From Jackson Fine Art, Paul Strand, Abstraction, Porch Shadows, Connecticut (1916), 9 5/8 × 6 5/8 in Fundación Mapfre. Hambourgh, Maria Morris. In this photograph, rather than a building, a large body of water dominates the frame; it is the cliffs, that enter from the left side of the frame, that this time cast their shadows over a body of sea (rather than pavements).

p. 42, fig 18. 2015. It was Strand's belief that the job of the documentarian was to describe the lives of ordinary people. While there, he produced this landscape. On close inspection, we might deduce that the object in question is no more than an ordinary round table placed on a terrace porch. (Leah Dickerman). Strand believed that the furtive nature of authentic urban portraiture was both vital and morally justifiable: "I was attempting to give something to the world and not exploit anyone in the process" he said. But Strand alters our perception by firstly rotating the image.

2006. Wall Street is an historically significant image, both for Strand and for the development of photographic art.

New York, New York, Museum of Modern Art, “Inventing Abstraction, 1912-1925,” December 23, 2012-April 15, 2013.

Art Institute of Chicago, “Photography on Display: Modern Treasures,” May 9–September 13, 2009. 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. “Paul Strand.” Exh. Pictorialism. If you have additional information or spotted an error, please send feedback to [email protected].

cat. Gelatin silver print. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). To find out more, including which third-party cookies we place and how to manage cookies, see our privacy policy. Wearing a white sleeveless shirt, she is positioned in front of a plain white wall. Gift of Arthur M. Bullowa. We use our own and third-party cookies to personalize your experience and the promotions you see. 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). All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at [email protected].

(Miles Barth), Art Institute of Chicago, “Platinum Prints from the Permanent Collection,” January 15-March 20, 1977. "Paul Strand Artist Overview and Analysis". One of his sitters, a young farmer's daughter named Angela Secchi, later spoke of her experience: "He [Strand] grabbed a large hat off my uncle's head and put it onto mine, he then took my uncle's scarf and an old, rumpled smock and told me to wear it on top of my dress. “Charles Sheeler: Across Media.” Exh. Paul Strand. © Aperture Foundation Inc., Paul Strand … 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. If you would like to reproduce text from a MoMA publication or moma.org, please email [email protected]. 28. It was then incumbent on Zavattini to provide prose that would give Strand's images their socio-political bent.

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. At the time of the film's release, the influential New York Times film critic Bosley Crowther hailed Native Land as "one of the most powerful and disturbing documentary films ever made". Motion picture film stills or motion picture footage from films in MoMA’s Film Collection cannot be licensed by MoMA/Scala. For licensing motion picture film footage it is advised to apply directly to the copyright holders. 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.

For access to motion picture film stills please contact the Film Study Center. The photograph marks an interesting divergence from his American portraiture (such as Blind Woman, New York) inasmuch as his subjects now posed for Strand's camera.

It marked a clear departure from a style of soft-focused Pictorialism (practiced hitherto by Strand) whereby the photographer used a camera and dark-room manipulation to produce images that mimicked that rather unfashionable (by modernism's standards) painting style. In a statement that seems at first a little incongruous, Strand spoke of color in his photography. We see small figures, this time 'dwarfed' by the forces of nature (rather than man-made architecture), grappling with a large fishing boat. This photograph "immediately became an icon of the new American photography, which integrated the humanism of social documentation with the boldly simplified forms of modernism" according to New York's Metropolitan Museum of Art. In keeping with his fascination of 'how spaces are filled', moreover, Strand was of a mind that a balance of weight and air in the photograph was the most important compositional factor. 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. Art Institute of Chicago, “The Other Side of Light: Shadows from the Photography Collection” December 1, 2007–February 24, 2008. 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. 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. cat. pl.

Plant fronds intrude from the left side of the frame but the spectator's eye is drawn to the detail of the three textbooks she is carrying on her head. By visiting our website or transacting with us, you agree to this. When one looks for evidence of Strand's commitment to represent the lives of ordinary people, meanwhile, we find a workers' narrative in the bottom foreground of the frame. Paul Strand spent the summer of 1916 at his family’s cottage in Twin Lakes, Connecticut, attempting to give his understanding of Cubist art—abstraction through fragmentation, multiple points of view, and a reduction of people and objects to basic geometry—a photographic form. 2. 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. This manufactured tourist's view of village life jarred somewhat with Strand's 'Straight' aesthetic. 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. Washington, D.C., National Gallery of Art, “Art of Paul Strand,” May, 1990-August, 1992.

It is said that Edward Hopper became fascinated with this image, and adopted some of the same formal techniques for his own paintings. Paul Strand was an American artist who made significant contributions to the canon of 20th-century photography. 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.

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