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description=Posts about Imogen Cunningham written by Simon;

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the, photography, of, reviews, and, related, women, photographers, share, this, room, networks, that, shaped, books, city, american, gallery, artists, food, in, john, modern, links, more, art, exhibitions, black, behind, lens, portrait, century, artspeak, key, words, elton, by, to, life, street, exhibition, three, desire, sex, about, curators, themes, lives, photo, league, boots, dulwich, picture, feast, for, eyes, story, radical, eye, modernist, from, sir, collection, tate, all, posts, tagged, imogen, cunningham, savings, bank, foundation, sbf, norway, 100, works, 38, 1900, 1930, 1930s, 1950s, interlude, films, social, landscape, 1960s, 70s, bruce, davidson, 1980s, reactions, summary, last, image, contemporary, collage, quotes, repetition, faith, dictionary, received, ideas, list, keywords, bourgeois, challenge, erotic, gender, practice, queer, subvert, same, transgressive, unconventional, link, one, woman, couples, which, feature, or, are, plural, history, authors, two, types, sociology, classic, white, weird, political, curator, commentary, as, critic, press, follow, topics, categories, immigration, skyscrapers, wall, crash, magazine, new, york, wegee, szarkowski, magnum, meh, poverty, porn, what, missing, portraits, bodies, experiments, objects, documents, abstraction, perspective,

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a leaving the 1940s to move forward through the 1950s into the 1960s arthur leipzig divers east river 1948 estate of arthur leipzig courtesy of howard greenberg gallery new york arthur leipzig s divers east river 1948 captures how peripheral urban spaces became sites of leisure and community but also symbolises the new mood of post war confidence there are works by berenice abbott recording the evolution of new york s skyline the curators explain moving into the 1960s and 1970s the exhibition explores how photographers responded to a nation undergoing cultural and political transformation artists such as ed ruscha and robert adams examined the structures and systems of the built environment garry winogrand diane arbus and lee friedlander brought new immediacy to street photography this section also presents powerful depictions of life on the margins including mary ellen mark s the damm family in their car los angeles 1987 which confronts the realities of homelessness peter hujar s richie 1985 offering an intimate insight into communities affected by the aids crisis all these are big names but i think it s in this room that the strength and weakness of the exhibition as a whole really becomes clear this is that although there are 100 photos these are divided by 38 photographers so you don t get very much from each individual snapper in fact when you learn that there are nine photos by ed ruscha and the final room contains no fewer than 45 works by bruce davidson then a quick bit of maths suggests that 100 54 46 divided by 36 photographers means that many are represented by just one shot when it s an image as iconic as stieglitz s steering or lange s migrant mother then it can bear the weight of interpretation which the curators very interesting wall labels attribute to it but a figure like peter hujar is represented by just one image when his work in fact depicted an entire world the subculture of gay new york and other galleries have devoted entire exhibitions to him having so many great photographers represented by just one or two works feels inadequate and almost tokenistic feels hurried on a practical level it makes it quite arduous to read a long wall label about peter hujar s career and achievement and then hang it all on one so so photo and the same goes for a dozen or more other important figures and that s the other problem here which is that quite a few of the works are fairly average for the sake of argument let s guesstimate that half of them are really good and taken out of context in all the online reviews you ll read all the promotional images dpg s press people make available are outstanding but a lot are a bit meh for example i love diane arbus s classic photos of freaks circus performers and sad street people and would visit any exhibition of her work in a shot diane arbus in the beginning hayward gallery march 2019 but there are five images by her here woman with white gloves and fancy hat n y c 1963 teenage couple on hudson street n y c 1963 couple on a pier n y c 1963 kids in a coat n y c 1960 girl in a limousine n y c 1960 and they re all good enough but none of them are classics have the shock and bite which give her best works that kafkaesque aura of the uncanny i thought this was particularly true of the ed ruscha works for some reason the curators choose to display nine works by him far more than anyone else till we get to the davidson room see below i warm to ruscha s paintings up to a point ed ruscha course of empire the national gallery june 2018 but i thought all nine photos here of car parks or street views in los angeles were very non descript indeed i get the point that they are meant to indicate a kind of tranquilised blankness which is itself indicative of the numbed empty state of mind of a certain kind of american aesthetic but still nine of them 3017 3011 west rowena ave i get that ruscha s is a very distinctive take and also that his style was maybe appropriate to the layout of los angeles which is a great sprawl of flat low rise buildings which requires endless cruising in the hot californian sun completely different from the numerous shots here of the densely packed high rise buildings of new york or chicago installation view of portrait of a city a century of american photography dulwich picture gallery showing room 3 of 4 photo by the author room 4 bruce davidson 1980s after the relatively stingy amounts of stieglitz evans arbus and so on that we ve been rationed to it is a bit overwhelming to walk into the final room and discover it is packed from floor to ceiling with no fewer than 45 works by just one photographer bruce davidson it s not even an overview of his career but 45 works from just one project davidson s famous subway series from 1980 to 1985 davidson took brutally unflattering unflinching big colour photos of passengers on the dirty graffiti covered new york subway with its ever lurking threat of violence muggings or even shootings installation view of portrait of a city a century of american photography dulwich picture gallery showing a couple of walls full of bruce davidson s subway series photo by the author the curators wall label gives an extensive explanation bruce davidson born 1933 began taking pictures at just ten years old and was winning school photography prizes by his late teens he studied photography painting and design before being drafted into the u s army where he was assigned to a military newspaper a photo essay made during his service in europe caught the attention of the photographer henri cartier bresson 1908 2004 who encouraged davidson to join the prestigious international agency magnum photos while still in his early twenties he photographed the new york city subway between 1980 and 1985 at a time when the system was associated with neglect graffiti and rising crime it remained one of the city s most democratic spaces a shared environment in which millions of new yorkers were brought into close contact each day in this series davidson embraced the individuality of passengers from all backgrounds presenting an honest and varied account of the city s inhabitants the photographs were often taken following repeated encounters and conversations people are fully aware of the camera meeting it with curiosity defiance or indifference i wanted to transform the subway from its dark degrading and impersonal reality into images that open up our experience again to the colour sensuality and vitality of the individual souls that ride it each day so there are nearly as many photos by davidson as by the other 37 photographers in the exhibition put together which makes it all the odder that the press pack for the show doesn t include a single one of them instead i ll link to magnum s official page for the project bruce davidson s subway series on the magnum website in the flesh like this in this dedicated room in a gallery big and piled 15 to a wall i reacted against these images it wasn t so much the subject matter the urban alienation shabbiness and punk aesthetic which growing up in a concrete new town and having spent 40 years commuting on the london underground i can understand and assimilate it was the compositions themselves which came over as messy and scrappy for some reason they are far easier to process and accept on the web page in the article i just linked to than they were in real life it s not the threat in so many of them it s that reduced to 6 inch wide images on my laptop they feel more concentrated and classic than they do when seen as two and a half feet wide and 18 inches tall big like they are in the gallery they felt scrappy and messy reduced to screen size the feel punchy and composed smaller seems to be better networks that shaped photography each room has an orange wall label you can see one in the photo above which steps back from individual photos and describes the changing institutions and organisations the networks of contacts and influence which affected the shape of american photography through the century for the record and to be useful to my readers i ll give them here to be crystal clear these are the curators words not mine behind the lens 1 the networks that shaped photography photo league founded in new york in 1936 the photo league was a community where photographers met debated and learned from one another at a time when documentary photography was emerging as both art form and social witness the league provided darkrooms exhibition spaces and a shared sense of purpose several photographers in this exhibition were connected to the league aaron siskind played a leading role directing the harlem document project while arthur leipzig developed his early work within its circle ruth orkin and morris engel were active members and saul leiter helen levitt and weegee exhibited there participating in the same downtown network of socially engaged image makers in 1947 at the height of the red scare a period of intense anti communist suspicion in the united states the league was placed on the u s attorney general s list of subversive organisations this marked its members as politically suspect and it contributed to the league s closure in 1951 yet its influence endured it fostered a belief that photography could be democratic critical and deeply rooted in real life behind the lens 2 the networks that shaped photography john szarkowski in 1962 following edward steichen s retirement john szarkowski 1925 2007 was appointed director of photography at the museum of modern art new york with szarkowski s arrival a new generation began to redefine the role of photography within modern art and museum culture szarkowski transformed how photography was presented and understood in museums through a series of influential exhibitions and essays he framed photography as a medium defined by its own formal concerns timing framing vantage point and the photographer s singular vision his perspective proved remarkably influential in 1990 u s news world report observed that szarkowski s thinking whether americans know it or not has become our thinking about photography his 1967 exhibition new documents introduced garry winogrand diane arbus and lee friedlander to a wider public positioning their work as a decisive shift in american photography behind the lens 3 the networks that shaped photography magnum founded in 1947 magnum photos was established as a photographic cooperative owned and governed by its members at a time when photographers often surrendered control of their negatives to magazines magnum insisted on authorial rights editorial independence and long term commitment to subjects its founders had witnessed war displacement and political upheaval first hand and the agency reflected a belief that photography carried ethical responsibilities toward its subjects bruce davidson joined magnum in 1958 at just 23 after founding photographer henri cartier bresson saw his early work and recognised his talent membership placed him within a global network of photographers who believed that documentary photography should be shaped by ethics and responsibility magnum fostered a culture of immersion rather than quick assignments davidson s extended projects from brooklyn gang to subway reflect that ethos patient relationship based and rooted in the belief that photography must convey a sense of trust the photographers also to be useful here s a list of not only the photographers on display but indicating the number and where possible the precise titles of the photos on display so you can go and look them up yourself if you like i haven t captured them all because i am not a robot but a fallible human being berenice abbott 2 waterfront south street october 25 1935 exchange place new york 1933 robert adams 4 under a freeway overpass colorado 1974 colorado 1970 apartment weber street colorado springs 1966 shopping center wheat ridge colorado 1968 diane arbus 5 woman with white gloves and fancy hat n y c 1963 teenage couple on hudson street n y c 1963 couple on a pier n y c 1963 kids in a coat n y c 1960 girl in a limousine n y c 1960 richard avedon 2 new york life 15 lenox avenue malcolm x blvd harlem 1949 new york life 13 harlem 1949 ilse bing 1 penn station new york bootblack shining shoe 1936 margaret bourke white 1 augusta georgia 1936 ted croner 1 new york 1947 imogen cunningham bruce davidson 45 roy decarava 2 hallway 1953 dancers 1956 william eggleston morris engel walker evans 3 42nd street and sixth avenue new york 1929 main street saratoga springs new york 1931 chicago theater chicago 1946 louis faurer lee friedlander 5 chicago self portrait 1963 new york city 1965 atlantic city 1971 banff canada 1974 new york city 1962 john gutmann 1 okies on their way west laramie wyoming 1936 lewis hine 1 riding the ball high up on empire state 1930 peter hujar 1 richie 1985 andré kertész 1 washington square arch new york 1966 william klein 1 rheingold new york 1955 dorothea lange 2 white angel breadline san francisco 1933 migrant mother nipomo california 1936 saul leiter 4 orange umbrella 1950 postmen 1952 man in straw hat 1955 harlem 1960 arthur leipzig 1 divers east river 1948 rebecca lepkoff helen levitt 3 vacant lot east harlem new york c 1939 new york c 1939 new york 1972 mary ellen mark 1 the damm family in their car los angeles 1987 elaine mayes 1 group from commune 22 ashbury street 1968 lisette model 2 coney island bather new york city 1939 1941 reflections rockefeller center new york city c 1945 nicholas nixon 2 view of the zakim bridge boston 2001 view of central park at 57th street n y c 1975 ruth orkin 1 the view from my window 1952 ed ruscha 9 3 from twenty five apartments series 1965 2003 3017 3011 west rowena ave beverly manor apartments golden gardens 6 photos from roof top view 50 years later 2012 aaron siskind 5 harlem loews facade 1937 harlem portrait of a tenement 1937 harlem dang e keeou 1935 harlem woman climbing stairs 1934 harlem pin ups through doorway 1940 herbert snitzer 1 john coltrane backstage the village gate new york city 1961 edward steichen alfred stieglitz the steerage 1907 weegee 4 sleeping at the bar 1939 times square 3 30 a m thursday american savings bank murder 1945 man electrocuted at penn railroad yard 1930 edward weston garry winogrand 3 park avenue new york 1959 los angeles 1969 democratic national convention los angeles 1960 three reactions 1 meh given the build up and the boosterish tone of the press material and wall labels i was puzzled how i got to the end of the show and somehow felt disappointed obviously some images are super famous such as lange s migrant mother or garry winogrand s shot of john f kennedy making a speech at the democratic convention in 1960 and others are super striking like leipzig s teenagers jumping into the east river or hine s riding the ball high up on empire state or mary ellen mark s the damm family in their car los angeles 1987 but many are just so so or actively boring li...