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Street Photographya brief history
“Street photographs have an imaginative life all their own, one that seems sometimes quite independent of whatever intentions the
photographer might have had…”
From Bystander: A History of Street Photography by Colin Westerbeck and Joel Meyerowitz
Edgar Degas Place de la Concorde
1875
Charles MarvilleRue TirechappeNegatibe about 1860
Eugene AtgetRag picker1899-1900
"The charm of Atget lies not in the mastery of the plates and papers of his time, nor in the quaintness of costume, architecture and humanity as revealed in his pictures, but in his equitable and intimate point of view. . . . His work is a simple revelation of the simplest aspects of his environment. There is no superimposed symbolic motive, no tortured application of design, no intellectual axe to grind. The Atget prints are direct and emotionally clean records of a rare and subtle perception, and represent perhaps the earliest expression of true photographic art."
Ansel Adams
Eugene AtgetRue du Maure
c. 1908
Eugene Atget91, rue de Turenne
1911
Edward SteichenThe Flatiron
1905
Karl StrussColumbus Day Parade
c. 1912
Jacques-Henri LartigueAvenue du Bois de Boulogne, Paris
1911
Jacques-Henri LartigueCar Trip, Papa at 80 kilometres an hour
1913
Andre KerteszMontmartre
1927
Andre KerteszMeudon, Paris
1928
Alexander RodchenkoGathering for the demonstration
in the courtyard of the VChUTEMAS(Higher Institute of Technics and Art)
1928
Walker EvansCity Lunch Counter
1929
Walker EvansGirl in Fulton Street
New York, 1929
Walker EvansParked Car, Small Town, Main Street, 1932
Ossining, New York
Brassai (Gyula Halasz)Open Gutter
From "Paris by Night"1933
Berenice AbbottBread Store, 259 Bleecker Street
c. 1935-39
Berenice AbbottEl at Columbus Avenue and Broadway
c. 1935-39
Bill BrandtWindow in Osborn Street
1931-35
Bill BrandtEast End girl, doing the Lambeth
Walkc. 1936
Henri Cartier-Bresson (Alicante), Spain 1932
Henri Cartier-Bresson
Hyères, France 1932
BrassaiLa Mortn.d.
Helen LevittNew Yorkc. 1940
Helen LevittNew Yorkc. 1942
Helen LevittUntitledc. 1942
Robert DoisneauSunday morning in Arcueil
1945
Robert DoisneauSidelong glance
1948
Harry CallahanDetroit1943
Lisette ModelRunning Legs
1940-41
Weegee (Arthur Fellig)Murder in Hell's Kitchen
n.d.
Louis FaurerNew York, Union Square Through Window, 1948
Louis FaurerAccident, New York City,
1950
Louis FaurerMan with Goggles and Sign,
New York, 1947
Aaron SiskindSt. Louis 9
1953
Aaron SiskindChicago 206
1953
That crazy feeling in America when the sun is hot on the streets and music comes out of the jukebox or from a
nearby funeral, that's what Robert Frank has captured in the tremendous photographs taken as he travelled on the road around practically forty-eight states in an old used car (on Guggenhiem Fellowship) and with the agility,
mystery, genius, sadness, and strange secrecy of a shadow photographed scenes that have never been seen before on
film.
- Jack Kerouac, from his introduction to The Americans
Robert FrankFrom The Americans 1959
Robert Frank
From The Americans 1959
"Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world.“
Jack Kerouac
William KleinBroadway and 103rd Street
New York1954-55
William Klein Contact sheet
Roy DeCaravaMan with portfolio
1959
Diane ArbusChild with a toy hand grenade in Central Park, N.Y.C.
1962
Garry WinograndLos Angeles
1964
Garry WinograndAmerican Legion Convention,
Dallas, Texas1964
Winogrand 's work synthesizes the documentary and photojournalist traditions. Influenced by Robert Frank's The Americans, he employed a wide angle lens on a handheld camera, and shot from an intimate distance. This enabled him to incorporate more of his subjects, and gave his images an unfamiliar, compositional complexity. He took shots, he said, "to see how things would look as photographs". The medium of still photography he described as "the illusion of a literal description of how a camera saw a piece of time and space".
In many ways these works are social satires of American life. They dramatise the broad canvas of American society, with its diverse classes, creeds and races jostling on the street. The formal turbulence of his images with their dynamic tilted viewpoints, their grainy immediacy, their frenetic crowds and their temporarily isolated strangers, matches the political turbulence of the Vietnam years and provides a defining portrait of a society caught unawares.
Lee FriedlanderNew York
1963
Lee FriedlanderLafayette, Louisiana
1968
Ray MetzkerComposites: Philadelphia (Apertures)
1965
Joel MeyerowitzNew York City
1975
Joel MeyerowitzNew York City
1976
John HardingUntitled1983-4
For months I followed strangers on the street. For the pleasureof following them, not because they particularly interested me.I photographed them without their knowledge, took note of theirmovements, then finally lost sight of them and forgot them.
At the end of January 1980, on the streets of Paris, I followeda man whom I lost sight of a few minutes later in the crowd.That very evening, quite by chance, he was introduced to meat an opening. During the course of our conversation, hetold me he was planning an imminent trip to Paris.
Sophie Calle
Sophie Calle from Suite Venitienne 1983
William EgglestonMiami1980s
Alex WebbPort au Prince, November 1987.
Killed by the army
Alex WebbPort au Prince
1987.from Under a Grudging Sun
Dolores MaratDans le métro à Auber1988
Dolores MaratLe Joueur d’acordéon
1994
Dolores MaratL’Homme dans la nuit
1994
Gillian Wearing
Gillian Wearing
Signs that say what you want them to say andnot Signs that say what someone else wants you to say,
1992-1993
Gillian WearingHomage to the Woman the Bandaged Face Who
I Saw Yesterday Down Walworth Road1995
Erwin WurmOne minute sculptures,
Self-service series1999.
Philip-Lorca diCorciaEddie Anderson; 21 years old; Houston, Texas; $20
1990
Philip-Lorca diCorciaHead #13
2000/1