In Association with Amazon.com

Masters of Photography
CDROM VERSION
POSTER STORE
ABBOTT
ANSEL ADAMS
ROBERT ADAMS
ALVAREZ BRAVO
ATGET
BELLOCQ
BLOSSFELDT
BOURKE-WHITE
BRANDT
BRASSAÏ
CALLAHAN
CAMERON
COBURN
CUNNINGHAM
DeCARAVA
DOISNEAU
EGGLESTON
EVANS
FENTON
FRIEDLANDER
GOWIN
GUTMANN
HILL&ADAMSON
HINE
KARSH
KERTÉSZ
KLEIN
KOUDELKA
LANGE
LARTIGUE
LAUGHLIN
LEVITT
MAPPLETHORPE
MEATYARD
MEYEROWITZ
MODEL
MODOTTI
MUYBRIDGE
NADAR
NEWMAN
O'SULLIVAN
OUTERBRIDGE
PARKS
PENN
RIIS
RODCHENKO
SALGADO
SHERMAN
SHORE
SMITH
SOMMER
STEICHEN
STIEGLITZ
STRAND
TALBOT
UELSMANN
WALDMAN
WATKINS
WESTON
WHITE
WINOGRAND
WOLLEH
Paul Strand

Text from Wikipedia

Strand, Paul
American, 1890-1976

Paul Strand (October 16, 1890 – March 31, 1976) was an American photographer and filmmaker who, along with fellow Modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe and Africa.

Born in New York City to Bohemian parents, Strand was a student of renowned documentary photographer Lewis Hine at the Ethical Culture Fieldston School in his late teens. It was while on a fieldtrip in this class that Strand first visited the 291 art gallery – operated by Stieglitz and Edward Steichen – where exhibitions of work by forward-thinking Modernist photographers and painters would convince Strand to take his photographic hobby more seriously. Stieglitz would later promote Strand's work both in the 291 itself and in his photography publication Camera Work. Some of this early work experimented with formal abstractions, while other works showed his interest in using the camera as a tool for social reform (no doubt inspired by Hine).

Over the next few decades Strand got into motion pictures as well as still photography. His first film project was Manhatta, (also known as New York the Magnificent) a silent film showing the day-to-day life of New York City made with painter/photographer Charles Sheeler. Other films he was involved with included Redes, (released in the US as The Wave) a film commissioned by the Mexican government in 1936 and the pro-union, anti-fascist Native Land released in 1942. Strand was closely involved with Frontier Films, one of more than twenty organizations which were branded as ‘subversive’ and ‘un-American’ by the US Attorney General. In 1945, Strand collaborated on a book of his photographs with photography critic Nancy Newhall.

In June 1949 Strand left the United States to present Native Land at the International Film Festival in Marianske Lazne, Czechoslovakia. It was a departure that marked the beginning of Strand’s long exile from the prevailing climate of McCarthyism. Strand’s unwavering allegiance to Communism, fostered by his time in revolutionary Mexico, made his continuing residency in the United States untenable. The remaining twenty seven years of his life were spent in France where, despite never learning the language, he maintained an impressive creative life, assisted by his second wife, the photographer Hazel Kingsbury Strand.

Although Strand is best known for his early abstractions, his return to still photography in this period of exile produced some of his most significant work in the form of six book ‘portraits’ of place: Time in New England (1950), La France de Profil (1952), Un Paese (featuring photographs of the Po River Valley in Italy, 1955), Tir a'Mhurain / Outer Hebrides (1962), Living Egypt (1969) and Ghana: an African portrait (1976). The geography of Strand’s work is itself important. The historian of art, Mike Weaver, has made the case that each of these books, in different ways, reflects Strand’s abiding commitment to the exploration of a Marxist aesthetic.

Paul Strand's estate is managed by Aperture Foundation, New York.


 


Buying posters through this link
supports Masters of Photography

articles photographs resources Home FAQ Contact