by Gerald Boerner
“My molecular structure is the same.” “It’s like going through a war.”
— Bruce Davidson
“That’s what it looks like. We have to prove it now; that’s going to be the tough part.”
— Bruce Davidson
“We took a walk for a few minutes together. The street became his photographs.”
— Bruce Davidson
“This increase in performance reflects the benefit of two years of restructuring and repositioning, and the trust is an attractive investment for investors seeking low risk and a medium return.”
— Bruce Davidson
“[The photograph was described by a police witness as] a joke of a kind someone outside police culture would not understand … In my view the culture is as sick as the joke.”
— Bruce Davidson
“Jail must be imposed to reflect the ongoing breach of trust, the considerable effect on the victims and the considerable amount of money,”
— Bruce Davidson
“There had been no agreement with Australia, we were not in a position to announce anything and when the other deal came out of the blue it was evident ING NZ were not aware of the discussions.”
— Bruce Davidson
“This excellent result further reinforces the advice given to unit holders that they should take no action on the takeover offer made by ING Property Trust until they are in receipt of all relevant information.”
— Bruce Davidson
“Most of my pictures are compassionate, gentle and personal. They tend to let the viewer see for himself. They tend not to preach. And they tend not to pose as art.”
— Bruce Davidson
“[W. Eugene Smith's photo essays] taught me that a photograph could not only communicate emotions, but could also serve the human condition.”
— Bruce Davidson
“They all [other photographers] gave us clues to their inner world. Kertesz let us see our mortality in a piece of crusted rock and a man’s flesh; Avedon made us confront his anger in the black man’s pores and crystal-clear eyes; Arbus broke through the desperate pain of her aloneness into the cruel world of the midget’s taboo.”
— Bruce Davidson
“Taking photographs, taking candid photographs, means that the photographer is an invisible man. Whereas there is still a feeling that in having a photograph taken there is loss of face: something of the soul is gone.”
— Bruce Davidson
“I am not interested in showing my work to photographers any more, but to people outside the photo-clique. My pictures are not escapes from reality, but a contemplation of reality, so that I can experience life in a deeper way.”
— Bruce Davidson
Bruce Davidson (born: 1933)
Bruce Davidson is an American photographer. He has been a member of Magnum since 1958. His photographs, notably those taken in Harlem, have been widely exhibited and published in a number of books.
Youth
Bruce Davidson was born in Oak Park to a single mother who worked in a factory to support her two sons. His mother raised her children to be autonomous, while being sensitive and aware of the troubles of the less fortunate. At ten, Bruce Davidson began taking pictures, as he was given the freedom to wander the streets of Oak Park alone.
Soon after, he approached a local photographer who taught him technical nuances of photography, in addition to lighting and printing skills. In his mid-teens, Davidson began to ride Chicago’s elevated train system into the city, exploring neighborhoods and the Chicago Loop, observing wide varieties of people, and most importantly developing skills and interests that would be seen in his later photographic works.
At sixteen, Davidson won his first major photography award, the Kodak National High School snapshot contest, with a picture of an owl at a nature preserve. Following high school, Davidson attended the Rochester Institute of Technology and Yale University, where one of his teachers was artist Josef Albers. Davidson showed Albers a box of prints of alcoholics on Skid Row; Albers told him to throw out his "sentimental" work and join his class in drawing and colour. For his college thesis, he created a photo essay that was published in Life in 1955, documenting the emotions of football players behind the scenes of the game.
Following college, Davidson was drafted into the army, served in the Signal Corps at Ft Huachuca, Arizona, attached to the post’s photo pool. Initially he was given routine photo assignments. Undaunted, Davidson created out of seemingly mundane material unique photo studies. An editor of the post’s newspaper, recognizing his unique talents, asked that he be permanently assigned to the post newspaper. There, given a certain degree of autonomy, he was allowed to further hone his talents. Later, stationed in Paris, he met Henri Cartier-Bresson, a later colleague with Magnum Photos, sharing his portfolio and receiving advice from an accomplished photographer. While in France, Davidson produced a photo essay on the Widow of Montmartre, an old Parisian woman.
Major works and joining Magnum Photos
After his military service, in 1957, Bruce Davidson worked briefly as a freelance photographer before joining Magnum Photos the following year. During the following few years, he photographed extensively, most notably producing Brooklyn Gang and The Dwarf. From 1961 to 1965, Davidson produced one of his most famous bodies of work as he chronicled the events and effects of the Civil Rights Movement around the country, in both the North and the South. In support of his project, Davidson received a Guggenheim Fellowship in 1962 and his finished project was displayed at the Museum of Modern Art in New York. Upon the completion of his documentation of the Civil Rights Movement, Davidson received the first ever photography grant from the National Endowment for the Arts.
Exploration of New York City
Bruce Davidson’s next project, East 100th Street, is perhaps his most famous. Considered a modern classic, East 100th Street was a two-year documentation of an infamous block in East Harlem. This project was also displayed at the Museum of Modern Art. Davidson followed this with Subway, a classic portrayal of the New York subway system in the late 1970s. Using color to convey mood, Davidson documented a gritty and lively urban underworld. Over a decade later, in the early 1990s, Davidson completed a four-year exploration of Central Park as a beautiful and grand homage to New York City.
Recent activities
In 1998, Davidson returned to East 100th Street to document the revitalization, renewal, and changes that occurred in the thirty years since he last documented it. For this visit he presented a community slide show and received an Open Society Institute Individual Fellowship Award. In addition to his best known publications, many of Davidson’s lesser known works have appeared around the world and in many museums. Recently, a book has appeared of Davidson’s portraits of people such as John Cage, Marilyn Monroe, Leonard Bernstein, Kiki Smith, Fannie Lou Hamer, Andy Warhol, and Jack Kerouac. To this day, Davidson continues to work as an editorial photographer. His photographs appear around the world and in many museums. Also, Davidson has directed two award-winning short films, a documentary titled Living off the Land and a more surreal tale titled Isaac Singer’s Nightmare and Mrs. Pupko’s Beard. He lives in New York City with his wife, Emily.
Common themes in Davidson’s photography
Bruce Davidson photographs people on an eye-to-eye level, portraying and inducing powerful emotion, while focusing his lens on people in the midst of transition and a search for meaning.
In all of Davidson’s works, instead of objectifying his subjects — as objects of pity, subjects of curiosity, or specimens for analysis — he humanizes them, portraying them with a sense of vigor and vitality, as we are given insight to their lives, struggles, and desires. In particular, Davidson often documents the human search for meaning among people who face potentially ruinous social obstacles and economic strife. This type of documentation is especially evident in East 100th Street, Brooklyn Gang, and Davidson’s Civil Rights Era photography.
He induces and portrays powerful emotion in all of his major works emotions such as loneliness, despair, love, determination, and uncertainty, while his realism induces social concern and sympathy for complete strangers.
Bruce Davidson is extremely adept at documenting people or subjects in transition, whether rebellious teenagers coming of age, persecuted people fighting for equality, the urban poor amid soon-to-be demolished tenements, a gritty underworld soon to be sterilized, a traveling circus soon to be disbanded, or the passage of the seasons amid the magnificence, grandeur, and human heartache evident within Central Park.
Davidson creates an expression of the human condition by capturing his diverse subjects and settings in a personal and lyrical visual language, as he is able to transcend race, culture, and background, thereby uniting all his subjects in a shared poetic human experience. He allows us to see both beauty and pieces of ourselves in wide ranges of people. Through Davidson’s works we see how everyone shares similar experiences, how we are all united, and therefore how everyone can truly relate to one another.
Background and biographical information is from Wikipedia articles on:
Bruce Davidson that can be found at…
http://en.wikipedia.org/wiki/David_Goldblatt
Also, an article on Bruce Davidson found in…
Peter Stepan. (2008) 50 Photographers You Should Know. New York: Prestel.