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You only sense, by indirection, degrees of anger, shades of humiliation, and echoes of fear.” In many ways, Evans’ documentation and commentary on life in mid 20th century America is just as relevant today as it was back in his day.For a deeper view into Evans and his works, click through the gallery above.3 The photographs' significance was thus dependent on the visual and thematic organization of the entire installation, and on the contrapuntal play between specific images.
Thus the catalogue's was shot at a slightly different moment than the Oberlin image, and has additional incident--a barbershop storefront with stenciled signage--at the left.
6 The catalogue's essay, written by Lincoln Kirstein (in collaboration with Evans), is an important polemical document in the history of photography.
But Evans’s writing is just as harrowing as his photos: “They speak with their eyes.
People out of work are not given to talking much about the one thing on their minds.
In 1926 Evans moved to Paris, intending to become a writer, and attended literature classes at the Sorbonne.
8 He returned to New York in 1927 and clerked for a stockbrokerage firm until 1929.Evans, born in 1903, is best known for documenting the effects of the Great Depression.His documentary style of photography not only captured the suffering and strength of the nation through portraits, but also via everyday details like junked automobiles and urban architecture., 1936 Artist's name and date inscribed below the image in graphite: Walker Evans 1935 Gelatin silver print, mounted on (contemporary) board Image: 6 1/8 x 7 9/16 in. A building facade of tattered clapboard, paper, and cloth reveals intricate layers of neglect and use, disintegration and repair. Olney Fund, 1969 AMAM 1969.7 is an image of material decay, vernacular signs, and social complexity--inseparable aspects of Evans's view of the rural South.4 The exhibition was accompanied by an illustrated catalogue, also organized by Evans, although arranged differently than the exhibited photographs.5 Evans chose only eighty-seven of the exhibition's one hundred works for the catalogue, and often substituted an image from a variant negative., launched nearly 90 years ago, has long been noted for its photography.One of the most well-known and influential contributors to that reputation is Walker Evans, a Missouri-born photojournalist who started doing work for the magazine in the 1930s and eventually served as our photo editor, a tenure that lasted 20 years.These works were influenced by the French photographer Eugène Atget, whose work Evans saw for the first time in 1930.Evans's first commissioned work dates from 1933, with his documentation of the political unrest in Cuba.