In 1967, the Museum of Modern Art (MoMA) in New York hosted an exhibition that would leave an indelible mark on the world of photography. Titled “New Documents,” this showcase was not just another exhibition; it was a bold declaration of the power of documentary photography and its potential to transcend mere observation. Curated by John Szarkowski, the exhibition featured the works of three photographers: Diane Arbus, Lee Friedlander, and Garry Winogrand. Each brought their unique perspective to the forefront, challenging viewers to engage with the world around them in new and profound ways.
Introduction to New Documents
Background and Significance
Before “New Documents,” documentary photography was largely seen through the lens of social reform or journalistic reportage. The exhibition, however, positioned it as a form of personal expression, highlighting the photographers’ ability to capture the complexities of human life without the need for external justification. This represented a seismic shift in how documentary photography was perceived, both by the art world and the public.
Overview of the Exhibition
“New Documents” showcased nearly 100 works, providing a comprehensive look at the contemporary American landscape through the eyes of its photographers. Arbus, Friedlander, and Winogrand, each with their distinct approach, offered viewers a new way of seeing that was as unsettling as it was captivating. The exhibition did not attempt to unify these photographers under a single stylistic banner but rather celebrated their differences, emphasizing the individual gaze over collective narratives.
The Impact on Photography
The legacy of “New Documents” is monumental, setting the stage for future generations of photographers to explore the boundaries of the medium. It heralded the arrival of a new era where the photographer’s role was not just to document but to interpret, making sense of the world through their lens. This shift towards a more introspective, questioning approach to documentary photography has continued to influence artists to this day, cementing “New Documents” as a pivotal moment in the history of photography.
The Pioneers of Documentary Photography
At the heart of the “New Documents” exhibition were three photographers whose work collectively pushed the boundaries of documentary photography into new, uncharted territories. Diane Arbus, Lee Friedlander, and Garry Winogrand each brought a unique perspective to the show, challenging traditional narratives and inviting viewers to question their perceptions of the world around them.
Diane Arbus: Unveiling the Extraordinary in the Ordinary
Diane Arbus was known for her penetrating portraits of people living on the fringes of society. Her work in “New Documents” featured individuals and groups seldom represented in mainstream media, from circus performers to transgender individuals. Arbus’s photographs encouraged viewers to confront their preconceptions and find beauty and dignity in subjects they might otherwise overlook. Her approach was revolutionary, blending empathy with a stark realism that compelled audiences to engage with her subjects on a deeply human level.
Lee Friedlander: The Social Landscape Through a New Lens
Lee Friedlander’s contribution to “New Documents” offered a starkly different perspective from Arbus’s intimate portraits. His work focused on the “social landscape” of America, capturing the chaos and vibrancy of city streets, storefronts, and the reflections in windows. Friedlander’s photographs were characterized by their complex compositions and the way they often included the photographer’s own shadow or reflection, emphasizing the presence of the observer in the observed scene. This innovative approach challenged viewers to consider their role in the landscapes and scenes they inhabit.
Garry Winogrand: Capturing the Ephemeral Moments of American Life
Garry Winogrand’s work epitomized the essence of street photography, with a kinetic energy that seemed to capture the very pulse of American society. His photographs in “New Documents” were a whirlwind tour of the mundane and the extraordinary, showing moments of beauty, absurdity, and everything in between. Winogrand had an uncanny ability to find the decisive moment in the most chaotic of settings, offering a candid and sometimes humorous look at the American way of life.
Exploring the Exhibition
Curatorial Vision by John Szarkowski
John Szarkowski, then the Director of Photography at MoMA, was the visionary behind “New Documents.” His curatorial approach was revolutionary, showcasing photography not just as a tool for social change or journalistic reportage but as a form of personal expression. Szarkowski sought to highlight the role of the photographer as a selective observer, one who chooses what to show and how to show it, thus imbuing the work with a subjective truth rather than an objective reality. This perspective shifted the conversation around documentary photography, framing it as a medium capable of artistic expression and personal commentary.
Key Themes and Subjects
The “New Documents” exhibition was united not by a common style but by a shared approach to subject matter. The photographers presented a candid, sometimes raw view of American society, focusing on everyday moments, overlooked individuals, and the complexities of the social landscape. Themes of alienation, identity, and the juxtaposition of the ordinary with the bizarre ran throughout the exhibition, challenging viewers to see the world through the photographers’ unique lenses. This exploration of the human condition, set against the backdrop of the tumultuous 1960s, resonated with audiences and critics alike, sparking conversations about the role of photography in society.
Notable Works Displayed
Among the nearly 100 works featured in “New Documents,” several stood out for their impact and representation of the exhibition’s themes. Diane Arbus’s “Identical Twins, Roselle, New Jersey, 1967” became one of the most iconic images of the show, capturing the eerie symmetry and subtle differences of twin sisters in a way that prompted viewers to ponder the nature of identity. Lee Friedlander’s “New York City, 1963” offered a fragmented view of the urban landscape, combining reflections and street scenes to create a complex image that speaks to the chaos and beauty of city life. Garry Winogrand’s “World’s Fair, New York City, 1964” depicted the bustling energy of the fair, highlighting the contrasts between the optimism of the event and the individual experiences of its attendees.
Impact and Legacy
The “New Documents” exhibition at the Museum of Modern Art in 1967 not only marked a significant moment in the history of photography but also left a lasting legacy that continues to influence the art form. This section explores the influence of “New Documents” on future generations of photographers, the shift it created in the approach to documentary photography, and its enduring legacy in the realm of modern photography.
Influence on Future Generations
The exhibition’s impact on the photographic community was immediate and profound. By highlighting the personal perspectives of Diane Arbus, Lee Friedlander, and Garry Winogrand, “New Documents” demonstrated that documentary photography could transcend traditional boundaries and serve as a powerful medium for artistic expression. This revelation inspired a new generation of photographers to explore their environments and subjects with a more personal, introspective lens. As a result, documentary photography became more diverse, with artists experimenting with form, content, and narrative in ways that had not been widely accepted before.
Shift in Documentary Photography
Prior to “New Documents,” documentary photography was often viewed through the prism of social change, with a focus on exposing injustices or highlighting societal issues. While these themes remained important, “New Documents” broadened the scope of what could be considered documentary photography. The exhibition emphasized the importance of the photographer’s viewpoint, suggesting that the selection and framing of subjects could imbue photographs with layers of meaning. This shift encouraged photographers to take a more active role in the creation of their work, leading to a richer, more nuanced field of documentary photography that valued subjectivity as much as objectivity.
Legacy in Modern Photography
The legacy of “New Documents” can be seen in the countless exhibitions and works that have been influenced by its approach to photography. The exhibition helped cement photography’s place within the art world, demonstrating that photographs could be as meaningful and complex as works in any other medium. Today, the themes and techniques introduced by Arbus, Friedlander, and Winogrand continue to resonate, with contemporary photographers exploring the limits of the medium in similarly innovative ways. Additionally, the exhibition’s emphasis on individual perspective has encouraged photographers to pursue their unique visions, leading to a more vibrant and diverse photographic landscape.
Moreover, “New Documents” has become a touchstone for discussions about the role of photography in society, sparking debates about the ethics of representation, the nature of reality, and the photographer’s responsibility to their subjects. These conversations underscore the exhibition’s profound impact not just on photography but on how we understand the world around us.
Behind the Scenes
The “New Documents” exhibition was not just a landmark moment for its displayed works but also for its curation process, which set new standards for photographic exhibitions. This behind-the-scenes look into the curation process, selection of photographers, and MoMA’s role reveals the meticulous planning and visionary approach that contributed to the exhibition’s historic success.
The Curation Process
John Szarkowski, the curator behind “New Documents,” embarked on a visionary journey to redefine documentary photography. Szarkowski’s approach was revolutionary; he sought to showcase photography that expressed the subjective perspective of the photographer, moving beyond the traditional documentary goal of objective reportage. This required a careful selection process, focusing not just on the technical excellence of the photographs but on their ability to convey a personal viewpoint and engage with viewers on an emotional and intellectual level. Szarkowski’s curatorial process involved extensive research, visiting galleries, reviewing portfolios, and engaging in deep discussions with photographers to understand their vision and approach.
Selection of Photographers
The selection of Diane Arbus, Lee Friedlander, and Garry Winogrand was no accident. Each photographer brought a unique lens to the exhibition, both literally and metaphorically. Szarkowski recognized that each had a distinctive voice that could challenge and expand the boundaries of documentary photography. Arbus’s intimate portraits, Friedlander’s urban landscapes, and Winogrand’s candid snapshots of American life provided a diverse yet cohesive exploration of contemporary society. The decision to feature these three photographers was based on their ability to capture the complexity of the human experience, revealing the unseen or overlooked aspects of everyday life.
The Role of MoMA
The Museum of Modern Art played a crucial role in bringing “New Documents” to life. MoMA’s commitment to photography as an art form provided the necessary platform for Szarkowski’s ambitious project. The museum’s reputation and resources allowed for an exhibition of unparalleled scope and depth, attracting a wide audience and ensuring significant media coverage. Furthermore, MoMA’s support underscored the importance of photography in the broader art world, helping to elevate the medium to new heights of recognition and appreciation. The success of “New Documents” reinforced MoMA’s position as a leading institution for contemporary photography and set a precedent for future exhibitions.
Photographic Techniques and Styles
“New Documents” not only challenged the thematic boundaries of documentary photography but also showcased a range of innovative techniques and styles employed by Diane Arbus, Lee Friedlander, and Garry Winogrand. Their work represented a departure from traditional documentary photography, introducing new ways of seeing and capturing the world.
Techniques Used by Arbus, Friedlander, and Winogrand
Diane Arbus is renowned for her direct, confrontational style, often using a Rolleiflex camera that allowed for a square format, adding a formal symmetry to her compositions. Her technique involved establishing a strong connection with her subjects, often photographing them in their own environments to capture more intimate and revealing portraits. The use of flash in daylight was another hallmark of Arbus’s style, creating a stark, sometimes unsettling illumination that highlighted the peculiarities of her subjects.
Lee Friedlander took a radically different approach, utilizing the urban environment as a canvas for his complex compositions. Friedlander’s work is characterized by his innovative use of reflection, shadows, and framing, often incorporating elements of the urban landscape to create layered, multifaceted images. His photographs frequently include the photographer’s own shadow or reflection, blurring the lines between observer and observed, and adding a personal touch to the impersonal scenes of city life.
Garry Winogrand‘s style was defined by his dynamic, seemingly spontaneous shots, capturing the vitality and chaos of street life. Winogrand was a master of the candid photograph, often shooting from the hip to capture unguarded moments with a sense of immediacy and movement. His wide-angle lens allowed him to include a broad swath of the scene, creating images bursting with life and energy, where every corner of the frame held a story.
Evolution of Documentary Photography
The techniques and styles employed by the photographers of “New Documents” played a crucial role in the evolution of documentary photography. By prioritizing personal expression over objective documentation, they expanded the possibilities of the medium, encouraging future generations of photographers to explore their creative visions. This shift towards a more subjective, interpretive approach to documentary photography opened up new avenues for storytelling, allowing photographers to convey complex emotional and social truths through their work.
Public and Critical Reception
The unveiling of “New Documents” at the Museum of Modern Art in 1967 was met with a diverse array of reactions from both the public and critics. This pivotal exhibition, showcasing the works of Diane Arbus, Lee Friedlander, and Garry Winogrand, challenged traditional perceptions of documentary photography and sparked discussions that would resonate in the art world for decades. This section delves into the initial reactions, critical reviews, and the evolving reception of the exhibition over time.
Initial Reactions
The public’s initial response to “New Documents” was a mixture of fascination and discomfort. The raw, unvarnished portrayal of American society presented by Arbus, Friedlander, and Winogrand was unlike anything that many visitors had seen before in a museum setting. For some, the exhibition opened their eyes to the power of photography as a form of personal expression and social commentary. For others, the stark, often jarring images were challenging to digest, prompting questions about the line between art and voyeurism.
Critical Reviews
Critics were equally divided in their assessments of “New Documents.” Some lauded the exhibition for its innovative approach and its role in elevating photography to the status of fine art. They praised Szarkowski’s curatorial vision for highlighting the photographers’ ability to capture the complexities of the human condition with depth and sincerity. However, not all reviews were positive. Some critics questioned the ethical implications of the photographers’ work, particularly Arbus’s intimate portraits, which they argued exploited her subjects for artistic gain.
Reception Over Time
Over the years, the reception of “New Documents” has evolved significantly. What was once controversial has come to be recognized as groundbreaking. The exhibition is now celebrated for its profound impact on the field of photography and its contribution to the medium’s acceptance as a serious form of artistic expression. The work of Arbus, Friedlander, and Winogrand has been reevaluated in the context of their contributions to the narrative and aesthetic development of documentary photography. “New Documents” is now considered a seminal moment in the history of photography, one that challenged photographers and viewers alike to reconsider their relationship with the world around them.
Comparative Analysis: The Evolution of Documentary Photography Post-“New Documents”
The “New Documents” exhibition not only marked a pivotal moment in the history of photography but also served as a catalyst for change within the genre of documentary photography. This section compares the state of documentary photography before and after the exhibition, highlighting the shifts in themes, techniques, and societal impact.
Before “New Documents”
Prior to “New Documents,” documentary photography was primarily associated with social reform and journalistic endeavors. Photographers like Dorothea Lange and Walker Evans captured the hardships of the Great Depression, using their cameras as tools for social change. This era was characterized by a more objective approach to photography, where the aim was to present factual representations of social issues to inform and mobilize the public.
The Transformative Impact of “New Documents”
“New Documents” shattered the conventional boundaries of documentary photography by introducing a more personal, subjective perspective. John Szarkowski’s selection of Diane Arbus, Lee Friedlander, and Garry Winogrand showcased a new direction where the photographer’s individual vision and interpretation of the world were as important as the subjects they captured. This exhibition emphasized the idea that documentary photography could explore the complexities of human existence without serving an explicitly social or political agenda.
After “New Documents”
The legacy of “New Documents” is evident in the evolution of documentary photography in the years that followed. Photographers began to embrace a more introspective approach, exploring personal narratives and the subtleties of everyday life. This period saw the rise of photographers like William Eggleston and Stephen Shore, who expanded the genre’s boundaries further by incorporating color photography and focusing on mundane, often overlooked aspects of American culture.
Moreover, the post-“New Documents” era witnessed the emergence of projects that blended documentary work with conceptual art, pushing the limits of the genre and challenging audiences to engage with photography in new and thought-provoking ways. The exhibition’s influence also paved the way for the acceptance of documentary photography in art galleries and museums, highlighting its artistic value alongside its capacity to document and reflect on societal trends.
FAQs about New Documents
What was the “New Documents” exhibition?
“New Documents” was a groundbreaking photography exhibition held at the Museum of Modern Art (MoMA) in New York in 1967. Curated by John Szarkowski, the exhibition featured the work of three photographers: Diane Arbus, Lee Friedlander, and Garry Winogrand. It showcased a new direction in documentary photography, emphasizing the photographer’s role in interpreting reality rather than merely presenting it.
Why was “New Documents” significant in the history of photography?
The significance of “New Documents” lies in its departure from traditional documentary photography, which was often used for social reform or journalistic reporting. This exhibition highlighted personal, subjective perspectives, showcasing everyday life and overlooked aspects of society. It played a pivotal role in redefining documentary photography as a form of artistic expression and influenced generations of photographers.
Who were the photographers featured in “New Documents”?
The exhibition featured Diane Arbus, known for her intimate portraits of marginalized individuals; Lee Friedlander, who captured the social landscape through complex compositions; and Garry Winogrand, famous for his candid snapshots of American life. Each photographer brought a unique perspective to the exhibition, collectively shaping its groundbreaking approach.
How did “New Documents” change the public’s perception of photography?
“New Documents” challenged the public’s perception of photography by presenting it as a medium capable of artistic expression and personal narrative. Before this exhibition, photography was often viewed in a more utilitarian or journalistic context. “New Documents” demonstrated that photography could explore deeper aspects of human experience, prompting viewers to consider the medium in a new light.
What themes were explored in “New Documents”?
The exhibition explored themes of alienation, identity, and the complexities of the human condition, set against the backdrop of the American landscape. It delved into the ordinary and the extraordinary, pushing the boundaries of what documentary photography could convey about society and individual experience.
How did the featured photographers approach their subjects?
Each photographer in “New Documents” approached their subjects with a unique perspective and style. Diane Arbus provided a window into the lives of her subjects with empathy and curiosity. Lee Friedlander explored the urban environment, often incorporating reflections and self-portraits into his work. Garry Winogrand captured the spontaneity of street life, presenting a candid view of society.
What impact did “New Documents” have on future photography exhibitions?
“New Documents” set a new standard for photography exhibitions, emphasizing the importance of the photographer’s vision and the thematic coherence of the work displayed. It opened the door for future exhibitions to explore photography as an art form, encouraging curators and artists to push the boundaries of the medium.
Is the legacy of “New Documents” still felt in contemporary photography?
Yes, the legacy of “New Documents” continues to influence contemporary photography. The exhibition’s emphasis on personal perspective and the exploration of societal themes through photography has inspired countless photographers to pursue their unique visions. Its impact is evident in the diversity of subjects and approaches seen in modern documentary photography, reflecting the exhibition’s enduring influence on the art form.
Conclusion: The Enduring Influence of New Documents
The “New Documents” exhibition at the Museum of Modern Art in 1967 stands as a watershed moment in the history of photography. By showcasing the work of Diane Arbus, Lee Friedlander, and Garry Winogrand, the exhibition challenged and expanded the boundaries of documentary photography, shifting its course forever. John Szarkowski’s visionary curation brought to the forefront a new approach that emphasized the subjective perspective of the photographer, transforming the medium into a form of personal expression and artistic endeavor.
The legacy of “New Documents” continues to resonate in the world of photography and beyond. It laid the groundwork for future generations of photographers to explore and express their unique visions, encouraging a deeper engagement with the world around them. The exhibition’s impact extends into the way we perceive and understand photography today—not just as a tool for documenting reality but as a powerful medium for storytelling, capable of revealing the complexities of human life and society.
As we reflect on the significance of “New Documents,” it’s clear that its influence goes beyond the photographs displayed or the artists featured. It challenged viewers to see the world with new eyes, to find beauty in the everyday, and to appreciate the richness of the human experience. The exhibition’s legacy is a testament to the enduring power of photography to provoke thought, evoke emotion, and connect us more deeply to the world.
“New Documents” marked the beginning of a new era in documentary photography, one that continues to inspire and influence. As we move forward, the exhibition serves as a reminder of the transformative potential of art and the endless possibilities that lie in the way we choose to see and document the world around us.
https://www.moma.org/calendar/exhibitions/3487
http://www.moma.org/docs/press_archives/3860/releases/MOMA_1967_Jan-June_0034_21.pdf
http://www.nearbycafe.com/artandphoto/cspeed/essays/Coleman_MoCA.pdf
https://www.newyorker.com/culture/photo-booth/the-exhibit-that-transformed-photography