Arthur fellig weegee biography of williams
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Exhibition dates: 19th Sept, &#; Ordinal January,
Curator: Exhibition curated by Clément Chéroux, jumpedup of interpretation Fondation Henri Cartier-Bresson.
Weegee (Arthur Fellig) (American, )
Self-Portrait give way Speed Evocation Camera
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Gelatin-silver print
© Cosmopolitan Center near Photography. Collecting Friedsam
Self Seen
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In the s and s Weegee’s name was closely associated with New York and life in the city. In a society distressed by economic and mental depression, Weegee confronted his viewers with loneliness, poverty and crime. At the same time, he also showed moments of beauty and happiness, which were also parts of life in the Lower East Side, Harlem or Bowery. The subjects, however, were not solely responsible for his renown: the artistic force, dramatic effect, raw realism and sharp contrasts of his pictures made him a pioneer for generations of photographers to follow him.
This exhibition at Mai Manó House features of Weegee’s best photos, which draw an intimate portray of New York.
“I had got the famous pictures of a violent era, the pictures that all the great papers with all their resources couldn’t get, and hat to buy from me. And in shooting these pictures, I also had photographed the soul of the city I knew and loved.”
In the s and s Weegee’s name was closely associated with New York and life in the city. As a press photographer, he was always after a real story, and was always out on the streets to catch the perfect moment. In a society distressed by economic and mental depression, Weegee confronted his viewers with loneliness, poverty and crime. At the same time, he also
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How Arthur Fellig Became the Legendary Street Photographer Weegee
“I keep to myself, belong to no group,” Weegee once wrote, and it was true that he remained an odd-shaped peg that fit in few holes. Despite his eagerness to talk about taking pictures, he never joined the New York Press Photographers Association, as nearly all his colleagues did. Nonetheless, in the early s, he did sidle his way into the fringes of one club, perhaps because it was so thoroughly devoted to the nuts and bolts and art and craft of photography.
The Workers Film and Photo League had gotten its start in New York around , an outpost of a leftist photographers’ and filmmakers’ association in Berlin. In , the American group split in two, and the half devoted to nonmoving pictures renamed itself the Photo League and rented a floor at 31 East 21st Street. There, one flight up from an upholstery shop, it became one of the very few places in the United States focusing on documentary photography—distinct from press photography because it was concerned with recording everyday life more than particular events—and especially documentary photography as art.
The Photo League’s main force was a big, intense fellow named Sid Grossman. He edited its journal, serve