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May 10–September 4, 2005 at the Getty Center
"Three important roads opened for me....My work grew out of a response, first, to trying to understand the new developments in painting; second, a desire to express certain feelings I had about New York where I lived; third...I wanted to see if I could photograph people without their being aware of the camera." —Paul Strand |
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First Road: Principles of Modern Art Early in his career Strand saw the work of painters Paul Cézanne, Georges Braque, and Pablo Picasso at the Armory Show, held in New York in 1913. Intrigued with their abstract compositions, Strand began applying similar principles to his photographs and using a straightforward, realistic approach to his subjects. |
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From 1925 to 1928 Strand made numerous trips to Georgetown Island, Maine, to make photographs and visit his friend the sculptor Gaston Lachaise. Drawn to natural elements, Strand approached organic forms much as he had his abstract still lifes or machine age subjects. But here he rejected the urban landscape and material objects—products of industrialization—and turned to a more fundamental subject: nature. |
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Second Road: A Sense of Place Strand was interested in portraying realistic scenes of New York that expressed the pulse and dynamism of the modern city. Here he stood above the scene, looking down on the silhouetted figures to capture a view of kinetic energy, where the people are not only caught in motion but also scattered across the composition. |
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Strand traveled extensively, spending long periods of time in Mexico, France, Italy, and Scotland. In each location his photographs define a sense of place. Strand left the United States permanently in 1950 to settle in France where he worked until his death in 1976. |
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Third Road: The Social Conscience In 1916 Strand began using a camera fitted with a false lens that allowed him to photograph people without them being aware of it. With his new device, Strand created many strong and commanding portraits of the average citizens on the streets of New York. |
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Strand lived in Mexico from 1932 to 1934. Deeply moved by the spirit of the Mexican people and their struggle for survival, he went to small towns and created a series of portraits of the local inhabitants. With a prism lens fitted to his camera, Strand was, once again, able to photograph people on the streets without their awareness. Strand usually chose a neutral background, often a wall, to enhance the expressions and faces of these people, all of which seem marked by the hardships of life. |
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