WALTER ROSENBLUM (1919-2006) Group in Front of Fence, Pitt Street, N.Y. Silver print,...
WALTER ROSENBLUM (1919-2006)
Group in Front of Fence, Pitt Street, N.Y. Silver print, the image measuring 6x7½ inches (15.2x19.1 cm.), the sheet slightly larger, flush mounted, with Rosenblum's signature, title, and negative date in ink on mount verso. 1938; printed 1950s
Provenance: Acquired directly from the Photographer; to a Private Collection in New Jersey
In addition to his well-documented work with the Photo League and making images in New York City's Lower East Side, Rosenblum is also well-known for his WWII imagery, including his images of the D-Day landing at Normandy. Sharp and detail-rich, his imagery depicted both war and urban streets with compassion and intimacy.
The Photo League was a cooperative of amateur and professional photographers for whom socially conscious photography was a powerful and expressive tool to both document and explore the human condition. Without espousing a particular aesthetic, the Photo League's members created imagery that was informed by both interest in and interrogation of documentary techniques, as well as a sharp aesthetic perspective. Over the course of 15 short by intense years, which saw the end of the Great Depression, WWII, and political transformation, the leftist and radical Leage elevated and interrogated social realism, the role of the photographer, pushed street photography to new levels, while simultaneously contributing significantly to advocating for photography as an art form.
The group had its origins in the Film and Photo League, an offshoot of Workers International Relief, which was an organization that supplied the left-wing press with images of working-class life. The filmmakers, under Paul Strand, eventually formed the production company Frontier Films. The photographers, led by Sid Grossman and Sol Libsohn, founded the Photo League in 1936 (Berenice Abbott and Strand named the group). Initially operating out of a loft on East 21st Street, the Photo League provided members with low-cost darkroom facilities and technical instruction. The League also published a newsletter called Photo Notes, offered courses in photographic history, sponsored lectures, and organized social activities such as "Photo Hunts" and "Crazy Camera Balls." In addition to the photographs represented here (see lots 73, 75, 78, 83, 84, 85), the group included or was supported by photographers such as Ruth Orkin, Louis Stettner, Margaret Bourke-White, Aaron Siskind, Arthur Leipzig, Ruth Orkin, W. Eugene Smith, Arthur Rothstein, Richard Avedon, Weegee, Robert Frank, Ansel Adams, Edward Weston, and many more.
In 1947, the League was blacklisted under McCarthyism, for its alleged involvement with the Communist Party. Despite support by prominent photographers, a passionate issue of Photo Notes, and an exhibition This is the Photo League, the group could not overcome the powerful sweep of the Red Scare and was forced to disband in 1951.
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WALTER ROSENBLUM (1919-2006)
Group in Front of Fence, Pitt Street, N.Y. Silver print, the image measuring 6x7½ inches (15.2x19.1 cm.), the sheet slightly larger, flush mounted, with Rosenblum's signature, title, and negative date in ink on mount verso. 1938; printed 1950s
Provenance: Acquired directly from the Photographer; to a Private Collection in New Jersey
In addition to his well-documented work with the Photo League and making images in New York City's Lower East Side, Rosenblum is also well-known for his WWII imagery, including his images of the D-Day landing at Normandy. Sharp and detail-rich, his imagery depicted both war and urban streets with compassion and intimacy.
The Photo League was a cooperative of amateur and professional photographers for whom socially conscious photography was a powerful and expressive tool to both document and explore the human condition. Without espousing a particular aesthetic, the Photo League's members created imagery that was informed by both interest in and interrogation of documentary techniques, as well as a sharp aesthetic perspective. Over the course of 15 short by intense years, which saw the end of the Great Depression, WWII, and political transformation, the leftist and radical Leage elevated and interrogated social realism, the role of the photographer, pushed street photography to new levels, while simultaneously contributing significantly to advocating for photography as an art form.
The group had its origins in the Film and Photo League, an offshoot of Workers International Relief, which was an organization that supplied the left-wing press with images of working-class life. The filmmakers, under Paul Strand, eventually formed the production company Frontier Films. The photographers, led by Sid Grossman and Sol Libsohn, founded the Photo League in 1936 (Berenice Abbott and Strand named the group). Initially operating out of a loft on East 21st Street, the Photo League provided members with low-cost darkroom facilities and technical instruction. The League also published a newsletter called Photo Notes, offered courses in photographic history, sponsored lectures, and organized social activities such as "Photo Hunts" and "Crazy Camera Balls." In addition to the photographs represented here (see lots 73, 75, 78, 83, 84, 85), the group included or was supported by photographers such as Ruth Orkin, Louis Stettner, Margaret Bourke-White, Aaron Siskind, Arthur Leipzig, Ruth Orkin, W. Eugene Smith, Arthur Rothstein, Richard Avedon, Weegee, Robert Frank, Ansel Adams, Edward Weston, and many more.
In 1947, the League was blacklisted under McCarthyism, for its alleged involvement with the Communist Party. Despite support by prominent photographers, a passionate issue of Photo Notes, and an exhibition This is the Photo League, the group could not overcome the powerful sweep of the Red Scare and was forced to disband in 1951.
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