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HOP 10 & 11
Terms in this set (11)
In 1947 Magnum Photos was established in the penthouse restaurant of the Museum of Modern Art by photographers hoping to gain more editorial control their pictures.
Robert Capa, Henri Cartier-Bresson, George Rodger & David "Chim" Seymour.
The Word War II experiences of Magnum's founders orientated them toward a photography that would contribute to human betterment. These aspirations were shared by organizers of 1995 "The Family of Man" exhibition.
The Family of Man
Exhibition organized by noted photographer and director of MoMA's Department of Photography Edward Steichen, the exhibition took the form of a photo essay celebrating the universal aspects of the human experience.
It offered a sense of hope post World War II; it emphasized the the similar experiences and aspirations that humans share.
Despite the "Family of Man's" call for unity and peace, people around the world came to resent the extensive military, financial, and cultural influence of the United States.
Manuel Alvarez Bravo
1902-2002, Photographed Mexican culture and politics, one of the founders of modern photography, considered the main representative of Latin American photography in the 20th century.
The great African portraitist lived in Bamako, Mali from 1921 to 2001. A self-taught photographer, he opened a studio in 1948 and specialized in portraiture. He soon photographed all of Bamako and his portraits gained a reputation for excellence throughout West Africa.
Seydou Keita, Two Women, 1958. Gelatin Silver Print.
He was perhaps the most influential Japanese photographer of the post-war era. His raw, grainy and impressionistic style signaled a dramatic break with the quiet formalism that had defined earlier photography.
A Bottle Melted and Deformed by Atomic Bomb Heat, Radiation and Fire, Nagasaki, 1961. Gelatin Silver Print.
First published in France in 1958, then in the United States in 1959, Robert Frank's The Americans changed the course of twentieth-century photography. In eighty-three photographs, Frank looked beneath the surface of American life to reveal a people plagued by racism, ill-served by their politicians, and rendered numb by a rapidly expanding culture of consumption.
In the postwar period street photography was increasingly practiced by art photographers.
They discovered, in the shifting crowds on Americas city streets countless images that expressed the photographers inner feelings exposed the seedy materialism of postwar American culture.
Street photographers were enchanted with the "snapshot aesthetic" an apparently uncomposed everyday subject, illuminated only with available light, and taken in a way that mimics instantaneous sight.
Born Usher Fellig in 1899 in Ukraine. Self-taught, he held many other photography-related jobs before gaining regular employment at a photography studio in lower Manhattan in 1918. This job led him to others at a variety of newspapers until, in 1935, he became a freelance news photographer. He centered his practice around police headquarters and in 1938 obtained permission to install a police radio in his car.
Weegee, Their First Murder, October 9, 1941. Gelatin silver print.
The Sweet Flypaper of Life
A book that came out in 1955. DeCarava collaborated with poet, writer, and social activist Langston Hughes to produce the book featuring 140 of his photographs accompanied by a narrative written by Hughes.
Decarava balances portraits with unrehearsed scenes on Harlem's streets and in peoples homes.
Neither Hughes nor Decarava attempted to make a sociological report or to advocate reform measures. Each insisted on rendering Harlem artistically.
Suburbia & Photography
Postwar prosperity fueled the migration of Americans from the cities to the suburbs, where the prospect of green space and domestic comforts was underwritten by hope of rising to a higher social class.
In the American West the spectacular banality of regularized suburban houses suddenly springing up in formerly open expanses laugh the critical eye of of photographers such as Lewis Baltz and Robert Adams who preferred the distanced view and a seemingly neutral style.
The photograph and story of Emmett Till sparked protests and were memorialized in the literature and art of the 1960's.
Murder of Till during the summer of 1955 was the first powerful media event of the Civil Rights Movement.
Photographs taken by David Jackson were published in the African American press, but not in mainstream media.
Because the criminal investigation of the Till case has gone on for more than fifty years, the image of Emmet Till continues to resonate.
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