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Contents
1 Biography
1.1 Early life 1.2 Depression-era photography 1.3 Later work 1.4 Death and legacy
2 References 3 Sources 4 Further reading 5 External links
Biography[edit]
Early life[edit]
He was born in St. Louis, Missouri, to Jessie (née Crane) and Walker
Evans.[3] His father was an advertising director. Walker was raised in
an affluent environment; he spent his youth in Toledo, Chicago, and
New York City. He attended The Loomis Institute and Mercersburg
Academy[4] before graduating from
Phillips Academy
Phillips Academy in Andover,
Massachusetts, in 1922. He studied French literature for a year at
Williams College, spending much of his time in the school's library,
before dropping out. After spending a year in
Paris
Paris in 1926, he
returned to the United States to join the edgy literary and art crowd
in New York City. John Cheever, Hart Crane, and
Lincoln Kirstein
Lincoln Kirstein were
among his friends. He was a clerk for a stockbroker firm in Wall
street from 1927 to 1929.[5]
Evans took up photography in 1928[1] around the time he was living in
Ossining, New York.[6] His influences included
Eugène Atget
Eugène Atget and
August Sander.[7] In 1930, he published three photographs (Brooklyn
Bridge) in the poetry book The Bridge by Hart Crane. In 1931, he made
a photo series of Victorian houses in the
Boston
Boston vicinity sponsored by
Lincoln Kirstein.
In May and June 1933, Evans took photographs in
Cuba
Cuba on assignment for
Lippincott, the publisher of Carleton Beals' The Crime of
Cuba
Cuba (1933),
a "strident account" of the dictatorship of Gerardo Machado. There
Evans drank nightly with Ernest Hemingway, who loaned him money to
extend his two-week stay an additional week. His photographs
documented street life, the presence of police, beggars and
dockworkers in rags, and other waterfront scenes. He also helped
Hemingway acquire photos from newspaper archives that documented some
of the political violence Hemingway described in To Have and Have Not
(1937). Fearing that his photographs might be deemed critical of the
government and confiscated by Cuban authorities, he left 46 prints
with Hemingway. He had no difficulties when returning to the United
States, and 31 of his photos appeared in Beals' book. The cache of
prints left with Hemingway was discovered in Havana in 2002 and
exhibited at an exhibition in Key West.[8][9]
Evans's photo of Allie Mae Burroughs, a symbol of the Great Depression
Roadside stand near Birmingham, Alabama
Depression-era photography[edit]
In 1935, Evans spent two months at first on a fixed-term photographic
campaign for the
Resettlement Administration
Resettlement Administration (RA) in
West Virginia
West Virginia and
Pennsylvania. From October on, he continued to do photographic work
for the RA and later the
Farm Security Administration
Farm Security Administration (FSA), primarily
in the Southern United States.
In the summer of 1936, while on leave from the FSA, he and writer
James Agee
James Agee were sent by Fortune magazine on assignment to Hale County,
Alabama, for a story the magazine subsequently opted not to run. In
1941, Evans's photographs and Agee's text detailing the duo's stay
with three white tenant families in southern Alabama during the Great
Depression were published as the groundbreaking book Let Us Now Praise
Famous Men. Its detailed account of three farming families paints a
deeply moving portrait of rural poverty. The critic Janet Malcolm
notes that as in the earlier Beals' book there was a contradiction
between a kind of anguished dissonance in Agee's prose and the quiet,
magisterial beauty of Evans's photographs of
sharecroppers.[10][page needed]
The three families headed by Bud Fields, Floyd Burroughs and Frank
Tingle, lived in the Hale County town of Akron, Alabama, and the
owners of the land on which the families worked told them that Evans
and Agee were "Soviet agents," although Allie Mae Burroughs, Floyd's
wife, recalled during later interviews her discounting that
information. Evans's photographs of the families made them icons of
Depression-Era misery and poverty. In September 2005, Fortune
revisited Hale County and the descendants of the three families for
its 75th anniversary issue.[11] Charles Burroughs, who was four years
old when Evans and Agee visited the family, was "still angry" at them
for not even sending the family a copy of the book; the son of Floyd
Burroughs was also reportedly angry because the family was "cast in a
light that they couldn't do any better, that they were doomed,
ignorant".[11]
Evans continued to work for the FSA until 1938. That year, an
exhibition, Walker Evans: American Photographs, was held at The Museum
of Modern Art, New York. This was the first exhibition in the museum
devoted to the work of a single photographer. The catalogue included
an accompanying essay by Lincoln Kirstein, whom Evans had befriended
in his early days in New York.
In 1938, Evans also took his first photographs in the New York subway
with a camera hidden in his coat. These would be collected in book
form in 1966 under the title Many are Called. In 1938 and 1939, Evans
worked with and mentored Helen Levitt.
Evans, like such other photographers as Henri Cartier-Bresson, rarely
spent time in the darkroom making prints from his own negatives. He
only very loosely supervised the making of prints of most of his
photographs, sometimes only attaching handwritten notes to negatives
with instructions on some aspect of the printing procedure.
Frame house.
Charleston, South Carolina
Charleston, South Carolina 1936
Later work[edit]
Evans was a passionate reader and writer, and in 1945 became a staff
writer at Time magazine. Shortly afterward he became an editor at
Fortune magazine through 1965. That year, he became a professor of
photography on the faculty for Graphic Design at the Yale University
School of Art.
In one of his last photographic projects, Evans completed a black and
white portfolio of Brown Brothers Harriman & Co.'s offices and
partners for publication in "Partners in Banking," published in 1968
to celebrate the private bank's 150th anniversary.[12] In 1973 and
1974, he also shot a long series with the then-new Polaroid SX-70
camera, after age and poor health had made it difficult for him to
work with elaborate equipment.
The first definitive retrospective of his photographs, which
"individually evoke an incontrovertible sense of specific places, and
collectively a sense of America," according to a press release, was on
view at New York's
Museum of Modern Art
Museum of Modern Art in early 1971. Selected by
John Szarkowski, the exhibit was titled simply Walker Evans.[13]
Death and legacy[edit]
External video
Walker Evans
Walker Evans in His Own Words on YouTube, (4:37), J. Paul Getty
Museum
Evans died at his home in New Haven, Connecticut, in 1975.[14]
In 1994, The Estate of
Walker Evans
Walker Evans handed over its holdings to New
York City's The Metropolitan Museum of Art.[15] The Metropolitan
Museum of Art is the sole copyright holder for all works of art in all
media by Walker Evans. The only exception is a group of approximately
1,000 negatives in collection of the
Library of Congress
Library of Congress which were
produced for the
Resettlement Administration
Resettlement Administration (RA) / Farm Security
Administration (FSA). Evans's RA / FSA works are in the public
domain.[16]
In 2000, Evans was inducted into the St. Louis Walk of Fame[17][18]
References[edit]
^ a b [1] Archived March 14, 2008, at the Wayback Machine.
^ Walker Evans, by Jeff L. Rosenheim, Maria Morris Hambourg, Douglas
Eklund, Mia Fineman (Princeton University Press, 2000)
ISBN 0-691-05078-3, ISBN 978-0-691-05078-2
^ "
Walker Evans
Walker Evans Dies; Artist With Camera", The New York Times, April
11, 1975
^ "
Walker Evans
Walker Evans by James R. Mellow". nytimes.com. Retrieved
2014-04-03.
^ Petruck, Peninah R. (1979). The Camera Viewed: Writings on
Twentieth-Century Photography. E. P. Dutton.
^ "
Walker Evans
Walker Evans in Ossining". Ossining.org. Retrieved
2012-10-26.
^ Peter Galassi,
Walker Evans
Walker Evans & Company. The Museum of Modern Art,
New York, 2002, p. 16.
^ Estrada, Alfredo José (2007). Havana: An Autobiography. New York:
Palgrave Macmillan. pp. 187, 193–95, 266n. Estrada
mistakenly identifies Beals' book as The Crimes of Cuba.
^ Beals, Carleton (1933). The Crime of Cuba. New York:
Lippincott.
^ Malcolm, Janet (1980). Diana & Nikon: Essays on the Aesthetic of
Photography.
^ a b Whitford, David. "The Most Famous Story We Never Told". Fortune.
Retrieved September 19, 2005.
^ "Guide to the Records of Brown Brothers Harriman 1696 -1973, 1995
(bulk 1820-1968) MS 78". Dlib.nyu.edu. Retrieved 2012-10-26.
^ Press release, 1971 Museum of Modern Art
^ Nau, Thomas (2007). Walker Evans: Photographer of America
(illustrated ed.). Macmillan. p. 59.
^ Reena Jana. "Is It Art, or Memorex?". Wired.com. Retrieved
2012-10-26.
^ "Walker Evans". Masters of Photography. Retrieved 2012-10-26.
^ St. Louis Walk of Fame. "
St. Louis Walk of Fame
St. Louis Walk of Fame Inductees".
stlouiswalkoffame.org. Retrieved 25 April 2013.
^ "
Walker Evans
Walker Evans Entry St. Louis Walk of Fame: Walker Evans"
Sources[edit]
"Furniture Store Sign, Birmingham, Alabama"
Walker Evans
Walker Evans exhibition in the argus fotokunst art gallery in Berlin.
Further reading[edit]
Crump, James. Walker Evans: Decade by Decade. Hatje Cantz Verlag.
ISBN 978-3-7757-2491-3.
Hambourg, Maria Morris; Jeff Rosenheim; Douglas Eklund; Mia Fineman
(2000). Walker Evans.
Princeton University Press
Princeton University Press / The Metropolitan
Museum of Art. ISBN 0-691-11965-1.
Leicht, Michael (2006). Wie Katie Tingle sich weigerte, ordentlich zu
posieren und
Walker Evans
Walker Evans darüber nicht grollte. transcript Verlag,
Bielefeld. ISBN 3-89942-436-0.
Mellow, James (1999). Walker Evans. Basic Books.
ISBN 978-0-465-09077-8.
Rathbone, Belinda (2002). Walker Evans: A Biography. Thomas Allen
& Son Ltd. ISBN 0-618-05672-6.
Rosenheim, Jeff; Douglas Eklund. Alexis Scwarzenbach, ed.
Unclassified: A
Walker Evans
Walker Evans Anthology. Maria Morris Hambourg. Scalo /
The Metropolitan Museum of Art. ISBN 3-908247-21-7.
Storey, Isabelle (2007). Walker's Way: My Years With Walker Evans.
PowerHouse Books. ISBN 978-1-57687-362-5.
Worswick, Clark; Belinda Rathbone (2000). Walker Evans: The Lost Work.
Arena Editions. ISBN 1-892041-29-4.
External links[edit]
Wikimedia Commons has media related to Walker Evans.
Salt Lake Utah Article and photographs regarding Walker Evans' time
spent in Ossining, NY.
Biography of the artist
Walker Evans
Walker Evans from the J. Paul Getty Museum
Walker Evans
Walker Evans at the Art Institute of Chicago
Luminous-Lint page
Tod Papageorge on
Walker Evans
Walker Evans and Robert Frank
"Many are Called" book review by Serhan Oksay
Authority control
WorldCat Identities VIAF: 39376620 LCCN: n50009155 ISNI: 0000 0001 2100 7509 GND: 118682806 SELIBR: 185736 SUDOC: 026855011 BNF: cb11902024b (data) ULAN: 500012076 NLA: 35071776 NDL: 00466248 BNE: XX919889 RKD: 237778 SNAC: w6cv4g