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Depicting the Gritty Streets of New York

机译:描绘纽约的肮脏街道

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These artists "consciously broke many of the accepted rules of photography, [yet] shared a common vision and objective: to record their personal responses to the vivid and often violent city surrounding them." Photographers working in New York City in the years between the publication of Walker Evans' American Photographs in 1938 and Robert Frank's The Americans 20 years later profoundly changed the course of American photography. This fertile period in history is celebrated in an exhibition of some 75 images by 20 prominent artists, including key works by Evans and Frank; candid studies of children by Helen Levitt; vibrant and gritty compositions of the streets and street life by Louis Faurer and Ted Croner; evocative and lyrical views of the urban landscape by Roy DeCara-va, Saul Leiter, and David Vestal; bold depictions of New York bars and nightclubs by Lisette Model; photographs of joy and alienation at Coney Island by Sid Grossman, Leon Levinstein, and Bruce Davidson; and disturbing photographs of New York's latent violence by William Klein and Weegee, among others.
机译:这些艺术家“有意识地打破了许多公认的摄影规则,但[他们]有一个共同的愿景和目标:记录他们对周围生动,经常充满暴力的城市的个人反应”。从1938年沃克·埃文斯(Walker Evans)的《美国摄影》(American Photographs)出版到20年后的罗伯特·弗兰克(Robert Frank)的《美国人》(The Americans),在纽约市工作的摄影师深刻地改变了美国摄影的进程。 20位著名艺术家展出了约75张图像,其中包括埃文斯(Evans)和弗兰克(Frank)的重要作品;以此庆祝历史的肥沃时期。海伦·莱维特(Helen Levitt)对孩子的坦率研究; Louis Faurer和Ted Croner创作的充满活力和坚韧不拔的街道和街头生活组合; Roy DeCara-va,Saul Leiter和David Vestal对城市景观的回味和抒情观点; Lisette Model对纽约酒吧和夜总会的大胆描写;西德·格罗斯曼,莱昂·莱文斯坦和布鲁斯·戴维森在康尼岛上的喜悦和疏离的照片;以及威廉·克莱因(William Klein)和韦格(Weegee)等人对纽约潜在暴力行为的令人不安的照片。

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    《USA today》 |2006年第2738期|p.28-31|共4页
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