It showed images of beautiful, historically important buildings threatened with demolition as a brutal wave of urban regeneration swept through the US. Chief among them was Pennsylvania station, Manhattan, a beaux-arts masterpiece from that was scheduled to make way for a more functional, but faceless construction.
It was his goal to become a professional photographer, although it was difficult to find work. His first big break came inwhen three of his photographs were selected to be published in a poetry book by Hart Crane, titled The Bridge. This early work foreshadows his life-long interest in the imagery of urban architecture and industrial construction.
For this project, Evans produced a number of portrait photographs using laborers, miners, and dockworkers. He also documented the urban street life in Cuba, including images of vendors, pedestrians, and signage.
Professional Career Fortune Magazine, Evans worked for Fortune Magazine as a freelance photographer from to During his early years at the magazine, Evans conducted the type of work that is perhaps typical of a magazine photographer: Fortune magazine published several of his portfolios which featured photographs of New England homes, office furniture, and even hand tools.
He was allowed almost complete artistic license in his selection of subjects as well as the ultimate appearance of his portfolios. Evans prepared his own layouts and always specified how each image was to be sized and cropped.
Often mistrustful of the competency of the editors, Evans would frequently physically cut his own negatives to ensure that the final image was cropped appropriately. He was expected to use photography to document the plight of the rural poor and the achievements of the New Deal.
The images he produced during this time were frequently focused on portraiture, domestic interior scenes, urban streets, or architectural construction. The value and, if you like, even the propaganda value for the government lies in the record itself which in the long run will prove an intelligent and farsighted thing to have done.
Evans traveled to Alabama with writer James Agee in Junewhere they encountered the impoverished Burroughs and Tingle families. For several weeks, Evans and Agee lived with these families, photographing, interviewing, and documenting their lives.
In the late fall ofAgee and Evans submitted their article, with accompanying photographs, to Fortune. It was rejected by the magazine. For several years, Agee elaborated and lengthened the text of the piece, until it was published as a book in Although Evans and Agee had a difficult time getting their work published initially, the photographs taken by Evans while in Alabama were displayed to the American public through various projects with the Museum of Modern Art.
American Photographs, an exhibition of one hundred pictures, was presented at the Museum of Modern Art between September 28 and November 18, A book, titled American Photographs, containing a selection of 87 images 33 of which had not been seen at the exhibition was published simultaneously by the museum.
And a circulating exhibit of 88 prints traveled to ten venues across the country after the show closed in New York. These previously unseen photographs received much attention and praise by the photography community and the general American public.
The book American Photographs was reprinted multiple times, with a 50th anniversary edition published in Subway Portraits InEvans entered a New York subway car with a camera hung around his neck and hidden beneath his coat.
The lens of the camera peered out from between two buttons of his coat and the shutter was rigged to a cable release that traveled down his sleeve and into the palm of his hand. Evans proceeded to take a series of photographs of the people riding the subway that day.
It was a difficult experiment for Evans, even with his extensive photography experience.Walker Evans: Walker Evans, American photographer whose influence on the evolution of ambitious photography during the second half of the 20th century was perhaps greater than that of any other figure.
He rejected the prevailing highly aestheticized view of artistic photography, of which Alfred Stieglitz was the. —Walker Evans, personal note, Notable Works Although Evans is remembered as a FSA photographer, his most famous work is a series of photographs of Alabama sharecroppers produced for Fortune Magazine during a leave of absence from the FSA in Walker Evans is one of the most influential artists of the twentieth century.
The progenitor of the documentary tradition in American photography, Evans had the extraordinary ability to see the present as if it transcendent, and enigmatic.
For many, they are the apogee of Evans’ career in photography. In September , the . Walker Evans, (born November 3, , St. Louis, Missouri, U.S.—died April 10, , New Haven, Connecticut), American photographer whose influence on the evolution of ambitious photography during the second half of the 20th century was perhaps greater than that of any other figure.
Walker Evans was an American photographer whose work produced during the first half of the 20th century has helped to shape Americans' understanding of the effects of the Depression and the Dust.
Walker Evans and the American Vernacular. Walker Evans photographed the American vernacular, revealing the language of everyday life found in roadside attractions, postcards, storefronts, and signage across the country. These stories provide deeper insight into the photographer’s uncanny understanding of twentieth-century America.