Her attention is drawn to an event outside the frame, and though she is blind, the photograph confirms that she is oblivious to the camera's close proximity. Paul Strand. He declared: "The People I photograph are very honorable members of this family of man and my concept of a portrait is the image of somebody looking at it as someone they come to know as fellow human beings with all the attributes and potentialities one can expect from all over the world". [Internet]. The Lusetti Family represents Strand's late period (after he had resettled in Europe) and features in his book Un Paese, Portrait of an Italian Village, which was published in 1955. Portraits of Rebecca Strand. One can see this humanist philosophy in practice in his portrait of the young student, Anna Attinga Frafra. In this case Strand used paper with the cold blue tones that had matched his experience on the Percé Beach shoot. New York, The Metropolitan Museum of Art, “Paul Strand, Circa 1916,” March 10–May 31, 1998; traveled to the San Francisco Museum of Modern Art, June 19–September 15, 1998. On the one hand, Strand offers the spectator an objective, 'straight', record of a street scene showing walking pedestrians as the sun elongates their shadows; on the other, we have a high contrast interplay of light and dark as the shadows formed by the niches of the large Morgan Trust Bank building produce a slanting geometric pattern. Indeed, in order to achieve portraits of such arresting quality Strand devised a strategy whereby he rigged his camera with a false lens that pointed forward, while the working lens was actually placed at a ninety-degree angle and hidden from the subject's view under his arm. On the one hand, Strand offers the spectator an objective, 'straight', record of a street scene showing walking pedestrians as the sun elongates their shadows; on the other, we have a high contrast interplay of light and dark as the shadows formed by the niches of the large Morgan Trust Bank building produce a slanting geometric pattern. When Rosen argued that Strand had managed to avoid the trap of producing "patronizing anthropological photographs" he might well have had an image like this in mind; one that captures the personality of a subject who came to symbolize a progressive thinking and independent African state.

“Charles Sheeler: Across Media.” Exh. New York, The Metropolitan Museum of Art, “The New Vision: Photography Between the World Wars,” September 22-December 31, 1989; traveled to San Franciso Museum of Modern Art, February 28-April 22, 1990; Los Angeles County Museum of Art, May 10-July 15, 1990; Art Institute of Chicago, September 15- December 1, 1990; High Museum of Art, Atlanta, February 5-April 28, 1991; Museum of Fine Arts, Houston, June 8-August 4, 1991. All Rights Reserved |. Motion picture film stills or motion picture footage from films in MoMA’s Film Collection cannot be licensed by MoMA/Scala. The weight is created by dark tones in rocks, rooves and boats; the idea of air being expressed by the light in the sky and as it is reflected on the surface of the sea. Wall Street is an historically significant image, both for Strand and for the development of photographic art. p. 42, fig 18.

He was of course shooting in black and white, but it was his practice to use papers with color tint (while bemoaning the fact that "everytime I find a film or paper that I like, they discontinue it") that imitated the atmosphere of the location at which he was shooting. Gelatin silver print. In keeping with the artistic and ideological traits of Strand's worldview, moreover, Native Land sought to challenge the classical Hollywood narrative by taking the ordinary American laborer and turning him from subordinate or comedy figure into the plot-carrying hero.

National Gallery of Art. Paul Strand Abstraction, Porch Shadows, Twin Lakes, Connecticut, from the portfolio On My Doorstep, 1916, printed 1976 It was Strand's belief that the job of the documentarian was to describe the lives of ordinary people. However, the unfortunate timing of the film's release, shortly after the attack on Pearl Harbour, meant that the country was seeking unity and had little appetite for socio-political self-examination. In his influential book The Ongoing Moment in which he looked at photographic trends, Geoff Dyer suggested that the blind women's off-centre pupils reflected Strand's own skewed lens set up and that, moreover, the blind subject was more generally "the objective corollary of the photographer's [own] longed-for invisibility". 1916. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to [email protected]. © Paul Strand Archive/Aperture Foundation, Signed and inscribed recto, on hinged paper, lower left, below image, in graphite: "Paul Strand 1916"; inscribed verso of print, lower left, in graphite: "7-1944-369"; signed and inscribed verso of print, lower right, in graphite: -"Paul Strand- / -1916-"; inscribed verso, on hinged paper, lower center, in graohite: "Shadows"; verso, on hinged paper, lower right, in graphite: "7-1944-369", 33.1 × 22.9 cm (image); 33.7 × 23.4 cm (paper); 43.7 × 32.2 cm (hinged paper). "Paul Strand Artist Overview and Analysis". From Jackson Fine Art, Paul Strand, Abstraction, Porch Shadows, Connecticut (1916), 9 5/8 × 6 5/8 in In a statement that seems at first a little incongruous, Strand spoke of color in his photography. In 1929, Strand took a trip to Canada with his wife, Rebecca Salsbury. Using everyday items, including kitchen furniture and crockery, and fruit, Strand used his large plate camera to transform - or elevate - the mundane utilities into pure two-dimensional patterns.

Once received into the Luzzara community (Strand stood in the central town square every day until they became used to his presence) he spent two months photographing the village - once a stronghold for anti-fascist resistance - and its inhabitants. However, the book, Ghana: An African Portrait, featuring a companion text by the Africanist scholar Basil Davidson, was not published until 1976 (four years after the death of Nkrumah).

By visiting our website or transacting with us, you agree to this. Learn more. If you have additional information or spotted an error, please send feedback to [email protected]. Minneapolis, Minneapolis Institute of Arts, August-November, 1985; traveled to Seattle, Seattle Art Museum, November 1985-February 1986. New York, The Metropolitan Museum of Art, “Paul Strand, Circa 1916,” March 10–May 31, 1998; traveled to the San Francisco Museum of Modern Art, June 19–September 15, 1998.

Art Institute of Chicago, “The Other Side of Light: Shadows from the Photography Collection” December 1, 2007–February 24, 2008. 2015. Gertrude Käsebier. Anderson Galleries and the Intimate Gallery.

Though Percé Beach meets the principal criteria for a landscape, we can find aesthetic correspondences here with his more iconic Wall Street photograph (produced 12 years earlier). Around her neck hangs a hand-painted sign that alerts us to the fact that she is "BLIND", and above which, a numbered badge pinned to her black smock identifies her as a licensed newspaper vendor. (Kathleen Lamb). The Lusetti family portrait is comprised of a mother and five of her eight sons; all of them WWII veterans. If you would like to reproduce text from a MoMA publication or moma.org, please email [email protected]. Wearing a white sleeveless shirt, she is positioned in front of a plain white wall. This early portrait, first published in Camera Work, was taken in Five Points, the heart of the immigrant slums on the Lower East Side of Manhattan and is indicative of Strand's socialist and artistic mission. Open today 10–11 a.m. members | 11 a.m.–6 p.m. public. Strand made several radical choices in this work: he abandoned the traditional, upright perspective of the photograph; caused the table to appear tipped, as if to suspend its utilitarian function; deployed shadows to create powerful compositional diagonals; and suggested objectivity in the crispness of his negative and print.

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