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Bruce Davidson: Subway

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Award winning films from the American Film Festival to be screened at the Museum of Modern Art at noon on Mondays and Tuesdays" Museum of Modern Art Press Release, 1979" (PDF). moma.org. In Davidson’s example, he created a new meaning shooting in color – describing adding a “new dimension of meaning that demanded a color consciousness”. He likened the mood & atmosphere he wanted to create was similar to that of deep-sea fish, which are beautiful and glow vibrantly in color.

There were times when the subway was depressing beyond belief, times when someone in the car carried the odor of clothing saturated with dried urine and an incrustation of filth. Everyone looked around, unsure where the odor was coming from, until a shabby-looking man would get up and slowly leave the train.” Understandably, it is difficult to stay motivated while working on a long-term project. Once again, he also gives his advice at the Q&A session at the Strand bookstore by saying: I found the subway very sensual, even sexual. I found the colour in the subway gave meaning, and that the subway could be anything: I could photograph a beast or I could photograph a beauty. And so there was a challenge going into the subway, because there was a little bit of nervous energy and apprehension, because at that time the subway was unsafe, particularly if you were walking around with an expensive camera.To prepare for myself for the subway, I started a crash diet, a military fitness exercise program, an early every morning I jogged in the park. I knew I would need to train like an athlete to be physically able to carry my heavy camera equipment around in the subway for hours every day. Also, I thought that if anything was going to happen to me down there I wanted to be in good shape, or at least to believe that I was.” Toward a Social Landscape: Contemporary Photographers; George Eastman House, Rochester, New York [43] [44] What carries me on is the next thing. I’m working in Los Angeles and imp very interested in plant and animal life overlooking the city. It is very difficult to photograph that, but I’m doing that. It’s expensive, they don’t have a subway yet in Los Angeles. So that challenge and that truth comes out of doing it everyday. Sometimes I don’t even know what I’m doing – in Los Angeles I’m not sure what’s its all about- but its very interesting to me.” a b c d e f Warren, Lynne; Warren, Lynn (2005), Encyclopedia of Twentieth-Century Photography, Taylor and Francis, ISBN 978-0-203-94338-0 I think that students stop too soon. If I were a student right now and i had a teacher like me I’d say, ‘You have to carry your camera everyday and take a picture everyday. And by the end of the week you should have 36 pictures exposed. And then suddenly you’ll latch onto someone, maybe a street vendor- oh he or she is very interesting I might have to be with him or her. So things open up visually”.

Davidson stated that to prepare himself for the task ahead. He started a crash diet, including a military fitness regime and early morning jogging in the park. He knew he had to train like an athlete to carry around his heavy equipment in the subway for hours each day. Also, just for precautionary measure, he wanted to be in good shape if something went wrong down there in the underground. Garver, Thomas H; Davidson, Bruce (1967), 12 photographers of the American social landscape, October House It is this capturing of intimacy in a confined, often crowded space that unites the two series; it resonates through the work of later photographers such as Wolfgang Tillmans, who evoked the enforced intimacy of strangers on the London tube in a series in 2000, and Chris Marker, who from 2008 to 2010 caught the quiet poetry of the everyday in his photographs of travellers on the Paris metro. The subway interior was defaced with a secret handwriting that covered the walls, windows, and maps. I began to imagine that these signatures surrounding the passengers were ancient Egyptian hieroglyphics. Every now and then, when I was looking at one of these cryptic messages, someone would come and sit in front of it, and I would feel as if the message had been decoded. I started to draw a connection between the Broadway islands, the neighborhood cafeteria, and the pious scribe on the Lower East Side. International Center of Photography; Handy, Ellen, 1961– (1999), Reflections in a glass eye: works from the International Center of Photography collection (1sted.), Little, Brown and Company; New York: in association with the International Center of Photography, ISBN 978-0-8212-2625-4 {{ citation}}: CS1 maint: multiple names: authors list ( link) CS1 maint: numeric names: authors list ( link)

Rather than defining what type of photography he does, he explains why he photos. He sees himself as a humanist by photographing “the human condition” as he finds it – rather than just to make interesting images. It’s pretty much always my practice to offer pictures. Even in the Brooklyn gang I would give them pictures. It was a way of seeing them, and a way of them seeing me. So I was able to be invisible almost to them- because they were secure with them being around me. They were very depressed, angry, and poor- and nothing for them in that community. I wasn’t there to judge them, it was about these kids – any kids- unattended to”. As street photographers, the connections that we build with our subjects is often very shallow or non-existent. After all, that is the working style of street photography. We see a subject or a scene we want to capture, we take the photograph, wave hello or thank them – and move on. Rather than aiming to just going out and taking interesting photographs, think about why you are trying to create those images and your relationship with your subjects. Bruce Davidson: Outsider on the Inside focuses on the photographer’s depictions of New Yorkers engaging with their immediate environment, oftentimes extending the boundaries of their private spheres into public space. As personal moments seep their way into subway cars, parks, street corners and other shared grounds, Davidson observes them with the diligence of an artist-ethnographer while capturing the tenderness and lightness embedded in these ephemeral interactions.Bruce Davidson: Outsider on the Inside highlights intangible memories of metropolitan life, reminding us of how photographs shape our experience of reality, and help us understand how and why we exist the way we do.

Funny thing that happened: I had a show at the Museum of the City of New York, there were C-prints, and a guy came up to me and said, “I’m the cover!”. And this guy was huge, and when I asked what he did he told me he was a bodybuilder. And he said “if you want, come by the gym and I’ll work with you!”. 5. On why he decided to pursue “Subway” as his project After one semester at Yale, Davidson was drafted into the US Army, where he served in the Signal Corps at Fort Huachuca, Arizona, attached to the post's photo pool. Initially, he was given routine photo assignments. An editor of the post's newspaper, recognizing his talents, asked that he be permanently assigned to the newspaper. There, given a certain degree of autonomy, [3] he was allowed to further hone his talents.I feel as street photographers we should also use our judgment to try different ways to approach strangers when shooting in the streets. Whenever I’m shooting in the streets, I try to judge a situation or a scene, which dictates how I will take a photograph of somebody. Davidson also shares his difficulties & struggles when working on a long-term project, especially in his “Subway” project: I began to photograph the traffic islands that line Broadway. These oases of grass, trees, and earth surrounded by heavy city traffic have always interested me. I found myself photographing the lonely widows, vagrant winos, and solemn old men who line the benches on these concrete islands of Manhattan’s Upper West Side. I dealt with this in several ways. Often I would just approach the person: “Excuse me, I’m doing a book on the subway and would like to take a photograph of you. I’ll send you a print.” If they hesitated, I would pull out my portfolio and show them my subway work; if they said no, it was no forever. Sometimes, I’d take the picture, then apologize, explaining that the mood was so stunning I couldn’t break it, and hoped they didn’t mind. There were times I would take the pictures without saying anything at all. But even with this last approach, my flash made my presence known. When it went off, everyone in the car knew that an event was taking place– the spotlight was on someone. It also announced to any potential thieves that there was a camera around. Well aware of that I often changed cars after taking pictures.” He also talks about the importance of the collaboration he has with his wife in the editing process.

One of Davidson’s most famous projects was Brooklyn Gangin 1959. One day, He read an article about a series of street fights in Brooklyn, and left the next day to Prospect Park to meet a group of youths called the Jokers.Over the years, several of the members of the Jokers succumbed to drugs or drug involved violence. Awoman named Kathy, staring at herself in a cigarette machine in one of his most famous photographs, shot herself with a shotgun. New York City. 1959. Brooklyn Gang. Coney Island. Kathy fixing her hair in a cigarette machine mirror. This worthwhile third edition of Magnum photographer Bruce Davidson’s classic series of images of New York City subway riders - including 25 never-before-published photos - feels as artistically fresh as it did when first released in 1986. By thoroughly delving intoa specific time and place,Davidson (East 100th Streetand Brooklyn Gangs) achieves intimacy and depth. He captures riders from all walks of life on the graffiti-covered elevated platforms, underground stations, and subway cars of a transportation system that would be almost unrecognizable to current riders. As artist and filmmaker Fab 5 Freddy explains in his introductory essay, early ‘80s New York City was an era of economic strain, tenuous race relations, pervasive fear of crime, and Bernard Goetz’s vigilante justice. At the same time, the city saw the explosive birth of major movements in street art including hip hop, break dance, and graffiti. Over a decade later, in the early 1990s, Davidson completed a four-year exploration of Central Park in homage to New York City. [32] Hoelscher, Steven D., (editor of compilation); Magnum Photos; Harry Ransom Humanities Research Center (2013), Reading Magnum: A visual archive of the modern world (Firsted.), Austin University of Texas Press, ISBN 978-0-292-74843-9 {{ citation}}: |author1= has generic name ( help) CS1 maint: multiple names: authors list ( link) He began photographing the traffic islands lining up Broadway, which, according to him, have always fascinated him. Davidson took snaps of lonely windows, vagrant winos, and solemn old men sitting on the benches on concrete islands of Manhattan’s Upper West Side. He also used the subway to travel to other parts of New York, including Coney Island, the Bronx Zoo, and the Lower East Side cafeteria.

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There’s a picture in my central park of a woman in a full-length mink coat with 2 little white dogs sitting on a park bench in the winter in Central Park. Now, the way i approached he was, ‘ Those are really sweet dogs, what kind of dogs are they?” she said, they are my boo-boos. I said oh I would love to take a photo of your dogs. Can I take a photo of your dogs? Sure. Can I take a picture of you with your dogs? Sure. If I went up to her straight away asking if i could take a photo of her with her dogs, she would be scared. There would be no intercourse.” The best way is to approach people humanly. So they don’t feel you’re sneaking or anything. Or some sort of a bad person.” (Central Park) When in 1960 Queen magazine invited him to Britain for two months, he documented the idiosyncratic stoicism of the natives of the islands from an American perspective. [16] Tenement buildings in East Harlem, New York City, circa 1966–1968]. – New York Historical Society – Digital Collections". digitalcollections.nyhistory.org. Au Cœur de l'Intime: Paris Champ & Hors Champ Photographies et Vidéos Contemporaines, Galerie des Bibliothèques de la Ville de Paris, Oct 26, 2014 - Jan 4, 2015

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