He declared: "The People I photograph are very honorable members of this family of man and my concept of a portrait is the image of somebody looking at it as someone they come to know as fellow human beings with all the attributes and potentialities one can expect from all over the world". New York, New York, Museum of Modern Art, “Inventing Abstraction, 1912-1925,” December 23, 2012-April 15, 2013. However, the image only takes on tangible meaning once we learn that four of the mother's children had died in infancy, while her husband, the boys' father, a local communist partisan, had been clubbed and beaten by Fascist assailants on two occasions before being killed in active service. As Strand wrote, true modernists should avoid all “tricks of process or manipulation” to celebrate photography’s inherent qualities as art.For more on the Alfred Stieglitz collection at the Art Institute, along with in-depth object information, please visit the website: The Alfred Stieglitz Collection. If you would like to reproduce text from a MoMA publication or moma.org, please email [email protected]. Barberie, Peter. 693.1978.2. 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. pl. In this case Strand used paper with the cold blue tones that had matched his experience on the Percé Beach shoot. 1998. In his influential book The Ongoing Moment in which he looked at photographic trends, Geoff Dyer suggested that the blind women's off-centre pupils reflected Strand's own skewed lens set up and that, moreover, the blind subject was more generally "the objective corollary of the photographer's [own] longed-for invisibility". This manufactured tourist's view of village life jarred somewhat with Strand's 'Straight' aesthetic. We use our own and third-party cookies to personalize your experience and the promotions you see. [Internet]. According to the African Studies scholar Zachary Rosen, the aim of Strand's project was to reveal Ghana as "a new African nation of peoples poised for industrial ascension" though Strand was able to show his respect for Ghana's heritage simultaneously via a series of juxtapositions in which the images of technological and economic advancement sat beside images in, and of, more traditional and natural environments. However, the book, Ghana: An African Portrait, featuring a companion text by the Africanist scholar Basil Davidson, was not published until 1976 (four years after the death of Nkrumah). It is unclear if the fishermen are about to set sail, or if they are preparing to moor their vessel, but the spectator is left in little doubt of its importance to their lives and livelihoods. Please, © Aperture Foundation Inc., Paul Strand Archive. The film, both 'a call to action' for workers and a timely reminder to them of their constitutional rights, was co-directed by Strand and Leo Hurwitz (a signed-up, and later blacklisted, member of the Communist Party), and featured a narration by prominent African-American singer, actor, and activist Paul Robeson. The resulting collection did in fact include some of the very first purely abstracted photographic images. Washington, D.C., National Gallery of Art, “Art of Paul Strand,” May, 1990-August, 1992. © Paul Strand Archive/Aperture Foundation, Signed and inscribed recto, on hinged paper, lower left, below image, in graphite: "Paul Strand 1916"; inscribed verso of print, lower left, in graphite: "7-1944-369"; signed and inscribed verso of print, lower right, in graphite: -"Paul Strand- / -1916-"; inscribed verso, on hinged paper, lower center, in graohite: "Shadows"; verso, on hinged paper, lower right, in graphite: "7-1944-369", 33.1 × 22.9 cm (image); 33.7 × 23.4 cm (paper); 43.7 × 32.2 cm (hinged paper). More information is also available about the film collection and the Circulating Film and Video Library.
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