Abstract: Yet Sander's work could be reduced so easily to an authoritative imprint of face of Weimar Germany, Atget's to a wistful record of a disappearing Paris and Evans's to an evocation of fading Americana for a metropolitan elite. While Fortune was sheltered from the sharp demands of commercial viability, it in turn sheltered Evans, giving him more than usual freedom. Few of the people really take the time to see what the people look at, and these thirty-three pictures, drawn from hundreds, may deliver their impact of excitement, nostalgia, humor or repugnance much more strongly if the eye is not led away to documentation in words. Evans reminds reader that there is no classifiable physiognomy on show here. It would be another two decades at least before this kind of attention to discursive limits and ideological underpinnings of documentary and photojournalism was to come into focus in the USA, and only then in context of conceptualism and its art-educational spin-offs.
Publication Year: 2020
Publication Date: 2020-08-06
Language: en
Type: book-chapter
Indexed In: ['crossref']
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