Bruce Davidson, Miranda Barnes, Sohrab Hura and more on how photographs can represent solidarity—from demonstrations of unity in the face of adversity and oppression, to moments of community and connection.
How can photographs represent solidarity? From Bruce Davidson’s iconic images of the Civil Right Movement to Richie Shazam’s coverage of the massive Black Trans Lives Matter march in Brooklyn last month, the act of solidarity can be seen in these demonstrations of unity in the face of adversity and oppression. But solidarity is also captured in moments of community and connection, as seen in the work of Chien-Chi Chang and Denise Stephanie.
In the autumn of 1960, American photographer Bruce Davidson landed a commission that would take him to the UK for the first time. Starting in London, he bought a Hillman Minx convertible and travelled to the South Coast before heading north to Scotland. H
Travelling across the UK in 1960, the photographer captured a country driven by difference, struggling with post-war trauma and economic hardship.
Leica Camera will honor Bruce Davidson with the Leica Hall of Fame Award 2018 on June 15th. First given in 2011, this award highlights exceptional photographers for their contributions to the world of photography. Bruce Davidson’s photography has been fea
The International Center of Photography (ICP) will award Magnum photographer Bruce Davidson its Lifetime Achievement Award at this year’s Infinity Awards on April 9. ICP announced the winners of all the 2018 Infinity Awards yesterday. Dayanita Singh’s mul
Davidson's work has been collected in a new retrospective book.
Photographer Bruce Davidson was shooting scenes of urban poverty on East 100th Street in New York, when a woman asked him why he was there. When he said he was shooting images of the ghetto, she responded, “What you call a ghetto, I call my home.”
Published for the first time in its entirety in 2005, this new edition has a larger ideal format chosen by Davidson initially for his book Black & White (2012), and now the standard size for his future publications with Steidl
LightBox presents a special preview of the season’s best photography books, featuring new titles from legendary photographers Stephen Shore and Bruce Davidson, as well as inspired work by contemporary photographers Michael Light, Julie Blackmon and LaToya Ruby Frazier.
He is best known for his photographs of people such as “East 100th Street,” “Brooklyn Gang,” “Freedom Rides,” “Subway,” but in the last twenty years has dedicated himself to an exploration of nature within cities, which has taken him from New York’s Central Park to Paris. His latest series on Los Angeles completes this trilogy.
Emily Haas Davidson, Bruce’s wife, has spent over ten years talking to Bob (Bengie) Powers, and, in “Bobby’s Book,” they recount his tumultuous …
Bruce Davidson, the iconic photographer known for his pictures of the New York City subway, The Dwarf, East 100th Street, and the Brooklyn Gang, also photographed the street gang called the Jokers, of which Bengie was the leader. Nearly forty years later, Bob Powers got in touch with the Davidsons.
Emily Haas Davidson, Bruce’s wife, has spent over ten years talking to Bobby, and, in “Bobby’s Book,” they recount his tumultuous young years of violence, drug addiction, crime, love, and loss.
His modern vision of documentary influenced generations of photographers. The American Bruce Davidson, now 79, a Magnum member since 1958, will have a retrospective at the Robert Klein Gallery in Boston until March 30
Renowned photojournalist and Magnum photographer Bruce Davidson has been acclaimed for over half a century for his searing images of street gangs, circus performers…
Well, there are two things I’ve never done: I’ve never been under fire in a war and I never learned how to open my eyes underwater. For example, I had a fashion assignment on the beaches of Miami, but there were Portuguese Man O’ War jellyfish so we couldn’t jump into the surf as planned. So the art director said to me, “Bruce, let’s rent a motel pool,” and I said, “That’s a great idea!” He replied, “OK, I’ll rent an underwater camera.” I dove in with this waterproof camera to take pictures of these actors playing with the new fashionable stretch fabric clothing, but I never opened my eyes underwater. When I got out of the water, the actors asked how it looked and I said, “It’s beautiful!” When the pictures were edited, there were headless people — headless children without arms, women with half their heads gone, etc. The art director said, “This is brilliant work. This is superb! How did you do it?” I never told them, to this day, that I had never seen a thing
If you look through my total number of my photographic work, you’ll see that a lot of it is intimate. I call it “outside to the inside”. I don’t photograph stories, my photographs take on a mood, and have a cumulative effect, but there isn’t a beginning a middle and an end. It’s not a “story” story, it’s more a mood piece.
A photograph or a film stands on its own, independent of its creator — until, perhaps, it is revealed the artist is telling a lie.
I once took a picture in 1962 of a very poor black girl in Shelby County, Tennessee, holding a big white doll,” said Bruce Davidson, who is white. “And I didn’t publish it for many years even though it was a powerful image and something I thought told the story. I didn’t put the doll there. I didn’t even say to the little girl, ‘Can you hold it a little higher?’ It was a true moment, but I didn’t know if people would believe it because it almost seemed too good to be true.
After 50 years, Bruce Davidson’s photos still click. Jim Lewis meets the man behind “Brooklyn Gang.”
‘They treated me like an invisible man,” Bruce Davidson told me. “I was a shadow.”
He was sitting in the living room of a large, tony Upper West Side apartment building with a courtyard — the fruit of a long and very distinguished career in American photography — and was talking about something that happened more than a half century ago. In 1959, he spent 11 months shooting a stunning portfolio of the members of a Brooklyn gang called the Jokers, producing one of the first full-immersion photo essays about an American youth subculture.