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The photographic exhibition 'The Streets of New York City,' now on view at The National Gallery of Art, captures two decades of experimental photography Date published: 11/2/2006
By SHEILA WICKOUSKI For THE FREE LANCE-STAR When an exhibit focuses on particular people in a specific time period in a certain place, pronouncements of the importance of the choice tend to follow. The National Gallery of Art has avoided that in its presentation from its permanent collection, "The Streets of New York City: American Photos From the Collection: 1938 to 1958." The premise is that photography until that point in time had used conventional techniques of clear, posed pictures, and that two men, Alexey Brodovitch and Sid Grossman, challenged that convention in their experimental use of available light, blurred images and multiple exposures. Brodovitch, art director of Harper's Bazaar, went with fashion, while Grossman was a liberal intellectual dedicated to social and political change. The men shared an interest in how to capture in photographic works the transitory nature of modern life, and in the process influenced dozens of new artists. Two dates set the exhibit's parameters: 1938, when Walker Evans published "American Photographs," and 1958, when Robert Frank published "The Americans." With only this much explanation, viewers are on their own to explore and to develop their own ideas about the exhibit. Evans was daring not only in his methods but also in his means. He began his subway portraits in 1938, and for three years he used a 35 mm camera hidden under his coat to collect portraits of people in their most unaware moments. Since he could not adjust focus or exposure using this method, the subway riders appeared in a kind of "naked response," innocent of the fact that they were being captured on film. Photography on the subway was banned even then, and while Evans was not alone in putting forth this type of photographic effort, the works in this particular series, which was not published until 1966, are icons. Evans has been praised for the raw energy of his works, which suggest the unawareness of wild animals with no concept of themselves as subjects. But he also has been criticized for his stalking approach and for invading his subjects' privacy.
Date published: 11/2/2006
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