The American Document
March 21 – April 14, 2018

Dorothea Lange

A new exhibition at Huxley-Parlour Gallery, The American Document: New Visions in Documentary Photography 1931-1976, will present over forty significant works of 20th century American documentary photography including photographs by Walker Evans, Dorothea Lange, Robert Frank, Joel Meyerowitz, Garry Winogrand and Diane Arbus. The works in the show chart the shift from socially engaged photography to a new definition of the document.

 

Dorothea Lange

Dorothea Lange

Dorothea Lange

Lewis Hine

Marion Post Wolcott

Marion Post Wolcott

The tradition of American documentary photography in the 20th century is marked by two significant moments. The first was the socially and politically motivated “New Deal” photography of the 1930s and 1940s, and the second developed in the 1960s and 1970s when a group of photographers shifted away from the social documentary tradition. The exhibition will use both familiar, and lesser-known photographs, to explore these markedly different approaches to the genre and to the medium of photography, as well as the shift in use of the photograph as evidence.

 

Walker Evans

Walker Evans

Walker Evans

The exhibition includes images created under the auspices of the Farm Security Administration (FSA), commissioned by the legendary Roy Stryker in the 1930s during the Great Depression. Photographers Dorothea Lange, Arthur Rothstein and Walker Evans amongst others, employed a graphic Modernist aesthetic, inherited from painting, to frame evidence of social and economic plight throughout the US. The work of the photographers of the FSA was used to manipulate public opinion in support of New Deal relief programmes with the aim of combatting rural poverty.

 

Garry Winogrand

Garry Winogrand

Garry Winogrand

Diane Arbus

Lee Friedlander

Lee Friedlander

Lee Friedlander

Robert Frank

In the 1960s a new kind of documentary photography emerged, representing a radical break from tradition. Photographers including Lee Friedlander, Garry Winogrand and Diane Arbus, produced a new kind of documentary photography that focused on their own personal experiences within the urban environment. Their aim was to document quotidian, commonplace life with a new kind of vision, unique to the camera.

 

Joel Meyerowitz

Joel Meyerowitz

Joel Meyerowitz

Collectively, the photographs in The American Document illustrate the shift not only in subject matter, from rural to urban, but stylistically within the US in this period. The closely cropped, structured aesthetic of the early work on show moves towards the more informal approach of “straight photography” to represent a seismic shift in the history of the documentary genre.

 

The American Document:
New Visions in Documentary Photography 1931-1976
March 21 – April 14, 2018 / Huxley-Parlour Gallery
Please visit the exhibition page >

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ARTPIL / Prescription .142
White heat. A Green River.
A bridge, scorched yellow palms from the summer-sleeping house drowsing through August. Days I have held, days I have...
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Torino Art Week / Exhibition
Presented for Torino Art Week 2023 and in collaboration with Recontemporary in Turin, Artpil proudly announces the 2023 exhibition...
+
Torino Art Week 2023
Prescription .144
Torino Art Week 2023 opens the first week of November with events that will fill the city with works...
+
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Sep 15, 2023 – Jan 7, 2024
A self-taught artist during the interwar period, Tàpies reflected on the human condition, his historical situation and the artistic...
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Prescription .143
Dorothea Lange's photography, now nearly a hundred years later, continues to resound in its portrayal of a time and...
+
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November 9–12, 2023
Paris Photo is the largest art fair dedicated to the photographic medium and is held each November in the...
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With REGENERATE as its theme, the festival brings together works that explore the changes modern society must face, seeing...
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American Prospects has enjoyed a life of acclaim. Its pages are filled with unexpected excitement, despair, tenderness and hope. Its fears are expressed in beauty, its sadnesses in irony.
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ARTPIL / Prescription .142
White heat. A Green River.
A bridge, scorched yellow palms from the summer-sleeping house drowsing through August. Days I have held, days I have lost, days that outgrow
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