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american photography:
a century of images
American
series,
dynamic look
at
one
for
it
role that
artistic treasures to
momentous
more
From
its
its
legendary ballplayer's
battle to an actress's time-
in
will
be
happened
world or
a lifetime
in
events that
in
our personal
lives
as
medium
in
of
historian,
and
world, photography
itself
began
little
in a digital
New
York Times
photogiaphy
critic Vicki
Goldberg and
art
shape the
life
home
life,
of our nation,
lining
it
in
the realms of
first entirely
we have
taken, and
at
us.
DATE DUE
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SEP
08
FFR
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2000
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OCT 03
NOV 30
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2001
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2D02
INC 38-2971
^Li
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Overleaf:
Timothy Bullard
Gertrude Boccus, i8 and 84. 1984.
(Courtesy of the photographer)
1900
1901
1902
1903
1904
1905
1906
1907
l908
1909
american photography:
a century of images
1910
1911
1912
1913
1914
1915
1916
1917
1918
1919
^^
<r.
f^.
CHRONICLE BOOKS
1930
1931
1932
1933
1934
ix^35l
1936
1937
1938
1939
Copyright
All rights
1999 Twin
reserved.
No
may
be reproduced
in
any form
Goldberg,
Vicki.
American photography
century of images
Robert Silberman.
cm.
p.
ISBN 0-8118-2622-8
1.
I.
Photography
II.
Title.
TR23.G65 1999
77o'973 dc2i
99-31713
CIP
Printed and
bound
in
&
Tanner, Ltd.
Produced and edited by Garrett White and Karen Hansgen, Los Angeles, CA
Book and jacket design by Simon Johnston @ praxis:
in
8680 Cambie
231.
10987654321
Chronicle Books
85 Second Street
www.chroniclebooks.com
5M9
contents
Introduction
I.
30
II.
37
41
Social Reform:
50
54
The Camera
as
Weapon
5o
World War
67
Advertising Photography
77
I:
III.
89
LIFE
96
99
(FSA):
log
122
104
127
Fashion Photography
134
139
147
Museum
War World
164
Civil Rights:
168
Art,
173
186
197
New
Ethnic
(Self-)
Representation
216
Postmodern Photography
223
228
Notes
230
1951
153
159
209
1950
1952
Bibliography
231
Acknowledgments
232
Index
1953
1954
1955
1956
1957
1958
1959
introduction
;J
home
in
own Mkeness
value
its
in
elections and
like
American
witness
with his
is)
the exploration
in
eye,
in
too,
a critical role in
elo-
establishing national
were established, American daguerreotypes won top honors. American technology had the edge here; our mechanical techniques for cleaning and polishing
became an
quickly
for
Britain,
far
still
now, we are stuck with the knowledge we have, and from inside this country,
Edward Ouigley
Crowd Scene. 1931
(Courtesy of Barry Friedman,
Ltd.,
NY)
first in
ied
ability to
make
later across
the world;
this century,
in
was
as
if
we had embod-
one of this country's most important cultural products. Around the turn of the
last century,
the way
reform
in
Jacob
Riis,
both the practice and style of social reform photography. The social
movement took
root in
many
knowing about
countries, but
injustice
in
it
was
typically
American to
act,
and
it
was
photographic project, which echoed Hine, was by far the most comprehensive
of any nation's effort to record the Depression. FSA photographers
were
highly accomplished, and their images influenced films that were seen around
the world.
far
behind Europe
overseas, created
involved
in
a distinctly
in
painting, but
in
style. Less
like
him
1960
1961
1962
1963
1964
citizen.
1965
New
York
1966
the mid-
in
this
city,
the
city of
the
1968
1969
Ken O'Brien
The Cotton Patch, Texas, 1937.
(Courtesy of the photographer)
century, as Paris had been of the last, and Strand (and Alfred Stieglitz, Berenice
many
others) reveled
powerful, energetic,
in
magazines, and
traffic in literature,
rapid,
American pho-
a role
Life
magazines that had invented the form, and Technicolor and Kodachrome gave us
the
first
edge
in
which
for
after
World War
II,
and
some
evident (and
its
in
sometimes
In
in
and
European taste and worldview Andre Kertesz, Lisette Model to
photojournalistic practice
cated
Alfred
provincial, raw,
style.
Even
in
35mm
sophisti-
more
phers
who
led
and perhaps
for
them
If
in
by Americans, that
is
not
in
every major war and had the resources to provide extensive coverage,
as well as having
Clifton B.Jones
communications
Uffizi,
museum
It
many
wide establishment
ran
in
in
sit
a living
side by side
between book
covers,
with-
was
world-
museum
Chile, Belgium.
life,
and
1970
1971
1972
1973
1974
1975
1976
1977
1978
1979
introduction
Photography
is
Thomas Lawson
Even our worst faults were put before the world's eyes by our photographers
We
because of the extent of our media industry and the openness of our press.
selves had called, and then by our press that published their
rights
civil
activist
if
not encouraged
fervent belief
And technology
still
in
again,
democratic
country with
damning images.
in
was
is a
self-improvement.
tographs, as images of the earth seen from the sky by an American astronaut, of
Above: NASA
Apollo n Eva View, 1968.
(Courtesy of NASA)
D- Ashton
Underwood & Underwood photographer
making views from Metropolitan Tower,
Opposite: Horace
New
York, 1911.
Photographic Collection)
in
medium
is
right for
and wove the strands of communal memory. Sometimes, when age and language
and culture divide
burning to death
in
us,
the images
Vietnam
are
of Betty Crable,
all
we
man on
the moon,
monk
the rituals and identities required of just about everyone: baby pictures, wedding
windows,
in
in
store
in
Family photographs remain our most intimate and at times our only connection to the histories that shaped our lives. After a tornado savaged
City in
in
May
had
lost
them
in,
came
Oklahoma
left
was
life,
Many
said the
next.
This book looks at one photograph for every year of the past century,
and then
at
Is
is
critic
less a history
than
Thomas Lawson
said.
it,
proposition.
These pages
that they set you to thinking about whether Lawson was right.
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
:-*^^#!
x
**'^>*ir1ir^
I.
1900-1934
1900
Photographer unknown
Baby Picture
It
began
in 1888,
Eastman created
it,
the amateur market. The Kodak was sold already loaded with film, and once
the
roll
it,
which processed
to the factory,
and loaded the camera once more. No one had to learn the
a little
money could
a dollar,
Named
for a creature
did.
It
It
them
also turned
make
repeat performances on
durable,
Family snapshots
now
birthday, her
voice of nostalgia
that swears
in
the family
filled
albums and
attics
was
when
which persisted
in
most
certain bright,
pictures,
new
starring role
fragile smile.
Snapshots
amplified the
chil-
women
children and
the hands
in
popular
in
good feeling
some communities
was seized
in
really
were
tales of
better.
moved out
home and
seemed came
ity
of the
and the
or out West,
with
growing number of
women
come
to no good. Later
in
mum.
in
the workforce.
some would
be daddies
died
whom
in
hint
wars but
divorce wrote
american photography
Edwin Col
Boy with Hat and Cane, ly
(Houston Public Libi
left in
they
charge of their
may have
own images.
If
homemade
own
like
whom
immigrants, African-Americans,
all
their
of
in
their heads.
way adults
insisted
it
image, how-
must have
in
it
instead of
the camera might be an easy path to self-expression and self-confidence for the
young.
In
the 1970s,
Appalachian children;
surprising
original images.
Ewald and others continue to teach this simple and powerful magic to children
who cannot
afford
it
on their own.
we
home and
are
in
front of our
way
to
communi-
I'm
doing? Maybe you should come too." (Houses and possessions included
in
pho-
as testimony to shared experience.) Recently video and the Internet have taken
16
Photographer unknown
First
Communion,
Texas, 1904
over
some
of having
a still
for
someone
porous
in
fact
recalled as
may
substitute for
compounded
it.
it
picks
up
fills in
Childhood memories
of family tales,
which may
Birthdays,
parties, holidays,
an afternoon at
the beach, a
new
car, a prize of
prom
seemed
kind, a first
dress,
all
any
to necessitate
photographs.
session,
birdie.
where Dad
or
Mom
lined everyone up
all
to
watch the
how you
felt at
the moment, and people noted which one of their expressions looked best
through
it
new modes
in
of self-definition
The Brownie and other inexpensive cameras changed the nature of family
now
events, which
required photographic
afternoon
seemed
at
the beach,
new
car, a prize of
to necessitate photographs.
any kind,
Some landmarks,
tures,
which
prom
like first
call for a
dress,
all
communion
or
professional, which
Travel filled
tours of photo
a first
sites.
in a
ration. Travelers
The experience of
until vacations
travel
began to look
who
ordinarily
like
to strangers,
its
much
to pic-
commemoless
in
go out of
front of
1901
Photographer unknown
Wedding picture.
(George Eastman House)
the
Eiffel
is
make around
last
tourists
Snapshooters
generally tried to
imitate the con-
ventional styles
and
photographed
bestowed such
in
the center of
picture
maker with
in
them succeeded
skill
with so
little
So crucial
In fact,
is
in
is
It
became
artists,
better, artistic
was
like
winning the
power
commonplace, extraneous
And
in
new
aesthetic. The
life
go
by.
momentary became
rapher and the subjects of the pictures were permitted to be imperfect. The
children might be sent to
the frame.
of
they did not, but the open secret was that few cared. Record and recognition
for contemplation.
posed figures
all
tally
portraits, with
full-length, fron-
how
mal<ing good copies of what they saw. Overnight, the snapshot camera turned
for
of painted
women
them squinting
into the
sun, creating a mix of high and low, professional and vernacular that the public
art
world was.
figures
in
and photographed
posed
monuments were
similarly
distance from the subject was maintained for years, with (sun)light at the
litter
in;
unbounded greed
dramas across
for,
Many
identities as
vast volunteer
artists,
inhabi-
home
but during
all
19
its
their
for fact
new
responsibility: creating
and
Sffs^p^ maF^:..!
1902
"
'
y-
*'''^'' Stieglitz
New
York.
'-:
V i-^.
photography as fine
art
If
handsome
in
it
clear,
mind. They
that was
that
all
was
who
thought
new
as a path to
in
one.
a lesser
Pictorialists
America, the
arts. Similar
movement was
minded
in
owner
first
Stieglitz wrote,
regarded ''not as
the handmaiden
maiden of
his
known
of
individual
expression."
art,
way
key role
in
In
the
establishing photography
but as
distinctive
medium
of individual expression.'"'
If
Stieglitz
no longer be consid-
at World's Fairs in
along with the products of other mechanical inventions, but would be accepted
alongside painting and sculpture
The efforts of
meant
medium
as the Photo-Secession.
of art, but
as a distinctive
In
as a fine art. Photography, Stieglitz wrote, should be regarded "not as the hand-
had
should be
Europe.
Photography,
in
photographer, exhibition
Stieglitz
in
and others
led to
capital A.
The
art;
museums.
Impressionism, Post-
when the
in
Pictorialist
subject
of art
like
Renaissance
a carefully
meant depicting
world
of refinement and elegance, qualities carried over into the foremost Pictorialist
journal, Stieglitz's
mundane
became the
a scientific or at
and the pursuit of beauty. The photographers used techniques and materials to
create surface effects that mimic brush work.
the period
is
a self-portrait
Steichen. Steichen
is
made
portrayed as
One
of the
most
telling
in
images of
Edward
hand. He was
american photography
Edward Steichen
Self-Portrait with Brush
1902
Angeles County
and
Palette, Paris.
(Los
Museum
of Art)
was dedicated
photograph
that
contemporary
to
critic,
the question."^
is
Tonal subtlety
Pictorialist
was considered
images with
Pictorialists placed a
a lovely
premium on technical
virtuosity as a
and
his collaborators
of
racetrack to
were willing
like
making
seemed always
picture
in
the midst of
of separating
Camera Work
still lifes
of luscious roses.
snowstorm. Above
all,
some bravura
feat,
Pictorialism
makes
women, such
suggests
means
perusal of
to try anything,
Stieglitz in particular
as
it
high
endowing
medium
limitless
of self-
many accom-
in
or in
art in
in
final
two
issues of
young photographer,
a self-
Camera Work
Paul Strand.
in
Anne
Brigman
1907-n.
(George Eastman House)
Invictus, ca.
in a
away the fog and heavy atmosphere borrowed from Whistler and Olde England
and presented
new approach.
of
work
as hav-
all
if
in art,
specifically
for-
in
with close-up
still lifes
and shots of
mal patterns, and composed longer shots that compressed or fragmented space
in
the
manner
of the Cubists.
middle-class
women
When
in a
hard,
and children
at leisure
subjects were
of beauty
in
Later Strand
if
in Pictorialist
gritty,
even
undoubtedly saw
his
as
kind
cathedral. The
sup-
23
in his
addressed truthfully.
were
long
They were
grotesque
such subjects
a sky-
and directness
1903
'"^
^^'^"J<i^ Kasebier
Mrs. Word arjd Baby.
photography as fine
art
far,
we know
think
assumed
if
We may
made photogra-
objectivity
One
conversion.
his
generation,
abandoned
had
little
to do with the
By 1923, Steichen
influence
in
it
in
into his
of
Pi
for later
kind of aesthetic
and
art.
want
to
lens "the
most pernicious
the pictorial world. "^ He went on to say,"l don't care about making
photography an
got
moody
who underwent
some photographers
is
a soft,
art."
I'd
like
Whoever
to
know who
it
was. Strand
first
But after the heyday of Pictorialism, the dominant aesthetic for photographers
aspiring to artistic status
photography,
was
Ansel Adams. Steichen, Stieglitz, and other photographers affiliated with the
Pictorialist
came
movement soon
to regard Pictorialist
enormous
collection of
25
gladly.
less
shifted to the
new way
images to
New
York's Metropolitan
in
Museum
of Art,
which
1904
Photographer unknown
Augustine lozno, Ventura County, California.
(Shades of LA. Archives/Los Angeles Public Library)
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FORMPEACE'
1905
May
29, 1905.
JJ
1906
Edward Curtis
Upshaw Apsaroke
in
Headdress.
(Smithsonian Institution)
1907
George
H. Seeley
ZfLrtifL^-i. ":
gifts has
make
possible
many
always been to
all
that
is in it."'
thrill
Jones
In a
w/ay to see
may have
rest of the
high
in
images
In
unknown
Machu
its
filled
in
how
more than
Hiram Bingham
Machu
(Yale
30
Picchu, a site
wildlife
far
In
mean
North Pole
to
at the
for centuries.
1911 (re)discovery of
companions
pic-
all
that
is in it."
in
Such
erotic
in
magazine
at
little
to diminish the
all,
shaky foundation of
pseudo-science.
cation. Such
in
seemed.
was
for exploration
ness.
civilization
"Bali
girls.
of
home. At
Above: F. A. Rhinehart
Upshaw, Interpreter, 1898
(Smithsonian Institution
A. B.
Right:
Augustus Sherman
women
Immigration Museum)
at
Ellis
Ellis
Island,
american photography
Women from
West
Guadeloupe, French
(Courtesy of the
Island
Ellis
Immigration Museum)
the
in
initial
with
f
respect.
We
them
in
stages of
for-
stature and
kind of
of the
medium.
mounted on one
side,
New
fake
Racial st
the history
in
studios, as
did
in
who
in
the
ran photo
own com-
ment
and propagating
for reinforcing
racir
as a hobby.
served or were intended to serve, for they were not published. But
a
in
which photography as
in
in this case,
and skin
costume, physiognomic
stereotypes even
the United
In
made
a series of
his clientele as
day.
prosperous
them
Americans
in
as different
racist
or worse.
In
the
sold commercially.
Racial stereotyping did not of course originate
in
color.
an exercise
at their
32
his
in
Edward
racist)
imagery. This
is
perhaps most
1927 took
some
in
foreign peoples, foreign places
Photographer unknown
Seven
little
feS
took their
own
pictures,
Some
art
a Pictorialist
intentioned and
contemporary
Curtis
was
well
reality.
more authentic
vision of Native
life,
but Curtis
worn by
33
are
more
medium continues
home and
in
shaping
abroad.
Flaherty, director of
life,
suggest
of Native American
in
particular presentation
reli-
still
fair
James
H.
Hare
(Harry
Center.
1908
Augustus Sherman
Children's playground, Ellis Island roof garden.
(Courtesy of the Ellis Island Immigration Museum)
1909
IQl Q
Photographer unknown
Halley's Comet,
1
May
zg, igio.
extending vision:
science and photography
in
1839:
Around
who would
1837,
officially
not reveal his process to the world for two more years, took
American daguerreotypes of
in
it
1852,
made
of post-operative
Civil
wounded
far
at
(much
as photographic archives
more
of
1882 showed
the stars
in
catalogue of
more
progressed, the
means
medium
easier, quicker,
and interpretative
first
discoveries.
stomach
The
first
in
in
1885. Shock
1885.
was
error
in
human
stellar positions
immense
the
background so
reliable,
in
Photographs of
was
record
soldiers.
photographs of the
ray,
in
1910. (The
comet had
interior of the
discovered late
and the
in 1891,
last
1895,
in
in
photo-
been observed
in
of the
first
made
it
pos-
what was
published
deflect light
in
in 1915.
in
37
In
spiral
1919, scientists
new
making
amount
that
major contribution
american photography
published
in
1915.
Photography generously handed
out prizes.
played
able role
In
this century
it
has
in
some aspects
of medicine, as well as
many
to
like
cheap and
lions
many:Though
uses
its
and probably
is
mil-
snap-
billions of
them
of
tographs both
quantity and
in
commercial significance. ^
In a
in
single
human
vision
make
P.
Tabor
to science.
The
revolution
in
first
photographs of
microscope,
was produced
in 1912,
in
1970.^
Rosalind Franklin
in
was arranged
in a
in
fetus
leading to
vivo
in
biological
in
1965, the
In
photograph of
DNA
taken by
double
from speculation to
photographs of
helix.
Here
photograph converted
was
a
right:
DNA
mental model
fact.
camera
vision alone.
In
38
changed
Leon Foucault
Blood cells of a frog, 1843.
(The Kodak
Museum)
the world of physics. Anderson was studying the solar rays that haphazardly
passed through
rays pass
cloud chamber
in
in
such
on them, creating
a trail
showed
a particle
bombardment
their continual
of earth.
When
was impossible.
electron and the proton, which were accepted as the sole, fundamental building
blocks of matter. Anderson undertook
ing unsuccessfully to bring his
a series
new and
the known paradigm of the world. He could not. At length, hesitantly and rather
heroically, he declared that he
his discovery.
still
have
39
it
the
key.
if
who
1911
Lewis Hine
Breaker Boys in a Coal Chute, South Pittsburgh, Pennyivania.
(George Eastman House)
social reform:
problem
action lead to the desired social reaction. Social problems persist, and photogra-
phers
try to solve
still
In
them with
their Images.
remains
life.
The
title of his
his
Riis, a
Danish-
to
The subjects of
social
usually the intended audience for the pictures, which generally aim to
call
the
Jacob
Riis told
an interviewer
in
is
spared the
is
vulgar sounds and odious scents and repulsive exhibitions attendant upon such
a
the slums can lead to what might be called pictorial slumming, with the viewer
was
its
in a
A financial
a political
was
a print
journalist
other photographers)
in
who became
How
primitive
ment
Riis
interiors
photographer (and
made from
maximum
in
which
effect.
photos.
his
times hired
was profusely
Riis also
reached
illustrated
his audi-
and
alleys
shock tactics.
at
amounted
to
photographic
american photography
^'^^^if\
^?;ti";'iSJS
Lewis Hine
Carolina Cotton Mill, 1911.
(George Eastman House)
and thought of
his
methods were
his
that
showed immigrants
in social
work
What
as a kind of education.
less sensational
was
a series
he showed
of images, taken at
It
offered
at
1918.
halls,
home
on
ground
is
no more reassuring:
Even those
who
in
It
sweat-
the boys
in
his
in
a play-
vacant
in a
made
in
in
sympa-
Riis's.
Ellis Island,
lot.
images of
the mills, the
Hine worked for several social welfare organizations, such as the National Child
Labor Committee, the National Consumers' League, and the Red Cross, and his
pictures were widely disseminated. The great photographic representative of
in
some
documented
42
few of
its
city,
the
more
We
camera as weapon
and tired of the whole business that when the time for action
comes, child-labor pictures will be records of the past. Lew Mne
worked
for
Tennessee Valley
whaS^e we
qTO ABOUT IT
TRY TO PROT&T CHILDHOOD
GOING TO
appeared
ARE
He
life.
in
institutional
light
stylistic con-
composition
in a
1908 photograph of
titled a
child
in
work
of circulation. His
CARED FOR
means
though
NEEDY PARENTS
AND
its
in
CHILDREN
Autlnority.
in
Italian
prejudice against
THROUGH BETTER
HOMES
little
to him.^
PLAV
gain
sly tactics to
all
phy was
its
skill, a re
phy was,
in
com-
in
As Alan
particular
objects of
pity.^
Lewis Hine
all
downtrodden
in
in
War
I,
his
involvement with the Red Cross took him to Europe, where he photographed
relief
especially
in his later
his
work
as educational,
human
labor.
management
many aspects
43
and
critic
of
american photography
Photographer unknown
Harvard University)
workers as noble.
Among
his last
men
at
work
group of approxi-
boys"
From time to time, photographers have joined together under the banner
of "concerned photography" or
documentary photography. As
New
his
life.
promoted
tenement
interiors."
classes,
number
of important pho-
"civic
full
range
social
life,
in
fundamental continuity
its
role as pictorial
conscience
some
in
44
on the farm
crisis,
the rust
camera as weapon
Photographer unknown
Orphans on steps, 1911.
(The Photography Collection.
social welfare agencies to help provide visual evidence of continuing social prob-
belt,
in
kids,
and the
spectrum of
the tradition of
Mine are recording the situation along the border with Mexico and
in
Riis
and
new immi-
There
is
always
dous situations
will
as 1910, a writer observed, "The public soon wearies of pictures of destitute chil-
(In
our
own
acknowledged that
his listeners
too,
year
list
Mine him-
the whole country so sick and tired of the whole business that
action comes, child-labor pictures will be records of the
45
earlier.
past."''
for
s:;,ms^m'r^m-^mi^:^.'m:Mm^-^'
1912
Charles Martin
Kalinga Province Chiefs.
(Charles Martin/NCS Image Collection)
'm$Q
SssBss&KSBaSiir
H
HIH
^1 ^H ^H ^H ^1 ^1 ^H ^1 ^1 ^B ^^^^ 91 ^1 ^H
1913
Frank
B.
Cilbreth
Motion Study.
(Smithsonian Institution)
Hi
IB
Sim^^
Pictorial
IQ-i A
^'*-^
War
Front page,
New
Extra
York Times
Mid-Week
Pictorial.
rr-r
JQT C
'
"^
r,
Photographer unknown
WriqM
Brothers Postcard.
and
life
has
become
up,
matching
life's
ble to arrest
in
shutters
it
possi-
moment,
as
Muybridge, an Englishman
living in
how
the legs of
efficiency. Taylor
manager
stopwatch
1914
in
of the corporate
as unfeeling rationalist, a
man
with no sympa-
came
at a
time of increas-
assembly
the
and was adopted around the world.
line
first
Taylor's followers
was Frank
still
Eadweard
paterfamilias
in
Cilbreth, an early
notoriety as the
best-selling
areas of daily
life,
chologist) had
from Taylor
in
down
Lillian,
an industrial psy-
two
basic ways:
who
Thomas
won
to workers.
like
50
ment and
at
He could
his desire to
believed that
ground
differed
He complemented the
once.
as a
study, and he
oft^
may
life
brushing teeth.
in
a tale that
appeared
Among
running through
ing industrialization
a split-second event, or
when
work
utili-
In
image
accelerat-
automobile
century, Frederick
all
the workplace.
in
to be called "scientific
faster
faster.
and lenses,
tarian purposes
labor.
Cilbreth recorded
all
Using
a clock,
moving hands,
who
Modern
f/'mes, Taylor
and
his
in
Charlie Chaplin's
and
subject's
what he
"One Best
called the
notwithstanding, photography as
and control
and resistance.
kind of
Not
all
in
form of surveillance
is
Taylorism
and
social
motion study
war veterans.
tography employed as
to
make work
less
to
demanding, and
become
improve
ple,
was pho-
easier,
certain
work
situations.
In
and
emphasis on
we would now
call
tom
line,
with
maximum
rigid
and often
for
fired
those
who
frame
Many
time display.
number
of
phone
study
is
calls per
tells all,
hour
made
mea-
by tele-
checkout stand.
In
lines.
1916
Paul Strand
Abstraction, Porch Shadows.
Inc.,
1917
World War
aerial photograph.
Opposite:
lie Jones
Sacco and Vanzetti put on
view after being executed,
1927. (Boston Public Library)
Prison during the Civil War, and, just after the war, of the
Abraham
Lincoln. Yet
in
still
made
indi-
woodblock engravings.
dots, finally
made
possible the
into a field of
mass reproduction
was not
until
New
and readers
still
Maine
images
in
in Scientific
American of
were
Spanish-American War
a half-sunk
USS
wood engravings
War
America's involvement
There
was
a picture press
photojournalism.
with
a text
In
woodblock image
circu-
it
nineteenth century
new
technological roadblock: A
for
suggesting
reporter's
in
the large
Oswego,
photographer recorded
New York,
producing what
a mill fire in
we would
call a
daguerreotype, a
words or an
artist's
imaginative vision.
felt
emphasis
In
1895,
for
unpleasant situations.
In
come
made
54
New
its influ-
a busi-
is
ness,
ence
a
if
in
accompanied by
artists.
Press
a reporter's
and magazines.
during World War
I,
arrival of
in
seeing
still
in
papers
first truly
New
the term
mayhem,
few
subjects such as sports and high-society (sound familof which helped to spur the use of photographs.
iar?), all
in
in
in
dubious, solutions.
if
In a
famous 1925
New
written account, captured the Wright brothers' plane
flight
in
real.
journalist's
dream
in
When
of photographs published
the
in a
series
in
its
course, were
as
Early
limited to
newspa-
3-D! and
halls. In
every
public
way
woman,
of the judge,
then hired
emp-
He combined photographs
model to pose
as the
compensated
for
In
American journalism."
was sent
woman
News fought
back.
A reporter
to be executed
in
New
York
in
the twentieth
camera strapped to
his leg,
own day
he
of ravenous paparazzi,
enough, somehow
if
photograph
the payoff
will
in
our
high
be taken.
was
is
which by then
press
American journalism.
possible, people
ists
who
most
reproduced
in
All
a regular part of
in
55
an attack by Time
magazine that described the Graphic's ploy as "the blackest day in the history of
snapped
hell
for storytelling.
to photogra-
Woodrow
1918
'i^':
r^-t""'."*
NEW;
^'^
"j-liiS^'iA
'^''^^-
aCcnl
^^JSJ^t^^^
^-,
(iiriiifliiiiiiiifWiatrtirm
w^ in^^HI^K^
tI9^ESSi^^Mk
'
1[ liSM.^^^^^mK^mJiai^^M
l^^MM^iPis
While Canadian
J
fly.
Shackelford.
Rooicvek Field
leld
I .eul
at Mincola yc.tcrdav Tftunoon
take the air
At the icfl oi the picture, his ban('kerchiet
photographer clicked hia cami;ra shutter the plane wjm
propellers were foanr>g and the pilct w2e awaiting the droi
Vif6. Francis M. Wilson (oil jwir.g the course of the LcpF(
]
ler the
TODAY
See Page 2
See Page jfj
SeePags'M.
Bell
Q}_9
Photographer unknown
1920
1
niiKirrEDSTvcis
!
h-'
'
YYYYYY
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'
.
-/>,/
uvuX\w4t
1921
Ernest Hemingway's passport(Ernest Hemingway Collection, John F. Kennedy Library. Boston, IWA.
Courtesy of the National Portrait Gallery, Smithsonian Institution)
lo
,///Yr7//,Y/YYAAYY/Y:j//YY
100585
world war
I:
Photographer unknown
Members of the U.S. sSgth Infantry Regiment,
which was awarded the Croix de Cuerre for
bravery, ca. 1917. (National Archives)
may be
officials rec-
the public.
muddy
enemy
had been
laid
weapon
waste by
artillery.
was an
far apart in
by land that
seldom with
until
attacks,
which no
correspondent dared pause to photograph. Action photographs, such as they were, leaned toward views of
men
smoke from
enough to
in
supposed to
I,
a single picture of a
dead American,
look.
museums. They
big news.
popular, and
in
in
Mid-Week
In
1914, the
Pictorial, a
New
photo-
ties distrusted
lanes DrougnraeatTT
civilian
m infe
bit of picture
space
German
training,
in
men
in
camp
German propaganda
and even,
in
the
as pictures of
killed in battle,
earner
in
The Mid-Week
war photography.
morale depended on good news and
civilian
at the
Western
60
a sanitized version
in late 1917,
pictures of
World War
was
new
Photographer unknown
World War Westerr) Front,
(AP Wide World Photos)
I,
in
gas,
two;
enemy
wider,
in
round from
may
kill
airplane.
man, perhaps
means
of information
Among
An
more
human
World War
was
in
word
as
would
much on
play
like
enormous
which photography
roles
and
killing
added
new dimension
if
in
the press
would depend
in
the
pilot's position
mere recipients of
(as did
new experience
61
the
and
shown
or proven
losses,
Soldiers,
who knew
better, scoffed at
Photography presented
itself as
more convincing
in 1917,
Allied
reporter.
German General
Erich
in
Ludendorff wrote
lives.
the wake of
press,
neutral,
and pe
1917.
means
of
Paul Outerbridge
1Q?2
"'^^
Ide Collar
I
1Q2'?
Imogen Cunningham
Agave Design
( 1974 Imogen Cunningham
I
Trust)
1924
Photographer unknown
President Coolidge Radio Transmission.
(Museum of the City of New York)
IQOC
Photographer unknown
New
\7/,.-U^./,.-
and
.J^^ovchj to look at
toitcK in spite of
all
/
IIOMK JOURNAL
>/>//r of Ih'Uir:
K.rf- Ihcir li
CilH
have
a wiiiiian
liaiHi>.
l<c;uitil'iil
C'^./N
^ vil't.Mnimili.jilcamirnily white ami yet
ti>c ihcm iiiiliivi, si-c|i, wash ih^hes |x.lish
keep her lni>e ami
silver
iiisiile
It
the thinys
all
hiiiiii);?
is
woman
.iespair
is
i|iiiikly
iinai-
make
her hands.
ol"
ami siirmwful
ania/eil
-it'
nl'ten
will
hi>iisc(irk
eiistoMicil
She
an>l
lirii^lit
it
tii
see linw
anii ehapiKii
her hamis
ilrj
the wh<ile
Icclini,'
ni
aiul untimiriirtaMe.
etTcet
111
--
hiiusrn<irk
tlryiti);,
chappini;
Hninrn
and white, in
spite III' har<l use, l>y means ul'.! new preparation
e|>ctially niaile In heal ami protect the skm,
ami ((ivc it a wift, lovely texture.
are kccpint; their hantls snitMith
the
healini;
is
Jergcns
skin re
n.l
ain
orativ
(.otioii,
ml,
kllc,
anj
skin
all
m
:ll
hilc.
ull.).v<l
t,ny.l^.s..
il,.r.il-,
rice (jy/er
.^.V
*"'
n .;
""
l(ii*^i
/aaa;.-
CV,
1 J<1
.,.s>. .u..:>.v.,.p.,.>..m.-
1926
Edward Steichen
Jergens advertisement for Ladies
(Andrew Jergens Company)
Home
Journal.
advertising photography
1984,
In
a rate
has declined since then. Most ads are primarily visual, and photographic at that.
Advertising, the business that oils the wheels of capitalism,
is
a territory
colo-
rise,
became
In
still
available
trade
medium
tury photographers were being advised that advertisers were eager for their
make
until
it
wouldn't
the 1920s.
Even when the photograph's potential for flattery, exaggeration, and bias was understood, it was not immediately
visible; both common fantasies and Utopian promises
acquired a precious measure of credibility when couched
in
was
turning point.
If
photography acquired
heightened
importance during and after this war, so did advertising, which had successfully
campaign
in history.)^
War
II
World War
sell
II
brought more
women
in
to
available to
more
turing had already outstripped the public's needs and turned to advertising to
create excess desire. After World
gave
in
War
I,
last hesitations
and
in
traditional drawings
in
ads. In 1926,
67
american photography
John F. Collins
Duplex Razors, 1934.
(George Eastman House)
trumpeted the virtues and efficacy of photographs. A 1932 survey of 4,000 reader
reactions ranked photographs more effective than other illustrations, confirming
for
some
time.'
Even
when
understood,
It
promises acquired
visible.
Both
common
when couched
in
the 1920s,
stirred
In
the trusted
when
adver-
up distrust and
Is
and
has
contributed heavily to setting frames of social reference and spelling out the
anxieties of twentieth-century
more strenuously
In
life,
ments
sold products
In
meant
women as
common
to assuage
them-
attractive, happy,
68
life
an
(In
some
of
advertising photography
An
may
advertising photograph
as a performance, but
it
be recognized
touches
real
wishes and
what constituted
proper middle-class
came under
life
pressure.) Photographs
who know
it
touches
common
real
fulfill-
at least subliminally.
message that
Besides, a
know
gossips
very well. A
maketheman
handswill
is
woman may
in
certain credit, as
social
in
advertising, which
number
Conde Nast
for
Vanity
Fair,
images
in
in
its
as the
it
will
in
to
for
In 1921,
Bauhaus
in
one
writer,
contend-
Germany intended
a point.
began
went
educa-
utilitarian design.
In fact,
Victor Kepler
art.
based on usefulness
much
in
produce
art expression
revamped
separated from
new American
tion,'"'
rigidly
1923.
artists to
in
sometimes
few years
daringly, the
in
styles,
almost
all
stem-
Photographers took cues from Cubism, Precisionism, Art Moderne, and geometric
abstraction. A few professionals, such as Steichen, Paul Outerbridge, Ralph
Steiner,
of
to the spread of
modernist aesthetic
far
69
its
checkerboard that
tilts
up
at a
perplexing angle.
amerjcan photography
in
70
in
recent years.
art that
advertising photography
Ralph Bartholomew
its
ready translation to
Angeles County
Museum
of Art)
couched
in
flattering
like this
one thought
it
chic to be
modern,
it
advertised
became
an adjunct to self-esteem.
For
all
make fantasy
credible, the
most
in
radical
its
subterranean ability to
its
fiercely. Still
faces, lighting
The
them
turning ordinary objects into icons. Isolated from their usual functions, some-
products achieve
a saint,
in
the art
world with peppers, Steiner did with typewriter keys, Outerbridge with
a collar.
phy
is
consumer
is
commodity
fetishism";
it
photographers put massive amounts of energy, care, and talent into tabletop
much
as the
makers of TV
commercials spend more time and money per second than program producers
can. Molderings concluded that this
object,
the
still life
1927
SiJSSi
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.-v.".
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IT:'.
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irjM
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h. hml.-il h.-ail
111.-
I-
.lilt.n.-d in
Awl
'
Tom Howard
Ruth Snyder Dead!
(The
New
York Daily
News)
1928
Madame
1929
1930
Ansel
Adams
1931
Where once
it
was
made
who
did not
know
it
matter of
you. Each
new
famous and
It
it
ushered
in
in a
"The celebrity
is a
person
who
known
is
it,
rise of
modern
society
undermined the
fulfillment
American
how
yearning for
became
meaningful position
less likely,
was
it
in
its
emblematic and
is
by-product of
instantly recognizable
is
famous, whether mind and talent and deeds deserve that fame or not: Witness
Al
graphy could be
Roosevelt,
in
as early as tincoln
how
useful photo-
though he complained
bitterly
phers on his presidency, played masterfully with the camera's potential both
before and during his tenure
in
Rough Rider during the Spanish-American War of 1898 was so popular that
letter
drawn copy of
this picture
was delivered
his brilliance
on
safari,
out West, on
steam shovel
at
the
man
to his
was
his
of act ion
Woodrow
77
american photography
group of
large
soldiers,
some
in
dark dress,
some
in light,
to form
pattern that
Al
at a
distance read as
this symbolic
a profile
of Wilson. A photographer
leader,
was on hand
commander
in
to register
who, seen from the right vantage point, was revealed to be entirely composed of
his loyal followers.
in
pho-
tographs that extended their deeds and personalities through time. Babe Ruth
was
is
instantly recognizable
is
in a
banzai attacks
in
World War
II
sea of
in a
were preceded by
cries of
all
phers and became so familiar that Nat Fein's picture of him saying goodbye
to his fans on his last day
it
is
in
Yankee Stadium
is
Fame
ments
like
78
at
Mary
in
ads. By the
I,
Eugene
R.
Richee
to be thought of as
names prominently
in
women,
their
photographs endorsing
in
his
in
era.
It
made
became the
itself
story for
wasn't
who
to have
But
air mail.
his private
some
his
in
life,
image
papers
when he
that
in
tidbit to relate.
engaged
clipping service
in
few weeks
Early
later,
in
New
fifth
page;
in
its first
when he
its first
partly
five
he had
pages to
returned to
New
his
York
finally
it.
Soon after
began to
list
still
their
names
in
the credits,
fan magazines sprang up. People could contemplate their favorites as long as
79
sixteen pages."
was
off,
american photography
George Hurrell
Morlene Dietrich,
they wished,
private and at
in
all
hours.
In
ca. 1938.
mode
still
in still
images,
photographs alone.
a
If
the public
if
not, not.
of portraiture for portraying gods on earth. With tricky lighting and deft
retouching, they turned out stars of marble and ambrosia, often more perfect
in
was
artifice
beyond
magician's dreams,
much time
to spend on
new American
was the
in
1930
when she
a
wave
still
Fans wrote
perfectibility,
suggest-
moment
picture
in
ness,
and
Now
teenagers plaster their rooms with pictures of their heroes or wear the
for a
stars' faces
in
emblazoned on
T-shirts.
80
Nat Fein
Babe Ruth Bows Out. 1948.
(Courtesy of the photographer
Publicity
with glory,
who
insists
fantasy of identification
on
its
The
stars
surrogate immortality
in
momentum
millions of
of this fleeting
In
burial,
human
Human
1925, a
first
in El
like
recent history,
few exceptional
or Napoleon's generals,
Valentino, the
composite photo-
Count Orgaz
in relatively
Washington
When Rudolph
in
secular
to stop time
life.
in a
seems
is
were depicted
probably the
first
person
1932
Dorothea Lange
White Angel Bread Line.
(George Eastman House)
1933
1934
Edward Weston
Dunes. Oceano.
(The Lane Collection.
Museum
Hey, Hey!
Oh,
Mac-
1935
Thomas
D-
(Above)
McAvoy
(Thomas
D.
McAvoy/f/me Magazine)
.^
,.
vs^%^
\rm^'
"^\L^iEtf^
jI^^^EmB
N^
II.
1935-1959
1936
Margaret Bourke-White
Cover (Fort Peck Dam).
(Margaret Bourke-White/t//e Magazine
First Life
Time
Inc.)
Bythe 1930s,
it
though
clear,
their
strongly to
spectrum was
narrow, consisting largely of cheesecake and murder. People around the world
trusted photographs and were becoming accustomed to
life
magazine
how
in
it
may
but
Life,
tively
Inc.'s
obliged to write
in
m November
of 1936,
was the
felt
to read a photograph.
Time
as bearers of
the mid-i930s
them
before, yet
for a
first
in
1930),
publication effec-
duty
in Life
than
is
it,
advances
in
interest,
and
market existed
tell
did heavier
in
for news,
human
drying inks and thin, inexpensive, coated papers that could be used on rotary
presses
made
it
large-circulation
When
Fort Peck
the
Dam
first issue
as
if
its
its
to
New
Deal,
Montana, the
it.
The
first
out and the magazine went back to press. Again. And again. The presses finally
stopped
few months
later,
89
followed by
and Focus.
magazine,
Life's
came
names
in
1940,
american photography
MONTANA SATURDAY
Margaret Bourke-White
grew
NIGHTS: FINIS
World War
swiftly during
II,
in
the years
when
Time
there was no national newspaper and television was not quite yet the
medium
Inc.)
of choice; at
readers
in
its
peak
Life
1969.
Dam,
built by the
government, was
visible
evidence of
New Deal
common faith
the glories of the machine age and the belief that technology would pull
tography
is
in fact, less
come
unnoticed moments
of on-the-spot
in daily life,
new Western
amused, intrigued,
American
spirit
frontier
a trifle ironic
and just
slightly superior,
was
still,
by golly,
a bit tickled
90
in
the lead
their assurance
and perhaps
full
to think the
was
treasure house
Margaret Bourke-White
Taxi Dancers, Fort Peck, from the first issue
Life, 1936. (Margaret Bourke-White/t//e
of
Magazine Time
countless times
in
rise of
the doors of
human
interest
Inc.)
least, in a
life
wide and
its
citizens looked.
and threats, was combined with an unspoken policy of buffing the image of
War
II,
much
cinema was
and
pride.
at
propaganda arm
to
for the
Life's
government,
photographers and
news an urgent matter, the magazine from the beginning published some
extremely hard-hitting photographs, including pictures of lynchings, murders,
Life also
generously
menu
human
One commentator
in
of
way.
Life
invented photojournalism as
Many
of the top
names
in
it
was known
in
America
for the
the magazine at one time or another, from Bourke-White to Eve Arnold, Robert
Capa, Cornell Capa, David Douglas Duncan, Alfred Eisenstaedt,
Elliott Erwitt,
Leonard McCombe, Ralph Morse, Carl Mydans. W. Eugene Smith, and others.
91
for
american photography
92
stars.
LIFE and the
in
rise of
Life,
form. A collection of pictures and text put together by editors rather than
photographers, the essay was meant to add up to more than the pictures alone
but rarely did. Occasional essays,
like
35mm cameras
early
(and
still
so
new
it.
some
unobserved,
lution
last
in
in
street
century
cumbersome
lights.
now spread
far
The revo-
late in
the
and wide.
sense of
daily
life,
unusual angles,
danger. Images of people appeared to be and sometimes were candid, with the
subject caught at in-between times, no longer performing for the camera.
this
was done
in
Time magazine
had permitted
another instance,
ing
like
the ig6os,
when
was
in a
was the
first
time
Tom
short series of
a
president
1935
at will, as
white
in
in Life
was
it
color separations for the presses that topical stories ran the danger of being out-
medium oftewis
but
Life
turned
few photographers,
like
Smith, into stars. The elevation of photographers to another plane was part of
program
to
into stars, a
93
Murray Becker
Explosion of the Hindenburg.
(AP Wide World Photos)
[1937
1938
.V^yiSAiJCA'
When
it
some
went
end of
further. By the
it
deliv-
printing
new medium
themonthe
proved that
German
of a
prince
Then early
It
was usually
blurry
in
raised
a
head,
its
wholly altered
the mid-i920s
practical
one
making newspapers
day,
American.
Scientific
live
would become
photograph
photography remained
the 1920s.
telegraph wire to
1907
in
this cen-
in
word
in
using trains
still
alerting a
to elaborate
photo service,
and always
its
member
twenty-four-member network
it.
group of
1935,
1,
was an
in
photograph of
aerial
news
plane
accountthe
photographs
Lindbergh in Paris were publishe
in the New York Times eleven days
first
,,
crucial carriers of
tographs of Lindbergh
in Paris
the
a single
By 1930 that
first
were published
Yori<
editors to
in
pho-
the
New
and there
compress words
as
new media
New
Jersey,
May
on
6, 1937.
landed
it
ficiently
in
the
Lakehurst,
making
its first
its arrival
suf-
corps of reporters,
directly to a
docked at
of
all
its
Lusitania had
trans-
in
desirable
recorded as
time frame.
was changing,
phers, and
in
it,
first
happened.
gone down
in
the viewfinders
When
in
fully
In
the
first live
graph took
In 1925,
set
up
New
1923, a phoD.C., to
made
for
news went
into
7 to full-
ple
a limited
York, Chicago,
later,
the
lives.
The
New
Yorl<
and
in
the
same
ing
in
of
theaters
how
at
in
opened
7,
New Yorl<. (The first all-newsreel theNew Yorl< in 1929,' another indication
in
were
avid people
for
the relatively
new system
was
new
were
still
loud.
so
The Chicago
on
his
May
By noon on
ater had
time.
home network
as the
^ ,i^^
Photographer unknown
Plane crash in the Adirondacks, first image
sent out on the AP Wirephoto, 1935.
(AP Wide World Photos)
97
it
on the
air."
Within twenty-four
still
and
spot.
Edward
R.
Murrow broadcast
homes. Only
be united on
lions
new means
few years
later,
small screen
would tune
in.
in
in
live
from
the back-
Russell Lee
1030
'-''
then.
like
both
In
roles,
come
to
think of America
in
sense of
for
now. Theyalsoshowwhatthe
like
in
1937
in
who had
became the
member
brain trust and the original head of the resettlement agency. Stryker
in
was
of FDR's
wanted
response, which took the form of making loans to farmers, building migrant
many
photographer
Lee, Carl
Ben Shahn.
Stryker sent his photographers material on the areas to which they were
They were to be
shown displaying
some
determination, strength,
Lee's classic of a
of the
pic-
were
beyond remedy.
in
in
at control,
including
what
they did. ^The FSA showed urban Americans their rural counterparts
fallen on hard
home
couple at
the so-
a possible subject.^
their problems
lists
who had
Museum
from
Life
of
for use in
Modern
any and
72
outlets;
government
ScLiolastic.
all
Art), internal
and several
Now
Praise
Dorothea Lange and her husband Paul Taylor's American Exodus. One hundred
seventy thousand prints and negatives are on
From
still
buy copies
at a
file at
minimal
all,
99
price.
all
american photography
shows
man
or
woman
in
the
Paid.
gesture of
want
to
you're
human
low
who
is
having
woman
being,
Minnesota
in
a little
human
nice
commenting on
it,
nity.
for that
"We
The proper balance was essential: Such people were down and
but not out. They were to be
in 1937.
all
is
a fel-
right."'
need of help,
their
all
She
is
all,
in
her but
all
the perse-
mothers and children. As John Ford said of the evocative power of that other
great maternal figure from the Depression era,
mother."
women
Ma
Joad
in
who
month.
Action shots were rare, but at least one of the classic FSA images caught
moving toward
shed
in
the midst of
storm.
farmer and
All
in
an effort to create
more
his
in
the FSA
files
suggested
may have
the farm security administration
S@5Sfe*S?"3'?*'^S
Walker Evans
Church of the Nazarene. Tennessee. 1936,
(George Eastman House)
seem
may have
Stryker encouraged
raphers. They
make
tried to
knew how
the ad features
number
for the
white
in
in
will
more dramatic.^
his picture
fall
to a
In
newspaper ad
woman
holding
new wonder
of cellophane;
good
life
migrants near
and the
lives
people actually
led, as in
Time
Re ax. "The
I
were often
as
major element
in
good land
pictures,
showing the
Ma
fields,
California."
plantation overseer or
amerjcan photography
folks.
sheriff, only to
be portrayed
less
wealthy were
In
insisted,
"Absolutely no celebrities."'
rural
famous photograph of
an African-American charwoman,
Ella
mop
in
government
in a
worked
was
office.
Walker Evans
it
in
graveyard with
Walker Evans
Sharecropper Bud Fields or\d family at home.
Hale County, Alabama, 1936.
(George Eastman House)
ground. A
woman
wanted to send
it
"critical" of
edge"'
record with
American society
but
Deal.
book was
is
Cod damn
political,
you."' Not
all
FSA pho-
"NO POLITICS
whatever."'
When
filled
was caught up
an exhibition appeared
in
New
in
York City
in
1938, the
comment
made
for a
be
cross in
the back-
New
in
in
a steel
New
tombstone
photographers
in city
who
objects
or country should
As the war approached, Stryker stressed the need for more positive images,
asking for photos of "people with
a little spirit
who appear
as ifthey really
Gordon Parks
Watson. 1942.
( Cordon Parks. Courtesy of the photographer
Ella
believed
in
the
U.S."
particularly need
Lee,
"We
side. "The
never relished the mandate to take photographs that accentuated the program's
successes. Asked to photograph
resettlement
camp supported
old hash"
productive effort,
toll. In
photos of
1943, after the
were placed
files
is
American photography.
pictures,
create
the history of
in
It
a historical
record of
may
model of documentary
all
be as
practice,
it
later
social issues.
raphy and
its
New
Deal.
In
to an era with
more trust
the
in
in
in
is
known
to have
moved
furniture and objects and carefully positioned his camera for the sake of orderly
compositions, perhaps
Some have
in
photographs
situation
in a
in
favor of
its
photographers may well have been aware of the imposition their cameras placed
many
of
whom
it
was
FSA project,
its
ambition, and
its
photographs,
it
development of
is
the collec-
model
making, presenting, and preserving images that continue to make the FSA
landmark
103
in
for
MoMA,
March
the
In 1937,
Museum
of
museum
exhibition
photography. The
in
museum
of
modern
a
importance
its
art. Yet
less
than
decade old
in
modern
to gain a foothold
life
and
in
New
York,
In
had struggled
1910, the
Museum)
than
als
six
efforts,
however, other
museums
104
The
MoMA exhibition
was another
story.
Photography:
importance of photography of
tor,
all
librarian but
was
also involved
Barr,
in
kinds.
hired to serve as a
art.
major
in
New
museum was
cant event,
in
first
photography
exhibition.'
phy as
medium
many
It
uses of photogra-
in
America.^
It
sci-
first
became
Harold Edgerton
Milk Drop Coronet, 1936.
( Harold and Esther Edgerton Foundation,
1999. Courtesy of Palm Press,
Inc.)
off, a
film
raphy's importance
in
art,
shot of a nightclub
exam-
What
exposure.
common
is
this diverse
in
dramatic use of
light
and shadow.
Some
now famous
1940, Newhall
six
includ-
virtual
unknowns
today.
fits
an art
museum.
remains
in
it
of organization.)
In
Newhall's
first
exhibition as a regular
print today.
in his
survey an expla-
artistic qualities
were
he took
Adams,
medium
in
canon of
many
of the phi
in
judging
photograph. As Christopher
become the
classic photographic
evident
section on the "Esthetics of Primitive Photography." Other
more
MoMA
in 1947.
art
105
is
program.
in
his
1955. Fine
american photography
Harry Callahan
Eleanor and Barbara. Chicago. 1953.
{ Estate of Harry Callahan.
Courtesy of the George Eastman House)
Steichen's bias
as a vehicle for
mass communication.
John Szarl<owski
ment
in
1962.
his
own
museum, and
MoMA show
Photography Until
museum
particular a
in
tool< over as
art
of
in a fine
modern
as director of the
Now
in
art,
His last
department was
tion to purist
in
made
a large
number
in a
wide variety
who became
worked with
vision of nature
in
the
modern
Through
their
students
photography
fine
in
American
interpreted photographs of
to scientific images
in
all
kinds
terms of
Fine Arts
photographers, and
many
many
instrument.
fifty years.
106
at
in
of the photographers he
Master of
photography
of their
the medium.
many
in
in
photographic aesthetic
Stieglitz
In
pub-
and Weston.
response to the
still
editor of
first
1952 and
How
is
protean
in 1937.
w^^g^^
On the Spot.
1940
1
(Weegee/ICP/Liaison Agency)
1941
Kelso Daly
Pearl Harbor inhabitant watches
bombing by Japanese planes.
world war
II:
first
war
broad audience
in
some frequency.
action with
in
many
In
rise
countries.
these as
in
It
documented
history extensively
was
photographs
in
war recorded
in
practice
one of
1935,
when Henry
promotion
He was
Life's
hunger
for a
is
magazine,
Life
going to be
natural
right.
view of war.
in
history,
or
photographed
like
World War
II.
Nor did
naissance photography
in
World War
I,
who had
headed
aerial recon-
briefly
II
human drama
was
it
num-
photo unit
of the war.
In
1948,
photographer's war."^
photographed
like World War II. Nor did anyone, by this time
in history, underestimate the importance and
power of photography.
A photograph by Kelso Daly of
man
in
or
pajamas on
his terrace
watching
the attack on Pearl Harbor through binoculars speaks succinctly about this war.
It
was quite
avidly.
front.
literally a distant
war
for
Americans,
it
in
The public even saw some photographs made without direct human
vention.
to a plane's
inter-
color
motion picture
forerunners of images seen from the nose cones of smart bombs during the
109
american photography
On top
Photographer unknown
Hollywood produced
its
of
all
own
Though
itself
soldiers on the
combat
close,
Midway, the
opposing ships never came within sight of one another; the battle was fought
D.
is
high,
it
signifies an
enormous number
huge amount
of
if
this
was developed
at this
programmed
for
vision. By
1940, British night-fighter planes were carrying on-board radar; by 1943. this
one sort
or
and perception of
too
lighted silhouette
Pictures of
And
censorship
made
world war
II:
Photographer unknown
Mrs. Ethel Wakefield of Dorchester, welder at the
Bethlehem shipyard in Oumcy since 194}, ca. 1945
in
World War
I,
for by
now
photographs
of the attack on Pearl Harbor, which killed well over 2,000 people and effectively
fleet,
were published
two
years of American involvement, no dead Americans could be shown, though pictures of dead enemies, particularly the racially distinct Japanese, were published
ating film of
two years
made
to
later. (To
whose
flames to
in
all
that was
left
from an excruci-
his
1943. Stills
in Life in
in
two
or
Photographers
like
lives
ran
citizens of
in
"relocation
whom
camps"
their own.)
some
was
Life's
told they
You may have them after the war."' Images of dead Americans were not shown
because the government and the military feared they would harm morale on the
home
propaganda
1942
Clem Albers
A young evacuee of Japanese ancestry waits
with the family baggage before leaving by bus
for an assembly center. (National Archives)
world war
II:
Photographer unknown
Mushroom cloud resulting from atomic
t)ombing of Nagasaki, 1945.
(Ba Id win /Cor bis- Belt ma nn)
had been too good and had convinced Americans that only the enemy was payprice for war.
ing
the
home
photographs
but not
the summer,
till
shown. The
first
or
in
identifiable)
Americans
St rock's full-page
photo-
permission to publish this picture had been denied. The magazine had complained
in print,
guts to look at
it,
Capa
it,
we ought
to have the
face-to-face."
said, ''If
in
down and
of Americans
few
who were
horrific pictures of
113
When
it
limits of
what
yet
american photography
Harry Annas
Hispanic Father and Son. 1943.
(The Photography Collection, Carpenter Center
for the Visual Arts at Harvard University)
was not
it
entirely coincidence
that lagging war bond drives that used this picture soon met their quotas and
It
in
wounded
of
War
in
makeshift hospitals.
till
it,
of course. Like the rest of the country, the media were determinedly patriotic
and
in
government
line as
if
they were
in its
employ. Yet
still
than
in close.
Many photographers
"If
good enough, you're not close enough."^) Photographers were on the front
lines,
on board ships, inside planes. They were also right next to the fighting men,
and the photographs now, on occasion, told more personal stories of individual
soldiers like
Bill,
who
the war,
in
particular
in a
corre-
War photography
Civilians took up
is
more space
in
women and
children being brought from their hiding places by U.S. Marines. Back
in
States, attention
114
was paid
to major
the
1943
George Strock
American Casualties at Buna Beach.
(George Strock/Life Magazine Time Warner
Inc.]
1944
Robert Capa
D-Day, Omaha Beach.
( Robert Capa/Magnum Photos.
Inc.;
world war
Riveter
II:
men had
fighting
men on
women
in
the war
in
home on
leave are
lies
more
more
heavily on them.
World War
war to become
was copied on
II
war bond
photograph of the
flag- raising
on IwoJima
Arlington National Cemetery. The photograph was such an instant and forceful
emulated
Berlin, a
Carl
it
when
photograph that
in its
turn
became
it
in
Soviet icon.'
is
Ma cArthur wading
in
ashore
in
memory
than any bronze or stone statue of that memorable man. The photo-op, which
in
cultural
was
staged but might as well have been: According to Mydans, the general could
have come ashore with dry feet on pontoons but, knowing what would make
his
boat to
let
him
off in
made
by
knee-deep water.'"
in
in
Normandy
as
much danger
constitute
as his
in
the graphic D-Day sequence of Steven Spielberg's film Saving Private Ryan. The
blurry quality of Capa's pictures
man
being shot at
in a
In fact,
Capa's focus was correct and his camera steady enough. The darkroom assistant
turned on too much heat, and the emulsion melted. The captions to the few
tures that were salvaged said Capa's hands were shaking."
117
pic-
1945
Photographer unknown
Senator Alban W. Barkley of Kentucky, Chairman
of the House Senate Committee on War Crimes,
Buchenwaid, April, tg4S. (National Archives)
world war
II:
in a
darkroom made the pictures touch not only the fear (and the
who
of a dangerous
it)
maneuver but
the extra emotional chord of sympathy and identification with the photographer
in
the thick of
it,
seemed
in
at
divide
were
pened
fact
what hap-
Auschwitz and Dachau, A few days after the written reports, the pho-
tographs came through and were published, usually on interior pages of the
papers. Not long after that, the military released films that people
went
to see
but could seldom bear to watch to the end. The photographic witness could not
come
to
last
more
degree of
ail-too- perfect
119
force
atom bomb.
In
would mean
to
room
evil
terms with.
later
in
the mind.
^v
1946
Photographer unknown
Atomic cloud during Baker Day blast at
(National Archives)
Bikini.
Photographer unknown
Sdwin Land holding a poiitive print just
IQA'J
I
made
with the
new
(Polaroid Archives)
Polaroid proceiS-
photographic instant
and instant photography
I
Photographer unknown
during World
War
II.
Through
his
daughter's question.
his
sensitized and
separate
raphy
it.
Many
inven-
but
in a
When
Dr.
Harold
made
it
possible to reduce
far
Edgerton had
in his
the
moment
flight patterns of
hummingbirds.
conducting lab experiments, engineers studying manufacturing equipment, and military reconnaissance. An
why she
does
it
was no doubt
Why
wait?
Why
later,
is
real reaction
atomic
bomb
first
21,
little
more
1947, he presented
He had developed
when used
in
a polariz-
sunglasses
tests:
was
possi-
equipment
Photographs
distance of seven
1/100,000,000 of
second.
a scientist
light.
company
of the explosions
Edgerton's
girl's father,
II.
huge success.
a
hardly
enemy
Edwin
on February
struck the
nalist
equipment
possible
in
The
first
in
in
1985 relied on
Harold Edgerton
Bullet
Inc.)
m^
veins,
images
images of workers
at their tasks,
The p
^
Coburn said
1
ki
in
1 i I
't
1'
1 8
'*r'
il
"
!,
* !
I"
!i
as
ai:
T-J ii
became
8l
a Playtex ad,
as
another example of
all
how
sources.
been proven
is
right.
in
1918
Time
is
fundamentally important
in
in seri-
in
Weegee
The Cannon
Act, 1952.
(Weegee/iCP/Liaison Agency)
123
''
'X\,\f
QtV<l\
'^^
--U
^ri\uut
\il^tv\^
Byron Rollins
Dewey Defeats Truman.
(AP Wide World Photos)
^^\,3
1948
Aaron Siskind
Jerome, Arizona.
( Aaron Siskind Foundation.
Courtesy of
tine
1949
''"'"^ ''^""
1950
1
Harlequin Dreis
( Irving Penn. Courtesy of Vogue)
fashion photography
be traced
it
in
tion's territory,
middle class
until
Pictorialist
lit
Then
in
in
for a larger
was about
to
move
in
on fashion
illustra-
which would
never be the same. Steichen's sharply focused photographs for Vogue had an
up-to-the-minute
lool<;
woman
art
In
couched
it
who had
in a
women
sleek,
contemporary
style.
in
boldly graphic
Fashion consists
of shifting atti-
more
Martin Munkacsi,
States
photography
picks up on styles
in images as well
as clothes.
P.
stately, its
ambi-
Horst
like
explicitly to classicism.
in
l-Hungarian-born photojournalist
who
arrived
in
the
picks
upon
styles
in
images
as well as clothes.
for
Still,
tographs look
like cleverly
breakthrough to show
sudden and
women
in
when
color
processes were truly painstaking, as they were before Kodachrome eased the
in
1935.
One
127
sensibility
home
or
swift.
in
way
women
in
what appeared
to be relaxed
american photography
128
fashion photography
la
Concorde,
August
In later
years,
the ig40s, two art directors, Alexander Liberman at Vogue and Alexey
Penn and Richard Avedon, abruptly widened the range and attainments of fashion photography. Brodovitch and Liberman supported daring and individuality
in
magazines
page, and
torial
its
effects
photography,
photography
is
it is
talent. Like
all
edi-
makeup
of perfec-
a rare level
Not overly concerned with the clothes, which were sometimes reduced to
in
"I
always
felt
gesture
tongue to remove
we were
selling
is
deem
lips part-
speck of
His pictures
a specific
in
a plain
if
eloquently
brushed backdrop. Penn erased the subject's context and made isolation
itself a
theme. With an absorption that was almost overwhelming, he directed the camera's loving
gaze
at
graphy
in
back
in
same time
Penn's goal
undercut
mouse
his
into a
was
own
sumptuous
still life,
life,
but he frequently
adding
a
flies to a
woman
in
window
Vogue, he said, babies don't cry and fruit doesn't decay, but
someone should
129
in
the post-
american photography
Avedon,
Toni Frissell
Woman
in Fish Tanl(,
Vogue,
May
15,
whom
1941
Inc.)
world
in
about
in
show
late
1940s photographs of the extravagant French postwar designs, which emphasized breasts, hips, cinched-in waists, and the luxury of excess fabric, depicted
models
fluidly
Avedon packed
his
man
or laughing,
momentary
last eyelash.
birds flight,
and suggested emotions
Folies,
disgruntled gamblers
in
it
artificial
in
that you
among
working-class
know
1962
in
an essay about
a fictitious tryst
first
first
black model onto the pages of Harper's Bazaar, threatening not to renew his
130
fashion photography
photography
flirted
contract
in
decades
later,
itself.
if
tine
magazine
week
a serial
A couple of
story that
some
years the ads and editorial pages have been hard to distinguish, heating up the
in
ask which
it
all
the rules
posing
painting of
nude.
in a
waxwork museum
surprise encounter
In
after,
fashion
contemporary
in
model
to reflect
European
levels of sex
Turbeville
display as
between
if
to
well-
Newton brought
melancholy
and alienation.
By the 1980s,
was so
it
temporary
art
movements almost
was meant
photography
in
For
in
the
last
two -thirds
at
wide audience.
itself Neither
duce something
real,
is
programmed
occasionally resembled
advertising photography
have been
it
is
very
little
picture of a model,
a little
that
is
to repro-
boost
more
in
artifi-
nearly perfect than the rest of the world to begin with and additionally has been
tucked and cinched and uplifted and fitted, with every flaw painted out and
beauties painted
in.
lit
to
new
afterward printed, retouched, and cropped to the same, her waist whittled away
and her bosom inflated by the retoucher's brush or the pixels of photoshop.The
viewer,
ing her
own
131
girth
for an instant
mourn-
1951
Alex Henderson
Year's Supply of Food.
(Hagley Museum and Library)
1952
Harold Edgerton
Skip Rope.
( Harold and Esther Edgerton Foundation, 1999,
Moving
Inc.)
Joe Shere
Hills,
California, 1958.
In
ill
photographer
cool observer.
came
drew
a lady
it
at
others per-
seemed
to
to say
beings,"'
in
word
and photograph.
of photography
in
check for
it
unavoidable. As early as
women in
showed women asleep,
photographic cards of
tress ads
them getting
rooms
all
dressed, movies
men
with
showed
showed
women
Photographs of young
in
tight or
skimpy clothing
The camera
a
is
a little
tographed
ever and
Life
magazine,
women
in its first
in
Pinups
Rita
were putting
limits
modern
city
and
in
department
stores.
and too
court case
real"
was
pornographic
a sizable
amount
of sex;
in
England
photographs on public
134
made some
uneasy.
restrictions
in
on
and of Henry
Miller's
public display of
books
in
in
1933
most comparable
illustration.
And pho-
display.
Supreme
devel-
on streets and
industry sprang up
was simultaneously
at strangers
like
Hayworth were
much
like
being there.
field of
voyeurism
is
granted to the
War
the
In
Once
II.
Human Male
in
when
she
a calendar,
measly
it
worked. The
all
your clothes
fifty
1953,
It
Playboy, dignifying
ing
them with
literature, that
surround-
adding
Photographs of
were commonplace
dreamed
woman
sexy
down the
sailed
women
in
exhibitionistic desires
attract
women
tographed nude
men
liked to look at
women's
in
the middle of
painting-construction
in
three-dimensional
her studio,
in
Antin photographed herself nude over a period of progressive weight loss, and
in
in
bedroom and
bodies.
few advertisers
bath.
men
In
in
all
briefs
and
into
1982, a
bill-
lolling
about
in
like
CO
any old
spoke as
imagery proliferated,
with
all its
dangers.
in
and that
withdraw them
women
In
desires,
real
thing
made him
dressed to
to turning out
women
this
bra"
female. At
women's
not),
"I
my Maidenform
Nile in
went
at
was
board
of honor.
tice of
line.
in
home
everyday
in
1961, Harper's
Bazaar published
frontally
a
who
also identified
1965,
menage
Avedon photographed
a trois and
in
1974 updated
strangely alienated
it
with
much more
openly sexual group. By that time, European photographers were injecting broad hints of female sexual aggression, lesbianism,
in
women
in
mixed menu of
aimed
at
heightening
share of
become
Voyeurism
is
big items
in
video shops.
sexual permissiveness
in
It
in
widely
in
World War
II
It
was nature
it
rather
was pho-
its
was beginning.
In
life.
135
it
1953
Bachrach Studio
lohn F. Kennedy.
(Bachrach Photography Studio)
1954
William Klein
Broadway and
103rd.
Greenberg
Gallery. NYC)
Howard
1955
Nina Leen
Ozark Farmen, Four Cer\eratior\s.
(Nina leen/Ufe Magazine Time
Inc.)
became
was
interested
to have
it
was
in
in
photography,
thought
"When
at
I
Today
don't give
man
to
New
first
it
arts.
to explain
is
grand fete
pithy;
hoot
idea
in hell
to himself."'
Man
come
Museum
exhibition at the
of
to view
Modern
it,
came
Art,
New
in
his belief in
York.
in history.
pho-
more
visitors
all
was a universal
language and the definitive modern form of visual communication. Paintings and fine art photographs would not do.
For Steichen, documentary-style photography
The idea
for the
show
first
came
to Steichen
in
New
in
1938
when
York City. He
he saw the
was overwhelmed by
the Farm Security Administration (FSA) photographs on view and began to dream
of an ambitious exhibition on "the spirit and face of America." During World
II,
while head of
team
of naval
photographic exhibitions
and Power
in
Korean War
otic
the Pacific
1945.
Museum
Modern
of
He mounted
Art:
Road
to Victory in 1942
in 1951.
ceremonies
the
at
in
War
speeches, bond
rallies
they were
walls
in a
ranged
in size
from
8"xio" to 8'xio'
art
photographs arranged on
in
were deployed
in
an installation by architect
method
at a
museum
in
was
not,
139
it
in
the
first
american photography
Carl
(Carl
Mydans
came
to believe that
photography was
general public.
the definitive modern form of visual communication. Paintings and fine art
do.
It
was
magazine. Steichen
to stop
new
it,
felt
logistical
though
in
triumph, since
conflict. This
it
in effect, a
photo
editorial, a pictorial
the photo
two
in
directions.
Some members
masters
Man
sermon.
of
solely
the history of the medium, complained that Steichen had not sup-
ported the fine print aesthetic. Care had been taken, but not to Adams's standards; the photographers represented had not even
made
their
own
prints.
140
man
the family of
What
manthe
position,
questionable one
at that.
display had been gathered to express Steichen's beliefs. They were not his alone,
to be sure, for Steichen represented a particular l<ind of
In
families
Home Journal
may
In
postwar liberalism.
twelve countries under the rubric, "People are people the world over."
In
In
in
man the
of
all
families
phrase came
from Steichen's brother-in-law, the poet and tincoln biographer Carl Sandburg
came
to "explaining
irrelevant or at least
alone
in
man
to
man
as a
happy
may seem
to
When
was based on
"a
dumb Sandburglan
family. Hah!"^
and family.
definition of
is
all
many an
admirable,
if
Undoubtedly, many
people have been deeply moved by The Family of Man. Whether or not others
regard the exhibition as
sometimes applied
to
acknowledge
product of "sentimental
to Steichen's work,
It
seems
liberal
humanism,"
was
so
tag
was unwilling
determined to stress
human commonality.
Steichen deliberately removed from the exhibition
lynching
in
down
it
seemed too
When
several pictures
photograph of
in
a racial
way
in
in
Moscow, an
which he
felt
as Impoverished and
of
selection
is
It
was removed.
in
In
Steichen,
not have
like
known
world was not necessarily the only one. He also may not have realized
American
the
141
his
Museum
may
Modern
Art
In
In fact,
number
Its
how
president,
american photography
^^^^^T ^
HP
Wm
4.'
*T^pv
''^S^^^CS^^I^^K^Ei^E
k^^^
As the scholar
image
nificantly,
^^B
Man
cost; the
up the
limited
in a
lit
i^n
W
Eugene Smith
for Creative
out, however,
knowledge of
some
criticism of
worked from the book rather than from the exhibition. The
dark room,
a
it
for a dollar,
in
in
and
color
price.
as a
in
Dramatically
^pi
Eric
key
,,'^'jjH
fir
'
p^t
initiatives
Immediately
foil
threat,
combined with
would lead
to a
new
human
race.
A room
filled
was
overcome differences.
political effort to
likely
the exit.
The
photograph
final
to Paradise Garden, an
into light.
in
image of
his children
Wonderful
Life,
pass through
made immediately
walking hand
the exhibition
in
is
in
after
World War
II.
In
It's
conclusion.
Steichen's pictorial and spatial orchestration
was
Steichen was
when
still a
young organization
it.
He was
at
in his
seventies
he organized the exhibition; his ideas about patriotism and humanity had
been forged long before. The Family of Man's emphasis on timelessness and universality
may
an approach to "explaining
very particular
142
moment
in
man
its
to
continuing popularity
in
1956
Dan Weiner
Boycotted Bus, Montgomery.
(Courtesy of Sandra Weiner)
Pete Harris
Elizabeth Eckford pursued by mob. Little Rock, Arkansas.
(Corbis/Bettmann-UPI)
1957
iter,
Richard Avedon
Copenhagen, April g.
( Richard Avedon)
1958
v. ^ymaf-^'-'fms--
Carl Toth
Family in Water With Dog
(Courtesy of Carl Toth Jr
1959
America
homes,
patio
in a
the 1950s
in
with
eacli
grill,
and
is
often recalled as an
wagon parked
brand-new television
some other
now
station
much
others
that TV set
If it
It
to Beaver, or
life.
Art,
it
ported by the
vision of
Guggenheim Foundation
that
in
was
was
Museum
1955 at the
of
at
work on
project sup-
we re
named Robert
ment
On
When
States
world of suburban
who
Modern
idyllic
in
in
and writers.
artists,
was a melancholy, even bleak or frightening place marred by racial and class divisions and enlivened
America
for Frank
France
in
was
in
America
Americans?
1959 with
in
It
was
first
published
in
society with
deep-rooted
was
place marred by racial and class divisions and enlivened only occasionally by
glimpse of
with
lyrical
35mm
sadness or
joy. Frank's
photographs, shot
in
photography
at
compared
to
most photojournalism
or
appears within
eighty-three photographs
147
in a
american photography
illicit,
a style full
in
and
of deep
car,
became nostalgic
icons.
its
its
attitude toward
America "communistic." Admirers paid tribute by making innumerable photographs that clearly imitated Frank's
raphers
view
in
style.
New
presented
Frank
in
York
who
a less
Fellig),
the tabloid press. From the 1930s on, but especially after 1946,
book. Naked City, appeared, Weegee's images of murder and
following
among
displayed
in
artists
life,
its perils.
primarily for
when
his first
tography or the
film noir
in
sensationalistic
trast
artificiality of advertising or
in a
style full of
illicit,
and the
all
con-
art
on the CI
Bill.
native
He then
New
fell
New
York, shooting
In
photographer before
1954, he spent a relatively
in
an effort to
capture the Intensity, the energy, the toughness of the modern metropolis. The
148
Bruce Davidson
Two
Youths,
Coney
Island. 1959.
( Bruce Davidson.
Magnum
Photos, Inc)
in
only
New
Yorl<:
in
Europe
in
1956
in a
(a
book
Housekeeping
his subjects"
News."'' Life
is
result
Is
mock Good
and hoped he could be "as vulgar and brutal as the [New York Daily]
Good
relied
The
titled Life
was
its
Max
Bytheend
Weegee, and
vitality of
unorthodox
cross-country highway,
of nowhere.
in
Times Square, or
in
in
the middle
'
Iff W
^
9
dmioTzhfii} Yriqsieororiq
III.
photography transformed
1960-1999
-4
jbn^wn>av.
[1960
Donald Phelan
first fve/- Kennedy-Nixon Presidential TV Debate
( Donald Phelan. Courtesy of the photographer)
After
World War
II,
in history.
Between 1946 and 1956, national output doubled. Between 1940 and
1955, per-
sonal income almost tripled. Between 1950 and i960, the national consumption
of hot dogs rose from 750 million to
two
billion, ^ a statistic
some
As the economy soared, the commercial and popular media soared with
In
Most
few
cities of
cities
had
any
in
size
five or six.
1957,
this country
still
had
at least a
From 1947 to
it.
in
10,000 to 40 million.'
As the distribution channels grew wider and more numerous, as the icons of
popular culture
gally
that
like
Elvis Presley
were reproduced
what passed
for culture
in
it
dawned on some
in
it
number
of
what passed
artists that
in
artists
in
derived media of film and TV. The re was noaudit bureau to count the
It
as prodi-
dawned on some
for culture
Popular Culture.
Robert Rauschenberg,
who
is
Pop
artist,
began
in
in
who does
1962 learned
how
to
silk-
qualify
to
silk-
from mattresses to
works; photog-
raphy was merely one more banal and ordinarily overlooked artifact of daily
life
that could put subject matter back into art after Abstract Expressionism.
tographs codified and transmitted the culture's myths and values, from
Elvis to
JFK to the conquest of space, the prevalence of violence, consumerism, and the
new
sex.
153
comment on
society.
Dada
american photography
Andy Warhol
Large Triple Elvii. 1963
(The Andy Warhol Foundation for the
Visual Arts/ARS, NY)
artists
in
photographs as
if
when Rauschenberg
Rauschenberg went
right on
who extended
portraits and
likes of
Adams
Ansel
his
own pho-
like
Edward Weston.
or
newspaper photographs of
equally uninterested
ple like
had been
pole. Both
Warhol,
in art
in art
for
in
was
means
of expressing
Warhol, for
claimed he would
his part,
like to
be
machine. He celebrated
art object;
who
if
It
it
He invited
legal trouble
the farthest
was
two
at
as
rambunctious canon.
154
civil
rights conflict in
Birmingham
in
1963.
pop
What
the
new
art,
the i86os.)
In
appeared
in
whose images,
papers and magazines that people lool<ed at once and then threw
Many
artists
and several
tographs
(or
like
art
movements
documents
way out
and
the
pho-
at distant locations,
were
explicitly seeking
in
Nauman made
it
photography
called on
museums
in
the form of
photographs.
like
collage and
photography traditions of
St leg litz
young
street photographers
men
encouragement
work
like
to photographers like
In
tacit
like
Robert
Adams and
in
to
artworks
Lewis Baltz,
who
were already studying scenes that no one thought beautiful nor memorable
before photographers framed
life
wake-up
and detach
photographers
like
them
in
their viewflnders.
leaders of the art world considered the non-art of photogracall for art itself
itself
admonishing
it
to listen to contem-
sacred rules of sharp focus, careful framing, and flawless prints, artists from
absence of an
trality of
155
arguments of the
all
such
artist's
artist's eye,
camera
american photography
is
organize what he sees. To escape the dread confines of aesthetics. Baldessari set
a
and timed
it
the
in
air,
or placed the
camera before
television
some
In the early
said.
rest. "It's
"I
It
was
easier to
who
images to
book."'
fill
few institutions
art but
in its
were
full of
graphs
photo.
Eastman House
field.
in
Rochester,
in
New
York,
in
the
had been
Art's Family
No
art
following.
MoMA
it
University courses
in
emphasized
in
vision.
In
in
through
in
their work,
few
artists
who
put photographs
of photographs,
formalist aesthetic.
in a
on center stage
New
Stieglitz or Strand.
full
they were.
The boom
in
boom
it
owes
its
exis-
high that collectors were casting about for fine images that were not overpriced.
in
it
was no
small part of the equation that by the 1970s art lovers were thoroughly accus-
tomed
to seeing
photographs
who
favor of
156
all.
won
in
art galleries
the approbation of
critics
it
the biggest
1961
Eliot Porter
Fe,
NM)
-iqtp
'"^
Photographer unknown
UN Council decides to await reiuiti of talt(s between
parties concerned during Cuban missile crisis. (UN/DPI)
surveillance and
It
would have
become
them
Mande
when they
their
own
a fairly
handed
shall see
room
in
medium was
will
as evidence against
in
which they
it
183c
39.
In
act of stealing!"^
stole,
and
the ver
very
in
1854
in
in
mug
shots of suspects
in
custody; the
many
beyond recognition.
In
in
pho-
tography's very nature, few saw reason to doubt the camera's reports. There are
many ways
show has
is
does
transfer of reality
it
is
intuitively
understood as
case
in
made
in
first
court
California
had been forged.^ An 1865 wanted poster for John Wilkes Booth and two of
co-conspirators
in
the plot to
in
kill
his
Railway
In
to
its
159
of a world war.
More
recently, state
earlier,
automobile
In
1914,
suddenly
american photography
Serial
official notice of
police
and
in
that do
some
by
facilities
many
in
the 1980s,
in
when
children had been missing for years, their photographs were manipulated
grew
show
to
changes
likely
in
appearance as they
up.
means
of identifying
ATM hauled
their pictures
And
yet,
still
machine, tore
made
who
it
with
the camera.
in
O.
J.
possession, but
0. J's
apart,
it
left
in
earlier photo-
graph of him wearing just that model. The possibility that the photograph had
been doctored cast doubt on
until
it
J.
A photograph's
credibility
context: A photograph
in
is
in a
visible in the
Patricia Hearst,
is
member
it
century
difference.
was video-
her,
with
in
in
in
DNA
tests have
more
made
abilities of identification
it
everywhere, and
some
ill,
sees us as well.
ment photographic
In
the 19605,
civil
in
we
see photography
160
1974.
infallibility.
made
of the
in
make
itself also
in
exact
photograph
submachine gun
is
in
the 1990s,
some
high-crime or drug-ridden
it
still
enormous audiences
Democratic convention
in
Chicago
1968,
in
television reporter
chanting this
in
in
is
the streets.
The hand-held videocam has partially reversed the balance of power, sometimes putting the burden of proof and surveillance into private hands, as when
passerby videotaped presidential candidate Gary Hart with
who was
his lap
when
young woman on
Rodney King's
in
World War
II,
improved during the Cold War with ever-more-sensitive films and lenses, and
eventually with spy satellites.
In
i960,
U.S.S.R.
CIA pilot
named
Two years
later, aerial
tried
new
low.
provoked atomic war. The United States had reason to believe that the Soviets
were deploying
Soviets denied
ballistic missiles in
it
weather cleared
it.
Kennedy proclaimed
Command
were
in
to full readiness
Nikita
as Soviet ships
U.
S.
delegate, pre-
island.'' At
blockade of
Khrushchev agreed to remove the missiles from Cuba, keeping the world
safe for a
on watching.
i6i
were taken
quarantine of
Cuba even
but the
Cuba and
U.S. cities,
In
is
safe or not,
cameras keep
il
1963
Malcolm Browne
Quang Duo Immolating Himielf. June n
(AP Wide World Photos)
1964
Robert Rauschenberg
Retroactive
(Collection
II.
Museum
partial gift of
of
Stephan
T.
ivil
rights:
B^
I
M..
sm-
\\%
in
rights
movement.
Till,
body after
it
a river.
his
then
in
in
mutilated
iet
in
were
a regular
Emmett
maga-
Till,
v.
Board of Education
it
is
it
the
U.S.
The gruesome,
for
In
murdered
civil
civil
rights
movement. The
Till
move
Alabama, set
confrontations
The
as a smiling, attractive
a portrait
of
a
164
many
others
civil
in
in
rights
in
Miss
in
1962, the
first
great
the movement.
by a series
Montgomery
Parks,
Montgomery,
in Little
Rock
in
in
sit-ins,
the
to
Bill Hudson
Birmingham Protest, 1963.
(AP Wide World Photos)
who
often
showed
caught up
in
(as well as
crisis
Have
Jr.'s "I
Dream" speech.
Emmett
body, pho-
Till's
most
made
in
Birmingham
influential
in
images of the
era.
when
direct conflict
In
made
tion
The
civil
of a
policeman was
official Soviet
newspa-
how
was Danny
unlike
combat
in
George
known across
sides
Jr.
in
to influence
activities
some not
actors
writers
like
like
in
more everyday
Lyon,
'I
!'--X
liia.'
:.V. -ii-JJ"'
t-.''-
figures and
unknown
individuals caught up
Jr.
in
rallies,
rights
raise funds.
made
civilians
on one
or
165
and day-out
side,
These photo-
politi-
The opponents of
calm
it
in a
the nature of
a larger record of
was dogs
is
The nonvio-
mentary
there
photographs taken by
civil
in historical
civil
rights also
attempted to use
sometimes
own and
created
local publications
files
on "agitators";
american photography
Danny Lyon
Cambridge, Maryland, Spring 1964. Fellow SNCC photographer
Vaughns n arrested by the National Guard
(Magnum Photos, Inc. 1964 Danny Lyon)
Clifford
media
images such as
officers in court,
in
in
an unfavor-
famous shot of
a gleeful pair of
bag of Red
Man
New
York,
civil
rights
movement
its
redneck culture.
mented the
kS.~f;
documented the
kS-i
1 1
hH fil
riots that
riots that
Guard
iFitf iTil^lili
in
stark contrast
establish a
of Viola Liuzzo
civil
(a
in
rights workers
who were
followed, killed, and buried (the latter events were semifictionalized in the
movie Mississippi
its
Burriing).
These are
aftermath, including
young men.
166
the
civil
would be increasingly
difficult to separate.
7
3^
'k
liik^^
^^N^kivi:
1965
a.kL,.4/
James Karales
Marchers, Selma
to
>
Montgomery, Alabama.
19
the counterculture:
In
but
all
unknown outside
of the photo-
tographs
in a
them
that
it
was
of cultural inversion,
movement
in
shift
make pho-
of attention.
possible to
In
kind
And the
was Diane
figure
who
first
for
some
of
years, but in
In 1967,
along
Modern
Art
marked by an edgy,
ironic,
even
reputation
among
in 1971,
critics
and
who might
well have
way
in
in
seemed
her pho-
phy exhibit
Arbus.'
photography
Museum
at the
Museum
of
Modern
Art.
graphic interest
in
unusual subcultures,
in
new photo-
in life at
the
tions
168
in
an exhibition at the
life
Life.
For her,
nicenesses, that
of,"
she said,^
Guggenheim grants
to study
American
social differences
in
rites,
manners,
in
rock and
roll
performers
America and
only
roll, if
removed
to a fascination with
detail
showed the
in a
was some-
process that
color, or
light
in
photographic
and
subjects.
all
,
photographers
sub-
all
in
general
aspects of American
life.
was exploring
since.
surfers before
in
new
fascination with
At about the
New
same
in electric
in
to
Test. In
in a circle
his wife,
much the
mix of
sex,
relationships from a
backed up by
and abusive
Goldin,
Yoko Ono.
In a
in
famous Annie
Rolling Stone, a
in
for
As
sixties as a
169
decade of
sex, drugs.
in
ing photography.
many
involv-
man shades
on the cover of their 1968 Strange Days.
In a
Mamas and
of the 1966
Middle America.
York with
another milestone
in
New
Leibovitz photo-
(1973), a
doubles,
normalcy
defini-
Owens's Suburbia
1968, which
Bill
in
montage
graph published
document motorcycle
Bazaar
shrewd
for Harper's
1966.
all
time, for
Lennon
portrait of John
showed Lennon
movement toward
work ever
was an
in
nset^^n^
jects.
summer
nude "foxy
ladies"
Two album
album
in a
If
bathtub, while
album featured
group
no feminism there."
past. In a
Margaret Bourke-
amerjcan photography
Harry Redl
Allen Ginsberg
American Way of
in a
Life." For a
while
in
in less
eighties, "flash
lar
styles
became popu-
Winogrand and
in
was pointedly
in
ironic in the
in
new
version
was appropri-
used
spaces
in
it
could not
popped out
well-lit,
in
the glaring
sixties lives
Hindenburg explosion
for
name and
heavy-
There
a jazzy
on
at the
still
are
photographs on
many photographers
170
What
fifties
and
its
posi-
style.
many
is
shadows or
light.
tion
fill
Exile
on Main
trying to fol-
We
are
now
in a
new
1966
Ray Leong
Mothers of Invention, Freak Out.
(Courtesy of the Zappa Family Trust)
1967
Bernle Boston
Flower Power.
( Bernle Boston, Courtesy
of the photographer)
in
in
said
in
day,
appearing
Day after
"'
tall<
it
it
first
impressions
When
a little girl
by napalm and
ran
down
Vietnamese road
a rural
pect, millions of
Vietcong sus-
at breakfast or in
New
in
Many
fit
of the
image
did
Life,
Look, Time,
appear
it
other
in
or republished
and Newsweek.
The American public was constantly bombarded by images of the war, many of
them
far
more graphic than anything seen during previous wars. When Henry
F.
Kennedy regarding
his
appointment as ambas-
his desk.
The
still
Many
Vietcong
suspect by the chief of the South Vietnamese national police, also appeared on
television:
who
Still
girl
in
how
a still
the
image
still
crystallizes
image that
moment
in a
in a
or, in later
consumed
suicides
in
it
is
the memory.
The images appeared here, at home, because the photographers had access
there,
in
the
field.
173
in
the
all
Mekong
over Vietnam
Delta, in rice
in
paddy
Saigon,
in
Hue,
in
Khe
american photography
Eddie
Adams
was made
official
censorship, though
It
were produced by
a trio
finest
deliberate effort
of British photographers
in a
in
masters of color
classic Life
first
a heli-
in
copilot;
for Hue;
and
whose Vietnam,
inc. is
erful
photo book to come out of the war and also the most controversial because
of
its
1971, Griffiths
The
to pin
politics of the
photographers
who worked
in
difficult
for his
Korean war photographs, went to Khe Sanh during the siege and published
paperback called
Heroes
("I
in
Vietnam."").
He then published
title
War Witinout
a slightly misleading label, since for Duncan the war may not
have
II
in
174
in
protest
been heroic but the Marines always were. He regarded combat photography
in a
in
made
the news of American casualties (and those of the enemy), the photo-
Like
graphs just
l<ept
show
or a
officials,
at a
USO
beach resort. And there were the photographs of body bags and flag-
27,
1969,
Life
all
242 casualties.
Laos,
talks, there
Paris, basic
diplomatic photo-op shots, revealing nothing. More important was the so-called
war
at
photographs of
rallies
and
in
Washington,
trait of a
D.C.,
young man
at a
and
prowar
rally in
New
York, or the
flag.
woman
Above
Filo's
a stu-
dent shot dead by the National Guard at Kent State. There were student deaths
Vietnam, the image of the combat photographer was once again glamor-
ized according to
what might be
Dispatches, one of the best books about the war, includes portraits of
madcap
friend, the
described as hooting
for
\t
Errol),
Brit
both of
at a letter
all
whom
from
disappeared
who was
a British
in
Cambodia, and
nearly killed by
mine,
publisher proposing
their
is
book that
Herr's
Dana Stone
"I
mean,
glamour out of bloody war!"''Jhe figure of the daring, dashing war photographer
continued, though Burrows and others were
(with
killed.
However,
in
Apocalypse
Now
pher took
beating
in
on March
16,
of the massacre at
led to
My
the
conviction of Lieutenant William Calley (who was later pardoned). Haeberle was
a
175
was the
first
time he
american photography
photographed many of the dead bodies. Haeberle was uncertain about the
tactics.
ally,
but
it
was not
was brought
his military
On November
and
information about
a possible
20, the
massacre
was contacted by
in
the Cleveland
later in Life.
One photograph,
of
many
a civilian
investigators.
Plain Dealer,
he had shot
August
until
black-and-white film
later,
shows about
rolls of
image
(the question
And
babies," printed
who was
poster
red
in
Mike Wallace
Photographs were
there).
also incorporated into antiwar works by other artists, including notable uses of
is
no way to gauge,
famous images
finally,
on
series
photograph of
the
policy
full effect
Rosier
of
war
photographs
still
in
atrocity.
or,
for
who
in
lived
through the period no doubt share the opinion that Eddie Adams's photograph
marked
a pivotal
moment and
could almost be credited with ending the war; at the height of the Tet Offensive,
it
was the single image that dramatized what America was engaged
certainly
than
turnaround
aware that
in
in.
Peter
was
democratically
there would be
systematically sealed off from the troops and the battlefield. The military had
learned
176
its
kind of
trial run:
Ron Haeberle
My
Loi
{Life
the Gulf War, the military behaved as ifthe only good combat picture was the
combat photographs
tually no
those taken
in
the
U.S. press.
not of
how
which
Iraqi soldiers
it
in
occurred
such
as
aerial
vir-
happened but
fled
from Kuwait.
Vietnam
to Beirut,
title
in
"What had happened and where had they gone, the decent,
who'd brought dignity to
asks,
principled people
lost
war from
a flag
will ever
photo-
on some future
Surabachi."'
was
different, that
it
exciting or photogenic as the wars of the past that had produced iconic images
napalmed
girl),
Huynh Cong
Haeberle, and
177
"Nick" Ut
many
limited.
It's
of the
of.
NASA
Apollo 8 Earthrise View.
(Courtesy of NASA)
1968
NASA
Family Picture on the Moon.
(Courtesy of NASA)
1969
1970
John Filo
A Cod- Awful Scream, Kent State University. May
( John Filo. Courtesy of the photographer)
4.
1971
P^'otobooth portrait.
1972
Ron Galella
O Contact Sheet.
(Courtesy of the photographer)
Jackie
1Q7^
Photographer unknown
Kevin Costner high ichooi senior yearbool( photo.
I
1974
Charles Tasnadi
Nixon checking his watch.
(AP Wide World Photos)
AIRSTART CO.
4-
,.,_
REPRESENTATIVE
i
1
LAUREL^
s
Ana
Illii ii'r.;;
AIRLITE
CO
8fag Sarvind
Sod,. F..!...
No-Oay-Year
EKCHflnCE
national
NASA
aeronautics
aommbhahon
and space
PERMANENT
CONTRACTOR
LEWIS
CAFETERIA
-.
Mo-Oay-Year
NASA-LRC
RESEARCH CE
Indef.
lOyc
Lucas Samaras
like
to ideals of beauty,
life in
of profession as one of
Stieglitz
made
his
its
signs. In igi8,
famous composite
when
Alfred
portrait of Georgia
a period of years,
Woman.
asked to
sit
for him.
"I
will not!"
a bit of
me
none of
frame. Beginning
Newman exchanged
in
por-
narra-
lid
in
the
solarization,
Photographers
have been
practiced
to dress
picture.
editor,
The
first
a bit better
is
than usual
magazine
and
is
portrait.
The
between
"art"
all.
roles,
and
less
in
who
them
in
become
first
in
186
far
nate the troubles and sorrows of their subjects while preserving their
like
a
human
dignity.
seem
photographer and
sitter
If
with for
between
it is
portraits,
lived
for
while,
this
famous can
display,
the
is
less
nuances.
who
its
like.
human
to see.
and possibly
influ-
Fair in
Newman
Arnold
love affairs,
it
constructed.
is
II
moment
to say elegance be
if
damned, we
fraying rug
come
will all
too.
sitters con-
might.
Many were
his obligation
Kansas
who
was never
felt
in
on the photographer's
part,
like
later,
more
a little-
explicitly unflat-
cially
his sitters;
went
to court
Adam
in
who wanted
ingful to stars,
Aveaonseestnewonaastneaterand
that romantic
These photographers
laid
shift
Many
is all
enough
breakdown
suit.
is,
The psyche
performances of
no longer
is
question;
in
for
1969 and
1971,
couple of
later,
until
it
was
portraits of
in pri-
Ellen
too aware
Mary
pily
a beetle for
toward
space with
welter of Images.
years
is
in
neck, the sagging skin beneath the eyes, the skull beneath
interested him
and photographers
star's reputation.
What
at stake,
the skin.
the famous
if
lives of
what they
money was
beaches. Big
finally
to this
the
all in
As Susan
of us,
in
collections of
memorable occasions.
new baby
Self-
and souvenir
plates. People
know not
to expect
much
its
way
infiltrate
into
TV as
demanding the
187
inside stories.
fairground pictures
moon
or
Vanity
always
it
up
for
photo
crescent
is a
in
mere
thirtieth of a
better portrait
second away.
is
Mary Jo Cornett
the picture of my cousin that died.
taught by Wendy Ewald.
(Courtesy of Wendy Ewald)
a child in a class
1976
Mary
Ellen
Mark
1977
-^
Photographer unknown
Anwar
Sadat.
Jimmy
Carter, ar\d
Camp David
1978
Cindy Sherman
Untitled Film
Still
#35.
1979
1980
Richard Prince
tair:'^
-^j^'
-y
'..\-.^L' '.Z\j^'
'^
January 1981
o.o.v
10
11
12
13
14
15
16
17
19
20
21
22
23
24
27
28
29
30
31
18
M.BlnU.,l,Kin,.Jf
25
26
1QR1
Photographer unknown
landscape Calendar.
December 1980-
EE
JIJljlWR
1982
Photographer unknown
Calvin Klein in Times Square.
(Corbls/Bettmann)
1983
>I
1984
David Hanson
Waste Pondi and Evaporation Ponds.
( David Hanson. Courtesy of the George Eastman House)
photography and
the environment
In
the United States, the grandeur of the landscape has always been identified
as national
in 1871,
Falls,
the
monuments. William
with more influence than they actually had, but they were unquestionably
important
in
the
first in
In
special realm
use,
cities.^
the West often took their photographs while accompanying geological survey
expeditions. Their primary purpose
in
was
for military
purposes
or, later,
of develop-
shows the
this century
growth of the
photographs,
city, like
is
make way
presented as
triumph of
The
in
other
civilization.
found
in
nature
abstraction, as
on
if
apprehension of
sand or
in
wood,
most
In
in a
if
a shell
move toward
in
in
sweeping
197
in
world
nized, as
American
american photography
Asahel Curtis
The Leveling of Hills to Make Seattle. 1910.
landscape photographs often show what Estelle Jussim and Eva Lundquist-Cock
call
hymns
enormous appeal
to explain the
or inti-
it
helps
of Ansel
in
of the century
and
man whose
vision of
movement
in
sincethetime of W.
raphy, especially
history than
H. Jackson.
ous photographs
in
more prominent
role in that
numer-
Trail,
published
in
after
a series
of defeats
showing
the
Adams images
a
When
and change.)
publishing program
in
Beaumont and
198
Ickes.
her
own
(wife of
Is
the
Richard Misrach
and Destroyed Convoy,
Bravo 20, 1986(Courtesy of Jan Kesner Gallery,
Los Angeles)
American Earth,
first as
in
1955, then as a
book that
Crater
sold
sued
more than 200,000 copies between i960 and the 1970s. (The book was
in
bition
both
reis-
1992 to celebrate the 100th anniversary of the Sierra Club, and the exhi-
was
in its
broad aspects as
Adams wrote
in its
in a
activism
it
It
was
was perhaps
in
relation to the
made
of Mine
to
comment on
Eliot Porter.
Newhall's
human
spirit
that one
may nurture
final section
how
The Sierra Club "Exhibit Format" book series that followed This
Eliot Porter's
in
Dam permanently
hundred and
199
the
most notable
Is
now
fifty million
was published
in
humans
dam and
ten years to
american photography
It
marine
covered animals
fish
oil-
dead
Porter
worl< in color.
it
serious photographers,
who
own
considered
and fashion.
in
it
guaranteeing personal
Porter's
describes one
if
common
shows development
nothing
is
done
strategy applied
eyesore
kind of landscape
in
to stop
in
in
in
the background
Mary
Adams,
in color,
in
first
pile of
two,
in
what was
used
light,
not
in
photography
in
is
series,
Tomoko
in
them posed
With the
oil spills,
of
like a Pieta
rise of
did take a
a derrick-
human
bemg bathed
crippled victim
Minimata,
a
Japanese
photographs
in
photograph showing
in
tal
him an
two
for
similar formula
the 1975 book by W. Eugene Smith with his wife, Aileen M. Smith, of
in a pictorial
garbage, or other
fishing village
in a
That
area, but
activity.
one neat
oil field in
human
strewn
is
or destruction as a
the despoiled
atypical
it.
or
as a
for
artistic control.
ture that
Also,
movement
known
In
It
marine birds,
in
famine situations
all is
it
environmental photograph
here.
Robert Adams
Newly Occupied Tract Houses.
Colorado Springs, Colorado, 1968
(Courtesy of Fraenkel Gallery, San Francisco)
outer space, became the great icon of the environmental movement, appearing
on the cover of that bible of the counterculture, The Whole Earth Catalog.
Actually
from
a satellite
Earth Catalog
in
1968. Here
stills
first
in
1967
Whole
jewel suspended
against the dark background of outer space. The other, Earthrise, was taken
in
1968 by Apollo 8 astronaut William Anders while on the moon, which appears
in
the foreground. That picture appeared on postage stamps, posters, and any number of other products and
Earth Catalog
in
Not
Many
all
it
Whole
causes, which
in
worked
in
support of environmental
wide variety of
issues,
from
water conservation and forestry to nuclear power. David Hanson has done
Montana.
In
appearance
is
in
company might
oil,
say the
environmentally
in
skies.)
political activism,
strips, trailer
camps,
and the development of resort areas and golf courses. These contemporary
american photography
photographs
Adams approach
to nature, concentrating
"pure wilderness"
if
such
in
which nature
is
Adams
now appears
city
being consumed
autumn
in
when
far
like to
we
Vermont,
away from
it.
still call
in
bloom
in
in
suburb
until the
next
from Jackson to the present have helped to make the national parks and other
natural glories so popular that
beauty
in
the calendar.
we must
travel farther
iqOC
I
Milton Rogovin
Triptych (from the series "Buffalo's Lower
West Side Revisited"). 1973/1985/1991.
(Courtesy of the photographer)
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Reed
1986
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Photographer unknown
Vietnam Memorial Wall
Squad at Con Thien).
(National Park Service/Vietnam Memorial Wall Archive)
Soldier's
photo and
letter left at
(Charlie
1987
-n
resf Ride
Michael Samojeden
(Michael Dukakis in tank).
(AP Wide World Photos)
1988
Natalie Fobes
(Natalie
1989
1990
Chester Higgins
Jr.
the
new
(self-)
ethnic
representation
whom? Where
pictures of
are they
shown? And
for
Who
taking
is
what purpose?
In
members
when
it
comes
to
may
in
positive
image
or reinforce a
is
white, the
An insider may have greater personal experience and knowledge of the subject
and may
elicit a
made
is
evident
in
When
many
snapshots, including
The
don't think
staltes
photographer and
photographer
of
what
it
means
or avoided: "There
that partic-
in
was no
self-
existed;
is
know
it
didn't
is
my
in
attitude, or
theirs. All
in
done by members
when the
politics, a
movements and
new wave
of photographic work
is
now being
to participate
in
self-representation.
Today people are more aware of the significance of pictures than ever
white, the
before. At
subject a person
to
and
the audience
of color,
largely white
it
of that un self-consciousness
are increased
is
side.
the 1930s,
in
for the
some pueblos
photograph
in
which one
is
is
who wish
raphy has always posed questions of power, authenticity, and use, as the case of
.
Edward
at
the turn
of the twentieth century, has shown. As Native photographer and curator Rick
Hill
has said, "Indians and photography just didn't get along for
209
life.
many
years. The
for outside
american photography
ment the
civil
movement, some
rights
some
by African-Americans,
journahsts,
some
some
by
by photographers
worked
for
Southern government
African-American photographer
Gordon
Parl<s
made photos
inter-
Chu
Paradiie. 1994.
(Courtesy of the photographer)
made
rapher and
all
fashion photog-
is
many
Reed, and
activities,
tatino
who
that
is
in
in
Joseph
in
East Los
photographic ghettos
their ethnicity,
is
when they
Jr.,
it
important to make
in
their
work and
sign of pride.
Many
in
medium,
or
life.
They are
artists
who
"photographers
among those
who make
art."
"artists
Albert
who
like
Carrie
African and Asian ancestry and Caribbean background, complex shrines using
same elements
suggest
In his
the
Don Barletti
Highway Camp, 1989,
( Don Barletti Courtesy of the
photographer)
new ethnic
(self-)
representation
that indicate sliifting circumstances and various ways of defining identity. The
artist
works
combines
his
own
as a sculpture of
J.
Tsinhnahjinnie
who
still
create images
la
Curtis, at least
is
it
their
(If
Romantic
in a
at
a self-
it
only at their
own
risk;
enter,
whether they
lished
communities and
efforts to support
in
those of
photographers
vision. Representation
is a
new immigrants,
who
there are
in
estab-
now concerted
sometimes sharp
dif-
ferences within these communities. (Why should racial and ethnic groups have
unified aesthetic
edge, the
new
when no
ethnic self-representation
is,
"Which
is
side of the
1991
Steve McCurry
Victims of the war in the desert surrounding Kuwait
( Steve McCurry/Magnum Photos, Inc.)
City.
Family Abduction
Beniamin Heinrich
Birth 7/8/82
Race: White
MUsing: 9/4/87
Ht: 3'09"
Eyes:
Brown
Hair:
Brown
Sex:
Missing From:
35
Benjamin's photo
Recovery Photo
lbs
On:
Male
Manistee
NATIONAI.
Wt:
3/28/91
MI
United States
is
shown aged
\--%!|
JS>
He was abducted by
MISSING &
EXPLOITED
.CHILDREN
for Missing
1-800-843-5678 (1-800-THE-LOST) or
Manistee County Sheriffs OfiBce (Michigan)
1-616-723-6941
1992
Color courtesy of
Tektronix
1993
Adrienne Salinger
Fred H. from Teenagers in Their Bedrooms by Adrienne Salinger
(Courtesy of the photographer)
1994
Albert
Chong
My Father
(Courtesy of Throckmorton Fine Art)
Story Bout
Laurie
Simmons
were
said to be
many
single
and commercial.
artistic
technique that
rein-
forced the idea that originality was not the issue. Richard
Prince rephotographed the commercial photography
removed the
copy of
stereotype
thereby making
text,
its
own
in
words
little
as he
Photography,
mirror up to
ally at
like all
its
in
is
partially
soup and
Brillo
in
mation of
politics into
like
the transfor-
their
maybe
else,
The
name
art
all
was now
it
modernism and
216
and
red,
to poster size
for
ation for
in
in
branch of
as uncredited
the postmodernist
it
known
as appropri-
its
criticize
its
own
its
artifacts
built-in difficulties,
art the
and
techniques of
themselves.
The clearest,
if
most
limited,
statement of the
princi-
work.
itself.
women. Enlarged
black, white,
ples of appropriation
almost him."'
imitations
the
over violence on TV. The notion was abroad that not only
had
commissions
attempt to
in
like
it
make
and printed
images: "His
in
wars are
it
to
it
making
again, and
way
was
to do with
like
Walker Evans,
Eliot
In
one
(and most
art, for
that matter)
prints.
in
Robert Heinecken
Periodical #5, 1971.
When
ernism
relied heavily
galleries again.
in
appeared
it
Some sued
re-
women. The
in
on photography,
women were
its
primary exponents, and most of them considered themselves artists and declined to call themselves photographers. Photography once
more came up
A few bona
fide
in
art.
become
central to
soldier holding
of a South
Vietnamese
printing the
was
Some
artists
itself for
lic
the primary
art
first
came
roles
women
immutable
women
in
in
photographs, but
small,
anonymous
in
women
plastic figurines,
in
some
them
or
most
surrogate
ed heavily
lives
in
constructed
all
so
America the
operative;
in its
place
texts
in art, literature,
marked the
fer of reality to
of us were leading
origins,
a tissue of
last
quotations drawn
culture."^
into the
emphasis on multicul-
in
Pleasantville.
movement, postmodernism
all
"The text
The
217
in
was no longer
turalism
vision of essence
forcefully:
This
color-
to diejust
watched
lives.
miniature households
in
playing roles
of
and pub-
encompassing
wigs
had no central,
TV
its
of being
Simmons
politics
All
and photographs.
Laurie
because
movement was
mode
white photographs of
photography.
Sherman
revisited by artists
it
is
like
The
a stage in history.'
art
iqOR
I
David Turnely
Serb Refugees at Banjo Luka.
(Cofbis/David Turnely)
ToqZl
I
George E, Mahlberg
Oswald/Ruby as Rock Band. 1996. Adaptation by
George E. Mahlberg of original photograph by
Bob Jackson, 1963. (Courtesy of the photographer)
Ronald Blumer
"Order your Photo Watch Today!"
lOOy
NASA
Mats OS seen from Pathfinder.
(Courtesy of Newell Color Imaging)
1998
grandparents
QQQ
who
in
like
is
the displacement of
something ordinarily
when
came
digitization
all
to the
trutli
same
window
the door.
in
it
was possible
immersed
life
it,
swift,
in
made
In a
computer exper-
and
social issues.
human
see
beings, like
appear to replicate
is
recognizable
reality,
photographs, unless
made
even treacherous, as
if
Stalin's
in a
as art or entertainment,
seem
especially duplicitous,
government made
in a lie.
them, then by expunging them from the photographic record, one obviously
worse than the other but both indicative of vicious dictatorship. During the
Faked photo-
Army-McCarthy hearings
graphs, unless
made
as art or
Secretary of the
duplicitous, even
.
Army was
in
Army smiling
at Private Schine.
The next
day, the
show the
Army's counsel
proved the photograph had been cropped by the McCarthy side; the Secretary
especially
treacherous
in
entertainment,
seem
America
in
at a third
it
was read
as a clue to
his character.
used
in
space exploration.^
in
In
in
first
exper-
household item, was hitched to new instruments to extend vision into territory
far
223
in
the previous
american photography
Martina Lopez
in Time 1. 1994.
( Martina Lopez, Courtesy of Schneider Gallery. Chicago)
Revolutions
doubted them
at first:
When
the
first
in
scientists
than computer simulations, then changed their minds when the results were
replicated, an essential for any scientific experiment. ^
that had formerly been done by hand at major publications. Printers used com-
them
photographs published
in
In
all
color
made
to improve picture
It
was
small move,
seemed
so reliable.
it
was
In
August 1989, TV Cuide merged Oprah Winfrey's head with Ann-Margrefs body on
one of
its
covers to
224
hus-
The January
picture of O.
J.
27,
Simpson,
of killing his former wife, but the Time cover darkened his
dramatic burst of
his
mal<ing him
light,
quite diabolical.
lool<
What
next?
People fear being deceived about important events or what they take to be
seems to be
natural delight
for
in tricks
No one
difference.
and
entertainment purposes
in a
illusion.
cries foul
Placement,
when
pho-
still
hands with
Martian.
Commercials and movies, which have the money to exploit the new computer
capabilities, have
existence.
staple of
In
bar
singing the praises of Diet Coke, and Gene Kelly danced with Paula Abdul
of her music videos.
life,
in
one
sacred texts of movie history were being suborned for commercial enterprises.
Films
like
enter yet visible and delightfully credible for the two hours that belief
suspended.
is
It
as
if
lives
ever to
willingly
you could send your eyes to outer space while your physical
is
Street.
you could not otherwise enter since the beginning of the century;
the process has merely become more capable, extravagant, and convincing.
Graphic programs on
with
a little
home computers
old girlfriend
from
home
making
are
remove an
covered
it
initially
produced
computer
suits an era so
who had
dis-
new
distribu-
tion system, the Internet crosses borders without even applying for a passport
and has escorted pornographic and seditious photographs into island fortresses
in
immersion
in illusion,
traffic.
universe, promis-
withdrawal from the world. ("Living? We'll leave that to the servants."")
virtual
environments consist of
sky,
225
mountains,
is still
complete
When
the
regarded as photographic
reality,
american photography
Darryl Curran
imoy
in
VR
it
like a
may
is still
ical
is
largely
cave's
is
real.
theoret-
com-
rising at a handful of
in
partici-
in
news photographs be
photographs
are electronic
always
ering the
believed, and
The courts,
reliable proof?
images
per,
at will. In 1989,
Dispatch removed
its
been
newspa-
St.
slightly,
without
in
Louis Post-
its
table,
readers?
the
ing
computer system of
off.
Had there
Newspaper
editors
printed acknowledgment.
any way.
If
its
Most
news
and do not need to be straight information have been altered, by now they are
usually labeled "photo illustration," "computer composite," or something similar.
The question of trust persists but so far seems not to have been breached
It
arrival of
question of capturing
moments and
this option.)
226
single
moment than
in
the computer.
Now
it
is
of recording a string of
television transmis-
Jenny Okun
newer
digital video
it
simpler
single
puter, as architects do
struct a
scans
when low-dose
of
of fragmentary
CAT (computerized
in
com-
tomography)
axial
cross-sectional, three-dimensional
(It is
model
is
constructed by
computer program.
even possible to view the results from different angles, something obviously
impossible with
some form
in
in
is
one aspect of
revolution
in
advances as
of visual display.
Photography works by
combination of
light
and
chemicals, but CAT scans, sonograms, MRI (magnetic resonance imaging) scans,
in
all,
light
waves nor
We now
new
access to the invisible. Images from deep space are electronically converted
most of which
does
its
now energy
rays
printed on photo-
light
ments
gamma
like a
standard photograph.
When we
edge of the universe, we see what human eyes have never seen and
in all
in
array of
in
photographs after
numbers by
all,
even
in
we
find
we
still
We
believe
in
photo
finishes of horse races, X rays that reveal tumors, scanning probe microscope
We
believe
in
we
carry
them with
Digitization has
should
227
all
when we
us to
show
in
formation.
travel.
We
believe so firmly
in
prompted much
talk
We
notes
I.
(New
York The
New
Modern
Art.
May 22-5eptember
8.
(1830-1904). pp 333348
2 See Mike Mandel. Making Good Time. Scientific
Management. The Gilbreths, Photography and Motion
Futurism (Riverside. Calif; California Museum of
Photography. 1989).
Press. 1994);
On
Museum
II.
p, 112
show
of that
name
in
1979.
1998
as fine Art
Alfred Stieglit2,"The Photo-Secession," reprinted
Photography
1
Photography Essays
Museum
York:
&
Imojes. ed,
Modern
of
in
i98o).pp, 141142
5 Trachtenberg. op.
newspaper was
A Biography
(Boston:
3
"
cit.. p, 141
al
(Boston;
New
York
(New
Wilderness
(New
p,
165.
1990),
Photography:
Lives
(New
York:
McGrow
Hill
op. cit.
Press).i997.
9 Egbert
Camera as Weapon
Quoted in Maren Stange. Symbols of Ideal Life: Social
Documentary Photography 1890-1950 (New York and
Cambridge: Cambridge University Press. 1989). p. 6.
2 In his essay. "Ever-the Human Document." in Alan
Tfachtenberg. Walter Rosenblum. and Naomi Rosenblum.
America and Lewis Hine: Photographs 1904-1940 (Millerton.
1
1997),
36
p,
G Jacobson. foreword
NY
4 Sobieszek, op cit.p 195 Juliann Sivulka. Soap. Sex. and Cigarettes: A Cultural
History of American Advertising (Belmont. Calif
Wadsworth Publishing Company. 1998). p 232.
6 Roland Marchand. Advertising and the American Dream
Making Way for Modernity 1920-1940 (Berkeley; University
pp 50-52
and Jerome
(New
the Camera
p,
93,
Lives
(New
pp 103112),
2 Vicki
Image,"
3
Clive James,
How
Annual of Advertising
quoted in Johnston, op.
to
ix.
cit.p 33
10 Johnston, op, cit. p, 32.
11 Herbert Molderings.'Urbanism and Technological
Utopianism: Thoughts on the Photography of the Neue
Sachlichkeit and Bauhaus." in Germany: The New
Photography. 1927-1933- selected and edited by David
Changed Our
York:
Aperture. 1995)
5 See Susan D. Mocller. Compassion Fatigue: How the
Media Sell Disease. Famine. War. and Death (New York and
London: Routledge. 1999)
May
228
Press. 1989).
pp 78-87,
Levme. op
cit,.
p 39
and Wood, op
cit
p 7
11
(New
in
1935-1943 As Seen
8 Stryker
p, 41-
Garland
Jack Hurley,
Between
F.
the Thirties
1998). p 196
3 On the archive, see Alan Sekula. "Photography
in
Advertising Photography
1
Robert Sobieszek, The Art of Persuasion. A History of
Advertising Photography (New York; Harry N, Abrams, 1988),
Press. 1984). p. 12
script, reprinted in
Amenco (New
71
shooting
Lives
first
Documentary Photography
From the
12
Guimond.
In a
op, cit.
memo
p.
L,
Thompson (New
York:
lOO,
Wood.
History of Photography
p.
Comes
188,
to
MIT
Press. 1989). p, 21
Since i960
(New York;
World War
1
Said by
"Life Begins,
Atlantic Monthly,
May
Late.
1978. p 61,
ed- Philip B
Kunhardt Jc (Boston Little. Brown, 1990), p 5is an update of a 1950 publication and contains many
photographs by Signal Corps, wirephoto agency, even
(Washington.
This
Press. 1994)
Cuimond's chapter on
American Wasteland."
We Remember,"
Harper's Magazine.
pp 346. 347
am
September
7
1972. p. 73.
For details about this photograph, see Vicki Goldberg,
(New
How
Alfred
On
On
New
31.
1997.
p.
1,
Section
Photography
III.
A Soviet
is
discussed
both essays.
in
1960-1999
1947). P 151
America
William
p. 3.
O'Neill.
L,
in
History of
Surveillance
in
cited in
1979).
York
Photography
(New
Fashion Photography
1
See Nancy Hall-Duncan. The History of Fashion
Photography (New York: Alpine Book Co 1979). p 12
2 Quoted by Martin Harrison in Appeoronces Fashion
Fingerprint
York: Alfred
Knopf/Callaway. 1991). which has the most copious reproductions; and Irving Penn: A Career in Photography, edited by
Colin Westerbeck (Boston The Art Institute of Chicago in
association with Bulfinch Press, published in conjunction
A.
and
Time by the Camera
Hill
& Wang,
Civil Rights:
Press), p. 128
On Photography (New
War World
1972)
Quoted
pp 32-48
Diane Arbus,
3 Diane Arbus,
and Giroux.
1977).
(New
Press. 1997).
pp 41-77
(New
3
I968),np
The Americans and the Dark Side of the 1950s
On Frank and The Americans, see the catalogues from two
major retrospective exhibitions. Robert Frank New York to
Nova Scotia, ed- Ann W. Tucker, assoc, ed, Philip Brookman
(Houston; Museum of Fine Arts. 1986). and Robert Frank
Moving Out. Sarah Greenough and Philip Brookman
1
229
cit
Protest!
(New
York Signet,
[9I
op
Chapter
5 in
Conn
was
severely beaten by
1991). P 57
p.;
Colorado Associated
The
New
to
fn.j
far.
Postmodern Photography
Richard Prince,
in
Why Co
I
to the
in
Mitchell, op cit p 66
Clare Ansberry. "Alterations of Photos Raise Host of
I. January 26. 1989, p. Bi; cited by
.
p. 16.
Now
Press, 1977).
P 334
8 Arlen,
p 404.
&
pp 506-520
Moeller. op
1981),
1.
Tantam
York;
p, 2.
p.
(New
1989).
See Steven Kasher. The Civil Rights Movement- A Photographic History 19S4-68 (New York: Abbeville Press. 1996)
2 Danny lyon. Memories of the Southern Civil Rights
Movement (Chapel Hill. NC; Center for Documentary
Studies. Duke University and University of North Carolina
1996), p 153.
January 1962. p 6
4 The Photographic News, i85i. p. 180: cited in Helmut
Gernsheim. The Rise of Photography 1850-1880: The Age of
A.
Andra
Tr AN SFORivi ED,
Farrar.
Hill:
pp. 142-147
10 Carl Mydans. Carl
Houghton
in his
(Chapel
Portrait."
The
205-244 Weegee
1991). pp.
pp 196-199
8 See Richard Whelan, Hobert Capa A Biography (New York
Lives
Fifties." in
on Photography (Albuquerque
New Mexico
University of
cit.. p.
82.
Dell, 1983),
How
Lives
(New
York, Abbeville
bibliography
.-f.
York:
Now
Houghton
Mifflin,
New
Women
1989
New
Meaning
and
Critical Histories of
Effect.
York:
rev. ed.
New
York: Abbeville
Press, 1997.
Eric J Picturing an Exhibition: The
Family of Man and 1950s America. Albuquerque:
University of New Mexico Press, 1995
Sandeen,
Press, 1989.
Photography, 3rd
Boorstin, Daniel
Events in
J.
1992.
Bryan,
C. D. B.
New
Landscape as Photograph.
Haven, Conn
Abrams, 1988.
Yale
York:
Whitney Museum
of
American
New
'955
Art, 1994.
Stott, William,
from 184}
Art, 1996.
Thirties
Kunhardt
Darius. John
York: Farrar,
Stieglitz, Alfred,
New
Kozol.
Boston:
Jr..
Philip
Little,
B.,
ed. Life:
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II.
Brown, 1990.
Press, 1986,
Art.
New
York:
The
Museum
of
Modern
Art, 1973,
Cards, 1999.
Lippard, Lucy, ed. Partial Recall: Photographs of
Faas, Horst.
Requiem.
New
York:
Random House.
New
York:
The
New
'997-
Press, 1992.
New
New
Englewood
Maddow,
Cliffs, N.J.:
New
MIT
'977-
J.
Press, 1992,
Travis, David.
Museum
Vicki, ed.
Photography
New
in Print:
York:
Writings
Simon and
New
York:
Museum
of
Modern
Art, 1982.
New
Photographs, igoo-igso.
Willis,
York:
Abrams, 1984
Art. 1996.
Phillips,
230
Sandra
S.
Police Pictures:
Photographs as
Identity in Photography.
1994.
Goldberg.
York:
How
from
New
Photographs compiled
Sullivan, Boston:
Archives, 1860-1960.
Pantheon, 1979.
Prentice-Hall, 1966.
Portrait in Photography.
acknowledgments
War
War
II,
Goldberg
"Photography as Fine
We
Vlckl
Goldberg
Robert Silberman
231
Elizabeth Partridge,
Imogen Cunningham
Trust,
Dawn
Throckmorton Fine
Jr.;
Middlemarch
Films,
New
York: Gerald
Richman.
San
Francisco; Sandra Weiner; Linda Wolcott-Moore:
Victor Zamudio Taylor; Gail Zappa; Donna Van
Der Zee: and all others who helped to provide
images for these pages.
Toth
index
Abbott, Bernice. 9
Adams, Ansel,
Barletti,
Barr,
GulfWar,i76,i77
Filo,
Aperture. 106
Arbus, Diane, 168, 169, 170,
Arlen, Michael, 173, 177
Arnold, Eve, 91
175, 187
135.
169, 187
Bachrach Studio, 136, 186
Baldessari, John, 155-156
Baldwin, James, 165
Baltz, Lewis, 155
141, 145,
Don,2?i
Alfred, 104
94
Berman, Wallace, 155
Bingham, Hiram, 30
Bond, Julian, 164
Boorstin, Daniel, 77
Booth, John Wilkes, 159
Boston, Bernie, 172
Browne, Malcolm,
Bruehl, Anton, 69
Henderson, Alex,
Chong, Albert,
Keeler,
Al,
)i6,
77
James Edward, 37
Kennedy, Jacqueline, 154, 187
Kennedy, John F,, 153, 154, 161, 173
210-211, 215
Chu,
Eric, 2;o
War, American, 37
Clark, Larry, 169
Coburn, Alvin Langdon, 123
Civil
Collins,
Collins,
Mary
Jo,
Crawford. Joan. 80
Crick. Francis. 38
Cunningham. Imogen.
63. 105
Munkacsi, Martin,
Murrow, Edward
of
9, 127,
R.,
A,
Eugene
37
Lawson, Thomas,
Le, Dinh O., 211
37.
159
Erwitt. Elliott. 91
Medgar. 166
Ewald.Wendy. 16. 188
Evers.
99103,
Riis,
101,
11
Leong, Ray,
'23. 133
Eisenstaedt. Alfred.
8.
Kozloff,
J71
Winston
0.. 231
232
Jacob,
8, 41,
R.,
79
42,43, 44,45
51
Taylor, Paul,
99
Max, 83
Emmett, 164, 165
Thorak,
Till,
Dr,
Tsinhnahjinnie, Hulleah,
Tugwell, Rex, 99
J.,
211
TV Guide. 224
Huynh Cong
Vietnam War,
55, 72
142, 161
"Nick," 177
81
32, 74
11,
Weegee
211
155
Parks,
Max, 149
Kruger, Barbara, 216
Land, Edwin, 122
209.
156.186
224
28. 32-33.
33. 141,
O'Brien, Ken, g
O'Keeffe, Georgia, 1B6
Okun, Jenny, 227
Rhinehart,
200
Snyder, Ruth, 55
Solnit, Rebecca, 202
Sontag, Susan, 187
Spanish-American War, 77
Spanish civil war, log
Stalin, Joseph, 223
Stanford, Leiand, 50
Steic hen, Edward, 21-22, 22, 25,53, 66,
69,105,106, 109,127139-142, 186,187
Steiner, Ralph, 69, 71
Richee,
Edward.
130
97
Modern
Curtis.
742, 177,
188
Kepler, Victor, 69
Kerouac, Jack, 147
Kertesz, Andre, 9
Kesey, Ken, 169
Edward, 16
John F 68
Cornett,
Oppenheim, Dennis,
Capone,
Howard. Tom. 73
Hoyningen-Huene. George. 127
Hudson. Bill. 165
Hurrell. George, 79, 80, 80
Leonard, 91
McCullin, Donald, 174, 177
McCurry, Steve, 212
Mahlberg, George E., 2ig
Malraux, Andre, 9
Bruce, 155
New York Times. 79, 96, 173
Newman, Arnold, 186, 787
Newhall, Beaumont, 704, 104-105, 106
2g
McCombe,
Nauman,
209
H.,
132
George
Shahn, Ben, 99
Hiro. 129
Clarence Sinclair, 76
Bullard, Timothy,
Burrows, Larry, 174
Caffrey, Debbie Fleming, 210
Callahan, Harry, 106, )o6, 155
Calley, William, 175
Camera Work. 21, 22
Capa, Cornell, 91
Capa, Robert, 91, 92, 93, 113, 114,
"7. "9.175.177
Seeley,
117
Hartmann, Sadakichi, 22
Hawthorne, Nathaniel, 134
Hill, Rick,
Bull,
Museum
(Arthur
148, 149
(iarrie
Weems,
Mae, 210
Weston, Edward,
154,186,197,199,217
White, Minor, 106, 154, 155, 197, 199
Whole earth Catalog. The. 201
Wilson, Woodrow, 77-78
(WPA),209
World War 1,43,
109,
111,
World War
55,
60-61,67.77,78-79.
114
II,
9,
67
122,135,139.142,153.161
Wright, Richard, 99
Yellowstone National Park, 197
Vicki
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How
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Robert Silberman
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