show
1947-1949
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Estate of Ted Croner

 

Stephen Barker (American, b. 1956) 'Nightswimming, NYC' 1993-1994

 

Stephen Barker (American, b. 1956)
Nightswimming, NYC
1993-1994
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of Daniel Cooney Fine Art, NYC and the Photographer

 

 

After Stephen Barker graduated from The Cooper Union School of Art in 1980, he became an assistant for noted portraitist Hans Namuth and architectural photographer Wolfgang Hoyt. In response to the growing AIDS crisis, Barker became an activist, working with ACT UP (the AIDS Coalition to Unleash Power) and managing the Brooklyn Needle Exchange for two years. He also took his camera into New York City’s sex clubs. Given the necessity for anonymity, many of the figures that appeared in this work, entitled Nightswimming, appear indistinct at first glance. The settings are often darkened cinemas and hallways, yet there are flashes of intelligibility – tenderness, passion, and even introspection.

 

Mitch Epstein (American, b. 1952) 'Untitled (New York #9)' 1996

 

Mitch Epstein (American, b. 1952)
Untitled (New York #9)
1996
Chromogenic development print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

 

Since the 1970s, Mitch Epstein has been an early proponent of colour photography as a fine art, which he often uses to subtly examine American society. This photograph, and several others on view in this gallery, are drawn from a body of work entitled “The City.” The photographer describes the collection as a “series of photographs that reveal the blurred line between New York City’s public and private space and question its increasing surveillance. These pictures describe a chaotic and layered city, where people create an intimate solar system of family, friends, and associates to survive the brute anonymity of public space.”

 

 

Gazing

 

Helen Levitt (American, 1913-2009) 'New York (Woman and taxi)' 1982

 

Helen Levitt (American, 1913-2009)
New York (Woman and taxi)
1982
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

Saul Leiter (American, 1923-2013) 'Dick and Adele, the Village' c. 1947

 

Saul Leiter (American, 1923-2013)
Dick and Adele, the Village
c. 1947
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

George S. Zimbel (American-Canadian, b. 1929) 'Irish Dance Hall, The Bronx' 1954

 

George S. Zimbel (American-Canadian, b. 1929)
Irish Dance Hall, The Bronx
1954
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

George S. Zimbel (born July 15, 1929) is an American-Canadian documentary photographer. He has worked professionally since the late 1940s, mainly as a freelancer. He was part of the Photo League and is one of its last surviving members. Born in Massachusetts, he settled in Canada about 1971. His works have been shown with increasing frequency since 2000, and examples of his work are part of several permanent collections including the Museum of Modern Art and the Montreal Museum of Fine Arts. He has been described as a humanist. He has published several books of his photographs and in 2016 was the subject of a documentary retrospective film co-directed by his son Matt Zimbel and distributed by the National Film Board of Canada.

Text from the Wikipedia website

 

Rebecca Norris Webb (American, b. 1956) 'Brooklyn, NY' 2000

 

Rebecca Norris Webb (American, b. 1956)
Brooklyn, NY
2000
From the series The Glass Between Us
Chromogenic development print

 

 

Rebecca Norris Webb has lived in New York City for more than 25 years. Originally a poet, she brings a lyrical sensibility to her photography and often interweaves text into her imagery. This photograph is part of a larger series published as a book entitled The Glass Between Us: Reflections on Urban Creatures (2006), that examines people’s complex relationship with animals in cities, primarily in the context of “conservation parks” such as zoos and aquariums. This image, taken at the New York Aquarium in Coney Island, uses reflections and distortion of the water tanks to blur the boundaries between the young boy and the aquatic life he is observing.

 

 

Being

 

Ken Heyman (American, 1930-2019) 'Willie' 1962

 

Ken Heyman (American, 1930-2019)
Willie
1962
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Estate of Ken Heyman

 

 

Ken Heyman met noted anthropologist Margaret Mead while attending Columbia University. The two became friends and worked together on several projects; the experience influenced Heyman to focus his photography on human relationships and interactions. Heymen went on to become a leading photojournalist, working for Life, LOOK, and TIME magazines. In the mid-1950s Haymen photographed “Willie,” a four-year-old boy from Hell’s Kitchen, over the course of several months in an attempt to observe him negotiate his one-block world. The results were published in Heymen’s first book in 1962. He went on to publish 45 additional books, including collaborations with composer Leonard Bernstein, President Lyndon B. Johnson, and artist Andy Warhol.

 

Philip-Lorca DiCorcia (American, b. 1951) 'Alice (Alice Rose George)' 1987

 

Philip-Lorca DiCorcia (American, b. 1951)
Alice (Alice Rose George)
1987
Chromogenic development print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

Philip-Lorca diCorcia, a native of Hartford, Connecticut, currently lives in New York City.He attended the School of the Museum of Fine Arts, Boston with other notable New York-based photographers David Armstrong and Nan Goldin. Beginning in the 1980s, he created an influential body of work that blurred the lines between fact and fiction, blending a documentary style with staged photography techniques. The resulting photographs, often depicting mundane moments of life, are known for their dramatic cinematic quality. This image of noted writer, curator, and photography editor Alice Rose George exemplifies the taut psychological quality of diCorcia staged tableaux.

 

DiCorcia alternates between informal snapshots and iconic quality staged compositions that often have a baroque theatricality.

Using a carefully planned staging, he takes everyday occurrences beyond the realm of banality, trying to inspire in his picture’s spectators an awareness of the psychology and emotion contained in real-life situations. His work could be described as documentary photography mixed with the fictional world of cinema and advertising, which creates a powerful link between reality, fantasy and desire.

During the late 1970s, during diCorcia’s early career, he used to situate his friends and family within fictional interior tableaus, that would make the viewer think that the pictures were spontaneous shots of someone’s everyday life, when they were in fact carefully staged and pre-planned. His work from this period is associated with the Boston School of photography. He would later start photographing random people in urban spaces all around the world. When in Berlin, Calcutta, Hollywood, New York, Rome and Tokyo, he would often hide lights in the pavement, which would illuminate a random subject, often isolating them from the other people in the street.

His photographs give a sense of heightened drama to accidental poses, unintended movements and insignificant facial expressions of those passing by. Even if sometimes the subject appears to be completely detached from the world around them, diCorcia has often used the city of the subject’s name as the title of the photo, placing the passers-by back into the city’s anonymity. Each of his series, Hustlers, Streetwork, Heads, A Storybook Life, and Lucky Thirteen, can be considered progressive explorations of diCorcia’s formal and conceptual fields of interest. Besides his family, associates and random people he has also photographed personas already theatrically enlarged by their life choices, such as the pole dancers in his latest series.

His pictures have black humour within them, and have been described as “Rorschach-like”, since they can have a different interpretation depending on the viewer. As they are pre-planned, diCorcia often plants in his concepts issues like the marketing of reality, the commodification of identity, art, and morality.

In 1989, financed by a National Endowment for the Arts fellowship of $45,000, DiCorcia began his Hustlers project. Starting in the early 1990s, he made five trips to Los Angeles to photograph male prostitutes in Hollywood. He used a 6×9 Linhof view camera, which he positioned in advance with Polaroid tests. At first, he photographed his subjects only in motel rooms. Later, he moved onto the streets. When the Museum of Modern Art exhibited 25 of the photographs in 1993 under the title Strangers, each was labeled with the name of the man who posed, his hometown, his age, and the amount of money that changed hands.

In 1999, diCorcia set up his camera on a tripod in Times Square, attached strobe lights to scaffolding across the street and took a series of pictures of strangers passing under his lights. This resulted in two published books, Streetwork (1998) which showed wider views including subjects’ entire bodies, and Heads (2001), which featured more closely cropped portraits as the name implies.

Text from the Wikipedia website

 

 

Reflecting

 

Stephen Barker (American, b. 1956) 'Nightswimming' 1993-1994

 

Stephen Barker (American, b. 1956)
Nightswimming
1993-1994
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of Daniel Cooney Fine Art, NYC and the Photographer

 

Louis Faurer (American, 1916-2001) 'Mary and Robert Frank at San Gennaro Festival' 1950

 

Louis Faurer (American, 1916-2001)
Mary and Robert Frank at San Gennaro Festival
1950
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

Louis Faurer was born in Philadelphia, where he worked as a photo technician in portrait studios. After serving in the U.S. Signal Corps of Philadelphia during World War II, he began to commute to New York City for work at magazines and attended classes at Alexey Brodovitch’s Design Laboratory. There, he met fellow photographer Robert Frank. The two became fast friends and Faurer eventually moved into Frank’s large loft and used his darkroom. At the time, Faurer worked for various magazines, including Harper’s Bazaar, Life, Vogue, and the short-lived Flair.

This image, made in those early days in New York, reflects Faurer’s close relationship with Frank and his then-wife Mary. The late 1940s and 1950s were especially important to Faurer’s development as a photographer and were when he created his most memorable images of New York. As in this photograph, Faurer concentrated his image making on people out on the streets, reflections of store windows, and the bright city lights. This psychologically charged work highlights the complexity and energy of city life.

 

Louis Faurer (August 28, 1916 – March 2, 2001) was an American candid or street photographer. He was a quiet artist who never achieved the broad public recognition that his best-known contemporaries did; however, the significance and caliber of his work were lauded by insiders, among them Robert Frank, William Eggleston, and Edward Steichen, who included his work in the Museum of Modern Art exhibitions In and Out of Focus (1948) and The Family of Man (1955).

“Faurer … proves to be an extraordinary artist. His eye is on the pulse [of New York City] – the lonely “Times-Square people” for whom Faurer felt a deep sympathy. Every photograph is witness to the compassion and obsession accompanying his life like a shadow. I am happy that these images survive while the world keeps changing.” ~ Robert Frank

Text from the Wikipedia website

 

Robert Frank (Swiss, 1924-2019) 'Andrea on Third Avenue' 1955

 

Robert Frank (Swiss, 1924-2019)
Andrea on Third Avenue
1955
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

Swiss-born Robert Frank immigrated to New York in 1947 to work for Alexey Brodovitch at Harper’s Bazaar. Frank continued to create editorial work for magazines such as Life, LOOK, and Vogue until he was awarded a Guggenheim Fellowship in 1955. The award freed him to travel throughout the country for two years to make the photographs that would result in his seminal book, The Americans. This photograph, of Frank’s daughter Andrea in their apartment near Astor Place on Third Avenue, is emblematic of much of the photographer’s work; it is tender and intimate while remaining slightly enigmatic.

 

Sylvia Plachy (American born Hungary, b. 1943) 'Virgil Thomson' 1986

 

Sylvia Plachy (American born Hungary, b. 1943)
Virgil Thomson
1986
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

Virgil Thomson (November 25, 1896 – September 30, 1989) was an American composer and critic. He was instrumental in the development of the “American Sound” in classical music. He has been described as a modernist, a neo-romantic, a neoclassicist, and a composer of “an Olympian blend of humanity and detachment” whose “expressive voice was always carefully muted” until his late opera Lord Byron which, in contrast to all his previous work, exhibited an emotional content that rises to “moments of real passion”.

Text from the Wikipedia website

 

Mitch Epstein (American, b. 1952) 'Untitled (New York #11)' 1996

 

Mitch Epstein (American, b. 1952)
Untitled (New York #11)
1996
Chromogenic development print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

Mitch Epstein (American, b. 1952) 'Untitled (New York #3)' 1995

 

Mitch Epstein (American, b. 1952)
Untitled (New York #3)
1995
Chromogenic development print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,
Courtesy of the Photographer

 

 

Buildings

 

Paul Strand (American, 1890-1976) 'From the Viaduct, 125th Street, New York' 1915

 

Paul Strand (American, 1890-1976)
From the Viaduct, 125th Street, New York
1915
Plate from Camera Work No. 49/50, June 1917
Photogravure
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

Arthur D. Chapman (American, 1882-1956) 'East River, New York' 1914

 

Arthur D. Chapman (American, 1882-1956)
East River, New York
1914
Platinum print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

Arthur D. Chapman (1882-1956) was born in Bakersfield, California. An amateur photographer, he moved to New York and worked as a printer for The Globe and Commercial Advertiser and The New York American; he also listed himself in the New York City directories as a bookbinder (1913) and a photographer (1917). Chapman lived in Greenwich Village from 1911 until 1917 and, in his afternoons off from work, photographed everyday scenes around Manhattan. In his own neighbourhood, he chose to show not the Bohemian image the Village then projected, but rather what the residential Village looked like. With the use of shadow, Chapman was able to give depth and character to his photographs, and those focused down a street usually featured a striking foreground. His subjects include rooftops, buildings, and street scenes with such titles as “9½ Jane Street,” “Clinton Court,” and “Kelly’s Alley.” Most of the photographs are from the 1910s and show a quaint side of the Village that has all but vanished.

During the early 1950s Chapman thought it would be of historical interest to re-shoot some of the areas in Manhattan he had photographed almost a half-century before, in order to document how time had changed those places. Unfortunately, some of the scenes he wanted to photograph were still considered too “sensitive” so soon after the Second World War, and he was unable to obtain permission from the city government.

The New-York Historical Society bought this collection from Chapman between 1950 and 1955 as he, in his retirement, found and printed from old negatives which had lain hidden in his extensive collection. In 1953, Chapman gave two self-portraits to the Society as a gift, one taken in New York in 1913 and the second taken in 1953 in New Jersey. Both show him working with his photographic equipment.

In 1921, following his World War I service in France with the Photographic Section of the Army Signal Corp Chapman moved to New Jersey, where he continued with his “hobby” until his death on June 5, 1956. He was a member of Pictorial Photographers of America, and a member of New York Typographical Union No. 6 for over fifty years.

Anonymous text from the New York Historical Society website Nd [Online] Cited 11/03/2022

 

André Kertész (Hungarian, 1894-1985) 'A Brick-Built Wall, New York' 1961

 

André Kertész (Hungarian, 1894-1985)
A Brick-Built Wall, New York
1961
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

Bruce Cratsley (American, 1944-1998) 'Brooklyn Bridge Centennial' 1983

 

Bruce Cratsley (American, 1944-1998)
Brooklyn Bridge Centennial
1983
Gelatin silver print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

John Reid. 'Harlem Bridge, 4th Ave., NYC' c. 1870

 

John Reid
Harlem Bridge, 4th Ave., NYC
c. 1870
Albumen print
Museum of the City of New York
Gift of Joy of Giving Something, Inc.,

 

 

Museum of the City of New York
1220 Fifth Ave at 103rd St.,

Opening hours:
Open Daily 10am – 6pm

Museum of the City of New York website

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01
Feb
10

Exhibition: ‘Picturing New York: Photographs from The Museum of Modern Art’ at the Irish Museum of Modern Art, Dublin

Exhibition dates: 25th November 2009 – 7th February 2010

 

Many thankx to Monica Cullinane and the Irish Museum of Modern Art for allowing me the reproduce photographs from the exhibition. Please click on the photographs for a larger version of the image.

Marcus

 

 

Times Wide World Photos. 'Mr. and Mrs. Joe Louis Out for a Stroll' September 25, 1935

 

Times Wide World Photos (American, active 1919-1941)
Mr. and Mrs. Joe Louis Out for a Stroll
September 25, 1935
Gelatin silver print
8 ¾ x 6 5/8″ (22.2 x 16.8 cm)
The Museum of Modern Art, New York. The New York Times Collection

 

Cindy Sherman. 'Untitled Film Still #21' 1978

 

Cindy Sherman (American, b. 1954)
Untitled Film Still #21
1978
Gelatin silver print
7 1/2 x 9 1/2″ (19.1 x 24.1 cm)
The Museum of Modern Art, New York
Horace W. Goldsmith Fund through Robert B. Menschel

 

 

Each of Sherman’s sixty-nine Untitled Film Stills (1977-80), presents a female heroine from a movie we feel we must have seen. Here, she is the pert young career girl in a trim new suit on her first day in the big city. Among the others are the luscious librarian (#13), the chic starlet at her seaside hideaway (#7), the ingenue setting out on life’s journey (#48), and the tough but vulnerable film noir idol (#54). To make the pictures, Sherman herself played all of the roles or, more precisely, played all of the actresses playing all of the roles. In other words, the series is a fiction about a fiction, a deft encapsulation of the image of femininity that, through the movies, took hold of the collective imagination in postwar America – the period of Sherman’s youth, and the crucible of our contemporary culture.

In fact, only a handful of the Untitled Film Stills are modelled directly on particular roles in actual movies, let alone on individual stills of the sort that the studios distribute to publicise their films. All the others are inventive allusions to generic types, and so our sure sense of recognition is all the more telling. It tells us that, knowingly or not, we have absorbed the movie culture that Sherman invites us to examine as a powerful force in our lives.

Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 295.

 

Helen Levitt (American, 1913-2009) 'New York' 1982

 

Helen Levitt (American, 1913-2009)
New York
1982
Gelatin silver print
9 9/16 x 6 7/16″ (24.3 x 16.4 cm)
The Museum of Modern Art, New York.
Gift of Marvin Hoshino in memory of Ben Maddow
© 2009 The Estate of Helen Levitt, courtesy Fraenkel Gallery, San Francisco

 

Louis Stettner (American, born 1922) 'Manhattan from the Promenade, Brooklyn, New York' 1954

 

Louis Stettner (American, born 1922)
Manhattan from the Promenade, Brooklyn, New York
1954
Gelatin silver print
12 1/4 x 18 1/4″ (31.1 x 46.4 cm)
The Museum of Modern Art, New York. Gift of the photographer in memory of his brother, David Stettner
© 2009 Louis Stettner, courtesy Bonni Benrubi Gallery, New York

 

Diane Arbus. 'Woman with Veil on Fifth Avenue, N.Y.C' 1968

 

Diane Arbus (American, 1923-1971)
Woman with Veil on Fifth Avenue, N.Y.C.
1968
Gelatin silver print
The Museum of Modern Art, New York

 

 

An exhibition of 145 masterworks from the photographic collection of The Museum of Modern Art (MoMA) in New York , celebrating the architecture and life of that unique city from the 1880s to the present day, opens to the public at the Irish Museum of Modern Art on Wednesday, November 25, 2009. “Picturing New York” draws on one of the most important collections of modern and contemporary photography in the world to celebrate the long tradition of photographing New York, a tradition that continues to frame and influence our perception of the city to this day. Presenting the work of some 40 photographers including such influential figures as Berenice Abbott, Diane Arbus, Garry Winogrand, Lisette Model, Alfred Stieglitz and Cindy Sherman, the exhibition features both the city and its inhabitants, from its vast, overwhelming architecture to the extraordinary diversity of its people.

The exhibition reflects photographers’ ongoing fascination with New York, a city whose vitality, energy, dynamism and sheer beauty have also inspired innumerable artists, writers, filmmakers and composers. New York’s unique architecture is explored, from elegant skyscrapers to small shop fronts; likewise the life of its citizens, from anonymous pedestrians to celebrities and politicians. The city’s characteristic optimism is caught time and again in these images, even in those taken in difficult times. Together, they present a fascinating history of the city over more than a century, from Jacob Riis’s 1888 view of bandits on the Lower East Side to Michael Wesely’s images taken during the recent expansion at MoMA.

The photographs reveal New York as a city of contrasts and extremes through images of towering buildings and tenements, party-goers and street-dwellers, hurried groups and solitary individuals. “Picturing New York” suggests the symbiosis between the city’s progression from past to present and the evolution of photography as a medium and as an art form. Additionally, these photographs of New York contribute significantly to the notion that the photograph, as a work of art, is capable of constructing a sense of place and a sense of self.

“I am thrilled that ‘Picturing New York’ will be presented in Dublin – a city whose vitality, grit, and vibrant artistic community resonates with that of New York ,” said Sarah Meister, Curator in MoMA’s Department of Photography, who organised the exhibition. “In addition, the layout and scale of the galleries at IMMA will allow this story – of New York and photography becoming modern together throughout the twentieth century – to unfold as if chapter by chapter.”

Press release from the Irish Museum of Modern Art website [Online] Cited 26/01/2010 no longer available online

 

Jacob Riis (Danish-American, 1849-1914) 'Bandit's Roost at 59½ Mulberry Street' 1888

 

Jacob Riis (Danish-American, 1849-1914)
Bandit’s Roost at 59½ Mulberry Street
1888
Gelatin silver print, printed 1958
19 3/16 x 15 1/2″ (48.7 x 39.4 cm)
The Museum of Modern Art, New York
Gift of the Museum of the City of New York

 

 

Late 19th-century New York City was a magnet for the world’s immigrants, and the vast majority of them found not streets paved with gold but nearly subhuman squalor. While polite society turned a blind eye, brave reporters like the Danish-born Jacob Riis documented this shame of the Gilded Age. Riis did this by venturing into the city’s most ominous neighbourhoods with his blinding magnesium flash powder lights, capturing the casual crime, grinding poverty and frightful overcrowding. Most famous of these was Riis’ image of a Lower East Side street gang, which conveys the danger that lurked around every bend. Such work became the basis of his revelatory book How the Other Half Lives, which forced Americans to confront what they had long ignored and galvanised reformers like the young New York politician Theodore Roosevelt, who wrote to the photographer, “I have read your book, and I have come to help.” Riis’ work was instrumental in bringing about New York State’s landmark Tenement House Act of 1901, which improved conditions for the poor.

Anonymous. “Bandit’s Roost, 59½ Mulberry Street,” on the Time 100 Photos website [Online] Cited 09/06/2019

 

Paul Strand. 'Wall Street, New York' 1915

 

Paul Strand (American, 1890-1976)
Wall Street
1915
Gelatin silver print
The Museum of Modern Art, New York

 

 

Lewis W. Hine (American, 1874-1940)
Welders on the Empire State Building
c. 1930
Gelatin silver print
10 5/8 x 13 5/8″ (27 x 34.6 cm)
The Museum of Modern Art, New York. Committee on Photography Fund

 

 

Dan Weiner (American, 1919-1959)
New Year’s Eve, Times Square
1951
Gelatin silver print
9 1/4 x 13 3/16″ (23.5 x 33.5 cm)
The Museum of Modern Art, New York. Gift of Sandra Weiner
© 2009 Estate of Dan Weiner

 

Bruce Davidson (American, b. 1933) 'Untitled' from the 'Brooklyn Gang' series 1959

 

Bruce Davidson (American, b. 1933)
Untitled from the Brooklyn Band series
1959
Gelatin silver print
6 3/4 x 10″ (17.1 x 25.4 cm)
The Museum of Modern Art, New York. Purchase
© 2019 Magnum Photos, Inc. and Bruce Davidson

 

Arthur Fellig (Weegee) 'Coney Island' 1940

 

Weegee (Arthur Fellig) (American, born Austria, 1899-1968)
Coney Island
c. 1939
Gelatin silver print
10 5/16 x 13 11/16″ (26.2 x 34.8 cm)
The Museum of Modern Art, New York. Anonymous gift

 

Unknown photographer. 'Brooklyn Bridge' c. 1914

 

Unknown photographer (American)
Brooklyn Bridge
c. 1914
Gelatin silver print
7 5/8 x 9 9/16″ (19.4 x 24.3 cm)
The Museum of Modern Art, New York, The New York Times Collection

 

Ted Croner. 'Central Park South' 1947-48

 

Ted Croner (American, 1922-2005)
Central Park South
1947-48
Gelatin silver print
The Museum of Modern Art, New York

 

Bernice Abbott. 'Night View, New York City' 1932

 

Bernice Abbott (American, 1898-1991)
Night View, New York City
1932
Gelatin silver print
The Museum of Modern Art, New York

 

 

Irish Museum of Modern Art/Áras Nua-Ealaíne na hÉireann
Royal Hospital
Military Road
Kilmainham
Dublin 8
Ireland
Phone: +353-1-612 9900

Opening hours:
Tuesday – Saturday: 10.00am – 5.30pm
except Wednesday: 10.30am – 5.30pm
Sundays and Bank Holidays: 12pm – 5.30pm

Irish Museum of Modern Art website

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02
May
09

Exhibition: ‘Portraits of New York: Photographs from the MoMA’ at La Casa Encendida, Madrid

Exhibition dates: 27th March – 14th June, 2009

Curator: Sarah Hermanson Meister, associate curator of MoMA’s Department of Photography

 

Many thankx to La Casa Encendida for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image.

 

 

Paul Strand. 'Wall Street, New York' 1915

 

Paul Strand (American, 1890-1976)
Wall Street
1915
Platinum palladium print

 

 

Wall Street is a platinum palladium print photograph by the American photographer Paul Strand taken in 1915. There are currently only two vintage prints of this photograph with one at the Whitney Museum of American Art (printed posthumously) and the other, along with negatives, at the Philadelphia Museum of Art. This photograph was included in Paul Strand, circa 1916, an exhibition of photographs that exemplify his push toward modernism.

It depicts a scene of everyday life in Manhattan’s Financial District. Workers are seen walking past the J.P. Morgan & Co. building in New York City on the famous Wall Street, of which the photograph takes its name. The photograph is famous for its reliance on the sharpness and contrast of the shapes and angles, created by the building and the workers, that lead to its abstraction. This photograph is considered to be one of Strand’s most famous works and an example of his change from pictorialism to straight photography. Strand moved from the posed to portraying the purity of the subjects. It is one of several images that stand as marks of the turn to modernism in photography. …

 

Technique

This photograph depicts the J.P. Morgan building in New York City. Strand photographed “people hurrying to work past the banking building” situated on Wall Street, from which the photo takes its name. the subject depicted is a real-life subject without manipulation. The depiction of the real nature of the medium and the subject is an example of straight photography. There is no focal point, with the lines converging off of the frame of the image. The financial building take majority of the frame. Emphasis is placed on the strong shapes created by the architecture of the building. The workers are included in the image, but are faceless and are trumped in size by the massive square shapes from the building they walk past. Also, the workers are captured in motion which on film makes them appear blurry. This aesthetic that Strand creates in Wall Street is his break toward the modern, the straight photography, demonstrating that pictorialism is no longer part of his aesthetic. Strand captured the building with clean, sharp lines. The building is covered in the high contrast, chiaroscuro. It is heavily in the shadows, but still creates an overwhelming presence over the people that walk past it. These people are also shrouded in the contrast made evident with the clean lines and black and white nature of his photos and photography as a medium. The people jump from their places, being the dark figures in the light of the sun that beams in from the left of the frame.

Strand fills the image with his recognisable aesthetic. The photo is platinum print, one of the materials frequently used by photographers of the time. Strand was unique in how he printed his photos. As stated on the George Eastman House website section Notes on Photography, Strand would make large prints from small negatives. He also left them in their matte condition that was inherent with platinum print. With his printing techniques, he “added a richness to the image.” As with the time, the photo is entirely black and white. There is a heavy contrast with the black and white areas of the photo. Strand creates diagonal shapes that pull emphasis to subject of the building and away from the people.

 

Aspects

Having taken Hine’s class at the Ethical Culture Fieldston School, social change became important to Strand and appeared often in his art. As a pupil of Hine, Strand learned of the social aspect his work could have. With Wall Street, he sought to portray a social message. He captured the faceless people next to the looming financial building in order to give a warning. Strand shows “the recently built J.P. Morgan Co. building, whose huge, dark recesses dwarf the passersby with the imposing powers of uniformity and anonymity.” The people cannot escape the overwhelming power that this modern establishment will have on their future and the future of America. He warns us to not be the small people that look almost ant-like next to this building that has a massive amount of control over the American economy.

Text from the Wikipedia website

 

Ted Croner. 'Central Park South' 1947-48

 

Ted Croner (American, 1922–2005)
Central Park South
1947-48
Silver gelatin print
10 15/16 x 13 3/4″ (27.8 x 34.9 cm)
Gift of the photographer
Museum of Modern Art, New York

 

 

Ted Croner (1922-2005) was an American photographer, described as an influential member of the New York school of photography during the 1940s and 1950s. His images are said to represent the best example of this movement.

Born in Baltimore in 1922 and raised in North Carolina, Croner developed an interest in photography while in high school. He honed his skills while serving as an aerial photographer in World War II before settling in New York City in 1947. At the urging of fashion photographer Fernand Fonssagrives, he enrolled in Alexey Brodovitch’s class at The New School where he studied with Diane Arbus, Richard Avedon and Lisette Model. During this period he produced many of his most memorable images including “Taxi, New York Night, 1947-48”, which appears on the cover of Bob Dylan’s 2006 album, Modern Times. Another of Croner’s photographs was used on the cover of Luna’s album Penthouse.

Croner also had a successful career as a fashion and commercial photographer – his work was published in Harper’s Bazaar and Vogue. He also worked extensively with corporations such as Coca-Cola and Chase Manhattan Bank. Croner is best known for his haunting night images of New York City taken in the 1940s and 1950s. He was one of several important photographers who belonged to the New York school of photography.

Text from the Wikipedia website

 

Arthur Fellig (Weegee) 'Coney Island' 1940

 

Arthur Fellig (Weegee) (American, 1899-1968)
Coney Island
July 22, 1940
Silver gelatin print
10 5/16 x 13 11/16″ (26.2 x 34.8 cm)
Anonymous gift
Museum of Modern Art, New York
© 2019 Weegee/ICP/Getty Images

 

 

Photographs from the MoMA, which will provide an in-depth look at an essential component of the MoMA’s assets: its photography collection. Curated by Sarah Hermanson Meister, associate curator of the museum’s department of photography, the exhibition offers an overview of the history of photography through the work of over 90 artists, with the iconic city as a backdrop. It includes some of the most prestigious names in photography, such as Berenice Abbott, Diane Arbus, Harry Callahan, Henri Cartier-Bresson, Walter Evans, Lee Friedlander, Helen Levitt, Cindy Sherman, Irving Penn and Alfred Stieglitz.

For Sarah Hermanson Meister, associate curator of the MoMA’s Department of Photography, “Portraits of New York amply reflects the history of synergies of this medium and of the Big Apple during a period of important transformations for both. The photographs generated by the restless and constant commitment of numerous photographers to the city of New York have played a fundamental role in determining how New Yorkers perceive the city and themselves. These photographs have also defined the city’s image in the world’s imagination.

[…] The urban landscape of the city is a combination of the old and the new in constant evolution, and these physical transformations are repeated in the demographic changes that have characterised the city since the 1880s, when massive waves of immigrants began to arrive. This same diversity can be seen in the photography of New York of the past four decades. Just as its architects are inspired and limited by surrounding structures and building codes, and just as its inhabitants learn and rub up against each other and previous generations, so too the photographers of New York transport the visual memory of a an extensive and extraordinary repertoire of images of the city. They take on the challenge of creating new works that go beyond traditions and respond to what is new in New York.”

The exhibition curator continues: “Throughout the 20th century, numerous artists have felt inspired by New York’s combination of glamour and rawness. The city – which acquired its modernity at the same pace as photography, and in an equally impetuous and undisciplined way – has always been a theme of particular vitality for photographers, both those who have visited the city and those who live in it. On one occasion, faced with the challenge of capturing the essence of New York with a camera, the photographer Berenice Abbott wondered, “How shall the two-dimensional print in black and white suggest the flux of activity of the metropolis, the interaction of human beings and solid architectural constructions, all impinging upon each other in time?” Each of the photographs reproduced here is a unique response to that question.

New York may not be the capital of the United States, but it prides itself on being the capital of the world. Its inhabitants are intimate strangers, its avenues are constantly teeming and its buildings are absolutely unmistakeable, though they are packed so close together that it is impossible to see just one. The New York subway runs twenty-four hours a day, which has earned it the sobriquet of “the city that never sleeps.” It is the model for Gotham City, the disturbing metropolis that Batman calls home, and a symbol of independence and a wellspring of opportunities in a wide variety of films, from Breakfast at Tiffany‘s to Working Girl. And this is just a sample of the captivating and abundant raw material that the city offers to artists, regardless of the medium in which they work. However, it is the convergence of photographers in this city – in this place that combines anonymity and community, with its local flavour and global ambitions – that has created the ideal setting for the development of modern photography.”

Text from the La Casa Encendida website [Online] Cited 28/04/2009 no longer available online

 

Bruce Davidson (American, b. 1933) 'Untitled' from the 'Brooklyn Gang' series 1959

 

Bruce Davidson (American, b. 1933)
Untitled from the Brooklyn Gang series
1959
Silver gelatin print
6 3/4 x 10″ (17.1 x 25.4 cm)
Museum of Modern Art, New York
© 2019 Magnum Photos, Inc. and Bruce Davidson

 

 

Cindy Sherman (American, b. 1954)
Untitled Film Still #21
1978
Silver gelatin print
7 1/2 x 9 1/2″ (19.1 x 24.1 cm)
Horace W. Goldsmith Fund through Robert B. Menschel
Museum of Modern Art, New York
© 2019 Cindy Sherman

 

 

Each of Sherman’s sixty-nine Untitled Film Stills (1977-80), presents a female heroine from a movie we feel we must have seen. Here, she is the pert young career girl in a trim new suit on her first day in the big city. Among the others are the luscious librarian (#13), the chic starlet at her seaside hideaway (#7), the ingenue setting out on life’s journey (#48), and the tough but vulnerable film noir idol (#54). To make the pictures, Sherman herself played all of the roles or, more precisely, played all of the actresses playing all of the roles. In other words, the series is a fiction about a fiction, a deft encapsulation of the image of femininity that, through the movies, took hold of the collective imagination in postwar America – the period of Sherman’s youth, and the crucible of our contemporary culture.

In fact, only a handful of the Untitled Film Stills are modelled directly on particular roles in actual movies, let alone on individual stills of the sort that the studios distribute to publicise their films. All the others are inventive allusions to generic types, and so our sure sense of recognition is all the more telling. It tells us that, knowingly or not, we have absorbed the movie culture that Sherman invites us to examine as a powerful force in our lives.

Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 295.

 

Diane Arbus. 'Woman with Veil on Fifth Avenue, N.Y.C' 1968

 

Diane Arbus (American, 1923-1971)
Woman with Veil on Fifth Avenue, N.Y.C
1968
Silver gelatin print
Museum of Modern Art, New York

 

Berenice Abbott. 'Night View, New York City' 1932

 

Berenice Abbott (American, 1891-1991)
Night View, New York City (New York at Night)
1932
Silver gelatin print
12 7/8 x 10 9/16″ (32.7 x 26.9 cm)
Museum of Modern Art, New York
© 2019 Berenice Abbott/Commerce Graphics

 

 

La Casa Encendida
Ronda Valencia, 2 28012 Madrid

Opening hours:
La Casa Encendida is open from Monday to Sunday from 10 a.m. to 10 p.m. every day of the year except national and Community of Madrid holidays

La Casa Encendida 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, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor 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.

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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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