Photos: Walker Evans - Part 1 - Testimonial of the Great Depression - Testimonio de la Gran Depresion - Bio data in English y Español - Links

Posted by Ricardo Marcenaro | Posted in | Posted on 20:07


Open your mind, your heart to other cultures
Abra su mente, su corazón a otras culturas
You will be a better person
Usted será una mejor persona
RM


Big map on this photos. Click
Gran mapa en estas fotos. Clic
Allie Mae Burroughs 




Sequía - Drought





Family of Negro sharecropper, Little Rock, Arkansas




Family of rehabilitation client, Boone County, Arkansas 




Family of rehabilitation client, Boone County, Arkansas 




Family of sharecropper on front porch, Southeast Missouri Farms




Floyd Burroughs sharecropper




Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer best known for his work for the Farm Security Administration (FSA) documenting the effects of the Great Depression. Much of Evans's work from the FSA period uses the large-format, 8x10-inch camera. He said that his goal as a photographer was to make pictures that are "literate, authoritative, transcendent" [1]. Many of his works are in the permanent collections of museums and have been the subject of retrospectives at such institutions as The Metropolitan Museum of Art or George Eastman House.[2]

 

Biography

Born in St. Louis, Missouri, Walker Evans came from an affluent family. He graduated from Phillips Academy, in Andover, Massachusetts. He studied French literature for a year at Williams College, spending much of his time in the school's library, before dropping out. After spending a year in Paris, he returned to the United States to join the edgy literary and art crowd in New York City. John Cheever, Hart Crane, and Lincoln Kirstein were among his friends.
Evans took up photography in 1928[1] around the time he was living in Ossining, NY[3]. In 1933, he photographed in Cuba on assignment for the publisher of Carleton Beals' then-forthcoming book, The Crime of Cuba, photographing the revolt against the dictator Gerardo Machado. In Cuba, Evans briefly knew Ernest Hemingway.

Evans's photo of Allie Mae Burroughs, a symbol of the Great Depression
In 1935, Evans spent two months at first on a fixed-term photographic campaign for the Resettlement Administration (RA) in West Virginia and Pennsylvania. From October on, he continued to do photographic work for the RA and later the Farm Security Administration (FSA), primarily in the Southern United States.
In the summer of 1936, while still working for the FSA, he and writer James Agee were sent by FortuneHale County, Alabama, for a story the magazine subsequently opted not to run. In 1941, Evans's photographs and Agee's text detailing the duo's stay with three white tenant families in southern Alabama during the Great Depression were published as the groundbreaking book Let Us Now Praise Famous Men. Its detailed account of three farming families paints a deeply moving portrait of rural poverty. Noting a similarity to the Beals' book, the critic Janet Malcolm, in her 1980 book Diana & Nikon: Essays on the Aesthetic of Photography, has pointed out the contradiction between a kind of anguished dissonance in Agee's prose and the quiet, magisterial beauty of Evans's photographs of sharecroppers. magazine on assignment to
The three families headed by Bud Fields, Floyd Burroughs and Frank Tingle, lived in the Hale County town of Akron, Alabama, and the owners of the land on which the families worked told them that Evans and Agee were "Soviet agents," although Allie Mae Burroughs, Floyd's wife, recalled during later interviews her discounting that information. Evans's photographs of the families made them icons of Depression-Era misery and poverty. In September 2005, Fortune revisited Hale County and the descendants of the three families for its 75th anniversary issue[4]. Charles Burroughs, who was four years old when Evans and Agee visited the family, was "still angry" at them for not even sending the family a copy of the book; the son of Floyd Burroughs was also reportedly angry because the family was "cast in a light that they couldn't do any better, that they were doomed, ignorant"[4].
Evans continued to work for the FSA until 1938. That year, an exhibition, Walker Evans: American Photographs, was held at The Museum of Modern Art, New York. This was the first exhibition in this museum devoted to the work of a single photographer. The catalogue included an accompanying essay by Lincoln Kirstein, whom Evans had befriended in his early days in New York.
In 1938, Evans also took his first photographs in the New York subway with a camera hidden in his coat. These would be collected in book form in 1966 under the title Many are Called. In 1938 and 1939, Evans worked with and mentored Helen Levitt.
Evans, like such other photographers as Henri Cartier-Bresson, rarely spent time in the darkroom making prints from his own negatives. He only very loosely supervised the making of prints of most of his photographs, sometimes only attaching handwritten notes to negatives with instructions on some aspect of the printing procedure.

Frame house. Charleston, South Carolina 1936
Evans was a passionate reader and writer, and in 1945 became a staff writer at Time magazine. Shortly afterward he became an editor at Fortune magazine through 1965. That year, he became a professor of photography on the faculty for Graphic Design at the Yale University School of Art (formerly the Yale School of Art and Architecture).
In one of his last photographic projects, Evans completed a black and white portfolio of Brown Brothers Harriman's offices and partners for publication in "Partners in Banking," published in 1968 to celebrate the private bank's 150th anniversary.[5]
In 1971, the Museum of Modern Art staged a further exhibition of his work entitled simply Walker Evans.
Evans died at his home in Old Lyme, Connecticut, in 1975.[6]
In 1994, The Estate of Walker Evans handed over its holdings to New York City's The Metropolitan Museum of Art.[7] The Metropolitan Museum of Art is the sole copyright holder for all works of art in all media by Walker Evans. The only exception is a group of approximately 1,000 negatives in collection of the Library of Congress which were produced for the Resettlement Administration (RA) / Farm Security Administration (FSA). Evan's RA / FSA works are in the public domain.[8]
In 2000, Evans was inducted into the St. Louis Walk of Fame.[9]

See also

Footnotes

  1. ^ a b Metropolitan Museum of Art. More about Walker Evans. Retrieved September 13, 2008.
  2. ^ Walker Evans, by Jeff L. Rosenheim, Maria Morris Hambourg, Douglas Eklund, Mia Fineman (Princeton University Press, 2000) ISBN 0691050783, ISBN 978-0691050782
  3. ^ Hudson Valley Arts and Science Page : Walker Evans in Ossining
  4. ^ a b Whitford, David. The Most Famous Story We Never Told. Fortune, September 19, 2005.
  5. ^ http://dlib.nyu.edu/findingaids/html/nyhs/brownbrothersharriman.html
  6. ^ Walker Evans: Photographer of America By Thomas Nau Edition: illustrated Published by Macmillan, 2007, p. 59
  7. ^ Wired Magazine. "Is It Art, or Memorex?" by Reena Jana. March 21, 2001.
  8. ^ Masters of Photography website: Walker Evans page
  9. ^ St. Louis Walk of Fame website: Walker Evans page

References

Further reading

  • Rathbone, Belinda (2002). Walker Evans: A Biography. Thomas Allen & Son Ltd.. ISBN 0-618-05672-6. 
  • Storey, Isabelle (2007). Walker's Way: My Years With Walker Evans. powerHouse Books. ISBN 978-1-57687-362-5. 
  • Hambourg, Maria Morris; Jeff Rosenheim, Douglas Eklund, Mia Fineman (2000). Walker Evans. Princeton University Press / The Metropolitan Museum of Art. ISBN 0-691-11965-1. 
  • Rosenheim, Jeff; Douglas Eklund. Alexis Scwarzenbach. ed. Unclassified: A Walker Evans Anthology. Maria Morris Hambourg. Scalo / The Metropolitan Museum of Art. ISBN 3-908247-21-7. 
  • Leicht, Michael (2006). Wie Katie Tingle sich weigerte, ordentlich zu posieren und Walker Evans darüber nicht grollte. transcript Verlag, Bielefeld. ISBN 3-89942-436-0. 
  • Worswick, Clark; Belinda Rathbone (2000). Walker Evans: The Lost Work. Arena Editions. ISBN 1-892041-29-4. 
  • James Crump (2010). Walker Evans: Decade by Decade. Hatje Cantz. ISBN 978-3-7757-2491-3

External links

Wikimedia Commons has media related to: Walker Evans



Floyd Burrouhs work shoes






Walker Evans, (3 de noviembre de 1903 en San Luis Misuri -10 de abril de 1975 en New Haven Connecticut) fotógrafo estadounidense.
Estudio en Williams College entre 1922-1923 y en la Sorbona en 1926, se inicio en la fotografía en 1930. Obtuvo una beca de la Fundación John Simon Guggenheim en 1940. Se incorporó en 1945 la revista Time y a la revista Fortune en 1965. Ese mismo año pasó a ser profesor de fotografía en la escuela de arte de la Universidad de Yale

Obra

Su trabajo esta relacionado con la crisis económica del 29 , durante esta década participa en el programa Farm Security Administration. Las imágenes de los aparceros en Alabama, al igual que las de Dorothea Lange se encuentran entre los iconos del mundo moderno.
Evans encuentra la belleza en los objetos banales y cotidianos[1]

Legado

Su obra fue adquirida por el Museo Metropolitano de Arte en 1994[2] Todos los derechos corresponden por lo tanto al Met, excepto las fotos que hizo para el Farm Security Administration y que conserva la Biblioteca del Congreso[3]




Galería de obras



Allie Mae Burroughs print.jpg Floyd Burroughs sharecropper.jpg Bethlehem Pa 1935 LOC fsa 8c52905.jpg SunCoffeeCanalSt1935.jpg
obra.


Exposiciones

  • 2009 - Madrid. Retrospectiva. Fundación Mapfre 15 de enero hasta el 22 de marzo de 2009[4]

Notas

  1. ↑ xroads.virginia.edu
  2. ↑ metmuseum.org
  3. ↑ masters-of-photography.com
  4. ↑ exposicionesmapfrearte.com

Véase también

Enlaces externos




Campo de los necesitados - Camp of the needy




Sharecropper family near Chesnee, South Carolina




Sharecropper family near Hazlehurst, Georgia





The Metropolitan Museum Of Art 
Clic Here

Walker Evans
February 1, 2000–May 14, 2000
Drawings, Prints, and Photographs Galleries, The Howard Gilman Gallery, 2nd floor
Learn more about this exhibition.
View images from this exhibition.
This major retrospective of the work of American photographer Walker Evans (1903–1975) displays some 175 vintage prints from public and private collections throughout the United States and Canada, and draws on newly available material from the photographer's archive, which was acquired by the Metropolitan Museum in 1994. The photographs span the artist's long and productive career, focusing not only on the classic pictorial documents of America during the Depression, but also on little-known experimental images from the 1920s, photo-essays for Fortune magazine from the 1940s and 1950s, and SX-70 Polaroid color prints from the 1970s. The exhibition is accompanied by two publications: a monographic treatment of Evans's work; and an anthology of materials that makes available for the first time the artist's early short stories, important letters, and critical essays now housed in the Walker Evans Archive.The exhibition is made possible by Prudential Securities.
Additional conservation support has been provided by The Horace W. Goldsmith Foundation, the National Endowment for the Humanities, the Henry Nias Foundation, the Institute of Museum and Library Services, and The Andrew W. Mellon Foundation.
The exhibition catalogue is made possible by The Andrew W. Mellon Foundation.
The conservation of the Walker Evans Archive has been made possible through the generous support of the William Randolph Hearst Foundation as part of the Save America's Treasures program.




 
Tobacco sharecroppers and family at back of their house. 
Person County, North Carolina 














Photos: Walker Evans - Part 1 - Testimonial of the Great Depression - Testimonio de la Gran Depresion - Bio data in English y Español - Links










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